Song: Tres Esquinas by D'Agostino (vocals by Angel Vargas)
Instructors: Homer & Cristina Ladas
February 23, 2009, The Beat, Berkeley, CA
We began with one dance, trying to include as many enrosques as we knew how to do.
There are many definitions of what enrosques are, but they all have a corkscrew action element to them. They can be done from the turn and sacada, sometimes with weight changes and sometimes without. The Follower enrosque from forward ochos typically do not have weight changes.
We began with a solo exercise to develop enrosques for our body: we practiced crossing our foot in front and changing weight after the cross.
There are two main shapes to enrosques:
(1) Eye of the Needle: has space between the thighs
(2) Eagle position, like in yoga, with thighs close together, going to the other side.
Both have 90 degree pivots, and the foot is planted next to the axis foot in the middle of it, with toe tip pointing down and touching floor. It is important not to sickle the foot here.The pelvis joint and how open the hips can get will determine which enrosque you do.
Next exercise in partnership:
We did forward ochos, and enrosque wrap (either eye of needle or eagle) in front without weight change.
(2) Position foot one next to the other (not too far way, and do not sickle).
This was a more stilted, paused exercise to get us used to the movement and to slow us down to look at all the variables in getting the technique right.
(3) Then go into foot placement.
This is a more fluid enrosque.
For Followers, no weight change is best option for enrosques.
Followers can do forward ocho into enrosque embellishment, letting her free leg go in front, cross, and then pivot. This adds momentum. She must try to step as close to the Leader as possible to maintain connection.
An alternative is that she can pivot first, then whip the leg in front. What really helps is (1) to keep good spiral in the upper body, (3) rotate the hips, and (3) keep her shoulders square/parallel with Leader's upper body, facing Leader the whole time. All ocho technique applies (spiral and counterspiral).
Next, we drilled with the Leader leading forward ochos, and Follower doing enrosque embellishments on her ochos.
Level 1: Regular enrosque (a little amague) in regular time.
Level 2: A delay, and then a speed up at the end, putting energy into hips to really get around quickly/sharply. It's a slow down, whip around kind of action.
As a reminder, embellishments are always dictated by the music and not done arbitrarily.
Next, the Leader leads Follower to do forward ochos for one or two enrosques. Then Leader leads Follower to do molinete around him while he does enrosques. The Leader leaves his hips behind, gets all twisted, and then lets go into enrosque, while continually leading the Follower's molinete with his upper body. The Leader can do his enrosque on any of the Follower's molinete steps, but the easiest is on her back step.
The question came up: How does the Follower know if he is leading a regular forward ocho (where she can do an enrosque) or a molinete (and if she does an enrosque here she will mess up his lead)?
(1) Follower can do enrosque during the molinete, but she should do it without crossing in front.
(2) Follower can cross, but she has to do it quickly and make sure she does not transfer weight.
(3) When the Leader leads the ocho, the focus is on the Follower's axis.
(4) When the Leader leads the molinete, the focus is on the Leader's axis.
Bottom line: If the Follower does an enrosque during the molinete, she can do it successfully and not mess up the lead if she does the enrosque without crossing and/or not changing weight.
Next, we practiced weight changes in enrosque, replacing one axis with another.
The exercise we did by ourselves:
Next, we did another exercise by ourselves:
step right foot forward
cross left foot in front of right foot
pivot 180 degrees
pivot 180 degrees again
step right foot back.
We also tried this on the other side:
step left foot forward
cross right foot in front of left foot
pivot 180 degrees
pivot 180 degrees again
step left foot back.
Here, there is always a moment when you are sharing weight with two feet. It is important to have good technique with being on one foot and pivoting on one foot.
In the open embrace, we did Leader forward sacada of Follower's trailing foot during molinete forward step, into Leader enrosque, into Leader's back sacada on Follower's side step.
You can practice these things (enrosques, sacadas and back sacadas) wearing socks.
Follower can do air enrosque embellishments, but she needs to be careful how this is done.
Maestros concluded with a demo of what we learned to Tres Esquinas by D'Agostino with vocals by Angel Vargas.
Notes courtesy of Anne at http://scoutingtour.blogspot.com