Wednesday, October 9, 2013

The Art of the Follower’s Sacada and the Follower’s Double Sacada

Song: Tigre Viejo by Osvaldo Fresedo
Instructors: Homer & Cristina Ladas
October 7, 2013, The Beat, Berkeley, CA

The focus of our class was the theory of Follower’s sacada, followed by the Follower’s double sacada.

CHAPTER 1: Sacada basics

We began with an exercise in sugar bowl embrace.

Leader’s footwork:
Hypnotizing side step, with both dancers collecting on their side steps.
Leader does sneak attack with his right foot, pivots, and then turns to his left, leading Follower to sacada his left foot with her left foot.  The Follower takes a long, reaching step, completely arriving and then going.  She should control the arrival and stay on it, until the Leader leads her to exit. 

We drilled this for a while with eyes open, and then to increase sensitivity and precision of movement, we drilled with the Follower’s eyes closed.  More advanced work on this involves the Leader closing his eyes, and then having both dancers drill with eyes closed.

The sending shape of energy is circular on the forward step, as it is the start of the hiro/turn/molinete.

The Follower should try to not avoid the Leader’s leg (thus it helps to have the Follower’s eyes closed).

For the Follower’s embrace, she should have an elastic embrace where her elbows are bent, and the Leader feels the pads of the Follower’s fingers.  As her left foot extends forward, so does her right arm, allowing her embrace to breathe before completing the transfer of weight, so she doesn’t arrive too soon.  The embrace opens and closes like a rubber band.

The Leader creates space and uses pull energy to get the Follower to go around

We drilled this to both sides, in sugar bowl embrace with the Follower’s eyes closed.

For the Leaders, our work is based on the turn technique to create the space and energy for the Follower to go around. 

X marks the spot of the new axis of where the Follower will go around.

For the Follower, they are doing a very open hiro/turn/molinete, making long reaching steps around the Leader, including her side step.  So she should create curve in all her steps: forward, side, and back.  She should also stay longer on her standing leg before transferring weight.

A resolution could be the leg wrap then turning into the line of dance.

Rule for the Follower’s Sacada:
Follower’s sacadas require more space so the Leader is perpendicular to the Follower or even further away.  The Leader needs to give the Follower lots of space for her sacada.

CHAPTER 2: The Follower’s Double Sacada
Two Follower’s sacadas in a row.

The Leader’s side step is replaced with a forward step.
He does a sneak attack to prepare Follower.
Right foot reaches, he turns to the right, Leader steps forward.
Follower does forward sacada of his trailing foot as he does his front cross step perpendicular to her.
Going directly into a Follower left foot side sacada of the Leader’s right foot after he did his left foot sneak attack and ding a turn to the right (clockwise).

The Leader sets up the axis and then turns to the right.
The Leader has to do a sneak attack, reaching with his left foot before transferring his weight.

Leader’s right foot forward step is perpendicularly across the front of the Follower.
Follower does right foot forward sacada of Leader’s trailing left foot.
Both pivot here, the Follower a lot since the Leader leads her around using pull technique as if for a turn/hiro/molinete with his upper body rotation.
Leader’s left foot side step
Follower’s left foot side sacada of Leader’s trailing right foot on his left foot side step.

The Follower needs to pivot more to go around enough so that her side sacada is a true side step and not a messy diagonal side step forwardly oriented.  The Leader can help with this by employing good turn technique with pull as he keep turning to his left clockwise in between her two sacadas.

The Follower’s embrace needs to be elastic, especially her left shoulder, as she steps.

One exit is the Leader’s right foot parada/Follower’s pasada to a sandwich, and then out.

The Leader should walk like a cat and no kerplunking,  otherwise he will rush the Follower.

Maestros concluded with a class quiz and demo to Fresedo Tigre Viejo.

Notes courtesy of Anne at

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