Instructors: Homer & Cristina Ladas
http://theorganictangoschool.org/
October 5, 2013, Susan’s Dance Studio - South Bay Tango Workshops
Workshop 2: Chapter 1 - Very Close Turn
In the close turn, our spines are tilted, and the dancers
are tilted toward each other.
The Follower’s back steps and forward steps are shorter
truncated.
We began with an exercise, with the entire class holding
hands in one big circle around the room.
Then we did the footwork.
To the right (counterclockwise):
Cross behind
Side step
Cross forward
Side
To the left (clockwise)
Cross behind
Side step
Slight pivot
Forward cross step
Side
Next, we all reviewed with the cross behind, walk forward
exercise, and the cross in front, walk backward exercise, imagining we were
holding a giant bowl filled with sleeping fish.
Our upper bodies need to be very quiet so we don’t awaken the fish. This is an isolation exercise, and our hipbones
remain parallel. This exercise also
helps us with coordination and timing of our knee bends and leg movements. Our
upper thighs squeeze toward each other, which will help us unwind. Keep it
tight.
Back to doing the turn, the Leader uses his right foot as a
paddle or kickstand as the Follower goes around him.
The Follower should always try to have her hips in front of
the Leader as she goes around him in the turn/hiro/molinete.
We drilled this turn in universal embrace (with both Leader
and Follower having their arms around the other, one hand on top, one hand on
bottom, hugging each other), as we did a counterclockwise turn.
·
There should be no sliding of bodies
·
There is space between the two bellies since we
are tilted toward each other.
·
Since there is space, there should always be
room for our feet.
·
Keep our bellies back so you don’t remove the
space to move.
Follower’s Footwork
During the Close Embrace Turn
For the Follower, there is minimal pivot, as she has no time
to hang around. So it is a side step,
immediate hook behind, side step, immediate hook forward. She should not open her hips.
Even though the steps are short, they are still each worth
$100. The side step is a step around the
Leader, so she is doing a small pivot with the other foot before.
The side step is the key to changing the shape of the turn.
The side step is the only one that covers ground.
The Follower should not make her side step too small,
otherwise she will be left behind. If she needs to be away from the Leader, it
is better to be a little ahead.
For the Follower’s footwork, when she unwinds after her
front cross, she should articulate her arch so she can unwind safely and not
scrape the top of her right foot with the heel of her left foot.
Leader’s Footwork
During the Close Embrace Turn
The Leader’s right foot paddles or kickstands around as his
left foot is the supporting, standing foot.
So the axis doesn’t shift because the weight doesn’t shift.
Tomato Sandwich
Theory of the Embrace
Dancers are like a Tomato Sandwich, where the Follower’s
right hand and chest are two pieces of bread and the Leader is the slice of
tomato in between. The better the
Follower hugs, the more information she gets on where she needs to go.
The Leader’s right hand is only as strong as the energy in
his chest.
The Follower should match the Leader’s hugging embrace with
both sides of her hands.
He can change the flavor of the embrace.
During the turn, there should be a continuous flow of energy
until the Leader wants to stop (ie, the faucet doesn’t get turned off until the
end of the turn).
Turning clockwise (Leader’s right; Follower’s left), the forward
step after the side step is an open one (not just a front/forward tuck).
The Leader shifts his body to the left to make the clockwise
(Leader’s right) turn easier so the Follower has room to do the her forward
step.
Maestros concluded with a class quiz and demo to D’Arienzo’s
No Mienta.
Notes courtesy of Anne at http://scoutingtour.blogspot.com
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