tag:blogger.com,1999:blog-16612453237947181422024-03-14T02:24:48.898-07:00Tango Student: Class Notes and ClipsTangoStudenthttp://www.blogger.com/profile/15276818586883837436noreply@blogger.comBlogger180125tag:blogger.com,1999:blog-1661245323794718142.post-44746998678035992092023-01-12T13:57:00.003-08:002023-01-12T22:44:47.033-08:00Leader & Follower Sacada Flow & Off-Axis Delights<p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;">Instructors: Homer & Cristina Ladas<br />http://theorganictangoschool.org/<br />Playwrights Downtown, New York City<br />January 8, 2023<br /><br />Demo 1: <i>Heaven </i>by Callum Scott<br />Demo 2: <i>Poema </i>by Solo Tango Orquesta</p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"> </p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;">Our
day began with Homer leading the stretching portion as each attendee
introduced themselves by stating where they were from and how long they
have been learning tango.</p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"> </p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;">We began with a game to break down our preconceived notions about the turn. <span> </span>We
got into fingertip hold into sweetheart hold. Leader leads Follower to
do the turn/hiro around the Leader. The Leader needs to give the
Follower space. <span> </span>The Follower does a four-point turn, so
nearly square, doing Back, Side, Forward, and Side steps. This is a
disorientating exercise, to deliberately remove the visual cues so we
can listen more to each other rather than using visual cues.</p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"> </p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;">Next, we played a sacada game. <span> </span></p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;">Constraints: No embrace, No Lead or Follow.</p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"> </p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;">We
started with one person with their feet apart in an open step, although
this could also have been pivoted to a forward open step. <span> </span>This is to create space for the partner. <span> </span>One partner calls out the steps. <span> </span>The
actor (person doing the sacada) touches one side or the other (left or
right) of the receptor (person receiving the sacada) foot. <span> </span>The receptor lifts the leg that has been sacada’d, which makes the next step into the former actor (now receptor). <span> </span>The receptor (person who receives the sacada) decides where to go on the next step with no constraints. <span> </span>Each person needs to create space for the other person to enter. <span> </span>We
did this going back and forth, alternating between who is the actor
(performer of the sacada) and who is the receptor (receiver of the
sacada).</p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"> </p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;">1<sup>st</sup><span> </span>Constraint:
After initiating the sacada, the actor (person doing the sacada) takes a
step around the receptor (person receiving the sacada). At the end,
come back and face each other.</p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"> </p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;">Note
that the receptor’s sacada’d foot/leg does not touch the ground, but
goes directly into actor mode to sacada after the partner completes
their step around.</p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"> </p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;">So
it goes one person does a sacada, then steps around with the opposite
foot, other person sacadas with their free foot that was just sacada’d,
steps around with their opposite foot, etc.</p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"> </p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;">Next constraint: Add the open embrace.</p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"> </p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;">We
then changed to Sugar Bowl Embrace, whereby the Leader puts his hands
on his hips and his arms are out strong and bent, like the arms of a
sugar bowl. <span> </span>The Follower holds on to the Leader’s biceps/triceps. <span> </span>Hips
are relatively close to each other, and both Leader and Follower should
not look to the ground, but keep their heads lifted. </p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"> </p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;">Leader “hypnotizes” the Follower by doing one side step back and forth. <span> </span>The Follower follows at the Leader’s pace, with eyes closed. <span> </span>Leader
does sneak attack by touching the side, but rotates his body in the
appropriate direction to Lead the Follower to step forward into the
Leader in a sacada.</p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"> </p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;">In
the Follower’s step forward, she should use good walking technique:
extend, push off from standing foot, collect, take a long reaching
forward step curved around the Leader.</p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"> </p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;">The Leader transfers weight and rotates at the same time clockwise, while Follower does right foot forward ocho step. <span> </span>We also did this to the opposite side (Leader rotates counterclockwise, Follower left foot forward ocho step).</p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"> </p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;">The
Leader needs to really sense where the Follower is, but sure she is
really stacked on her standing leg, so he can really vacuum and feel her
free leg. <span> </span>Follower can take her time. <span> </span>Leader does long reaching side steps on hypnotizing, so he can sense her points of contact so the Follower is stable. <span> </span>Leader needs to stack himself really well. <span> </span>Leader rotates only as much as he needs to, to lead the Follower to step and arrive on her step.<span> </span> Both Leader and Follower need to turn on their listening skills.</p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"> </p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;">Next, we tried doing a few of these sacadas in a row, to wiggle and waggle into the Leader. <span> </span>Follower needs to be clear and use connection in her hands and with the floor. <span> </span>Leader should try to create a vacuum sensation. <span> </span>The
Follower is in control with respect to how she arrives with confidence
and security to arrive at the sweet spot and connect with the floor and
Leader. <span> </span>The Leader rotates just enough to lead the Follower to do a curved step.</p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"> </p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;">We incorporated three things:</p><p style="font-family: Calibri, sans-serif; font-size: 12pt; margin: 0in 0in 0.0001pt 0.5in;">(1)<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> <span> </span></span>Add the embrace</p><p style="font-family: Calibri, sans-serif; font-size: 12pt; margin: 0in 0in 0.0001pt 0.5in;">(2)<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> <span> </span></span>Leader steps back to start the process</p><p style="font-family: Calibri, sans-serif; font-size: 12pt; margin: 0in 0in 0.0001pt 0.5in;">(3)<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; line-height: normal;"> <span> </span></span>Add a leg wrap</p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"> </p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;">As
the Follower arrives after stepping into the Leader, the Leader leaves
his leg there, but gets into Captain Morgan stance and uses his leg to
touch the Follower’s right leg. Her opposite left leg, which is free,
wraps around as a resolution of the forward ocho, as it’s an invitation
to do a forward ocho step. <span> </span>The Leader brings the Follower to axis so she won’t fall. <span> </span>The Leader’s Captain Morgan foot is unweighted.</p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"> </p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;">We also tried it on the other side: <span> </span>Follower left foot forward sacada of Leader’s left foot into a Follower’s right leg wrap of Leader’s left leg, directly to pivot<span> </span><b>A LOT</b><span> </span>clockwise
as the wrapping leg rebounds back around, to do a Follower right foot
back sacada of the Leader’s trialing right foot. <span> </span>The
Leader rotates after the Follower’s leg wrap to lead the Follower to
pivot a lot, and then she steps with her right foot back sacada of the
Leader’s right leg.</p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"> </p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;">After
the leg rap, the Leader’s Captain Morgan leg steps back a little to
allow room for the Follower to do an overturned pivot into her back
sacada. As long as he steps back a little and the Follower’s spine is
vertical, she has a lot of room for her hips to rotate.</p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"> </p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;">BREAK (video demo below)</p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"><br /></p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"> </p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/uKlPleRFGAU" width="320" youtube-src-id="uKlPleRFGAU"></iframe></div><br /> <p></p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;">The
topic of the next session focused on the idea of adding the leg wraps
and off-axis positions, using the simple Hurricane idea.</p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"> </p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;">At
the Follower’s leg wrap, the Leader can (1) pull his leg back, or (2)
step around the Follower so that Follower is in calesita. <span> </span></p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"> </p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;">The Leader uses the Follower calesita (Hurricane) as a navigation technique at the milonga to get to where he needs to go. <span> </span></p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"> </p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;">The
Leader’s feet turn in, and then the opposite foot turns out, so going
from sickled foot to open foot, as he goes around the Follower on her
weighted standing leg. <span> </span>The Leader should try to get to the Follower’s heel at his turned-in step. <span> </span></p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"> </p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;">To
get into this position, we started in open embrace, then Leader’s left
foot steps into the Follower’s weighted right foot to start it. <span> </span>The
Leader’s right foot steps turned in, left foot steps turned out, etc.,
around and around the Follower, who remains suspended on her weighted
right foot.</p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"> </p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;">The Follower needs to engage her left hand and really connect with the Leader’s back. <span> </span>The Follower’s hips are back, with her chest over her hips. <span> </span>The Follower should keep her free leg a little behind so the Leader doesn’t run into it.</p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"> </p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;">There is a transition from close to open embrace so Follower can get into hips under position.</p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"> </p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;">We can go directly from wrap into an opposite direction Hurricane.</p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"> </p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;">There
is colgada motion in this as the Follower’s axis is slightly back as
her body goes out in centrifugal force, as the Leader counterbalances
the Follower’s off-axis position. <span> </span>So there is counterweighting of the centrifugal forces that are happening. <span> </span>It’s a spinning counterweight, functional colgada. <span> </span></p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"> </p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;">If, after her wrap, her hips are a little back, it sets up for the Hurricane colgada. <span> </span>Leader should keep the Follower back has he steps around her weighted foot.</p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"> </p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;">This class went by fast and concluded with some more remarks to clean up our technique and a demo video.</p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"> </p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/p1euYGDD1s8" width="320" youtube-src-id="p1euYGDD1s8"></iframe></div><br /> <p></p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"><i>Notes courtesy of Anne at http://scoutingtour.blogspot.com</i></p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"> </p><p class="MsoNormal" style="color: black; font-family: Calibri, sans-serif; font-size: medium; margin: 0in 0in 0.0001pt;"> </p><p> </p><p> </p>TangoStudenthttp://www.blogger.com/profile/15276818586883837436noreply@blogger.com0tag:blogger.com,1999:blog-1661245323794718142.post-18102299253591957442018-09-05T22:44:00.001-07:002018-09-05T22:44:26.435-07:00Pivot or No Pivot Back Ocho<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Song: <i>Cara Sucia</i> by Carlos DiSarli<br />Instructors: Homer & Cristina Ladas <br /><a href="http://theorganictangoschool.org/">http://theorganictangoschool.org/</a><br />The Beat, Berkeley, CA<br />September 3, 2018</span></span><br />
<br />
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/UpRPEsDeQuU" width="560"></iframe> </span></span><br />
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><br /></span></span>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Theme for the Month: Opposites Attract</span></span><br />
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Topic for the Evening: Pivot versus No-Pivot Back Ocho</span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><br /></span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">In our class, we were to do no pivot back ocho to pivoted ocho to extreme, with test in between to transition.</span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><br /></span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><b>Warm Up #1: Hook behind and try to walk forward.</b></span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Secret: Lift heel by bending the knee, which creates space for our hooks to go deeper. </span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Make feet so that they make a letter A or arrowhead</span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Hold arms out as if holding a giant fishbowl.</span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Thighs should be in "I have to pee" tightness (or holding a quarter).</span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Big toe stays on the floor.</span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Be compact and tight.</span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Do not pivot, just hook your foot one behind the other.</span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><br /></span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><b>Warm-Up Exercise 2: Full open back ocho.</b></span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">In partnership in fingertip embrace, a little offset to each other</span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Both dancers do ochos.</span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">First is a no-pivot step</span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Then a giant pivot</span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">to finish the step</span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">back cross step</span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">swivel/pivot while collecting the step</span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><br /></span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">In this warm-up exercise we were to do regular ochos (hence the pivot).</span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Outside leg reaches back cross</span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">we transfer the weight</span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">then pivot</span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">We were to do it together, enjoying the moment of the spiral together at the same time.</span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">We were to have "ice" in the steps, but "fire" in the hips.</span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><br /></span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><b>No-Pivot Ocho Review</b></span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">back cross step behind without pivoting</span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">in stepping back, cross over the line by opening the hip</span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Keep big toe on the ground.</span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Hold quarter at top of pelvis in "I have to pee" </span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><br /></span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">In regular ochos, the Leader's spine pivots to lead the Follower to pivot in her ochos.</span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">In no-pivot ochos, the Leader's spine stays square with no rotation. <span style="background-color: transparent; color: #222222; display: inline; float: none; font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-stretch: 100%; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 19.99px; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Leader keeps spine still and quiet, controlling his oblique muscles to prevent any contrabody motion.</span></span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">In sugarbowl embrace, be really subtle in your leading and following as we drilled the no pivot, walking back ocho.</span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Leader begins with a sneak attack weight change on his left, then left again rollerblading. </span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">He does not rotate his spine at all.</span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Follower collects quickly but reaches slowly.</span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">We drilled, with Leader alternating between both pivoted ochos and no-pivot ochos.</span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Leader should be crystal clear with what he does with his body in leading a pivoted or no-pivot ocho.</span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><br /></span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Leader turns his spine earlier than you would think for pivoted ochos, so Follower can prepare to do an ocho.</span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><br /></span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Leader leads the hook behind from the no pivot ocho on the open side of the embrace (the easy side).</span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Follower does cross behind and then hook; there is no pivot in this action. </span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Leader
steps with his left foot, and then his right foot stops midweight.
Leader changes the embrace by adding extra compression.</span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><br /></span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Be clear and timing is key.</span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Leader:
when rollerblading, do not put all your weight on your right foot,
otherwise Follower will do more of an open cross rather than a tight
cross</span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">(Cross variations can be tight, deep, or shallow, but in our class we want them to be tight.)</span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Leaders: Try to contain the weight inside.</span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><br /></span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Many leaders commented that it's hard to feel where the weight is when the Follower is in the cross.</span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">To help, Follower should really settle: do not be too "up" or "light"</span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><b>Putting it all together...</b></span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">No pivot ocho</span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">hook behind (this is the transition)</span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Big pivoted ocho (could be Follower's left foot back sacada of Leader's left foot on the open side of the embrace).</span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">In
going from the no-pivot ocho to a big pivoted ocho, the embrace opens
up in transition, so that the Leader invites / provides room for the
Follower to do a big back step (Follower's left foot back sacada).</span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Focusing on the transition/opening up of the embrace:</span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Leader's right arm opens up after the Follower settles on her right foot.</span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Follower's left hand opens up in her embrace in response to Leader opening up. </span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Follower needs to be fully vertical and not tiled when she pivots in her big back ocho.</span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Leader
goes into Captain Morgan stance a little to create space for the
Follower's left foot back sacada, which also gives him more rotational
ability.</span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><br /></span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Maestros concluded with a class quiz and with Homer demo'ing with two students to Carlos Di Sarli's <i>Cara Sucia</i>.</span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"> </span></span></div>
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Notes courtesy of Anne at <a href="http://scoutingtour.blogspot.com/">http://scoutingtour.blogspot.com</a></span></span><br />
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"> </span></span><br />TangoStudenthttp://www.blogger.com/profile/15276818586883837436noreply@blogger.com0tag:blogger.com,1999:blog-1661245323794718142.post-9450178337178409832018-07-17T22:03:00.002-07:002018-07-17T22:04:24.747-07:00Rhythmic Milonga Traspie<span style="font-size: large;"><span style="font-family: "times" , "times new roman" , serif;">Song: <i>Cacareando </i>by Orquesta Tipica Victor<br />Instructors: Homer & Cristina Ladas <br /><a href="http://theorganictangoschool.org/">http://theorganictangoschool.org/</a><br />The Beat, Berkeley, CA<br />July 16, 2018</span></span><br />
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<span style="font-size: large;"><span style="font-family: "times" , "times new roman" , serif;">Theme for the Month: Rhythm and Musicality<br />Today's Subject: Rhythmic Milonga Traspie<br /><br />Our class focus is doing the Traspie on the "2"<br /><br />We began with an individual exercise, walking forward to the strong beat of a very slow milonga, listening for the accompaniment that sounds like "San Fran Cis Co" rhythm. Our song was Canaro's <i>Milonga Sentimental</i>.<br /><br />Then we walked backward to the same song, again on the strong beat.<br /><br />There are four accents in "San Fran Cis Co". We were to walk on the two strong syllables: "San" and "Cis". "San" is on the 1 and "Cis" is on the 2<br /><br />We could walk, change weight, do a side step, or do grapevines, but we were only to step on the 1 "San" and 2 "Cis".<br /><br />We did this to a different slower version of Milonga Sentimental, by Adolfo Carabelli.<br /><br />Next, we explored how to switch from Left Foot to Right Foot when stepping on the "San" or "Cis". There are two ways: (1) we can pause, or (2) we can take an extra step (doing it in double time, QQS). If doing the double time, it should be done around the 2, "Cis".<br /><br />We tried to change the "San" from one foot to the other by doing double time or by pausing. We tried this to 1 minute of Carabelli's <i>Milonga Sentimental </i>and then 1 minute of Canaro's <i>Milonga Criolla</i>.<br /><br />For the rhythmic double time, Fran Cis Co San, are the walking beats. In partnership, we were to walk, stepping on "San" and "Cis" and switching from open side to close side. 1-2 and 1.<br /><br />Partners need to know when they are stepping on the "1" or the "2". 1 is "San" and 2 is "Cis".<br /><br />Leader has to communicate the weight change. We drilled this to Carabelli's <i>Milonga Sentimental</i>, and then Canaro's version.<br /><br />We were to think about the two walking beats, 1 or 2, "San" or "Cis". To change where the 1 is, we have to do a double time on the 2, so "2 and 1". <br /><br />1 and 2 have different values. 1 is more down and grounded with more density. 2 is lighter and just swims through. Use that knowledge to change the quality of movement to enhance the communication. Both dancers need to appreciate the different values of 1 and 2.<br /><br />Milonga has an earthy quality.<br /><br />Next, we drilled to a small micro pattern.<br /><br />Side step<br />2 and 1, repeating it, whereby for the first 2 and 1, there is a sensation of going down, and then the next 2 and 1 goes back up. So we change from going down to going up in just the side steps. We drilled this to the faster song, Canaro's <i>Milonga Sentimental</i>.<br /><br />Next, we drilled to a more complicated pattern to Carabelli's <i>Milonga Sentimental</i><br /><br />Open side of the embrace is on 2<br />1 Leader left foot forward;Follower right foot back.<br />2 and Leader right foot forward; Follower left foot back<br />1 Leader left foot forward cross hook (Leader makes a "J" shape with his foot tracing the floor); Follower right foot back cross hook behind left foot.<br />2 and Leader right foot straight back step, taking Follower with him; Follower left foot forward step<br />1 Leader Left foot forward cross hook; Follower right foot back cross hook behind left foot<br />WALK Leader Right foot forward, step; Follower left foot back step<br />TO Leader Left foot forward step; Follower right foot forward step<br />THE CROSS Leader Right foot collect; Follower left foot front cross tuck against her right foot<br /><br />Leader's chest starts square to the Follower, and then when he takes his first step, his chest gets angled to the partner as Leader does the "J" with his hooking forward foot. He should keep this angle and contain it.<br /><br />Follower should always try to be in front of the Leader and mirror whatever alignment his spine and hips are doing, this makes it easier when the Leader levels out his shoulders to really understand that they are trying to create a cross.<br /><br />Maestros concluded with a class quiz and demo to Orquesta Tipica Victor's <i>Cacareando</i>.<br /><br />Notes courtesy of Anne at <a href="http://scoutingtour.blogspot.com/">http://scoutingtour.blogspot.com</a></span></span><br />
TangoStudenthttp://www.blogger.com/profile/15276818586883837436noreply@blogger.com0tag:blogger.com,1999:blog-1661245323794718142.post-89544197804523828242018-07-14T14:51:00.003-07:002018-07-14T14:51:52.141-07:00Vals Phrasing and Rhythm<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Instructors: Homer & Cristina Ladas <br /><a href="http://theorganictangoschool.org/">http://theorganictangoschool.org/</a></span></span><br />
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">The Beat, Berkeley, CA<br />July 12, 2018</span></span><br />
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><br />The topic for the month is rhythm and musicality, and today the focus was Vals.<br /><br />We began with exercises to get ready to dance.<br /><br />Roll our necks in one direction one way for a few turns.<br />Roll our necks in the other direction for a few turns.<br /><br />Turn head to the left. Hold for a second or two.<br />Turn head to the right. Hold for a second or two.<br />Take our head and pull it to one side with one hand, raising your opposite arm.<br />Take our head and pull it to the opposite side with the opposite hand, raising our arm.<br /><br />Roll shoulders back.<br />Roll elbows back.<br />Roll whole arms back.<br /><br />Roll shoulders forward.<br />Roll elbows forward<br />Roll whole arms forward.<br /><br />Hold giant fishbowl. Turn to one side. Then turn to the other side.<br /><br />Rotate hips.<br />Change direction.<br /><br />Put heels together.<br />Circle knees.<br />Change direction.<br /><br />Keep sternum and belly button together.<br />Stir the pot.<br />Take hips with you.<br />It's a small movement.<br /><br />Rotate both wrists and one ankle.<br />Change direction.<br />Lift the knee high, with thigh parallel to floor, stir the pot with it.<br />Change direction.<br /><br />Do the other leg, with both wrists and one ankle first<br />Knee up, thigh is parallel to floor.<br />Squeeze the inner thighs together for stability.<br />Stir the pot with the knee up.<br />Change direction<br /><br />We began our class with the phrasing exercise, Vals Chacarera, where in Chacarera formation of two lines of dancers facing each other all in one line, arms up and eyes making contact with each other, we took four steps forward and four steps back, similar to the Avanzado and Regreso initial steps of the Chacarera. The 4 forward steps were done in 4 beats, and the 4 back steps were done in 4 beats. During this game, maestro played a very regular vals so we could clearly hear the musical phrasing and sentence. It was basically:</span></span><br />
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><br />4 forward<br />4 back<br />Comma<br />4 forward<br />4 back<br />Period<br /><br />At the Period (end of a sentence/phrase) is where the dancers, both Leader and Follower should do various accents/do fancy things in their dancing.<br /><br />Next exercise:<br />In partnership, we began with walking to the comma, then wait. Then walk to the end of the sentence, then wait, to hear if there is an opportunity in the music to embellish. This was an exercise to improve our listening and to help us be more creative. The music will guide you to pick a phrase of music and let the embellishment happen.<br /><br />4 walk<br />4 walk<br />Comma (wait)<br />4 walk<br />4 walk (embellish if you hear there’s an opportunity in the music).<br /><br />The music for this exercise was Alfredo de Angeles’s A Magaldi.<br /><br />In Vals, usually the first minute is instrumental with no lyrics. Then the vocals come in and tie into the melody. The first minute of a vals will explain a lot about the intention of the song.<br /><br />In partnership, we were to walk, pausing in the middle of the phrase, hitting the end of the phrase and getting ready for the next phrase. We were to embellish at the end of the phrase and be ready to start at the beginning of the next phrase.<br /><br />There are fills and transitions at the end of each phrase.<br /><br />Followers: to help identify the middle of the phrase, use your breath to help indicate the phrase.<br /><br />We changed roles, walking to a well behaved vals that has vocals.<br /><br />We changed roles again, dancing to an alt song to look at the rhythms.<br /><br />Vals rhythm is 1-2-3, 1-2-3 (boom chick boom or boom, chick boom -- 1-2-1 or 1-3-1)<br /><br />In partnership with one person leading and the other person following, we were to just change weight and not step, trying to train our ears and lead to either the 1-3-1 or 1-2-1 for this particular alt song.<br /><br />We then did a solo walking exercise to Rupa and the April Fishes' Wishful Thinking, going forward and then backwards on the boom only first, and then the boom chick boom.<br /><br />Then we tried in partnership to walking on boom only or boom chick boom (1-2-1). For the more advanced dancers, they could try leading the boom, chick boom (1-3-1), doing a weight change or rock step to convey the rhythm.<br /><br />The alt songs we drilled to generally had well behaved sentence structures, though some sentences had an extra fill or beat to them. This regular form remains very common and still being used. (1-2-1 or 1-3-1)<br /><br />The way the Leader tries to project acceleration is to stay very horizontal, and be almost aggressive in the acceleration, but have control in the stop.<br /><br />Try not to change height when doing the syncopation.<br /><br />The faster the vals is, the more we dance on just the boom, and we may syncopate just 3 or so times during the entire song.<br /><br />Other songs we drilled to and that were played in the beginning of the practica so that we could work on what we learned in class:<br /><br />Hijo de la Luna by Montserrat Caballe<br />La Valse de Amalie<br />Gramafon<br />Welcome to My Planet by Lori B on the Hurricane Child Album<br />Mademoiselle Noir <br />Charlotte Mittnacht (The Fabulous Destiny of...) by Devotchka</span></span><br />
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Notes courtesy of Anne at <a href="http://scoutingtour.blogspot.com/">http://scoutingtour.blogspot.com</a></span></span><br />
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><br /></span></span>TangoStudenthttp://www.blogger.com/profile/15276818586883837436noreply@blogger.com0tag:blogger.com,1999:blog-1661245323794718142.post-15904388466230683752018-07-14T14:42:00.001-07:002018-07-14T14:45:14.110-07:00Tango Music Concepts<span style="font-size: large;"><span style="font-family: "times" , "times new roman" , serif;">Instructor: Homer Ladas <br /><a href="http://theorganictangoschool.org/">http://theorganictangoschool.org/</a><br />Athletic Playground, Emeryville, CA<br />July 7, 2018</span></span><br />
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<span style="font-size: large;"><span style="font-family: "times" , "times new roman" , serif;">I arrived to class late, as I was a first-time student at Athletic Playground, so had to spend a few minutes filling out their registration form and paying my fee.<br /><br />Class began in barefeet with socks, shifting on the beat, walking back and forth, or to the side on the beat.<br /><br />In an individual exercise, we were to only step on the beat, and not pause. We could do grapevine feet, though we were to avoid crashing into people.<br /><br />Next, we played a game, "D'Arienzo Surprise". To D’Arienzo’s <i>Nada Mas</i>, we worked on the concept of surprise. Everyone was to walk around the room, in any/all directions, always stepping on the strong beat to accent it in our walk, with energy going into the floor. Every once in a while, we were to surprise someone by touching them appropriately with both our hands at two points on their body (arms, shoulders, hips), always staying on the strong beat.<br /><br />The purpose of this game was to get us used to the element of surprise as a musical tool, coordinating our dancing with the music. Every strong beat is a potential surprise. The Follower needs to feel safe and comfortable before she is surprised.<br /><br />Next, we played a game of "tag" where one person is "It" and they would sneak up on someone and give them a shock by touching them with both hands at their shoulders. We began with two people "It". The goal was not to be the person who was "it" at the end, though it was OK to be tagged "it" duiring the song. We were to do this all the while stepping on the strong beat, locking onto the walking beat.<br /><br />For our next exercise, in partnership in open embrace, we were to step on the strong beat only, walking mostly, but we could do other steps suck as simple side steps and collecting (weight changes). To convey the rhythmic intensity, you don't need to change the speed, you can change direction to convey it. Step together, weight change, then step in opposite direction. Forward/Backward, Side (weight change in between). We drilled this to No Mientas, stepping on the strong beat.<br /><br />We added touch steps, where we reach our leg, pull back, transfer almost no weight, but have pressure on the foot. Reach back, stop on ball of foot, reaching to the side with the big toe on inside of the foot.<br />On the forward step, our foot can land flat or we can land on the ball of our foot.<br /><br />We should have good reach in our back step. Put pressure, then pull back to fake out your partner to create some interesting moves. Keep your heels together. The Leader tilts at his ankles to initiate the step.<br /><br />Our next drill/exercise was in hand-to-hand hold, we were to feel each others' weight change and lead the touch step.<br /><br />Our next drill/exercise was in open embrace, where Follower could have closed eyes to increase sensitivity. We were to change direction/fake them out. <br /><br />Mastering weight changes.<br /><br />To put this all in the picture, we drilled to Mil Pasos, doing walking, full weight changes, and touch steps.<br /><br />DO NOT EVER BLAME YOUR PARTNER. It's your job to work with it and figure out a solution if things aren't going as you lead them.<br /><br />Final concept is the idea of contrast.<br /><br />Tango songs usually follow the structure of:<br />1 minute instrumental<br />singer<br />1 minute instrumental<br />singer<br /><br />When the singer comes on, we go in slow motion. During the instrumental part, we can go back to dancing rhythmically to add more dimension to the dance.<br /><br />In <i>Mil Pasos</i>, during the jazz saxophone is when you can go slow.<br /><br />Class concluded with some delicious home-made vegan popsicles made by the lovely Ms. Kyra.</span></span><br />
<span style="font-size: large;"><span style="font-family: "times" , "times new roman" , serif;"><br />Notes courtesy of Anne at <a href="http://scoutingtour.blogspot.com/">http://scoutingtour.blogspot.com</a></span></span>TangoStudenthttp://www.blogger.com/profile/15276818586883837436noreply@blogger.com0tag:blogger.com,1999:blog-1661245323794718142.post-72213468071349015942018-07-12T17:23:00.002-07:002018-07-12T17:23:44.519-07:00Dancing to Astor Piazzolla<span style="font-family: Times, "Times New Roman", serif; font-size: large;">Songs:<i> Oblivion, Milonga Tres, and Libertango by Astor Piazzolla </i><br />Instructors: Homer & Cristina Ladas <br /><a href="http://theorganictangoschool.org/">http://theorganictangoschool.org/</a><br />SOMArts, San Francisco<br />July 11, 2018</span><br />
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<span style="font-family: Times, "Times New Roman", serif; font-size: large;">In our class, we would explore playing with really slow or really fast movement, creating contrast by using deceleration and acceleration in the context of dancing to Astor Piazzolla.<br /><br />Astor Piazzolla had a love/hate relationship with tango dancers. Piazzolla took the emotion / sentiment of tango and made it his own.<br /><br />He started out in Anibal Troilo's orchestra (whose birthday is today), and who did the song Nueve De Julio (9th of July), which in 2003 was the first Cellspace (and today is the 15th year anniversary of the event).<br /><br />In our class, we would interpret the music of Piazzolla in three ways.<br /><br /><b>(1) Slow</b><br />Dance very slowly, drilling using simple movements such as walking, side steps and ochos. No sacadas or boleos. </span><br />
<span style="font-family: Times, "Times New Roman", serif; font-size: large;"><br />We were to focus on how to control things in our body to affect the movement. What does it mean for us to dance slow? <br /><br />We tried dancing slow to Oblivion, which is likely the most played Piazzolla song for tango dancers.<br /><br />How did it feel dancing slow? It was challenging.<br /><br />Next, we focused on stretching the steps and doing ochos. <br /><br />What does it mean to stretch? Not just our legs and how we create a slow extension and collection. It's how we use our whole body to create a more taffy-like embrace. The embrace should be a little softer, more relaxed, but still connected with our partner. Breathe into the floor. <br /><br />To experience the feeling of caramel, we were to stand with our feet apart, and then shift weight slowly from one side to the other. This is the caramel. It is a wavy, slow, lateral movement. </span><br />
<span style="font-family: Times, "Times New Roman", serif; font-size: large;"><br />We did the same exercise with our feet forward and back to get the same quality, and also tried with the other side, opposite feet forward and back.</span><br />
<span style="font-family: Times, "Times New Roman", serif; font-size: large;"><br />Next, we tried swiveling on both feet.<br /><br />Then we did this in partnership where the Leader stops the Follower midstep, Follower pivots while she is on both feet, one side to the other. The Follower's upper body goes first, then her hips follow, to do an ocho. Leader walks around Follower's center where her spine is (between her two feet). We were to try to be slow, articulating the space between the feet. <br /><br />We were to explore/think about what is involved in the gradual transfer of weight; how to make the collection very deliberate and with intention; create details to stretch the movement. When to slow or stretch the movement.<br /><br />In the context of the Ocho, we usually drill ochos using the sugarbowl embrace. However, for this exercise, we were to be in regular embrace and do a very exaggerated spinal rotation and active arms in the Leader to lead the Follower to do a big, slow ocho. The Leader can do an extra step around the Follower to get a little extra pivot in the Follower during her ocho. Leader and Follower turn their bodies, stretching their backs to rotate more.<br /><br /><b>(2) Milonga Rhythm</b><br />The song for the 2nd way we would dance to Piazzolla was Milonga Del Angel, which is likely the second most popular Piazzolla song in tango. <br /><br />Milonga rhythm as a musical concept is super effective. Most of the really slow Piazzola songs have milonga rhythm, as do all of the Piazzola songs with "Milonga" in their titles.<br /><br />We raised the bass of the 2 tango songs: Oblivion and Milonga Del Angel, so that we could train our ears to hear the milonga rhythm (which was rather faint, but clearly present in both songs).<br /> <br />The idea of our drills is to either <br />(1) Dance really slowly, stretching the movements using simple steps, or <br />(2) Dance to the milonga rhythm (also using simple steps).<br /><br />We were to have control in our musical expression, and be very clear.<br /><br />The song we drilled to was Milonga Tres.<br /><br />You can hear all these songs on YouTube.<br /><br /><b>(3) Dancing Faster (3-3-2 Rhythm)</b><br />Piazzolla used as a tool in his faster songs the 3-3-2 rhythm, which is very similar to the milonga rhythm, minus 1 accent.<br /><br />So it is 1-2-3, 1-2-3, 1-2, where in our drill we would just step on the 1.<br /><br />Libertango has this rhythm, and it was the song we drilled to.<br /><br />Tango is about contrast, and in our drill, we could either dance really slow, or to the 3-3-2 rhythm. <br /><br />Maestros concluded with a class quiz and short demos to <i>Oblivion </i>for Concept 1 slow; <i>Milonga Tres </i>for Concept 2 milonga rhythm; and <i>Libertango </i>for Concept 3 3-3-2 rhythm </span><br />
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<span style="font-family: Times, "Times New Roman", serif; font-size: large;">Notes courtesy of Anne at <a href="http://scoutingtour.blogspot.com/">http://scoutingtour.blogspot.com</a></span><br />
<span style="font-family: Times, "Times New Roman", serif; font-size: large;"> </span>TangoStudenthttp://www.blogger.com/profile/15276818586883837436noreply@blogger.com0tag:blogger.com,1999:blog-1661245323794718142.post-72769803596426568282018-06-27T10:49:00.001-07:002018-06-27T11:01:38.421-07:00Touch Steps<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Song: <i>A La Gran Muñeca</i> by Francisco Canaro<br />Instructors: Homer & Cristina Ladas <br /><a href="http://theorganictangoschool.org/">http://theorganictangoschool.org/</a><br />All-Nighter at The Beat, Pre-Milonga Lesson<br />June 23, 2018</span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/vSHnlyXxtQQ" width="560"></iframe><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span><span style="font-family: "times" , "times new roman" , serif; font-size: large;">The theme for June has been <span id="m_-5851109168985035128:324.19">Ochos</span>, but today we will deviate a little from that, connecting the dots at the end.</span><br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">In
Touch Steps, there are two methods for leading them. (1) and (2), but
sometimes leaders do something in between, like (1.5). In our class, we
will try to be very clear and clean in our leading, doing either (1) or
(2), NOT (1.5).</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">We began by drilling really clean side steps.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Reaching,
sliding over, Leader's center does a "U". He can also go extreme, by
doing like a "U", but on its side. Put curve in your step as you reach.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Exercise: Drill side steps, with Leader's center doing a U or a U on its left or right side.</span><br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Use the whole width of the foot, and whole length of the foot, especially when arriving, rolling toward the back, middle, and front, using all four corners of the standing foot. <br />Leader: be really stable. You need the axis to power the next step. Have maximum contact with the floor.<br />Follower: have compression/resistance in her embrace so she can feel the Leader's lead better.<br /><br /><b>Method 1: Go Down, Axis Remains in Place</b><br /><br />Rule: Standing supporting leg bends and goes lower as opposite foot goes out; axis remains in place. <br /><br />In Method 1, the Leader's side touch step is in the QQS rhythm, out QQS and smoothly back in, or Out QQS and In QQS. <br />Drawing in at the touch step is less common, but we should try it in our drills.<br /><br />Leader goes down as he goes out QQS as his standing leg bends. <br />Make the first Q a bit small so you don't run out of leg. <br />Have energy and attack. Follower also attacks floor with pressure so the Leader can feel her.<br />Last S has a stronger stop energy.<br />Use the edge of your foot.<br />Put pressure on the floor, have a little bit of compression in the embrace as the Leader attacks floor.<br />Embrace creates the stop energy.<br /><br />Forward and Backward Touch Steps<br />Using the Method 1 technique, the Leader leads the step as he steps forward and Follower steps back. <br />He leads by beginning with a small tilt in his ankle joints.<br /><br />We drilled the four possibilities:<br />(1) Leader left foot forward, Follower right foot back.<br />(2) Leader left foot back, Follower right foot forward<br />(3) Leader right foot forward, Follower left foot back<br />(4) Leader right foot back, Follower left foot forward<br /><br />Follower should have compression/resistance in her embrace so she can feel the lead better.<br /><br />Talk to each other. Leader should feel Follower's pressure. Follower should let Leader know if she doesn't feel the Leader's floor.<br /><br />Method 1 is nice to do just touch steps forward and backward because you are not going anywhere and it is easy to recover.<br /><br />Method 1 exits:<br />(1) return (come back to collection)<br />(2) Go (to new leg).<br /><br /><b>Method 2: Stay Up (Don't Go Down); Move Axis</b><br /><br />Rule: Remain up as opposite foot goes out; axis moves. <br /><br />In this method, the Leader creates extra hug, and Follower hugs back.<br /><br />We were to try in different directions, and first in close embrace as it is easier, and then in open embrace.<br /><br />In our partnered drill, if the Leader does the embrace in the wrong way/direction, the Follower should let him know.<br /><br />Someone asked how to make it musical. Maestros demo'd in class. Bottom line is you should make it your own, make it personal.<br /><br />Connecting Touch Steps to the Ocho via a Figure<br /><br />Can we do touch steps in an ocho?<br /><br />Here we drilled with two options:<br /><br />(1) the Leader's right foot forward cross touch step directly into a right foot back cross touch step while Follower did a left foot back cross touch step directly into a left foot forward cross touch step.<br />(2) the Leader's left foot forward cross touch step directly into a left foot back cross touch step while Follower did a right foot back cross touch step directly into a right foot forward cross touch step.<br /><br />We do not transfer weight. Attack the floor with energy.<br />The standing, supporting foot lifts a little and pivots as the other foot goes from a forward cross touch step to back cross touch step (or back cross touch step to forward cross touch step) to change direction.<br /><br />Communicating the change of direction: we were to try to make the transition clean. Leader: use compression, Follower: give extra hug back.<br /><br />Leader should not use his right hand to communicate the transition. He should use his spine, rotating it, and the standing, supporting leg pivots a little to change direction.<br /><br />Exit: Leader's side step, together to go back to collect in the up position.,<br /><br />Doing this from the ocho, with dancers perpendicular to each other:<br />Leader does side step, Follower does forward step<br />Leader does forward step, Follower does side step </span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Maestros concluded with a class quiz and demo to <i>A La Gran <span id="m_-5851109168985035128:324.29">Muneca</span></i> by Francisco <span id="m_-5851109168985035128:324.30">Canaro</span></span></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="font-family: "times" , "times new roman" , serif;"><br />Notes courtesy of Anne at <a href="http://scoutingtour.blogspot.com/">http://scoutingtour.blogspot.com</a></span></span><br />
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<br />TangoStudenthttp://www.blogger.com/profile/15276818586883837436noreply@blogger.com0tag:blogger.com,1999:blog-1661245323794718142.post-19752622772940307052018-05-31T16:16:00.003-07:002018-05-31T16:16:42.234-07:00Volcada Odyssey: A variety of challenging, exciting and impressive off-axis figures (Advanced)<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;">Song: <i>Sideways </i>by Citizen Cope<br />Instructors: Homer & Cristina Ladas<br />http://theorganictangoschool.org/<br />England International Tango Festival<br />Tonbridge, Kent, United Kingdom<br />May 26-28, 2018</span></span><br />
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<span style="color: black; font-family: Times; font-size: 10pt;">This was an Advanced
class, so no partner rotation and we got right into it.<span></span></span></div>
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<b><span style="color: black; font-family: Times; font-size: 10pt;">Regular Volcada with
Windshield Wiper<span></span></span></b></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">We began with doing a
standard forward volcada, doing one and then multiples with windshield wiper
footwork for the leader. In beginning the Volcada, Leader steps diagonally back
with his left foot and his right foot is the windshield wiper foot, going into
a U shape, forward and back, to lead Follower’s volcada leg to go back and
forward.<span></span></span></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">For the technique,
there is an embrace before, during and after. The Leader puts the Follower on
one axis, gives her a little bit of a hug (compression), and then suspends
her.<span> </span>The Follower gives the Leader an
extra hug, pushes down from the shoulder blade so she gets lifted up.<span> </span>The pushing down comes from the standing leg.<span> </span>Try to make yourself tall. This is the
sensation similar to getting out of a swimming pool at the edge (without using
the stairs ;o) ).<span> </span>Try to create a strong
line around the core, so that the Leader can manage you better.<span> </span>The Leader should place the Follower’s foot
with energy so she has a definite idea where to go and does not guess where to
place her foot.<span></span></span></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">Preparation is key and
starts with the embrace.<span> </span>Suspension +
Hugging = Volcada, so be ready for it.<span></span></span></div>
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<b><span style="color: black; font-family: Times; font-size: 10pt;"><span> </span></span></b><span style="color: black; font-family: Times; font-size: 10pt;"><span> </span></span>
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<span style="color: black; font-family: Times; font-size: 10pt;">2 ideas: playful
resolution. <span></span></span></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">How can we maintain
suspension?<span> </span>The Leader puts the Follower
on one axis or another, walks tiny steps back, to the side, do not let Follower
transfer weight. Stop and unwind.<span></span></span></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">Stop. <span></span></span></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">Down energy. <span></span></span></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">Leader walks around
Follower when she is on 2 feet.<span></span></span></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">There are many
possibilities here on how/where to do this, so we were to explore.<span></span></span></div>
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<b><span style="color: black; font-family: Times; font-size: 10pt;">The Sustained Volcada<span></span></span></b></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">The difference between
the Standing Volcada and the Sustained Volcada.<span></span></span></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">When the volcada
starts to travel, it is a sustained volcada, so the 2 standard rule of the
volcada are broken.<span></span></span></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">Standard Rules of the
Volcada:<span></span></span></div>
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<span style="color: black; font-family: Times; font-size: 10pt;"><span>(1)<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><span style="color: black; font-family: Times; font-size: 10pt;">Whatever
angle you have, you don’t change it.<span> </span><span></span></span></div>
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<span style="color: black; font-family: Times; font-size: 10pt;"><span>(2)<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><span style="color: black; font-family: Times; font-size: 10pt;">When
the Leader steps back with a tilt, he does not change his height.<span></span></span></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">In Sustained Volcadas,
these two rules are broken:<span></span></span></div>
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<span style="color: black; font-family: Times; font-size: 10pt;"><span>(1)<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><span style="color: black; font-family: Times; font-size: 10pt;">Leader
changes his angle to take his axis<span></span></span></div>
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<span style="color: black; font-family: Times; font-size: 10pt;"><span>(2)<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><span style="color: black; font-family: Times; font-size: 10pt;">Leader's height can go up or down. <span></span></span></div>
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<span style="color: black; font-family: Times; font-size: 10pt;"><span>a.<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><span style="color: black; font-family: Times; font-size: 10pt;">When
the Leader goes down, the Follower’s legs go out; <span></span></span></div>
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<span style="color: black; font-family: Times; font-size: 10pt;"><span>b.<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><span style="color: black; font-family: Times; font-size: 10pt;">When
the Leader goes up, the Follower’s legs go in.<span></span></span></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">The Leader is
completely upright and vertical and very close.<span></span></span></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">The Leader’s height
change is dramatic, so the Follower knows to close her legs from split. They
are body to body.<span> </span>Sustained Volcadas can
be done with the Follower going forward, to the side, or going backwards.<span> </span>It can be done in a turn/hiro/circle too.<span></span></span></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">Leader has a straight
spine when he goes down. He must use his legs.<span>
</span>Follower will feel the change of height and should hug the Leader more.<span></span></span></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">Follower’s back right
foot can turn out a little bit.<span></span></span></div>
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<b><span style="color: black; font-family: Times; font-size: 10pt;">Drilling other Volcadas
(Back Volcada and Funny Volcada)<span></span></span></b></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">Next, we did the back
volcada from the back hook.<span></span></span></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">We also explored the
Funny Volcada.<span> </span>It is “Funny” because the
dancers are perpendicular to each other.<span>
</span>How can we turn the Funny Volcada into a Sustained Volcada?<span> </span>The Leader takes his axis and goes down and
comes up.<span> </span>It is “Funny” because the
Follower is falling sideways.<span> </span>We drilled
this, with Leader taking an odd number of steps, and then making a big step
around the Follower.<span></span></span></div>
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<br /></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">In the Funny Volcada, there
are several Follower free leg options.<span>
</span>We explored how long the Follower’s leg could stay in front of her
before going to the outside of the Leader. Follower will feel from the Leader,
always trying to track where the Leader is. Follower collects and clears the
Leader’s feet before going from in front to the outside of the Leader.<span></span></span></div>
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<br /></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">In going from Funny to
Sustained Volcada, the Leader goes around in a circle, then Leader starts to go
in a tangent, taking his axis, then goes down and up.<span> </span>We drilled this.<span></span></span></div>
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<br /></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">In the Sustained
Volcada, the first thing to do is lead Follower to cross, depending on where
Leader drives his axis. So it is doing the windshield wiper, except the Leader
walks backward.<span> </span>Left foot goes back,
right foot goes in a “U”, with weight change in between, experimenting with
getting a shallow cross or wide cross.<span></span></span></div>
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<br /></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">Maestros concluded
with a class quiz/summary and demo to <i>Sideways</i>
by Citizen Cope</span></div>
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<br /></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">Notes courtesy of Anne at <a href="http://scoutingtour.blogspot.com/">http://scoutingtour.blogspot.com</a></span></div>
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<br /></div>
TangoStudenthttp://www.blogger.com/profile/15276818586883837436noreply@blogger.com0tag:blogger.com,1999:blog-1661245323794718142.post-17935881960720686362018-05-31T15:48:00.003-07:002018-05-31T16:22:07.877-07:00Back Sacadas for Leaders and Followers in line of dance (Advanced)<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;">Song: <i>El Abrojo </i>by Carlos Di Sarli Orquesta</span></span><br />
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;">Instructors: Homer & Cristina Ladas <br /><a href="http://theorganictangoschool.org/">http://theorganictangoschool.org/</a><br />England International Tango Festival<br />Tonbridge, Kent, United Kingdom<br />May 26-28, 2018 </span></span><br />
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;"> <iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/euYHLYsao1k" width="560"></iframe> </span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Leader’s Sacada.</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Exercise for footwork:
</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Get on left foot. Push into the floor as you reach right foot
back, bring back to collection.</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Do this on the right
foot as well.</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Keep heel on the floor
as long as you can until it comes up a little. Then bring it back into
collection.</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Exercise:</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Leader steps right foot
forward, pivots, then steps backward with left foot. (So Leader goes in a line
in one direction.) Control the back
pivot so you don’t fall back. Squeeze
your inner thighs together. </span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Do it more dynamically
by stepping, then snapping the heels together at the pivot, and then reaching
in the back step.</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">The Pattern:</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Begins with 4 steps
for the Leader:</span></div>
<div class="m_2175847090382118930gmail-MsoListParagraphCxSpFirst" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt 0.5in;">
<span style="color: black; font-family: "times"; font-size: 10pt;">(1)<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="color: black; font-family: "times"; font-size: 10pt;">side
step</span></div>
<div class="m_2175847090382118930gmail-MsoListParagraphCxSpMiddle" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt 0.5in;">
<span style="color: black; font-family: "times"; font-size: 10pt;">(2)<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="color: black; font-family: "times"; font-size: 10pt;">steps
on balance beam</span></div>
<div class="m_2175847090382118930gmail-MsoListParagraphCxSpMiddle" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt 0.5in;">
<span style="color: black; font-family: "times"; font-size: 10pt;">(3)<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="color: black; font-family: "times"; font-size: 10pt;">snap
heels together to pivot completely, staying on the balance beam, taking
Follower across it and then stepping back with his left foot to Sacada the
Follower</span></div>
<div class="m_2175847090382118930gmail-MsoListParagraphCxSpLast" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt 0.5in;">
<span style="color: black; font-family: "times"; font-size: 10pt;">(4)<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="color: black; font-family: "times"; font-size: 10pt;">collecting
and waiting</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Follower’s footwork:</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Back step (she waits)</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Side step (where
Leader does a sacada on his (3)</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Collect</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">The Secrets:</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Everything happens
between steps 2 and 3 for the Leader (the “Two And”), -- this is where the
magic happens.</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">The Leader’s embrace
opens. The Leader’s left arm closes and
keeps the Follower from moving, maintaining presence to communicate to the
Follower that she should stay, and his right arm detaches like a rocket so he is
really letting go so he allows his hip to get around. The Leader needs to dramatically communicate
to lead the Follower to wait. The Leader
should get the Follower to “Two And” and then freeze (smile, this is the Kodak
moment).</span></div>
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<br /></div>
<div class="m_2175847090382118930gmail-MsoListParagraph" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt 0.25in;">
<span style="color: black; font-family: "times"; font-size: 10pt;">3.<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="color: black; font-family: "times"; font-size: 10pt;">Lead
the Follower across as the Leader does his sacada. The Follower’s left arm slides around the
Leader’s back so she enables closeness as the Leader does his sacada. In his sacada, the Leader can step diagonally
back in his sacada as a “cheat to win” because the hips rotate, so this is a
good thing to do for those who don’t rotate that much/well). Said another way,
he is doing an obvious back cross step (not just a back open step).</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">The Follower’s side
step should be nice, long and reaching, with a strong base leg. The Leader leading the side step is from his
left side giving pull/ turn energy. Do not push the Follower with his right
hand.</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Second Secret:</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">There is a little bit
of colgada posture, so the Leader’s angle is a little tilted away to create
space for him to do a sacada.</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Secrets:</span></div>
<div class="m_2175847090382118930gmail-MsoListParagraphCxSpFirst" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt 0.5in;">
<span style="color: black; font-family: "times"; font-size: 10pt;">(1)<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="color: black; font-family: "times"; font-size: 10pt;">Leader’s
right arm opens, left closes and stops.</span></div>
<div class="m_2175847090382118930gmail-MsoListParagraphCxSpMiddle" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt 0.5in;">
<span style="color: black; font-family: "times"; font-size: 10pt;">(2)<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="color: black; font-family: "times"; font-size: 10pt;">Leader’s
heels snap 70% of the way</span></div>
<div class="m_2175847090382118930gmail-MsoListParagraphCxSpMiddle" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt 0.5in;">
<span style="color: black; font-family: "times"; font-size: 10pt;">(3)<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="color: black; font-family: "times"; font-size: 10pt;">Leader
can pivot a little after to get around more</span></div>
<div class="m_2175847090382118930gmail-MsoListParagraphCxSpMiddle" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt 0.5in;">
<span style="color: black; font-family: "times"; font-size: 10pt;">(4)<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="color: black; font-family: "times"; font-size: 10pt;">Leader
can “cheat to win” by stepping diagonally (do back cross step instead of back
open step) when he sacadas </span></div>
<div class="m_2175847090382118930gmail-MsoListParagraphCxSpLast" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt 0.5in;">
<span style="color: black; font-family: "times"; font-size: 10pt;">(5)<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="color: black; font-family: "times"; font-size: 10pt;">Leader
can lean a bit away / tilt the axis</span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: "times"; font-size: 10pt;">Special case:</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">What if we did it to
the other side?</span></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: "times"; font-size: 10pt;">The Open side has to
be dropped or you can do a judo hold around the Leader’s back. The Leader’s close side of the embrace needs
to change too, sliding down and opening up, so both dancers are now holding on
hand to forearm to allow room for the movement.
The Follower receives the sacada with her feet on the floor.</span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: "times"; font-size: 10pt;">“Deep Sacadas”</span></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: "times"; font-size: 10pt;">Follower can lift her
knee up and go back down in collection. When she receives the sacada, she
should do so gracefully.</span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: "times"; font-size: 10pt;">If both sides of the
embrace open up, the Follower may stay put (not move). So timing is important
in transmitting a clear message.</span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: "times"; font-size: 10pt;">Next, we did a
sequential Leader Sacada directly into a Follower Sacada, drilling on the easy
side and then on the hard side. We
became infinite back sacada machines.
Doing 2 in a row will generally keep you in the line of dance. After 2, it’s a good test of your precision
to try to keep everything straight in the line of dance.</span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: "times"; font-size: 10pt;">The Follower’s back
sacada involves a big back ocho pivot.</span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: "times"; font-size: 10pt;">The Leader does a left
foot back sacada and then directly leads a Follower’s back sacada as she is
still on her right leg and sacadas with her left foot.</span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: "times"; font-size: 10pt;">Secrets:</span></div>
<div class="m_2175847090382118930gmail-MsoListParagraphCxSpFirst" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt 0.5in;">
<span style="color: black; font-family: "times"; font-size: 10pt;">(1)<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="color: black; font-family: "times"; font-size: 10pt;">Leader
creates space with the embrace so the Follower can remain on axis as she
rotates. Ochos are based on the
Follower’s axis, so Leader should give her as much freedom to complete her
rotation on 1 leg fully and completely.</span></div>
<div class="m_2175847090382118930gmail-MsoListParagraphCxSpLast" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt 0.5in;">
<span style="color: black; font-family: "times"; font-size: 10pt;">(2)<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="color: black; font-family: "times"; font-size: 10pt;">Follower’s
sacada requires more space, so Leader should step slightly away, tangent to the
Follower so she can do a big pivot and make her back step easier. Follower should snap together to pivot and
get around better/cleaner.</span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: "times"; font-size: 10pt;"></span><span style="color: black; font-family: "times"; font-size: 10pt;">Maestros concluded
with a class quiz/summary and demo to <i>El
Abrojo</i> by Carlos DiSarli</span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: "times"; font-size: 10pt;">Notes courtesy of Anne at <a href="http://scoutingtour.blogspot.com/">http://scoutingtour.blogspot.com</a></span></div>
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</div>
TangoStudenthttp://www.blogger.com/profile/15276818586883837436noreply@blogger.com0tag:blogger.com,1999:blog-1661245323794718142.post-82440526600947699502018-05-31T15:43:00.001-07:002018-05-31T15:44:45.104-07:00Back, Front and Contra Boleos - Exciting & Elegant (Intermediate)<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Song: <i>All of Me (The Voice Performance) </i>by Ray Boudreaux</span></span></span></span><br />
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"></span></span><span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Instructors: Homer & Cristina Ladas<br />http://theorganictangoschool.org/<br />England International Tango Festival<br />Tonbridge, Kent, United Kingdom<br />May 26-28, 2018</span></span></span></span><br />
<br />
<span style="color: black; font-family: "times"; font-size: 10pt;"><iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/d6M_wrSfSGA" width="560"></iframe></span><br />
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<span style="color: black; font-family: "times"; font-size: 10pt;"> </span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">We began with
individually practicing the three main boleo foot movements/shapes:</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">(1)<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="color: black; font-family: "times"; font-size: 10pt;">low
and continuously on the floor</span></div>
<div class="m_2175847090382118930gmail-MsoListParagraphCxSpMiddle" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt 0.5in;">
<span style="color: black; font-family: "times"; font-size: 10pt;">(2)<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="color: black; font-family: "times"; font-size: 10pt;">higher
at our knee</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">(3)<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="color: black; font-family: "times"; font-size: 10pt;">higher
up toward our thigh.</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">We first did this with
front boleos. With option (3) higher up
on our thigh, the ending is with our knee up and then slowly over to the other
side. We drilled this on the left
leg/foot and right/leg foot, all three shapes/movements.</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Exercise: In hand to
hand hold with imaginary giant fish bowl between us, both dancers did forward
ochos into forward boleos. Do not use
the hands for leverage to get yourself to pivot. Do not push down. Keep the chest up and back. Do not look down
at feet. It’s not about how fast you
pivot, but about being able to pivot fully and completely. The standing leg should be in control at all
times, with foot not rolling out to either side. Do not sickle the foot at the point of the
boleo.</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Exercise: In sugar
bowl embrace, the Follower should be close to the Leader. Leader leads forward ocho and forward boleos
in this embrace, doing side step and using send or stop energy. </span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">There are two energies
needed to lead a boleo: (1) send energy,
and (2) stop energy (becoming a statue).
</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">If the Leader gives
the Follower enough time, she might do a boleo on her own (not led by him) as
an embellishment. (The Follower “takes”
the boleo.)</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">The Leader needs to
send the Follower’s hips into the boleo first, before giving stop energy. </span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">The magic point in the
boleo and the “<b>Point of No Return</b>” is at the point where the Follower’s
hips face the Leader’s hips. Here is
where/when the Leader needs to turn the Follower’s hips past to get a boleo.</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">The Follower knows the
Leader has stopped because she feels it as she holds onto the Leader, so she is
present. Do not be too light or floaty, and conversely, do not push down on the
Leader with your embrace.</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">When Leader leads the
ocho, the Follower needs to amplify the movement in her hips 2-3x as much, as
her hips are an “<b>Ocho Factory</b>” – whereby they amplify the Leader’s
spinal rotation and pump out beautiful big ochos on demand. The Follower needs to power her hips through
her connection with the floor. The
amplification is 2-3x, not 1x, otherwise he would never get a boleo. </span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Back Boleos</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Keeping our feet on
the floor. There are 4 categorical shapes in doing back boleos:</span></div>
<div class="m_2175847090382118930gmail-MsoListParagraphCxSpFirst" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt 0.5in;">
<span style="color: black; font-family: "times"; font-size: 10pt;">(1)<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="color: black; font-family: "times"; font-size: 10pt;">keep
foot on the floor</span></div>
<div class="m_2175847090382118930gmail-MsoListParagraphCxSpMiddle" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt 0.5in;">
<span style="color: black; font-family: "times"; font-size: 10pt;">(2)<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="color: black; font-family: "times"; font-size: 10pt;">Blade
of Zorro where knees are together, and leg just goes up and down in a diagonal
slice of air, with front knee slightly behind the standing knee</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">(3)<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="color: black; font-family: "times"; font-size: 10pt;">semi-circular
into drop the axe. This is the most common and is a little rounder with one
knee behind the pit of the other so you can’t see the knee cap. Boleoing leg does a semicircle and then drops
down like an axe. It is like striking a
match, turning at the point where the leg drops like an axe. The beauty of the circular boleoing leg
depends on the stability of the standing leg.</span></div>
<div class="m_2175847090382118930gmail-MsoListParagraphCxSpLast" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt 0.5in;">
<span style="color: black; font-family: "times"; font-size: 10pt;">(4)<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="color: black; font-family: "times"; font-size: 10pt;">in-line
Boleo, which depends on how much your thigh goes backward. The knee disappears beyond the other knee.
There is lots of extension in the Follower’s hip flexors and contraction in the
lower back. This is a big movement, and
could be socially unacceptable, so be mindful about where/when you do this.
Only do it where conditions allow.</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Back boleos are based
fundamentally on the back ocho, so the Follower needs to be good/great in her
back ocho technique.</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Exit: collect and wait
for the Leader.</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">The Leader is after
the reflection in the Follower’s foot with what he is doing with his
spine. The litmus test of whether a
boleo is good is if the Leader feels the Follower’s hips move.</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">The <b>Point of No
Return</b> in back boleos.</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Leader takes
Follower’s hips past that point to get a boleo.
Leader needs to have clear stop energy.
</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">We drilled both sides,
with the Follower communicating with the Leader what she needs from the Leader
(more energy, etc.)</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Contra Boleos</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">In regular boleos, the
Leader employs 75% send energy and 25% stop energy. </span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">In contra boleos, the
Leader employs 25% send energy and 75% stop energy.</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Exercise: Do side
steps, playing with this concept of stopping the energy to feel what it should
be like. Leader does shimmy to get the
Follower’s hips going, then he steps to the side with send/stop energy, getting
Follower to do a contra boleo. The
Leader’s side step is around the Follower, as his two feet need to surround the
Follower’s standing, supporting leg. It is like their feet are three points in
an isosceles triangle (Follower’s foot is the tip; Leader’s two feet are at the
base of the triangle).</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">We drilled doing
contra and regular boleos from the forward ocho and back ocho.</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Maestros concluded
with a class quiz/summary and demo to <i>All
of Me</i> by Ray Boudreau</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Notes courtesy of Anne at <a href="http://scoutingtour.blogspot.com/">http://scoutingtour.blogspot.com</a></span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;"><br /></span></div>
TangoStudenthttp://www.blogger.com/profile/15276818586883837436noreply@blogger.com0tag:blogger.com,1999:blog-1661245323794718142.post-38448331603428044692018-05-31T15:38:00.000-07:002018-05-31T15:38:15.638-07:00Tango Performance: Homer & Cristina Ladas<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: Times, "Times New Roman", serif;">Song 1: <i>Il Mostro</i> by Ashram<br />Song 2: <i>Wild Hearts Can't Be Broken</i> by Pink<br />Instructors and Performers: Homer & Cristina Ladas<br />http://theorganictangoschool.org/<br />England International Tango Festival<br />Tonbridge, Kent, United Kingdom<br />May 26-28, 2018</span></span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: Times, "Times New Roman", serif;">Please enjoy this tango performance by Homer and Cristina at the 2018 </span></span></span><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: Times, "Times New Roman", serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: Times, "Times New Roman", serif;">England International Tango Festival.</span></span></span></span></span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: Times, "Times New Roman", serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: Times, "Times New Roman", serif;"><iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/RujRoHiKlKI" width="560"></iframe> </span></span></span></span></span></span><br />
<br /><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: Times, "Times New Roman", serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: Times, "Times New Roman", serif;"><br /></span></span></span></span></span></span>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: Times, "Times New Roman", serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: Times, "Times New Roman", serif;"> </span></span></span></span> </span></span><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span>TangoStudenthttp://www.blogger.com/profile/15276818586883837436noreply@blogger.com0tag:blogger.com,1999:blog-1661245323794718142.post-90852179563901295742018-05-31T15:35:00.001-07:002018-05-31T15:35:11.789-07:00Nuevo Masterclass: Contemporary, organic movement and patterns for dancing to Traditional and Modern Music (Intermediate)<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;"></span><span style="color: black; font-family: Times;">Song: <i>A Thousand Years </i>by Jasmine Thompson<br />Instructors: Homer & Cristina Ladas<br />http://theorganictangoschool.org/<br />England International Tango Festival<br />Tonbridge, Kent, United Kingdom<br />May 26-28, 2018</span></span></div>
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<br /></div>
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<span style="color: black; font-family: Times; font-size: 10pt;"><iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/__fY9-b0n-E" width="560"></iframe></span></div>
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<span style="color: black; font-family: Times; font-size: 10pt;"> </span></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: Times; font-size: 10pt;">“Nuevo” tango is a
marketing term. It originally came from a practice group that came together to
understand tango.<span></span></span></div>
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<br /></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">In our class we will
explore our structures to understand how we can move better with our partner.<span></span></span></div>
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<br /></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">When we walk, we do so
with opposing the energy of our partner all the time.<span> </span>This enables us to have a good connection. If
the Leader wants the Follower to walk back, there is an initial resistance from
the Follower and she maintains this throughout.<span>
</span>This is the <b>Theory of Opposition</b>:<span>
</span>If the Leader goes back, the Follower’s tension is back, even though she
walks forward.<span> </span>She has initial
resistance, and then goes.<span> </span>The resistance
comes from pushing into the floor. If the Leader goes left, the Follower
opposes with her right.<span> </span>We use
opposition so the dancers know where their partner is at all times.<span> </span><span></span></span></div>
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<br /></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">Exercise:<span> </span>In fingertip hold, Leader walks forward,
Follower walks back.<span> </span>Leader walks back,
Follower walks forward.<span> </span>The resistance
can be seen as pulling and pushing, but in a nice way.<span> </span>Both dancers push into the connection, and
both dancers pull into the connection.<span>
</span>The pulling back is powered by the spine, not just the
hands/arms/biceps.<span></span></span></div>
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<br /></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">In the turn, when the
Leader turns to the right, the Follower opposes.<span></span></span></div>
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<br /></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">We drilled the Theory
of Opposition in doing the turn,<span> </span>as well
as walking and doing side steps.<span> </span><span></span></span></div>
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<br /></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">Tango language with
each other needs to be comfortable, clear, and consistent.<span></span></span></div>
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<br /></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">In the regular
embrace, we incorporated ochos and turns.<span>
</span>In the ocho, one side pulls and one side pushes for both Leader and
Follower.<span> </span>The Follower’s push/pull is
not independent of her hips.<span></span></span></div>
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<br /></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">Moving onto a
pattern…<span> </span><span></span></span></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">We transition from
close to open embrace communicationwise, and the Follower should be just under
the Leader’s radar. <span> </span>We were to discover
how to use the floor for resistance, rather than just using our arms/shoulders
or even chest.<span> </span>Try to use/be aware of
oppositional forces in the embrace at each step, powering to pivot, etc., of
the pattern.<span></span></span></div>
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<br /></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">The Pattern:<span></span></span></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">In close embrace,
Leader does cheat step, walks Follower to the cross. Leader steps left foot
forward slightly away<span> </span>(he turns his
spine, and at the same time his left foot/leg becomes the new axis and gives
the Follower room/time to do the pivot and step through) to receive the
Follower’s right foot back sacada (after her first big pivot), going into a
clockwise turn (so after Follower’s back sacada, she does a side step, then a
forward step) to Leader’s right foot parada, to Follower’s right foot pivot, to
Follower’s left foot pasada around to the front of the Leader.<span></span></span></div>
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<br /></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">Leader should stay on
his left foot long enough to be able to receive the Follower’s back sacada with
his right leg.<span> </span>The right leg can be in
Captain Morgan stance to give the Follower room and time to do her back sacada.<span></span></span></div>
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<br /></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">We should keep it
flowing, with nice resistance from the Follower all the time.<span> </span>The Follower’s left arm shifts down in her
back sacada to give her more room, and shifts closer back to the Leader on the
parada/pasada, as she needs to be closer to him as the figure opens and
closes.<span> </span><span></span></span></div>
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<br /></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">The Follower’s left
side has to be as responsive as her right side, and her arm needs to slide open
or get closer as the figure/movement requires it.<span> </span><span></span></span></div>
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<br /></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">The Leader also needs
to open and close his right arm to accommodate the space required of the
movement.<span> </span>The opening and closing of the
embrace uses the Theory of the Human Magnet.<span></span></span></div>
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<br /></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">Exercise:<span> </span>Human Magnet.<span>
</span><span></span></span></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">If the Leader comes
forward, the Follower comes forward as they attract each other.<span> </span>If the leader goes back, the Follower goes
back as they repel each other.<span></span></span></div>
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<br /></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">In this same pattern
set up, the Follower can do a gancho instead of a sacada.<span> </span><span></span></span></div>
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<br /></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">Gancho (instead of the
sacada).<span> </span>The Leader’s left foot forward
step is closer, he sends the Follower in a big pivot, and then he uses stop
energy, which the Follower receives with a back/linear boleo (gancho through
the Leader’s legs).<span> </span>Leader’s Captain
Morgan leg goes slightly forward in leading the gancho.<span> </span>After the Follower’s gancho, she pivots back
to face the Leader.<span></span></span></div>
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<br /></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">Leader: for the
gancho, do not stop Follower with your right arm.<span></span></span></div>
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<br /></div>
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<b><span style="color: black; font-family: Times; font-size: 10pt;">Axis Focus difference
between Gancho v. Sacada<span></span></span></b></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">In the Sacada, the
Leader is the axis as the Follower walks around him in her back, side, forward
steps of the turn.<span></span></span></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">In the Gancho, the
Follower is the axis as the Leader goes around/encircles the Follower with his
torso/upper body.<span></span></span></div>
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<br /></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">CLASS BREAK (it was a double
session, 3 hour class)<span></span></span></div>
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<br /></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">Building on the
pattern:<span></span></span></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">Follower back sacada
to full clockwise turn where she takes her side, forward, side, back cross step
at which point the Leader does a left foot barrida of the Follower’s trailing
forward left foot (of her right foot back cross step) into a Captain Morgan
stance with left leg offer, to a Follower’s (beautiful) right leg wrap of the Leader’s
left leg.<span> </span>After the Follower’s wrap, she
can raise her knee straight up and over the Leader’s left leg to collect.<span> </span>Ending can be with a Follower’s back cross
step, pivoting back into a regular embrace.<span></span></span></div>
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<br /></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">The Leader travels up
the Follower’s thigh to get a wrap.<span></span></span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: Times; font-size: 10pt;">The Leader does
PacPerson footwork during the Follower’s turn/hiro to catch her footwork at the
correct moment to do a barrida (on her back cross step).<span></span></span></div>
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<br /></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">Hard side leg
wrap.<span> </span>The Follower needs to have good
turn and ocho technique, especially on the close side of the embrace.<span> </span>In the clockwise turn, the Follower’s left
leg ganchos the Leader’s left Captain Morgan leg (not a straight leg, his leg
is bent).<span></span></span></div>
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<br /></div>
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<b><span style="color: black; font-family: Times; font-size: 10pt;">Energy difference between
Gancho v. Sacada.<span> </span><span></span></span></b></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">In the Sacada, there
is continuous, flowing energy.<span></span></span></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">In the Gancho, there
is a stopping energy.<span></span></span></div>
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<br /></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">The Exit<span></span></span></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">After the Follower
ganchos/wraps with her right leg, it goes back into a back cross step to the
close side of the embrace, Leader rebounds her so the Follower steps left foot
forward to pivot in front of the Leader.<span>
</span>Before her step, the Follower’s left foot can do a pretty front cross
against her standing, supporting right leg.<span></span></span></div>
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<br /></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">In doing the barrida,
the Leader should keep turning; he should not stop.<span> </span>The Follower’s left side should be awake so
she needs to be good in her embrace and turn technique as the Leader does the
barrida into Captain Morgan leg with his left leg.<span></span></span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: Times; font-size: 10pt;">Breaking the code of
the Turn.<span></span></span></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">Be mindful of
where/when the embrace needs to be open and when it needs to be closed, and doing
it with a good transition, especially in going into and out of the wrap/gancho.<span></span></span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: Times; font-size: 10pt;">Alternative Exit<span></span></span></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">The Follower’s right
foot back step can be a hook behind into close embrace, to walk out as normal
with Follower’s left foot back. <span></span></span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: Times; font-size: 10pt;">The Leader leads Follower
to do right foot back cross step (hook behind) by closing the embrace and
stepping right foot close to the Follower. The Leader does small side weight
change to get the Follower’s right foot to hook behind her left foot of her
standing, supporting leg.<span></span></span></div>
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<br /></div>
<span style="color: black; font-family: Times; font-size: 10pt;">Maestros concluded
with a class quiz/summary and demo to <i>A
Thousand Years</i> by Jasmine Thompson </span><br />
<br />
<span style="color: black; font-family: Times; font-size: 10pt;">Notes courtesy of Anne at <a href="http://scoutingtour.blogspot.com/">http://scoutingtour.blogspot.com</a></span><br />
<span style="color: black; font-family: Times; font-size: 10pt;"><br /></span>
TangoStudenthttp://www.blogger.com/profile/15276818586883837436noreply@blogger.com0tag:blogger.com,1999:blog-1661245323794718142.post-1063805562221616452018-05-31T15:30:00.003-07:002018-05-31T15:31:01.105-07:00Fast & Furious: Shared Axis Accelerated Turns (Beyond Intermediate)<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Song: <i>Tormenta </i>by Ernesto Fama<br />Instructors: Homer & Cristina Ladas <br /><a href="http://theorganictangoschool.org/">http://theorganictangoschool.org/</a><br />England International Tango Festival<br />Tonbridge, Kent, United Kingdom<br />May 26-28, 2018</span></span></span><br />
<br />
<span style="color: black; font-family: "times"; font-size: 10pt;"><iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/StrSQpJdoN0" width="560"></iframe></span><br />
<br />
<span style="color: black; font-family: "times"; font-size: 10pt;">To summarize, we will
do two different types of Fast & Furious turning</span>
<br />
<div class="m_6432089742031976291gmail-MsoListParagraphCxSpFirst" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt 0.5in;">
<span style="color: black; font-family: "times"; font-size: 10pt;">(1)<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="color: black; font-family: "times"; font-size: 10pt;">open
turn</span></div>
<div class="m_6432089742031976291gmail-MsoListParagraphCxSpLast" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt 0.5in;">
<span style="color: black; font-family: "times"; font-size: 10pt;">(2)<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="color: black; font-family: "times"; font-size: 10pt;">hurricane
spin/shared axis turn</span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<b><span style="color: black; font-family: "times"; font-size: 10pt;">Chapter 1 – Open Turn</span></b></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: "times"; font-size: 10pt;">We began with an
exercise on connection and how to develop our embrace. </span></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: "times"; font-size: 10pt;">The Leader can turn
two ways:</span></div>
<div class="m_6432089742031976291gmail-MsoListParagraphCxSpFirst" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt 0.5in;">
<span style="color: black; font-family: "times"; font-size: 10pt;">(1)<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="color: black; font-family: "times"; font-size: 10pt;">with
PacPerson feet keeping heels together, trying to do this in both directions.</span></div>
<div class="m_6432089742031976291gmail-MsoListParagraphCxSpLast" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt 0.5in;">
<span style="color: black; font-family: "times"; font-size: 10pt;">(2)<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="color: black; font-family: "times"; font-size: 10pt;">Kick
the heel around, where the Leader lifts one heel and kicks around. It takes
about 8 kicks around to make 1 full rotation.
Try both directions, all the way around</span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: "times"; font-size: 10pt;">In sugar bowl embrace,
the Follower wakes up her embrace on the close and open side, bending the
elbows and holding onto the Leader such that he feels the Follower’s body
behind both points of contact in her hands. Follower: do not be too stiff or
too loose in your embrace. Have density
and elasticity. Use both hands. Be alert in both hands.</span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: "times"; font-size: 10pt;">In the turn, the
Follower’s back step is the most challenging one in the turn. Each step of the turn should be of equal
importance/significance. Reach and
transfer the weight smoothly as much as you can. There are two pivots on the turn/hiro, in the
forward cross step and back cross step.</span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: "times"; font-size: 10pt;">At the moment of
collection, the Follower knows she will pivot, so she should gather her legs
together to help the pivot. </span></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: "times"; font-size: 10pt;">Have a dynamic/mindful
connection to help send the body back in a big pivot without falling. Get thighs/ankles together to help with
balance and control at pivot. Have a
smooth frequency in getting around in the turn.
Have lots of spiral in your body.</span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: "times"; font-size: 10pt;">Leader: Have hips
slightly ahead of the Follower.</span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: "times"; font-size: 10pt;">To help us get our
spiral on, we did the Washing Machine Exercise: First let chest go around in
rotation, then let hips go to catch up, going a bit farther than the
chest. There are four options in
drilling this exercise:</span></div>
<div class="m_6432089742031976291gmail-MsoListParagraphCxSpFirst" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt 0.5in;">
<span style="color: black; font-family: "times"; font-size: 10pt;">(1)<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="color: black; font-family: "times"; font-size: 10pt;">Clockwise
on left foot</span></div>
<div class="m_6432089742031976291gmail-MsoListParagraphCxSpMiddle" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt 0.5in;">
<span style="color: black; font-family: "times"; font-size: 10pt;">(2)<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="color: black; font-family: "times"; font-size: 10pt;">Clockwise
on right foot</span></div>
<div class="m_6432089742031976291gmail-MsoListParagraphCxSpMiddle" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt 0.5in;">
<span style="color: black; font-family: "times"; font-size: 10pt;">(3)<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="color: black; font-family: "times"; font-size: 10pt;">Counterclockwise
on left foot</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">(4)<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="color: black; font-family: "times"; font-size: 10pt;">Counterclockwise
on right foot</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Do a block turn.</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Leader keeps hips a
little ahead of the Follower. Leader
does PacPerson feet.</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">We drilled all these
types of turning options for the Leader:</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">(1)<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="color: black; font-family: "times"; font-size: 10pt;">Washing
machine body, or</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">(2)<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="color: black; font-family: "times"; font-size: 10pt;">Block
turn with PacPerson feet</span></div>
<div class="m_6432089742031976291gmail-MsoListParagraphCxSpLast" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt 0.5in;">
<span style="color: black; font-family: "times"; font-size: 10pt;">(3)<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="color: black; font-family: "times"; font-size: 10pt;">Block
Turn with kick the heel around</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Follower, pay attention
to maintaining and containing the Leader’s dynamic energy and put it / reflect
it in the Follower’s legs.</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Follower should take
long, reaching steps around the Leader.
In our turn, there is no automatic QQS, we will do all steps Slow in our
exercise: SSSS.</span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: "times"; font-size: 10pt;">In terms of
language/position and real estate, Homer and Cristina employ the School of
Opposition, where the Follower needs to give resistance when the Leader pulls,
and when the Leader pushes, the Follower needs to push.</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Leader screws into the
floor with his standing/supporting leg.
The Follower should be close to the Leader at her hips so the Leader can
do many things (sacadas, ganchos, etc.).
Follower’s arms should be connected to her shoulder blades and back.</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">We drilled this with
Follower doing a dynamic turn so that the Leader can do either a kick around
leg or kickstand leg on his unweighted leg.</span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: "times"; font-size: 10pt;">Breaks in the
turn. One side is different from the
other side. The Follower’s left side
reflects the Leader’s standing leg, how it pushes into the floor as the
Follower’s hand gives resistance. The Leader’s right hand feels the same from
the Follower’s left leg. The Leader’s
right hand/arm can move, dropping down toward the follower’s ribs instead of
her on her back depending on her steps of he turn as the Follower’s connection
is her left hand at the Leader’s right upper arm.</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">We drilled the
accelerated turn, with the Follower containing the energy and maintaining
density that goes through her hips. The
Leader’s kickstand leg just stabilizes the Leader’s axis, it does not motor the
turn, though he does slightly push into the floor. It makes his standing leg
stronger. We drilled this, attempting to
turn on one side at least four times around. </span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Leader will lead the
acceleration by using his standing supporting leg, whether he does it with
kickstand leg giving power to his standing supporting leg, or washing machine,
or block turn. The Follower receives the
Leader’s leading energy/accelerating energy and responds/contains it in her
hips so she doesn’t go flying around.</span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<b><span style="color: black; font-family: "times"; font-size: 10pt;">Chapter 2: Shared Axis Turning</span></b></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">In a little colgada,
the Leader turns around the Follower’s axis.
Unlike the Follower, he does not have to look pretty. </span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">In close embrace, the
Leader side steps to surround the Follower’s axis as she is on one leg. Leader walks around Follower as his 2 feet
sandwiches her standing, supporting foot.</span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: "times"; font-size: 10pt;">Follower needs to hold
onto the leader and let her hips go back so she counterweights. Leader does a somewhat open V to A footwork
as he goes quickly around the Follower. </span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">The Follower’s free
leg can paint the floor or she can planeo it out to the side. The Leader needs
room to walk around the Follower, so if she wants to raise her leg, she should keep
it close to the Leader, not outside (which would likely be socially
unacceptable). If the Follower’s leg
goes back in planeo, the balance will change for the Leader and he needs to
adjust for that (or she shouldn’t do it).</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Maestros concluded
with a class quiz/summary and demo to song: <i>Tormenta</i>
by Francisco Canaro</span></div>
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<br /></div>
<span style="color: black; font-family: "times"; font-size: 10pt;">Extra clip of Martyn
Phillips leading Homer in the Shared Axis Turn during class.</span><br />
<br />
<span style="color: black; font-family: "times"; font-size: 10pt;">Notes courtesy of Anne at <a href="http://scoutingtour.blogspot.com/">http://scoutingtour.blogspot.com</a></span><br />
TangoStudenthttp://www.blogger.com/profile/15276818586883837436noreply@blogger.com0tag:blogger.com,1999:blog-1661245323794718142.post-48683295173752174792018-05-31T15:27:00.001-07:002018-05-31T15:27:13.453-07:00Leg Wraps into Colgada Turns (Beyond Intermediate)<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;">Song: <i>Amazing Grace</i> by Blind Boys of Alabama</span></span><br />
<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;">Instructors: Homer & Cristina Ladas </span></span><br />
<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;"><a href="http://theorganictangoschool.org/">http://theorganictangoschool.org/</a></span></span><br />
<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;">England International Tango Festival</span></span><br />
<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;">Tonbridge, Kent, United Kingdom</span></span><br />
<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;">May 26-28, 2018</span></span><br />
<br />
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<span style="color: black; font-family: Times; font-size: 10pt;"><iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/h_UEjs1ECDc" width="560"></iframe> </span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: Times; font-size: 10pt;">The pattern: Colgada
from promenade exiting into a colgada turn.<span></span></span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: Times; font-size: 10pt;">Get into promenade
without doing a colgada.<span> </span>Leader does sneak
attack weight change, so Leader’s left foot to Follower’s left foot, Leader’s
right foot to Follower’s right foot, as they both walk forward together. Leader
does sneak attack weight change to Follower’s right foot, to invite Follower to
walk around Leader. The Leader’s right foot touches the Follower’s right foot
and he sends her out a little to the right, doing a parada, after which the
Follower pasadas with her left foot so she steps back in front of Leader and
pivots to face him.<span> </span>The Leader should
enable the Follower to make the longest step possible around in front of the
Leader.<span> </span><span></span></span></div>
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<br /></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">When the Leader does a
sneak attack weight change to meet the Follower’s right foot, his weight is
still back on his left foot.<span> </span>He should
not try to knock the Follower away to the right.<span> </span>Leader can do a small cheat step if he wants
(cross behind with his left foot) to help facilitate the Follower getting
around the Leader.<span></span></span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: Times; font-size: 10pt;">Adding the colgada
element.<span></span></span></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">When the Leader’s
right foot captures the Follower’s right foot, he can send her out in the Line
of Power, diagonally out. Here the Leader MUST do the left foot cross behind
cheat step so the Follower can step around and in front of the Leader.<span> </span><span></span></span></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: Times; font-size: 10pt;">Try to get a “real”
colgada instead of a “fake” or “safe” one.<span></span></span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: Times; font-size: 10pt;">The Follower hangs
from the Leader with both sides of her embrace and weight of her hips out and
away from the Leader. <span></span></span></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">Leader needs to be
strong in his left arm/hand – connect it to his back as as he starts to turn
the Follower is still in colgada.<span></span></span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: Times; font-size: 10pt;">The Follower leaves
her nose back as her left leg goes forward to reach around Leader.<span></span></span></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">The Colgada ends when
the Follower’s foot lands on the ground and she takes back her axis.<span></span></span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: Times; font-size: 10pt;">Before the Colgada
turn, the Leader can lead the Follower to do a wrap, by offering his right leg
in Captain Morgan stance as she is out and away form Leader with her right leg
weighted and left leg is free.<span></span></span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: Times; font-size: 10pt;">We drilled this with
the Leader’s right foot to Follower’s right foot capture, sending the Follower
out to lead her to do a left lag wrap of the Leader’s right leg in Captain
Morgan stance, into a pasada (where the Leader does a cheat step of his left
foot diagonally back so she has to step forward around the Leader).<span></span></span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: Times; font-size: 10pt;">Leading the wrap:<span> </span>The Leader offers his right leg in Captain
Morgan stance, sends the Follower out and rebounds her into the wrap.<span> </span>He can do several wraps in a row (though no
more than 3), and then lead her to step over in pasada.<span></span></span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: Times; font-size: 10pt;">At the moment of
colgada, the Leader has zero (no) turn.<span>
</span>He is just sending the Follower into the Line of Power and then back in.
She doesn’t need to look down to see if there is space.<span> </span>She knows because she can feel his leg,
that’s how she knows there is space. She doesn’t have to see or guess.<span> </span>The Leader leads it by giving her space with
his right leg.<span> </span><span></span></span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: Times; font-size: 10pt;">“The Thighs Have
Eyes”.<span> </span>Leader sends Follower out in the
Line of Power, brings her in so she’s back on axis, and she feels his Captain
Morgan leg.<span> </span>The Leader needs to meat the
Follower’s height, especially if she is very tall or very short.<span> </span>Leader has no rotation in his spine while
leading the wrap.<span> </span>Leader does Captain
Morgan with his unweighted right leg as she does her turn/hiro/molinete, he
slides his Captain Morgan leg on the Follower’s side step, so she wraps with
her other foot.<span> </span>The turn is in the open
embrace with the Follower’s steps long and around the Leader.<span> </span>Follower should not fall on the back
step.<span> </span><span></span></span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: Times; font-size: 10pt;">Turn wrap to the
right.<span></span></span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: Times; font-size: 10pt;">At the point of the
Follower’s side step after her forward step and before her back step, the Leader
can lead multiple sequential wraps by turning his Captain Morgan leg in and out
and rotating his spine/chest.<span> </span>She will
wrap with alternating legs.<span></span></span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: Times; font-size: 10pt;">Exit: After the
wrap/gancho, the Leader should continue the Follower’s turn to the right.<span> </span>The Leader gently transfers his weight to his
right, and then continues the Follower’s turn. The Follower’s hips should be
pointed toward the Leader and remain closed to have a juicy squeeze of the
Leader’s legs.<span></span></span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: Times; font-size: 10pt;">Colgada wrap after a
turn.<span> </span><span></span></span></div>
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<span style="color: black; font-family: Times; font-size: 10pt;">Timing is tricky,
because the Follower’s step is forward after the wrap.<span> </span>Even though the turn continues, the natural
step is a back step.<span> </span>The Leader steps
side and cross behind to create room for the Follower to step forward and
around the Leader.<span> </span>The Leader does cheat
step diagonally back with his right foot.<span></span></span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;">
<span style="color: black; font-family: Times; font-size: 10pt;">Follower’s right foot
wrap.<span> </span>Leader shifts weight and pivots
around Follower and takes his cheat step so Follower walks around Leader.<span></span></span></div>
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<br /></div>
<span style="color: black; font-family: Times; font-size: 10pt;">Maestros concluded
with a class quiz/summary with demo to <i>Amazing
Grace</i> by the Blind Boys of Alabama</span><br />
<br />
<span style="color: black; font-family: Times; font-size: 10pt;">Notes courtesy of Anne at <a href="http://scoutingtour.blogspot.com/">http://scoutingtour.blogspot.com</a></span><br />
<span style="color: black; font-family: Times; font-size: 10pt;"></span><span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;"> </span></span><br />
<br />
TangoStudenthttp://www.blogger.com/profile/15276818586883837436noreply@blogger.com0tag:blogger.com,1999:blog-1661245323794718142.post-82009414473613537122018-05-31T15:24:00.002-07:002018-05-31T15:24:26.578-07:00Getting to Know Your Own & Your Partner's Axis with Role Swap (Intermediate)<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;">Song: <i>Dos Corazones</i> by Lucio Demare</span></span><br />
<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;">Instructors: Homer & Cristina Ladas </span></span><br />
<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;"><a href="http://theorganictangoschool.org/">http://theorganictangoschool.org/</a></span></span><br />
<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;">England International Tango Festival</span></span><br />
<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;">Tonbridge, Kent, United Kingdom</span></span><br />
<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;">May 26-28, 2018</span></span><br />
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<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;"><iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/g-nmjDmfmKw" width="560"></iframe></span></span><br />
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<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: black;">We began with
exercises that will have direct implications in letting us determine who is the
axis: Leader or Follower.<span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: black;">In fingertip embrace,
both Leader and Follower do forward ochos, with each turning on their own
axis.<span> </span>This is an independent movement
for each dancer, but we are connected at the fingertips. We should step close
to our partner’s trailing foot.<span> </span>We begin
slowly at first, so we know where to go and what to do to protect our axis. Our
backs have softness to allow good spiraling.<span>
</span>In doing our ochos, we should have quality to them. Do not fall into the
step. Remain in balance while pivoting on one foot.<span> </span>There is a giant twisting and untwisting of
the spine.<span> </span>Do not hold the body too
tight or the ocho will become flat.<span> </span>In
the ocho, the spiral travels through the space, horizontally and
vertically.<span> </span>For the shoulders, one does
the send and the other does the counter spiral at the end.<span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: black;">Leader, do not impede
the Follower’s ocho with your arms.<span> </span>Otherwise
you will prevent her spine from creating spiral.<span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: black;">In the sugar bowl
embrace (Leader’s hands on his hips, Follower holding the handles of the sugar
bowl – Leader’s triceps), stay close.<span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: black;">Here we explore the
“Rule of the Hip” game/concept.<span> </span>The
Leader rotates his chest as much as his hips allow. Follower does forward ocho
in front of the Leader, using an arc’d, snaky step around the Leader, keeping
as close to him as possible with her hips touching his.<span> </span>Then we changed roles after drilling this
5-10 times.<span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: black;">The concept of axis
manipulation.<span> </span>The Leader shifts weight,
pulling the Follower around him to tell the Follower to do a forward step or
back step.<span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: black;">The Sugar bowl Embrace
is also known as the “Less Blame” embrace as it gives more responsibility to
the Follower to hold onto the Leader properly.<span>
</span>The Follower needs to not push down and not pull on the Leader, so the
Leader feels the Follower’s fingertips.<span>
</span>There is engaged elasticity, so the embrace is connected but flexible.<span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: black;">Next we drilled doing
turns/hiros/molinetes in the sugar bowl embrace.<span> </span>The Leader has his heels together in PacPerson
(gender neutral of PacMan or Ms. PacMan of the 1980s video game), and through
his chest rotation he leads Follower around in a turn into an ocho on her
forward step, with each focusing on maintaining their axis (both Leader and
Follower).<span> </span>Then we switched roles.<span> </span>It is important that the Leader not use his
hands to guide the ocho.<span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: black;">The Leader’s hips get
ahead of the Follower’s so he has more leverage, range of motion to turn in
that same direction.<span> </span><span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: black;">The Follower should
hold onto the Leader nicely so his lead translates well, making steps equal to
each other around the Leader in her turn.<span>
</span>The Follower is always slightly behind the Leader.<span> </span>Leader’s hips are ahead or he can do the
Leader back ocho swivel.<span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: black;">In the Ocho Cortado,
we start with a turn to the right in close embrace, transitioning to a ocho in
open embrace.<span> </span>The Follower side steps
into an ocho cortado after her right foot forward step to the close side of the
embrace and then rebounds into a left foot front cross step against her
standing, supporting right leg.<span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: black;">Making or breaking –
getting an ocho or side step.<span> </span>Remain in
close embrace; Leader has forward intention and should stay that way.<span> </span>Turn to the right and then immediately into a
turn to the left. Timing is important when the Leader turns around his axis.<span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: black;">How does Follower know
when to do a forward step into an ocho or into a side step in the Ocho Cortado?
Leader leads one or the other by turning his spine at different moments:<span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: black;">In the ocho, the lead
is as early as possible.<span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: black;">In the ocho cortado,
the lead is after the Follower’s forward step. <span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: black;">At the point of the
ocho, both the Leader and Follower take their axis so they are in balance and
can pivot fully.<span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: black;">The Follower does
three things at that moment:<span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: black;"><span>(1)<span style="font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><span style="color: black;">Rock
step taking axis<span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: black;"><span>(2)<span style="font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><span style="color: black;">Relocate
left arm<span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: black;"><span>(3)<span style="font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><span style="color: black;">Activate
the ocho factory (her hips) if Leader leads an ocho.<span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: black;">Leader needs to
communicate the transition to open or close embrace, depending on whether he
leads an ocho cortado or ocho.<span> </span>The ocho
cortado should be done in close embrace, and the ocho should be in open embrace
so the Follower can assume her axis.<span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;">
<span style="color: black;">Maestros concluded
with a class quiz/review and demo to <i>Dos
Corazones</i> by Lucio Demare.</span></span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: black;">Notes courtesy of Anne at <a href="http://scoutingtour.blogspot.com/">http://scoutingtour.blogspot.com</a></span></span></span>TangoStudenthttp://www.blogger.com/profile/15276818586883837436noreply@blogger.com0tag:blogger.com,1999:blog-1661245323794718142.post-46863725317200420832018-05-31T15:19:00.003-07:002018-05-31T16:25:11.321-07:00Cross System Elements Explored (All Levels)<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: xx-small;"><span style="color: black; font-family: "times";"><span style="font-size: small;"><span style="font-family: Arial, Helvetica, sans-serif;">Song: <i>Que Te Importa Te Que Lore</i> by Miguel Calo<br />Instructors: Homer & Cristina Ladas <br /><a href="http://theorganictangoschool.org/">http://theorganictangoschool.org/</a><br />England International Tango Festival<br />Tonbridge, Kent, United Kingdom<br />May 26-28, 2018</span></span></span></span></span></span></span></span></span><br />
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: xx-small;"><span style="color: black; font-family: "times";"><iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/KWtexu0RK9g" width="560"></iframe></span></span></span></span></span></span><br />
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<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"></span></span><span style="color: black; font-family: "times"; font-size: 10pt;">So the summarize, we
explored two different walks in cross system:</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">(1)<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="color: black; font-family: "times"; font-size: 10pt;">Leader’s
snake walk while Follower walks straight back.</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">(2)<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="color: black; font-family: "times"; font-size: 10pt;">Leader
roller blades while Follower walks back in no-pivot ocho (back cross step).</span></div>
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<b><span style="color: black; font-family: "times"; font-size: 10pt;">Chapter 1 – Leader’s snake
walk with Follower’s straight back walk.</span></b></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">We began with an
exercise to test our ability doing the cross system walk. With Leader and Follower facing each other in
the fingertip hold, Leader changes weight, and walks forward touching the
Follower’s forward foot as she walks back.
We can do this three ways: </span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">(1) Leader whole foot
touching Follower’s whole foot</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">(2) Leader’s back half
of the foot touching the Follower’s back half of the foot (so they are more heel
to heel)</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">(3) Leader’s whole
foot going past the Follower’s whole foot (so they are more thigh to thigh).</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Start with turnout, so
V feet. Change weight to inside and
outside of the foot. Leader slides foot
forward in his walk.</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Follower should keep
her whole frame, not stiff or static, have a little bit of give, softness,
especially in the shoulder joints and knee joints. How the Follower holds her frame will
determine the texture of the embrace and how far she needs to step.</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">In the Cross System
Walk:</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">We start in parallel
system, Leader does sneak attack weight change, where he quickly changes weight
without letting the Follower change her weight.
Leader steps left foot forward in the inside position. The Leader is walking in three tracks. Leader
walks outside partner, shift to the left, and then back into parallel walking
with the Leader’s right foot forward.</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">We drilled this in any
embrace, open or close, depending on your comfort / level of dance ability.</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Cleaning up the sneak
attack weight change:</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Leader starts with his
left foot because that’s where he has the most space. </span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">How do we change the
embrace so the Follower doesn’t change her weight during the Leader’s weight
change? The Leader changes with weight
without shifting to the other side. The
Leader can keep the Follower from shifting using the close side of the embrace
without dropping his right shoulder, making his right shoulder suspended up. Just hold the Follower, but do not raise her
up. </span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">More advanced couples
should try this in close embrace.</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">The Follower should
work on making the perfect step. How you
articulate the foot, how fast you transfer the weight and being mindful of
doing the correct step length. How does Follower know how far and how to
maintain the same distance as the Leader in stepping? The Follower’s heel lifts, but she keeps it
to the floor as long as she can, until it starts to go up because it can’t
anymore. She should have a reaching
quality and good extension; it’s not always about stepping long. Walking back starts at the core (not at the
hip).</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Leader does sneak
attack weight change, keeping the Follower on the same foot as he changes the
weight to the same foot (so Follower’s Right, Leader’s Right; Follower Left,
Leader’s Left).</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">In Cross System, do
the full Snake Walk.</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Start in open embrace.</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Leader’s upper body is
peaceful.</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Follower takes perfect
back step.</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">This is easier in open
embrace, and harder in close embrace.</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Leader does forward
ocho (forward cross step).</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Leader tips: “I have to pee” (close thighs) at collection
and before the next step. Keep big toe
on the floor. You can do baby pivot before
taking forward step. Leader’s upper body
just says to Follower “walk straight back”</span></div>
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<br /></div>
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<b><span style="color: black; font-family: "times"; font-size: 10pt;">Chapter 2: Follower does
no-pivot ocho while Leader rollerblades</span></b></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">We began with an
exercise whereby the Leader roller blades into the center of the circle
starting with his left foot. </span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">The Follower will do a
cross way of walking doing a no-pivot back ocho.</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">In partnership, face
to face, Leader does roller blading forward as Follower does a back ocho (back
cross step) without pivoting, articulating and opening the hip without
pivoting. So they are zigging and zagging.</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Follower should push
with the left foot off of the floor, open the right hip and keep pushing with
the left to step, thighs press together as the weight changes. Leader walks (rollerblades) in the cross
system as follower does no-pivot back cross step walk back.</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">Homer and Cristina
have a Swiss cheese theory of teaching, conveying the basics, but intentionally
leaving lots of holes so that students’ questions can fill in the holes.</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">The Leader leads the
no-pivot ocho (back cross step) with his chest by not changing his
chest/spine. There is no twist. Leader should not overuse his right hand.</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">In the Follower’s
no-pivot ocho, she should just try to stay in front of the Leader, so he
doesn’t change his spine, but he steps outside, and she opens her hip. The psychology for the Follower is she
reaches slow, but collects quickly in this exercise to perfect the step.</span></div>
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<br /></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">So the summarize, we
explored two different walks in cross system:</span></div>
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<span style="color: black; font-family: "times"; font-size: 10pt;">(1)<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="color: black; font-family: "times"; font-size: 10pt;">Leader’s
snake walks while Follower walks straight back.</span></div>
<div class="m_6432089742031976291gmail-MsoListParagraphCxSpLast" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt 0.5in;">
<span style="color: black; font-family: "times"; font-size: 10pt;">(2)<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="color: black; font-family: "times"; font-size: 10pt;">Leader
roller blades while Follower walks back in no-pivot ocho (back cross step).</span></div>
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<br /></div>
<span style="color: black; font-family: "times"; font-size: 10pt;">Maestros concluded
with a class summary/quiz and a demo to <i>Que
Te Importa Te Que Lore</i> by Miguel Calo.</span><br />
<br />
<span style="color: black; font-family: "times"; font-size: 10pt;">Notes courtesy of Anne at <a href="http://scoutingtour.blogspot.com/">http://scoutingtour.blogspot.com</a></span>TangoStudenthttp://www.blogger.com/profile/15276818586883837436noreply@blogger.com0tag:blogger.com,1999:blog-1661245323794718142.post-62041969907251984672017-05-21T19:53:00.001-07:002017-05-21T19:53:36.361-07:00Intermediate & Above Class: Follower’s Flowy Back SacadaInstructors: Homer & Cristina Ladas <br /><a href="http://theorganictangoschool.org/">http://theorganictangoschool.org/</a><br />May 19, 2017, Genesis Dance, San Francisco<br />
<br />
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The topic for this class was the Follower’s Flowy Back
Sacada, because it is easy to communicate and to get into the line of dance.<span></span></div>
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<br /></div>
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We began with a warm-up exercise in partnership, hand to
hand hold, doing back ochos.<span></span></div>
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Dancers hold each other at the hands and both do back ochos.<span></span></div>
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Dancers are close to each other, with hips in line next to
each other going in opposite direction, almost touching. Their pivots need to
be big, and the outside leg needs to step back diagonally across the lines,
reaching toward the other dancer. Keep
the chest up, do not lean forward as your leg goes back. The pivot needs to be complete before
reaching in the next step back. Do not
step too far. Be precise. In stepping
back, aim for your partner’s standing leg.
Reach with control. This is not a
speed exercise.<span></span></div>
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<br /></div>
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Next, we proceeded to get the hard part out of the way.<span></span></div>
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<br /></div>
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In open embrace, the Leader does side steps (keeping arms
low) while leading the Follower to do back ochos (these are “with” ochos).<span></span></div>
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Leader does right foot side step, then turns to his left as
he leads the Follower to do the Follower left foot back sacada to the Leader’s
trailing left foot, which he has left as a “goal post”.<span></span></div>
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<br /></div>
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Take care of your axis.<span></span></div>
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For the embrace, sometimes there are changes from close to
open. <span></span></div>
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The Follower’s Back Sacada is an illusion.<span></span></div>
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Going from the back ocho to the turn (overturn) is
challenging.<span></span></div>
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<br /></div>
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When does the Back Ocho become a Turn (Hiro/Molinete)? When
the Leader steps on his right foot. <span></span></div>
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<br /></div>
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Follower should be sensitive to the lead. Is he leading a pivot or he asking you to
step around the Leader? The Leader turns
his sine both ways in both instances. Is
the lead around the Follower’s axis or the Leader’s axis?<span></span></div>
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</div>
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Next, we worked on a simple Leader’s Sacada<span></span></div>
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The Leader settles on his left foot, turns to the right,
Leader’s right foot reaches forward diagonally to the Followers trailing right
foot in a forward sacada. The Leader’s
spinal rotation is such that the Follower steps around the Leader’s axis.<span></span></div>
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Then he turns to the left and leads dancers to go back to
their original spots.<span></span></div>
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<br /></div>
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Next, we linked both steps together, the Leader’s Forward
Sacada and the Follower’s Back Sacada.<span></span></div>
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First, we did the Leader’s Simple Sacada. Then, instead of going back to the original
spot, the Leader leads a back ocho, then another overturned back ocho, so the
Follower does a back sacada of her left foot to the Leader’s trailing left foot
(in Captain Morgan stance).<span></span></div>
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<br /></div>
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We drilled doing: <span></span></div>
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<br /></div>
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Leader’s right foot forward sacada.<span></span></div>
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Into simultaneous back ochos for the Leader and Follower,
Follower stepping back with her right foot, Leader stepping outside left foot
back in his back ocho in the same direction as Follower. Next, Follower’s left foot back ocho
into a counterclockwise turn (Hiro/Molinete) or into an overturned back ocho to
left foot back sacada.<span></span></div>
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<br /></div>
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The technique is very important.<span></span></div>
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<br /></div>
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The goal is the process of getting there.<span></span></div>
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<br /></div>
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Why are we doing this?<span></span></div>
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The Sacada is an illusion.
It’s more about how we turn and relate to each other and timing involved
and rotation in leading an ocho versus asking the Follower to walk around the
Leader.<span></span></div>
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<br /></div>
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The Follower needs to be sensitive. Don’t be rushed into the next step. <span></span></div>
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<br /></div>
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For the Follower’s sacada, the Leader’s position is to get
used to the Captain Morgan Stance in his trailing leg, where the knee is able
to pivot to be more open and the heel is up to receive the Follower’s back
sacada. The Leader can do his kick
around as the Follower comes around. <span></span></div>
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The Follower pivots a lot to step around the Leader, with
long reaching steps. <span></span></div>
The Follower should employ good walking technique, both
linear and circular.<br />
<br />
Notes courtesy of Anne at <a href="http://scoutingtour.blogspot.com/">http://scoutingtour.blogspot.com</a><br /><br />
<br />TangoStudenthttp://www.blogger.com/profile/15276818586883837436noreply@blogger.com0tag:blogger.com,1999:blog-1661245323794718142.post-42861641131473209942017-05-16T13:28:00.000-07:002017-05-16T13:28:12.107-07:00Asynchronous Walking & Pitter PatterSong: Cuando Estaba Enamorado by Francisco Canaro<br />Instructors: Homer & Cristina Ladas <br /><a href="http://theorganictangoschool.org/">http://theorganictangoschool.org/</a><br />May 15, 2017, The Beat, Berkeley, CA<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/CM4QSlcAhgE" width="560"></iframe><br />
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To conclude our monthly theme of walking, today we explored
the concept of Asynchronous Walking, where one person is walking while the
other person is not, using mostly Vals Music.</div>
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<span></span></div>
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<br /></div>
<div class="m_-2381920787463984293gmail-MsoListParagraphCxSpFirst">
(1)<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span>Pitter Patter</div>
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<br /></div>
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<span></span></div>
<div class="m_-2381920787463984293gmail-MsoListParagraphCxSpLast">
(2)<span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span>Leader goes, Follower goes (or vice versa)</div>
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<br /></div>
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<span></span></div>
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<b>Chapter 1 – Pitter Patter</b></div>
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<b><span></span></b></div>
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<br /></div>
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We began with the Linear Pitter Patter, where we would walk
together, using medium-length steps, into the Pitter Patter. </div>
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<span></span></div>
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Feet are both down on the floor.<span></span></div>
<div class="MsoNormal">
Roll the weight forward.<span></span></div>
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Bend the knees.<span></span></div>
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Try not to change height.<span></span></div>
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Do not crunch toes.<span></span></div>
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Imagine that you are holding a silver dollar between your thighs,
and take tiny steps. <span></span></div>
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Go backward too.<span></span></div>
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To do the Pitter Patter to the side, imagine dropping the
coin to the knees.<span></span></div>
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<br /></div>
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In Vals music, there is the boom chick rhythm (or 1-2-3,
1-2-3).<span></span></div>
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We began to drill with Canaro’s <i>Yo No Se Que Me Han Hecho Tus Ochos</i>.<span></span></div>
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First we walked solo in a circle, forward and back, trying to
catch the places where there is the opportunity to do the Pitter Patter.<span></span></div>
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“Act of Copying” is where the Leader does it, the Follower
will do it. So the Leader should do it where
it is musically appropriate. The Pitter
Patter is a “special seasoning” during transitions so it is important for you
to hear the musical phrasing.<span></span></div>
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<br /></div>
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How does the Leader communicate the Pitter Patter?<span></span></div>
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He compresses and goes up a bit, giving a little extra hug.
The Follower listens to the music and the Leader to how he is holding the
embrace. When the Leader decides to
change the quality of walking, he hugs her extra and the Follower should hear
that and respond in kind. The Follower
should hug back.<span></span></div>
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<br /></div>
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We drilled this concept to Canaro’s <i>Vibraciones Del Alma (with Intro).</i><span></span></div>
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<br /></div>
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In including the Pitter Patter in our dance, there is more
contrast than walking on just the strong beat.
When doing the Pitter Patter, the steps should be narrow and tiny. <span></span></div>
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Leader should prepare the Follower’s free leg.<span></span></div>
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<br /></div>
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How do we separate it?
How do we make the Follower do the Pitter Patter while the Leader does
not? </div>
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This is more challenging to do in
the close embrace. </div>
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Leader telescopes the
arms from the shoulder blades to the forearms and then pulls back a
little. It’s not just the arms, it’s the
body, too. Use the floor to roll through the ankles. Push down on the floor. Leader adds compression to the embrace and
suspension and a little bit of lift to get the Follower to Pitter Patter back
as the Leader remains in place. He tilts
from the ankles and telescopes his arms.<span></span></div>
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<br /></div>
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We drilled this to <i>Sonar
Y Nada Mas</i> by Alfred de Angeles and <i>Vibraciones
Del Alma</i> by Canaro.<span></span></div>
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<br /></div>
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The Leader is like a wall coming at the Follower, lifting
and compressing. There is lots of
control and finessing. The Leader pushes
into the floor, tilts his ankles, and lifts his chest as he changes the embrace
to telescope out.<span></span></div>
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<br /></div>
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Qualities of Pitter Patter: tiny steps, weight is toward the
front ball of foot. Avoid changes in height by bending the knees. Imagine a silver dollar between your
thighs. The Leader lifts a little and
stays off his heels at the point of Pitter Patter. Helpful signals include suspension, lift and
compression. The Follower has to hug
back and create a little bit of lift.
This step is like the Bandoneon, or Tango Accordion.<span></span></div>
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<br /></div>
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<b>Chapter 2 – Leader Goes,
Follower Goes<span></span></b></div>
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We did this in more of a regular size step (not a tiny step
like the Pitter Patter). <span></span></div>
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First, maestros began with a visual demonstration of the
concept to show us what we would work on in class, dancing to <i>Vibraciones Del Alma</i>.<span></span></div>
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<br /></div>
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For the Leader Goes, Follower Goes, we can do it in a line, forward
and backward, but the Follower may be fearful of stepping into the Leader.<span></span></div>
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<br /></div>
<div class="MsoNormal">
We practiced in solo,
walking forward, to feel what the step should feel like. We rolled
through the back and front forward foot, then attacked on the actual
step (with only about 25% weight on that foot).</div>
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We also tried this backwards, attacking back with little weight, then rolling through.</div>
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<br /></div>
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In the embrace, for the Leader’s embrace and body, the
Leader telescopes, sending ad stopping with a little bit of down energy
(instead of up energy, as we did in the Pitter Patter). Leader leads Follower to take the initial
step, but doesn’t allow her to collect.
Leader rolls. <span></span>The Follower’s step is not super long, it is more of a medium size step.</div>
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<br /></div>
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Qualities: Down
energy. Create a feeling of a larger, more medium step. Time it so the
Follower steps less than 25% of the way, just past the beginning of the
step. There is telescoping in the embrace. The Leader also uses his
breath.</div>
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<br /></div>
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We drilled this to <i>Yo
No Se Que Me Han Hecho Tus Ochos</i>.<span></span></div>
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<br /></div>
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This step is not everyone’s cup of tea, as it is a slinky
type of walk.</div>
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<br /></div>
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<b>What are the differences between Chapter 1 (Pitter Patter)
and Chapter 2 (He Goes, She Goes)?</b><span></span></div>
<div class="MsoNormal">
Pitter Patter trajectory of energy is up; He Goes, She Goes,
trajectory of energy is down.<span></span></div>
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Both have compression and can have telescoping.<span></span></div>
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Both should feel very stable. <span></span></div>
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<br /></div>
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The easiest embrace to do these are somewhat open. Use the concept of rebounding, where the
Leader sends the Follower and collapses the embrace a little, the Leader goes
back a little, and freezes the embrace to find a counterbalance.<span></span></div>
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<br /></div>
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We drilled, doing Pitter Patter (together and separate), He
Goes, She Goes (asynchronous walk), to <i>Vibraciones
Del Alma</i>.<span></span></div>
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<br /></div>
Maestros concluded with class quiz and a demo dance to <i>Cuando Estaba Enamorado</i> by Canaro.<br />
<br />
Notes courtesy of Anne at <a href="http://scoutingtour.blogspot.com/">http://scoutingtour.blogspot.com</a><br />
TangoStudenthttp://www.blogger.com/profile/15276818586883837436noreply@blogger.com0tag:blogger.com,1999:blog-1661245323794718142.post-55874112550573867612016-06-03T23:27:00.002-07:002016-06-03T23:27:21.721-07:00Colgada into Leg Wraps with Back Hook Exit (Advanced)Song: <i>Down </i>by Jason Walker<br />
Instructors: Homer & Cristina Ladas <br />
<a href="http://theorganictangoschool.org/">http://theorganictangoschool.org/</a><br />
England International Tango Festival <br />
May 29, 2016, Ardingly College, England<b style="mso-bidi-font-weight: normal;"> </b><br />
<br />
<b style="mso-bidi-font-weight: normal;">Exploring Colgadas</b><br />
<div class="MsoNormal">
We began with doing a back step over with no Colgada,
turning to the left of the Leader (counterclockwise), in open embrace using the
teapot embrace.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Leader captures the Follower’s back step whereby he gets
the inside arch of his left foot to her outside foot in her left foot back
step, then gets her to step over with her right foot.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We also tried this on the other side: Leader captures
Follower’s right foot back step by stepping inside the arch of his right foot,
so that she steps over with her left foot.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Leader uses pull energy as he leads Follower to go
around him in her turn.<span style="mso-spacerun: yes;"> </span>Follower uses
both sides of her embrace to remain connected with the Leader.<span style="mso-spacerun: yes;"> </span>The Follower will feel contact with the
Leader’s foot when he captures it.<span style="mso-spacerun: yes;"> </span>She
can cross in front, and then step over to step over as gracefully as
possible.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Next, we learned out to create counterbalance to be stable.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
At the point of our feet meeting, the Leader prevents the
Follower from stepping over.<span style="mso-spacerun: yes;"> </span>He steps in
so his feet are parallel.<span style="mso-spacerun: yes;"> </span>He then becomes
like a mountain (Mount Teapot) and the Follower hangs away.<span style="mso-spacerun: yes;"> </span>The exit is a side step together.<span style="mso-spacerun: yes;"> </span>The counterweight should feel like you are
both stable, so it is not a huge Colgada.<span style="mso-spacerun: yes;">
</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Leader sends the Follower away by leaning toward her a
bit, and then leaning back to create a stable counterbalance.<span style="mso-spacerun: yes;"> </span>Here we learned how to hold each other.<span style="mso-spacerun: yes;"> </span>If things aren’t going well, and the Follower
feels like she is falling, she can employ the Golden Parachute (put her foot
down).</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Follower can play with her right leg/foot as she is
strong on her left foot with the 4 corners of the feet pushing into the
floor.<span style="mso-spacerun: yes;"> </span>The Leader can get the Follower
to lift her heel off the floor by leaning back a bit more so he can sway or
pivot the Follower on her standing / supporting leg.<span style="mso-spacerun: yes;"> </span>Follower’s hips should be under, but she
should not sit.<span style="mso-spacerun: yes;"> </span>Follower should not open
her hips.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
How do we build trust?<span style="mso-spacerun: yes;">
</span>How do we initiate the Colgada?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Someone interrupts the Follower’s step.<span style="mso-spacerun: yes;"> </span>The Leader changes his body to create the
Colgada. <span style="mso-spacerun: yes;"> </span>The Leader interrupts the turn
at the Follower’s back step.<span style="mso-spacerun: yes;"> </span>The Leader
creates the off-axis orientation of the dancers by employing the Line of Power,
going from his back foot to his forward foot.<span style="mso-spacerun: yes;">
</span>He comes in and sends her back and she allows her body to keep going
back until the Leader counterbalances her weight.<span style="mso-spacerun: yes;"> </span>Follower should keep her hips back.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Some Followers are afraid to go back.<span style="mso-spacerun: yes;"> </span>She needs to trust the Leader and their
embrace.<span style="mso-spacerun: yes;"> </span>The Leader should not collapse
his left hand.<span style="mso-spacerun: yes;"> </span>We backed up to doing the
counterbalance exercise in sugar bowl embrace.<span style="mso-spacerun: yes;">
</span>Followers should be like tigers and really send their hips back.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">She Goes, He Goes</b></div>
<div class="MsoNormal">
If the Follower goes into Colgada, the Leader can step
through as well. This is the “She goes, he goes”.<span style="mso-spacerun: yes;"> </span>Leader steps forward with the Follower with
his inside foot after she does her Colgada.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Follower should have lots of pivot in her back step so
the Leader can easily capture that foot.<span style="mso-spacerun: yes;">
</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Leader steps over to the open side of the embrace.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
If things are going well, you can add the Baby Boy Gancho.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Baby Boy Gancho (from
left foot to left foot colgada)</b></div>
<div class="MsoNormal">
Leader’s left foot gancho after his right foot forward step
in the She Goes, He Goes, whereby he holds Follower so that she does not
completely change weight on her right foot forward step (so she is about 80% on
her right leg, 20% on her left leg) and Leader does a left foot back gancho
between her two legs after his right foot forward step.<span style="mso-spacerun: yes;"> </span>The Leader locks the Follower in place with
his left hand during his left foot gancho and he embrace changes so dancers are
closer.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Follower’s Boleo into
Spin (from right foot to right foot colgada)</b></div>
<div class="MsoNormal">
Spin (Hurricane) or Boleo into spin because of the nature of
the embrace.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In the process of the dance, be there, look at your partner,
do not look down but use your peripheral vision.<span style="mso-spacerun: yes;"> </span>Do not just be focused on the pattern/step. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Outside leg wrap</b></div>
<div class="MsoNormal">
After the Colgada, the Follower’s free right leg wraps
around the Leader’s left leg to hook behind her right foot against her left
foot.<span style="mso-spacerun: yes;"> </span>Here the Leader’s left thigh makes
contact with the Follower’s left thigh (“the thighs have eyes”).<span style="mso-spacerun: yes;"> </span>The Leader can lead this wrap by giving her
linear energy (Homer’s preference, forward-backward energy) or circular
energy.<span style="mso-spacerun: yes;"> </span>Follower can shape the wrapping
leg, trying to be as elegant as possible.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Maestros concluded with a class quiz and demo to Jason
Walker’s <i style="mso-bidi-font-style: normal;">Down</i>.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Notes courtesy of Anne at <a href="http://scoutingtour.blogspot.com/">http://scoutingtour.blogspot.com</a> </div>
<div class="MsoNormal">
<br /></div>
TangoStudenthttp://www.blogger.com/profile/15276818586883837436noreply@blogger.com0tag:blogger.com,1999:blog-1661245323794718142.post-66264087830947514562016-06-03T23:25:00.004-07:002016-06-03T23:25:51.909-07:00Four Corners of the Feet and How We Connect to the Floor (All Level)Instructors: Homer & Cristina Ladas <br />
<a href="http://theorganictangoschool.org/">http://theorganictangoschool.org/</a><br />
England International Tango Festival <br />
May 29, 2016, Ardingly College, England<br />
<br />
Cristina led the class first.
<br />
<div class="MsoNormal">
In bare feet, we stood with feet hip width apart, with our
feet parallel, making an “11” shape instead of in a turnout “V” or pigeon-toed
“A”.</div>
<div class="MsoNormal">
Spread your toes.</div>
<div class="MsoNormal">
Keep your hands by your side.</div>
<div class="MsoNormal">
Shoulders are down</div>
<div class="MsoNormal">
Get head up and back (not tilted forward).</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Look to your right. Hold.</div>
<div class="MsoNormal">
Roll left shoulder back gently.</div>
<div class="MsoNormal">
Look to the middle.</div>
<div class="MsoNormal">
Look to the left. Hold.</div>
<div class="MsoNormal">
Roll right shoulder back gently.</div>
<div class="MsoNormal">
Look to the middle.</div>
<div class="MsoNormal">
Try to touch your right ear to your right shoulder, and roll
your left shoulder forward three times.</div>
<div class="MsoNormal">
Head in center.</div>
<div class="MsoNormal">
Check your feet.<span style="mso-spacerun: yes;"> </span>Are
they still in the center?</div>
<div class="MsoNormal">
Try to touch your left ear to your left shoulder, and roll
your right shoulder forward three times.</div>
<div class="MsoNormal">
Head in center.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Pump knees softly as if they have hydraulics in hem.<span style="mso-spacerun: yes;"> </span>Roll knees forward and back.</div>
<div class="MsoNormal">
Notice how the weight goes down from one foot to the other,
front to back.</div>
<div class="MsoNormal">
Get everything to move: shoulders, hip joints, ankle joints.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Stand on the right leg, putting all the weight on your
right.<span style="mso-spacerun: yes;"> </span>Put weight on the ball of the
foot, pressing into the floor.</div>
<div class="MsoNormal">
Roll the wrists forward.</div>
<div class="MsoNormal">
Change weight.</div>
<div class="MsoNormal">
Stand on the left leg, putting all the weight on your
left.<span style="mso-spacerun: yes;"> </span>Put weight on the ball of the
foot, pressing into the floor.</div>
<div class="MsoNormal">
Roll the wrists forward.</div>
<div class="MsoNormal">
Shake it off/out.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
With feet still hip width apart, and the feet parallel in an
“11” or “H” shape.<span style="mso-spacerun: yes;"> </span>Shift the weight to
the front of the foot by flexing your arches.</div>
<div class="MsoNormal">
Gently shift the sternum to the heel/tailbone with the toes
lifting.<span style="mso-spacerun: yes;"> </span>Do not fall back.</div>
<div class="MsoNormal">
Move the weight back to the front.<span style="mso-spacerun: yes;"> </span>Wiggle your toes.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
When we dance, we try to keep our toes spread out.<span style="mso-spacerun: yes;"> </span>Do not curl them in.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Bring the sternum to the middle of your two feet (the
arches).</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Each foot has 4 corners: 2 in the front toward the ball and
2 in the back toward the heel.<span style="mso-spacerun: yes;"> </span>These
four corners are like suction cups, whereby they push down to get a pulling up,
without locking, to create length in the body.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Put the left foot on top of the right foot.</div>
<div class="MsoNormal">
Hold arms out as if holding a big bowl of fish, with your
elbows in.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Change the weight to the right leg, imagining that the right
leg is a big tree trunk. Active the right leg by pushing down on the 4 corners
of your feet and turning on the suction cups, but try to create length by
pulling up. Imagine the right thigh is turning in.<span style="mso-spacerun: yes;"> </span>The belly button wants to go back to your
spine. This turns on the lower belly muscles.</div>
<div class="MsoNormal">
Hold out your arms as if holding a fishbowl, gently rolling
your arms out. This turns on the lats.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Really feel the back of your neck trying to stay long.</div>
<div class="MsoNormal">
Keep squeezing your inner thighs to turn on the lower belly
muscles.</div>
<div class="MsoNormal">
This turns on our core and back muscles without tightening
or locking them.<span style="mso-spacerun: yes;"> </span>Do not pike back or
lean forward.</div>
<div class="MsoNormal">
Shake off right leg.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Put the right foot on top of the left foot.</div>
<div class="MsoNormal">
Hold arms out as if holding a big bowl of fish, with your
elbows in.</div>
<div class="MsoNormal">
Active the left leg by pushing down on the 4 corners of your
feet and turning on the suction cups, but try to create length by pulling up.
Imagine the left thigh is turning in.<span style="mso-spacerun: yes;">
</span>The belly button wants to go back to your spine. This turns on the lower
belly muscles.</div>
<div class="MsoNormal">
Hold out your arms as if holding a fishbowl, gently rolling
your arms out. This turns on the lats.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Really feel the back of your neck trying to stay long.</div>
<div class="MsoNormal">
Keep squeezing your inner thighs.</div>
<div class="MsoNormal">
This turns on our core and back muscles without tightening
or locking them.<span style="mso-spacerun: yes;"> </span>Do not pike back or
lean forward.</div>
<div class="MsoNormal">
Shake off left leg.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Now we can start moving.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Reaching Game</div>
<div class="MsoNormal">
Both legs are working, but doing different things, using
different muscles.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Activate the right leg.</div>
<div class="MsoNormal">
Get the left leg to come in as if the inner thighs have
magnets and they are trying to meet.<span style="mso-spacerun: yes;"> </span>The
left leg is like a pendulum, hanging long.</div>
<div class="MsoNormal">
Push with the right leg/foot into the floor.</div>
<div class="MsoNormal">
Reach with your left foot.<span style="mso-spacerun: yes;">
</span>The leg bones should really point forward.</div>
<div class="MsoNormal">
Push with your right leg.</div>
<div class="MsoNormal">
Turn on your inner thigh magnets as the thigh pulls back in
collection.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Do the same with the left leg on the floor and right leg reaches
forward.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
Do not lock anything.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Next, activate the right leg and the left leg reaches to the
side.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
Think of the opposing energy to keep the body stable and to
create length with the right leg.<span style="mso-spacerun: yes;"> </span>Keep a
long line on your standing leg.<span style="mso-spacerun: yes;"> </span>Be
fluid.<span style="mso-spacerun: yes;"> </span>Breathe.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Do the same on your left leg, with your right leg reaching
to the side.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Next, active the right leg and reach back with the left
leg.<span style="mso-spacerun: yes;"> </span>The foot can be straight or turned
out, but not turned in.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Do the same with the left leg with reaching back with the
right leg.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Next, we were to take two steps forward and 2 steps to the
side.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Active the right leg.<span style="mso-spacerun: yes;">
</span></div>
<div class="MsoNormal">
Reach forward with the left leg. </div>
<div class="MsoNormal">
Start rolling slowly from the back 2 corners of the right
foot to the middle, then to the arch to transfer the weight.</div>
<div class="MsoNormal">
Activate the left leg.</div>
<div class="MsoNormal">
Turn on your inner thigh magnets.</div>
<div class="MsoNormal">
Activate the left leg, etc.</div>
<div class="MsoNormal">
Activate the right leg as we reach to the left.<span style="mso-spacerun: yes;"> </span>Use all of the right foot from the outside to
the inside as you roll toward the center of the left foot.<span style="mso-spacerun: yes;"> </span>Turn on inner thigh magnets to collect.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Active the right foot.</div>
<div class="MsoNormal">
Reach back with the left foot.</div>
<div class="MsoNormal">
From the front of foot, start to roll the weight by pushing
back.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The other foot starts to receive the weight.</div>
<div class="MsoNormal">
Active the 4 corners of your feet.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
Roll through.</div>
<div class="MsoNormal">
Active your thigh magnets to collect.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Homer then joined in the teaching.</div>
<div class="MsoNormal">
In partnership, we did the statue exercise.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here, one person is still on one foot, while the other
person gently pushes against him with one palm in various locations using
consistent pressure – the middle of his upper chest, the side of his arm, at
his hip, etc.<span style="mso-spacerun: yes;"> </span>The person remains stable
by pushing against the person pushing him.<span style="mso-spacerun: yes;">
</span>Do this slowly to allow the person being pushed enough time to
recover.<span style="mso-spacerun: yes;"> </span>Each time the person creates
resistance, he should think about squeezing his inner thighs, as it immediately
turns on core engagement.<span style="mso-spacerun: yes;"> </span>Have a long
neck. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Next, in partnership, we built on this exercise, where one
person walks back while the other person has his palm to that person’s chest
and pushes them back with consistent pressure to walk back.<span style="mso-spacerun: yes;"> </span>The same person walks forward with the person
in back pushing him with his palm.<span style="mso-spacerun: yes;"> </span>We
also did this walking to the side, both left and right.<span style="mso-spacerun: yes;"> </span>The recipient of the push always opposes the
direction of the movement by using his core muscles, his inner thighs, and the
4 corners of his feet.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Note that the lead comes from the earth first, and so we
need to become aware of how we relate to the floor.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Be very limited with what we lead or follow.<span style="mso-spacerun: yes;"> </span>We need energy and space to lead and
follow.<span style="mso-spacerun: yes;"> </span>Using psychological energy and
presence.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In no embrace, we did a lead – follow exercise just doing
very simple steps of walking forward, backward, side steps and weight
changes.<span style="mso-spacerun: yes;"> </span>Both people took turns at
leading and following their partner. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We were to be active in activating our leg and proposing the
direction.<span style="mso-spacerun: yes;"> </span>Do not have/make sudden
movements.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Next, we put our shoes on.</div>
<div class="MsoNormal">
In partnership, but still not touching and without an
embrace, we were to do the lead-follow exercise, but also include simple things
like turning, ochos, paradas, pivoting, and turns/hiros/molinetes.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Follower should not look at the Leader’s chest as it
changes her posture.<span style="mso-spacerun: yes;"> </span>She will get more
information by keeping her head up as she will have more in her field of
peripheral vision.<span style="mso-spacerun: yes;"> </span>Leaders and Followers
should not look at their feet.<span style="mso-spacerun: yes;"> </span>To have
psychological presence, and to be there for each other, you should look at the
whole person.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Next, we played the Capture the Moon game</div>
<div class="MsoNormal">
The Leader is the Earth and the Follower is the Moon.<span style="mso-spacerun: yes;"> </span>The Leader (Earth) walks forward in small
steps, and sends the Follower out around him as the Moon. <span style="mso-spacerun: yes;"> </span>As the Moon orbits around the Earth, the
Follower does hiro/turn steps.<span style="mso-spacerun: yes;"> </span>The
Leader stops her by capturing her in a snap back on her side step.<span style="mso-spacerun: yes;"> </span>Then he reverses her in the opposite
direction.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Leader can capture two ways:</div>
(1) Dramatically,
by using his body.<br />
(2) Subtly,
by using his eyes only.
<br />
<div class="MsoNormal">
We were to practice this by orbiting twice in one direction,
Leader capturing Follower and sending her back in the other direction and the
Moon orbiting twice from there.<span style="mso-spacerun: yes;"> </span>After
the Leader captures the Follower twice, the Moon can become the Earth (they
switch Leader/Follower roles).<span style="mso-spacerun: yes;"> </span>The Earth
should take small steps so the Moon can go around him doing her turn steps
without difficulty.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Leader captures the Moon by turning his shoulders to the
left or the right to send out the Moon, then snapping back and start walking
forward.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We explored the practical application of this exercise,
still with no embrace.</div>
<div class="MsoNormal">
From a side step, how can the Leader lead the Follower to
take a forward step or a back step?<span style="mso-spacerun: yes;"> </span>(aka,
How to Start Turns or Creating and Blocking Space)<span style="mso-spacerun: yes;"> </span>By tilting his axis.<span style="mso-spacerun: yes;"> </span>By going away, he invites her to step forward
and the focus is on his axis.<span style="mso-spacerun: yes;"> </span>By going forward
toward her, he blocks the space so she goes back and the focus is on her axis
as she does her ocho step.<span style="mso-spacerun: yes;"> </span>The Leader
tilts the axis by using his feet.<span style="mso-spacerun: yes;"> </span>We
explored this idea via the Capture the Moon game, still in no embrace.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Next, we did this exercise using the embrace. The Leader was
to focus on his axis.<span style="mso-spacerun: yes;"> </span>Remember to use
the 4 corners of the feet, inner thigh magnets, and axis tilt. Capture the
Moon. Dance simply. Focus on the music. We should be in tune with each
other.<span style="mso-spacerun: yes;"> </span>Because we did not use our
hands/embrace previously, it sharpened our senses and awareness of each other.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
There is no such thing as a Free Leg as we still use muscles
to create articulation.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Maestros concluded with a class quiz and short demo.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Notes courtesy of Anne at <a href="http://scoutingtour.blogspot.com/">http://scoutingtour.blogspot.com</a><br />
</div>
<div class="MsoNormal">
</div>
TangoStudenthttp://www.blogger.com/profile/15276818586883837436noreply@blogger.com0tag:blogger.com,1999:blog-1661245323794718142.post-46103257861658115762016-06-03T23:25:00.001-07:002016-06-03T23:25:18.304-07:00Theory and Technique of Alterations with Front Boleos (Beyond Intermediate)Song: <i>All of Me</i> by Ray Boudreaux <br />
Instructors: Homer & Cristina Ladas <br />
<a href="http://theorganictangoschool.org/">http://theorganictangoschool.org/</a><br />
England International Tango Festival <br />
May 29, 2016, Ardingly College, England<br />
<br />
We began by first getting our legs ready to do Boleos.<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Stage 1</div>
<div class="MsoNormal">
First, our free leg goes across in front of the outside of
the other leg, with our feet making an “A” shape.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Stage 2</div>
<div class="MsoNormal">
Next, we were to strike our feet like a kitchen match,
making a straight boleo or a more turned out one. Putting energy into he floor
and using our hips to rotate.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Stage 3</div>
<div class="MsoNormal">
We can lift our thighs a little bit to clear the other thing
to get the “thwack” sound, a snapping noise.<span style="mso-spacerun: yes;">
</span>We do this by lifting at the thigh as you strike the kitchen match.</div>
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<br /></div>
<div class="MsoNormal">
EXIT SHAPES:</div>
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(1) Back
to floor with feet</div>
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<![endif]-->aress leg and then back down the other side.
<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Exercise:</div>
<div class="MsoNormal">
Open embrace technique doing turns to get us warmed up and
connected</div>
<div class="MsoNormal">
Capture the Moon</div>
<div class="MsoNormal">
Follower takes long reaching steps around the Leader.<span style="mso-spacerun: yes;"> </span>Both dancers keep their head up.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
Make 1 change in axis.<span style="mso-spacerun: yes;">
</span></div>
<div class="MsoNormal">
Follower is the Moon.</div>
<div class="MsoNormal">
Leader is the Earth.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Leader takes step with partner to establish the new center
of the earth.<span style="mso-spacerun: yes;"> </span>Then he changes the direction
of the turn.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Follower:<span style="mso-spacerun: yes;"> </span>there is no
ocho in the change of direction, just a step forward (or step backward).</div>
<div class="MsoNormal">
Capture the Moon</div>
<div class="MsoNormal">
Change the Axis</div>
<div class="MsoNormal">
Change the orientation of the orbit</div>
<div class="MsoNormal">
The Leader can capture all three steps of the Follower
(forward, side, back).<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
The Leader makes just one step to capture the Moon.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Next game</b>:
Follower calls out 2 steps and the Leader has to capture her on the first step,
using the second step that she calls out. So, </div>
<div class="MsoNormal">
1<sup>st</sup> step: her step where Moon is captured</div>
<div class="MsoNormal">
2<sup>nd</sup> step: his step that he takes to capture the
Moon</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Examples: forward, back; back, forward; side, forward; side,
back; back, side; forward, forward, etc.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We added the embrace at this point.</div>
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<br /></div>
<div class="MsoNormal">
The Leader can block the Follower with the embrace to block
the A.O.R. (automatic ocho reflex).<span style="mso-spacerun: yes;"> </span>We
want to avoid the A.O.R. because another possibility exists other than the
ocho: that is, the alteration.</div>
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<br /></div>
<div class="MsoNormal">
The drawback of the embrace is it is harder to capture some
steps (like back to back).</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
From the turn/hiro/molinete, the Follower should do good
open embrace turn technique, and all slow steps (no automatic QQ on the back,
side step).</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Next, we were to add spice.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Alterations are like tango slingshots that help us to
navigate on the dance floor.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
When the Leader captures the moon, he gets close to her.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
1<sup>st</sup> alteration: Follower Forward step, Leader
Side step.<span style="mso-spacerun: yes;"> </span>The Leader steps in front of
the Follower’s foot, then collects.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The pattern is the cadena, or chain or link.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Leader captures the Moon on her forward step by stepping
in front of her foot to block her, then do the alteration by sending her in the
other direction.<span style="mso-spacerun: yes;"> </span>The Leader’s energy is
he is leading a turn, then interrupting it, and then leading a turn again.<span style="mso-spacerun: yes;"> </span>Keep this in the line of dance.<span style="mso-spacerun: yes;"> </span>The turn is going clockwise.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Follower’s left foot forward step, Leader blocks this step
with a left foot side step. Follower goes right foot back as her body is sent
back like a slingshot, Follower does side step and right foot forward step in a
clockwise turn, where the Leader can do a right foot sacada of Follower’s
trailing left foot, powering the Follower’s big pivot, at with the Leader can
lead a left foot boleo to the outside of Follower’s right standing leg.<span style="mso-spacerun: yes;"> </span>Then he can link this and do the pattern all
over again (starting with Follower’s left foot forward step).</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
For every transition/alteration, there is a change in the
embrace, but do not completely let it go.<span style="mso-spacerun: yes;">
</span>Be elastic, but remain engaged in the embrace.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Followers hips are ocho factories, amplifying the spiral
rotation of the Leader by at least 3x.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Since the Moon can make three steps (forward, back, side)
and the Earth cane make three steps (forward, back, side), there are 9
possibilities on each side, so 18 possible different types of alterations.<span style="mso-spacerun: yes;"> </span>We can play with each permutation.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Meastros concluded with a class quiz and a demo to Ray
Boudreaux’s <i style="mso-bidi-font-style: normal;">All of Me</i>.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Notes courtesy of Anne at <a href="http://scoutingtour.blogspot.com/">http://scoutingtour.blogspot.com</a></div>
<div class="MsoNormal">
<br /></div>
TangoStudenthttp://www.blogger.com/profile/15276818586883837436noreply@blogger.com0tag:blogger.com,1999:blog-1661245323794718142.post-7750988243668628062016-06-03T23:24:00.005-07:002016-06-04T14:24:02.286-07:00Adding A Nuevo Flavor To Your Dance (Intermediate)Song: <i>Beautiful Tango </i>by Hindi Zahra<br />
Instructors: Homer & Cristina Ladas <br />
<a href="http://theorganictangoschool.org/">http://theorganictangoschool.org/</a><br />
England International Tango Festival <br />
May 28, 2016, Ardingly College, England<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/_kgfxKwL8wI" width="560"></iframe><br />
<br />
Our work began with the most subtle wraps in tango, which
Maestros have dubbed “The Ismael Wrap”.<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This wrap is a nice surprise for the Follower.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We began standing with split weight facing forward. We then
pivoted forward and then the other way to feel what this felt like to still be
at split weight while pivoting.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In partnership, we walked together, and the Leader led the
Follower to do a right leg wrap of the Leader’s right leg on her left foot back
step.<span style="mso-spacerun: yes;"> </span>He did this by settling on his
left, then step past the Follower’s forward leg, in a deep step so that his
right foot heel is behind the Follower’s right foot heel, then twisting his
body to the open side of the embrace.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Note here that his left leg is free to come up, and he
twists the other way to lead the Follower to wrap that leg with her same right
wrapping leg.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Follower feels the presence of the Leader’s left leg.
The Leader slowly settles the Follower on her left foot.<span style="mso-spacerun: yes;"> </span>She feels his twist, which is the invitation
to wrap, of first the Leader’s left leg, and then he changes weight so that his
left leg is free.<span style="mso-spacerun: yes;"> </span>He then lifts this
free left leg and invites the Follower to wrap it with her same right leg.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Then he can invite her to wrap again his original left leg
(so do 3 wraps in a row).</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The lead is the Leader squeezing his thighs together.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The lead for the third wrap is the Leader bringing the
Follower’s right foot back with<span style="mso-spacerun: yes;"> </span>his left
leg.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Follower should emulate a tiger in being very grounded
when doing these wraps.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In the first wrap, the Follower will feel the Leader’s lead
with his spine and rotation in it and he will lift his knee.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The second wrap is done with the Leader’s joint manipulation
and surrounding the Follower’s thigh, so she wraps.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Then he sends the Follower’s leg back immediately back out
to the third wrap as he steps back down and slightly back.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Leader squeezes the Follower’s thigh from the first to
second wrap.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Follower’s goal is to Follow the articulation of the
Leader’s leg.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
If these wraps are easy, try the other side.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The exit after the Leader steps down and back with his left
foot is a left foot forward step (so his left foot stepping down is a touch
step, not a complete weight change step as he will step forward with that same
left foot afterwards – so his weight is on his right foot the whole time).</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Part B</div>
<div class="MsoNormal">
Returning to the 1<sup>st</sup> idea of the split-weight
pivot.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Leader gets into the cross system way of walking in
close embrace by doing a sneak attack weight change, then Leader walks inside
and around the Follower starting with his right foot forward to Follower’s
right foot back step, then transitioning into an open embrace as he does a left
foot cowboy side step around the left foot of the Follower. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here the Leader stops the Follower just before the middle of
her weight change as he cowboy side steps around her, and she pivots on her
right foot into her left leg wrap as she transfers the weight.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Leader is in Captain Morgan stance with his left,
whereby his heel is off the ground and his knee can swing both ways, in and
out.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Follower’s outside wraps with her left leg around the
Leader’s right leg on his left foot side step around the Follower as he
transfers her weight and rotates his chest and does the Captain Morgan stance
of his right leg.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
There are two exits from this wrap, which is basically a
Follower’s forward boleo:</div>
(1) Follower
collects.<br />
(2) Follower’s
knee goes up and then slides back down so that feet collect.<span style="mso-spacerun: yes;"> </span><br />
<br />
In either exit, the Follower needs to commit to it, and she
needs to collect with either exit.<br />
<br />
We then had a class quiz followed by Maestros’ demo to Hindi
Zahra’s <i style="mso-bidi-font-style: normal;">Beautiful Tango</i>.<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Notes courtesy of Anne at <a href="http://scoutingtour.blogspot.com/">http://scoutingtour.blogspot.com</a></div>
<div class="MsoNormal">
<br /></div>
TangoStudenthttp://www.blogger.com/profile/15276818586883837436noreply@blogger.com0tag:blogger.com,1999:blog-1661245323794718142.post-33559975785591158452016-06-03T23:24:00.003-07:002016-06-03T23:28:04.578-07:00Sustained Volcadas Explored & Expanded (Beyond Intermediates)Song: <i>Falling Slowly</i> by Glen Hansard and Marketa Irglova<br />
Instructors: Homer & Cristina Ladas <br />
<a href="http://theorganictangoschool.org/">http://theorganictangoschool.org/</a><br />
England International Tango Festival <br />
May 30, 2016, Ardingly College, England<br />
<br />
Since it is really important in Volcadas to make the
Follower feel comfortable, we began with hugging each other, one arm on top,
other arm on the bottom so arms are in an X pattern.<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Leader and Follower side step to put the Follower on one
leg.</div>
<div class="MsoNormal">
Leader engages a bigger hug with a bit of lift from his rib
cage (not just his arms)</div>
<div class="MsoNormal">
Follower pushes down with her shoulder blades as if trying
to get out of a swimming pool: pushing down to lift up.</div>
<div class="MsoNormal">
Leader takes a few steps back</div>
<div class="MsoNormal">
Leader and Follower breathe with intention (check that hug
is still engaged)</div>
<div class="MsoNormal">
Follower pushes down with her standing leg, but her knee is
still soft, with hug engaged and still pushing down with her shoulder blades,
using her lats to protect her back. She should use the whole fit to create a
very strong line from her standing supporting foot to her opposite shoulder.</div>
<div class="MsoNormal">
Leader walks forward.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
There are two characteristics of Volcadas that change with
the Sustained Volcada:</div>
<div class="MsoNormal">
(1) Leader
is always tilted forward (Leader is straight in sustained)</div>
(2) Leader does not change height (Leader changes height in sustained)
<br />
<div class="MsoNormal">
In Sustained Volcadas:</div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l0 level1 lfo2; text-indent: -.25in;">
(1) Leader is not always forwardly intended (he is at times vertical)</div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l0 level1 lfo2; text-indent: -.25in;">
<span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;"> (2)<span style="font: 7.0pt "Times New Roman";"> </span></span></span>The
Leader’s height changes to get into and out of the sustained volcada</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Sustained Volcada is a more advanced concept where the
Follower is at split weight and her legs go out in an inverted Y and Leader
drives Follower across the floor. <span style="mso-spacerun: yes;"> </span>Leader
goes down, and does not lean toward Follower. Leader uses power of his legs to maintain
weight. The Follower moves through space easier this way. Follower goes into
split movement with both feet on the floor.<span style="mso-spacerun: yes;">
</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Example:</div>
<div class="MsoNormal">
In the Standard Volcada hug, Leader and Follower do side
steps, Leader walks back a few steps, then walks right foot forward, driving
the Follower’s free leg back into a forward cross of her left foot over her
right foot.</div>
<div class="MsoNormal">
We drilled the standard volcada.</div>
<div class="MsoNormal">
The Follower needs to really engage to protect her body.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In the Sustained Volcada, the Leader and Follower do side
steps.<span style="mso-spacerun: yes;"> </span>The Leader is upright with no
forward tilt.<span style="mso-spacerun: yes;"> </span>He hugs and slightly lifts
the Follower. The Leader steps back and goes down a little bit in height by
bending his knees (NOT by bending at the waist).<span style="mso-spacerun: yes;"> </span>The Follower’s left leg starts to have weight
(it is not completely free) as both Leader and Follower axis are vertical.<span style="mso-spacerun: yes;"> </span>Leader and Follower spines are vertical.<span style="mso-spacerun: yes;"> </span>Both Follower’s legs are working as she
paints the floor.<span style="mso-spacerun: yes;"> </span>She needs to zip up
her middle throughout.<span style="mso-spacerun: yes;"> </span>As Leader walks
backward, but comes up, and Follower feels this change in height, her legs come
together in collection.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Note that Leader remains vertical the entire time.<span style="mso-spacerun: yes;"> </span>We can move this in any direction and on any
step.<span style="mso-spacerun: yes;"> </span>Leader should be consistent with
his hug and suspension of Follower.</div>
<div class="MsoNormal">
Leader and Follower should be close and vertical the entire
time.</div>
<div class="MsoNormal">
Follower should have more hold rather than less hold.</div>
<div class="MsoNormal">
Follower uses her inner thigh muscles to collect.</div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
Follower:<span style="mso-spacerun: yes;"> </span>There are 2
activations.</div>
<div class="MsoNormal">
The right leg, then the right leg and left leg are both
activated in the split.<span style="mso-spacerun: yes;"> </span>All inner leg
muscles and core muscles are turned on.<span style="mso-spacerun: yes;">
</span>She should press against the floor to create a zipping up sensation.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Leader’s height goes down as he walks in a tangent, and
when he exits, he goes back up.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In all volcadas, the Follower’s technique should be that she
presses down to lift herself up.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We drilled doing this from the Follower’s hook behind (right
foot), going into a sustained volcada, back into the cross.<span style="mso-spacerun: yes;"> </span>We also switched going from one form to the
other (Standard versus Stained).</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
There are two ways to start the sustained volcada: from<a href="https://www.blogger.com/null" name="_GoBack"></a> the Follower’s right foot hook behind, or from a rock step.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Next, we worked on the <b style="mso-bidi-font-weight: normal;">Funny
Volcada</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Funny Volcada is still a standard volcada because there
is still lean and the Leader does not change height.</div>
<div class="MsoNormal">
Maestros showed us what it looks like. </div>
<div class="MsoNormal">
The Follower falls sideways instead of forward.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
On the close side of the embrace, the Follower is on her
outside right foot and her inside left foot is free and embellishing.<span style="mso-spacerun: yes;"> </span>This move can be made small or big depending
on how far way the Leader steps around the Follower.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The entrance/setup is from the Follower’s right foot back
ocho step, which the Leader uses a right foot side step to catch. The Leader
settles the Follower on her right foot when he is on his right foot.</div>
<div class="MsoNormal">
<br /></div>
<table border="0" cellpadding="0" cellspacing="0" class="MsoNormalTable" style="border-collapse: collapse; margin-left: 4.65pt; mso-padding-alt: 0in 5.4pt 0in 5.4pt; mso-table-layout-alt: fixed; mso-yfti-tbllook: 1184; width: 577px;">
<tbody>
<tr style="height: 15.0pt; mso-yfti-firstrow: yes; mso-yfti-irow: 0;">
<td nowrap="" style="height: 15.0pt; padding: 0in 5.4pt 0in 5.4pt; width: 221.25pt;" valign="top" width="295"><div class="MsoNormal" style="margin-right: -30.3pt;">
<b><span style="color: black; font-family: "calibri" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Leader's footwork</span></b></div>
</td>
<td nowrap="" style="height: 15.0pt; padding: 0in 5.4pt 0in 5.4pt; width: 20.1pt;" valign="top" width="27"><br /></td>
<td nowrap="" style="height: 15.0pt; padding: 0in 5.4pt 0in 5.4pt; width: 191.4pt;" valign="top" width="255"><div class="MsoNormal" style="margin-right: -30.3pt;">
<b><span style="color: black; font-family: "calibri" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Follower's footwork</span></b></div>
</td>
</tr>
<tr style="height: 30.0pt; mso-yfti-irow: 1;">
<td style="height: 30.0pt; padding: 0in 5.4pt 0in 5.4pt; width: 221.25pt;" valign="top" width="295"><div class="MsoNormal" style="margin-right: -30.3pt;">
<span style="color: black; font-family: "calibri" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Left foot forward on close side</span></div>
</td>
<td style="height: 30.0pt; padding: 0in 5.4pt 0in 5.4pt; width: 20.1pt;" valign="top" width="27"><br /></td>
<td style="height: 30.0pt; padding: 0in 5.4pt 0in 5.4pt; width: 191.4pt;" valign="top" width="255"><div class="MsoNormal" style="margin-right: -30.3pt;">
<span style="color: black; font-family: "calibri" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Left foot back</span></div>
</td>
</tr>
<tr style="height: 30.0pt; mso-yfti-irow: 2;">
<td style="height: 30.0pt; padding: 0in 5.4pt 0in 5.4pt; width: 221.25pt;" valign="top" width="295"><div class="MsoNormal" style="margin-right: -30.3pt;">
<span style="color: black; font-family: "calibri" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Right foot side</span></div>
</td>
<td style="height: 30.0pt; padding: 0in 5.4pt 0in 5.4pt; width: 20.1pt;" valign="top" width="27"><br /></td>
<td style="height: 30.0pt; padding: 0in 5.4pt 0in 5.4pt; width: 191.4pt;" valign="top" width="255"><div class="MsoNormal" style="margin-right: -30.3pt;">
<span style="color: black; font-family: "calibri" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Right foot cross (back ocho)</span></div>
</td>
</tr>
<tr style="height: 45.0pt; mso-yfti-irow: 3;">
<td style="height: 45.0pt; padding: 0in 5.4pt 0in 5.4pt; width: 221.25pt;" valign="top" width="295"><div class="MsoNormal" style="margin-right: -30.3pt;">
<span style="color: black; font-family: "calibri" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Turn partner as if calesita, but off axis</span></div>
</td>
<td style="height: 45.0pt; padding: 0in 5.4pt 0in 5.4pt; width: 20.1pt;" valign="top" width="27"><br /></td>
<td style="height: 45.0pt; padding: 0in 5.4pt 0in 5.4pt; width: 191.4pt;" valign="top" width="255"><div class="MsoNormal" style="margin-right: -30.3pt;">
<span style="color: black; font-family: "calibri" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Remain on right foot as Leader walks backward
around (left foot is free)</span></div>
</td>
</tr>
<tr style="height: 30.0pt; mso-yfti-irow: 4; mso-yfti-lastrow: yes;">
<td style="height: 30.0pt; padding: 0in 5.4pt 0in 5.4pt; width: 221.25pt;" valign="top" width="295"><div class="MsoNormal" style="margin-right: -30.3pt;">
<span style="color: black; font-family: "calibri" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Walk backward around Follower</span></div>
</td>
<td style="height: 30.0pt; padding: 0in 5.4pt 0in 5.4pt; width: 20.1pt;" valign="top" width="27"><br /></td>
<td style="height: 30.0pt; padding: 0in 5.4pt 0in 5.4pt; width: 191.4pt;" valign="top" width="255"><div class="MsoNormal" style="margin-right: -30.3pt;">
<span style="color: black; font-family: "calibri" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Left foot embellishes</span></div>
</td>
</tr>
</tbody></table>
<div class="MsoNormal">
Keep this in the line of dance when going in and coming out.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Leader: Do not squeeze too much as you walk around backward.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">TIPS:</b></div>
<div class="MsoNormal">
Follower: Completely arrive on your right foot back step
with confidence.<span style="mso-spacerun: yes;"> </span>Be sure the standing supporting
leg is strong and stable.<span style="mso-spacerun: yes;"> </span>As you pivot,
do not go up or be on the ball of your foot.<span style="mso-spacerun: yes;">
</span>Be sure you have control of your spine.<span style="mso-spacerun: yes;">
</span>You can flex through the ankle so you don’t have to be so high, because
it becomes more difficult to manage your spine.<span style="mso-spacerun: yes;">
</span>Don’t lift the heel too high; it can just caress the floor.<span style="mso-spacerun: yes;"> </span>There is no need to be on your toes, and it
will make this more difficult.<span style="mso-spacerun: yes;"> </span>Do not
pivot on your toes; pivot on the ball of your foot.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In the Funny Volcada, the dancers are at right angle,
perpendicular to each other.<span style="mso-spacerun: yes;"> </span>The Leader
walks around the Follower’s right foot.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Leader’s step needs to be near the Follower’s right back
foot so that he can be close enough to walk around her without making her/them
compromise their posture.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
If you are able to do this and are getting bored, try this
on the other side.<span style="mso-spacerun: yes;"> </span>The open side is the
hard side and the Leader needs to have a more flexible embrace.<span style="mso-spacerun: yes;"> </span>It is small and challenging on this
side.<span style="mso-spacerun: yes;"> </span>Follower will be on her left foot
and her right leg/foot is free and embellishing.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In stepping around the Follower, the Leader should start by
making 3 back steps around the Follower starting with his left foot, then
getting out with a side step right to exit.<span style="mso-spacerun: yes;">
</span>He could add more steps as he walks around the Follower, but the needed
to be odd numbered (5, 7, 9, etc.), and always respecting the line of dance.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
So his three (or any odd number) back steps and exit are:</div>
<div class="MsoNormal">
Back Left</div>
<div class="MsoNormal">
Back Right</div>
<div class="MsoNormal">
Back Left</div>
<div class="MsoNormal">
Side Step Right</div>
<div class="MsoNormal">
To exit (Follower pivots)</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The preparation for the Volcada is in the embrace, where the
Leader hugs and lifts, and the Follower compresses as if getting out of a
swimming pool (pressing down to push up).</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Leader’s step needs to be near the Follower’s standing
foot.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Follower’s body needs to be straight (not bent in a
weird way).</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Follower falls completely sideways in the Funny Volcada,
and needs to have a very strong line across her body from her right leg to her
left shoulder, and again using the swimming pool compression: pressing down to
push up.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
During the volcada, the Follower’s free embellishing foot
should always collect at the conclusion so that she doesn’t hit the Leader’s
foot.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We drilled this with the Leader making a sustained odd number
(7, 9, 11, etc.) of steps around the Follower, giving time to the Follower to
practice her embellishments.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We were to talk to each other during our drilling, with
Leaders asking if he is lifting her too much and Follower asking if she is not
lifting enough (pressing down to push up).</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Funny Volcada tip:<span style="mso-spacerun: yes;">
</span>Leader is leaning slightly toward the Follower and does not go down.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Adding the Sustained
Volcada after the Funny Volcada</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We drilled this going from the Funny Volcada on the close
side, into the Follower’s Sustained (split linear) Volcada.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Leader transitions from a circular (during the Funny
Volcada) to linear (in the Sustained/Extended Volcada), as he is first walking
around the Follower (Funny Volcada; Follower’s free leg embellishes), and then
walking away from the Follower (Sustained Volcada; Follower is at split weight
and both legs are straight).<span style="mso-spacerun: yes;"> </span>So the
Leader first walks circularly, and then linearly, tangent to the circle.<span style="mso-spacerun: yes;"> </span>The Follower’s free leg always tracks the
Leader, whether he is doing a circular or linear walk, so as they go from the
Funny to Sustained Volcada, her leg goes from inside in front of him to outside
of him on the close side of the embrace.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
As the Leader comes up, that is the signal for the Follower
to collect. The Follower collects before going out.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Maestros concluded with a class review and demo to Glen
Hansard and Marketa Irglova’s <i style="mso-bidi-font-style: normal;">Falling
Slowly </i>(from the motion picture<i style="mso-bidi-font-style: normal;"> Once</i>).</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Notes courtesy of Anne at <a href="http://scoutingtour.blogspot.com/">http://scoutingtour.blogspot.com</a></div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
<br /></div>
TangoStudenthttp://www.blogger.com/profile/15276818586883837436noreply@blogger.com0tag:blogger.com,1999:blog-1661245323794718142.post-50904994753491679342016-06-03T23:23:00.002-07:002016-06-03T23:23:59.300-07:00Rhythmic Cross-Foot Rock Steps and Other Oddities (Intermediates)Song: <i>El Puntazo</i> by Juan D'Arienzo<br />
Instructors: Homer & Cristina Ladas <br />
<a href="http://theorganictangoschool.org/">http://theorganictangoschool.org/</a><br />
England International Tango Festival <br />
May 30, 2016, Ardingly College, England<br />
<br />
The music for our entire class was D’Arienzo.<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Rock Steps</b></div>
<div class="MsoNormal">
We began with doing rock steps. Don’t move your body too
much, and do not do too much back and forth. Do not collect all the way in the
footwork.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The first movement is a reach, put weight onto the front
step, but not too much, the back step lefts.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
So it is:</div>
<div class="MsoNormal">
Touch<span style="mso-tab-count: 1;"> </span>Quick<span style="mso-tab-count: 1;"> </span>Forward Step (not with all weight, but to
enter the new space)</div>
<div class="MsoNormal">
Lift<span style="mso-tab-count: 1;"> </span>Quick<span style="mso-tab-count: 1;"> </span>Back Step (heel lifts)</div>
<div class="MsoNormal">
Step<span style="mso-tab-count: 1;"> </span>Slow<span style="mso-tab-count: 1;"> </span>Forward Step (with all the weight)</div>
<div class="MsoNormal">
Touch<span style="mso-tab-count: 1;"> </span>Quick<span style="mso-tab-count: 1;"> </span>Forward Step (not with all weight, but to
enter the new space)</div>
<div class="MsoNormal">
Lift <span style="mso-tab-count: 1;"> </span>Quick<span style="mso-tab-count: 1;"> </span>Back Step (heel lifts)</div>
<div class="MsoNormal">
Step<span style="mso-tab-count: 1;"> </span>Slow<span style="mso-tab-count: 1;"> </span>Forward Step (with all the weight)</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We did this in walk forward, interrupted by a circle
pattern, where we were to be mindful to keep our back heel off the ground.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In a circle, we were to do the same exercise, but now walk
backward:</div>
<div class="MsoNormal">
Reach<span style="mso-tab-count: 1;"> </span>Back <span style="mso-tab-count: 1;"> </span>Sink a little bit</div>
<div class="MsoNormal">
Lift<span style="mso-tab-count: 1;"> </span>Forward </div>
<div class="MsoNormal">
Step<span style="mso-tab-count: 1;"> </span>Back<span style="mso-tab-count: 1;"> </span>Take a tiny step back</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We were to make small steps.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In partnership in open embrace, in the line of dance, we did
the rockstep:</div>
<div class="MsoNormal">
Reach<span style="mso-tab-count: 1;"> </span>Quick</div>
<div class="MsoNormal">
Lift<span style="mso-tab-count: 1;"> </span>Quick</div>
<div class="MsoNormal">
Step<span style="mso-tab-count: 1;"> </span>Slow</div>
<div class="MsoNormal">
Reach <span style="mso-tab-count: 1;"></span>Quick</div>
<div class="MsoNormal">
Lift<span style="mso-tab-count: 1;"> </span>Quick</div>
<div class="MsoNormal">
Step<span style="mso-tab-count: 1;"> </span>Slow</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Next, we tried to funkify it.</div>
<div class="MsoNormal">
We were to keep it in parallel, but take it to the side <b style="mso-bidi-font-weight: normal;">inside or outside</b>, and try turning
(both open ad close side), while keeping rocksteps tight.<span style="mso-spacerun: yes;"> </span>We drilled these parallel rock steps, both
inside and outside, on the open or close side of the embrace.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
At the limiting case, there is no back step, just all
forward steps.<span style="mso-spacerun: yes;"> </span>We can add a little bit
of going back.<span style="mso-spacerun: yes;"> </span>This was an exercise in
control.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Next, we did the <b style="mso-bidi-font-weight: normal;">Snake
Walk</b>.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
Leader does sneak attack weight change.</div>
<div class="MsoNormal">
In open embrace.</div>
<div class="MsoNormal">
Leader’s right foot forward / Follower’s right foot back</div>
<div class="MsoNormal">
Leader’s feet touch the inside edge of Follower’s feet</div>
<div class="MsoNormal">
Follower walks straight back and not too long in stride, but
just makes the perfect back step.<span style="mso-spacerun: yes;"> </span>If her
step is too long, she will pull the Leader to her / off axis. Follower should
pay attention to how much of a reach the Leader is asking of her</div>
<div class="MsoNormal">
This is called the Snake Walk because the Leader’s step go
across his body with each step to go across the Follower’s path.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Leader should use the “I have to pee” way of keeping his
upper legs/inside thighs together as they go across his body.</div>
<div class="MsoNormal">
Follower should employ the perfect back step (in reach,
weight transfer, and collection, walking in a straight line).</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We drilled this.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Next, in close embrace, we were to do back ochos with no
pivots (walking back cross).</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In open embrace, Leader does sneak attack weight change,
then walks forward while Follower does no pivot back ochos.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Then we added in the rockstep and included the Leader’s
snake walk.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We can do this in parallel or cross system, outside or
inside, at any point in the tango.<span style="mso-spacerun: yes;"> </span>This
is complete freedom.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We drilled with the Leader going into and out, parallel to
cross system, and turning in both directions.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The easiest way for the Leader to do the sneak attack is to
do two steps with his left foot.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
Left</div>
<div class="MsoNormal">
And (weight change without Follower feeling it so she does
not do a weight change)</div>
<div class="MsoNormal">
Left</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Eye Candy</b></div>
<div class="MsoNormal">
This is nice in vals and milonga, and you can make it
travel.<span style="mso-spacerun: yes;"> </span>It starts and finishes in the
line of dance.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Starting in cross system, do rock step outside, then go
inside in snake walk, then go back out in parallel in a counterclockwise turn.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Leader and Follower start with left foot.</div>
<div class="MsoNormal">
Follower has additional side step when it start to turn</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Maestros concluded with a class quiz and demo to D’Arienzo’s
<i style="mso-bidi-font-style: normal;">El Puntazo</i>.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Notes courtesy of Anne at <a href="http://scoutingtour.blogspot.com/">http://scoutingtour.blogspot.com</a></div>
<div class="MsoNormal">
<br /></div>
TangoStudenthttp://www.blogger.com/profile/15276818586883837436noreply@blogger.com0tag:blogger.com,1999:blog-1661245323794718142.post-50673564661734650632016-06-03T23:23:00.000-07:002016-06-03T23:23:22.303-07:00Open Turn Sacada, Barrida, Parada, Pasada Experience (Intermediate)Song 1: <i>Cordobesita</i> by Osvaldo Fresedo <br />
Song 2: <i>Indio Manso</i> by Carlos DiSarli<br />
Instructors: Homer & Cristina Ladas <br />
<a href="http://theorganictangoschool.org/">http://theorganictangoschool.org/</a><br />
England International Tango Festival <br />
May 28, 2016, Ardingly College, England<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/3f94AhyVBWY" width="560"></iframe><br />
<br />
<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]-->In circle formation, we began with two exercises doing the
Greek Dance using the forward, side, back, side footwork of the turn/hiro/molinete.<span style="mso-spacerun: yes;"> </span>We did this with the circle going to the left
and then to the right, and used the same timing for each step, with no
automatic QQS on the back, side steps.<span style="mso-spacerun: yes;"> </span>Keep
your head and chest up and torsos straight.<span style="mso-spacerun: yes;">
</span>Look at the person across from you. Do not look down at your feet.<span style="mso-spacerun: yes;"> </span><br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Then in partnership, in hand to hand embrace, we turned
together doing<span style="mso-spacerun: yes;"> </span>forward, side, back, side
steps.<span style="mso-spacerun: yes;"> </span>There was no Leader or
Follower.<span style="mso-spacerun: yes;"> </span>We were to finish where we
started, and then reverse the direction.<span style="mso-spacerun: yes;">
</span>Both dancers do forward, side, back, side footwork. Heads should be
steady. Chest should be open and wide. Take long, even steps. Be controlled and
clean when making each step. Both dancers should try to stay together. Take
your time.<span style="mso-spacerun: yes;"> </span>The dancers should relate to
each other.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Next, we added the Leader and Follower relationship.<span style="mso-spacerun: yes;"> </span>To do this, we used the teapot embrace with
Leaders hands generally where the opening of his front pants pockets are.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
To lead the turn, the Leader should use more of his back
instead of his arms.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
For the Leader’s footwork in the turn, he has three options:</div>
<ol>
<li>Pac-person
feet (the gender-neutral term for footwork reminiscent of how the 1980s video
games Pac-Man or Ms. Pac-Man’s mouths would open and close).</li>
<li>Turn
like a block in his body, but kick his heel around.</li>
<li>Spiral
by turning his rib cage, then let his hips come around a bit past his rib
cage.<span style="mso-spacerun: yes;"> </span>Then he can spiral again from the
top, and let his hips come around again, etc.<span style="mso-spacerun: yes;">
</span>Here the ribs pull the hips.<span style="mso-spacerun: yes;"> </span>This
is a spiral turn rather than a block turn</li>
</ol>
We practiced the Leader doing all these three different
turns in partnership, with the Follower holding the Leader’s bicep/tricep as he
does the sugarbowl embrace.<span style="mso-spacerun: yes;"> </span>The Follower
should not be too far away so her hips are near the Leader.<span style="mso-spacerun: yes;"> </span>The Follower’s arms should have a natural
bend in them.<span style="mso-spacerun: yes;"> </span>In the turn, the Follower
keeps steps even, long, and around the Leader.<span style="mso-spacerun: yes;">
</span>The Follower trails the Leader a bit in timing, rather than being
exactly with him and never ahead of him.
<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Next, we added the Barrida. The Barrida is a drag illusion. </div>
<div class="MsoNormal">
The Leader needs to kick his heel around so he has one free
leg to make contact.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
The Follower’s speed around the Leer is on the slow beat, so
there is no auto QQ on the back, side steps.<span style="mso-spacerun: yes;">
</span>She should keep all steps even in length and time so the Leader can
catch any of the Follower’s steps. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Leader wants to catch the Follower’s side step after her
back step.<span style="mso-spacerun: yes;"> </span>They should enjoy the ride
together, but the Leader still must lead the Follower to turn.<span style="mso-spacerun: yes;"> </span>The Leader slides his foot in at the
Follower’s back step and sticks with her side step foot.<span style="mso-spacerun: yes;"> </span>The Leader leaves his foot (parada) put turns
his body, so the Follower natural steps over in a pasada.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Leader: Do not cut the Follower’s side step by stepping in
too soon, as she will feel like she might trip or fall.<span style="mso-spacerun: yes;"> </span>Let the Follower take her normal step.<span style="mso-spacerun: yes;"> </span>Give the Follower time to pass over by
pointing foot and gently touching the Follower’s foot with the Leader’s foot.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Leader’s barrida leg needs to be weightless, with all of
his weight on his back standing leg, so his sweeping leg is free to sweep in
the barrida.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
When the Leader catches the Follower’s step, he should have
the same size barrida as the Follower’s normal step so he doesn’t cut her step
short.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
Then the Leader waits.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Follower needs to have room for both hips to pass when she
steps over.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Leader retracts his foot after the Follower passes over it,
so he does not change the center of the circle.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Next, we explored different options for the Leader’s foot
and the direction of the circle.</div>
<div class="MsoNormal">
The Leader and Follower mechanics are the same, whatever
option is chosen, though ergonomically it might feel different.<span style="mso-spacerun: yes;"> </span>In our exercise we were to focus on
refinement and control, still in teapot embrace, and trying different
directions.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Leader keeps Follower on original foot and reverses the
direction of the barrida (so doing 2 barridas in a row).</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
One: Leader just rotates his leg, but his weight is still on
his back leg so he sweeps from right to left, then immediately left to
right.<span style="mso-spacerun: yes;"> </span>The Leader’s chest rotates as
little as possible on this change.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
When the Follower steps over in her pasada, she can adorn it
for rhythmic purposes by taking a tiny step back to create room for her to step
over elegantly. So the timing of this tiny back step would be QQS.<span style="mso-spacerun: yes;"> </span>So it is two tiny steps back, and then a long
and around step over.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We then had a short mid-class quiz followed by Maestros’ demo
to Fresedo’s <i style="mso-bidi-font-style: normal;">Cordobesita</i>.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
For the second part of class, we went on to more challenging
barridas.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We started by refining the connection.</div>
<div class="MsoNormal">
Leader leads Follower to his right foot Barrida of her back
right foot on the her left foot forward step in a counterclockwise
turn/hiro/molinete.</div>
<div class="MsoNormal">
And asking Follower to collect with her right foot cross
tuck behind her left foot, then change her weight so that her forward foot is
free to step forward.<span style="mso-spacerun: yes;"> </span>Here the Leader
shifts slightly to change the weight so she settles and so that it frees her
forward foot to either (1) step forward or (2) do a back ocho pivot to change
direction.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We are to practice this at home.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Leader needs to lead the Follower to collect by turning
his body.<span style="mso-spacerun: yes;"> </span>The Leader touches the
Follower’s ankle, not her heel, to give her gentle guidance (sweep her ankle
gently) to do her back cross tuck against her other foot.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Going back to the original Barrida, instead of the Leader
retracting his foot at the end, he arrives on it to shift the axis of the turn,
doing a sacada after the Follower steps over.<span style="mso-spacerun: yes;">
</span>Then there is a pause so the Follower and Leader can face each other
again after pivoting.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We drilled the Barrida into Sacada, being mindful to keep
turning.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
How does the Leader lead the Follower to take a forward step
or back step?<span style="mso-spacerun: yes;"> </span>It depends on where the
Leader’s weight is, to block or create space for the Follower.<span style="mso-spacerun: yes;"> </span>To lead the Follower’s forward step, the
Leader leans back a little.</div>
<div class="MsoNormal">
To lead the Follower’s back step, the Leader leans forward a
little.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
After the Follower completely arrives on her side step, don’t
wait for her to collect.</div>
<div class="MsoNormal">
Leader: Don’t transfer weight too soon in your sacada so she
has room / time to step over.<span style="mso-spacerun: yes;"> </span>The weight
transfer happens together, not with the Leader going before (Leader should not
transfer weight before, otherwise he will block the Follower pasada).<span style="mso-spacerun: yes;"> </span>Hold the position after her pasada and his
sacada.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Follower’s fundamental movement is the turn around the
Leader with long, even steps.<span style="mso-spacerun: yes;"> </span>The
forward step is long and around the Leader.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Next we drilled doing the Leader’s Sacada with no parada /
Follower pasada.<span style="mso-spacerun: yes;"> </span>This was a continuous
Sacada exercise with Leader using his left foot or his right foot in his
Sacada.<span style="mso-spacerun: yes;"> </span>He was always turning with his
chest and hips, moving the axis of the circle so that it keeps changing and
Follower should feel the new axis every time she collects.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In the sugarbowl embrace, the Leader does a Sacada of the
Follower’s trailing foot to shift weight to there, shifting the center of the
axis. The Leader skips one of the Follower’s steps so he does not disturb her
turn.<span style="mso-spacerun: yes;"> </span>Because the axis changes, the
Follower steps to slightly different places, but still does even steps around
the Leader so he has room to do his Sacadas.<span style="mso-spacerun: yes;">
</span>He is always the center of the circle and she should always be walking
around him (not away from him).</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Next we worked on doing 2-1/2 Sacadas in the line of dance
from the cross.<span style="mso-spacerun: yes;"> </span>We could do these with
either foot, and do them either with all left foot Sacadas with a quick weight
change, or with all right foot Sacadas with a quick weight change.</div>
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We separated the class, Leaders behind Homer and Followers
behind Cristina.<span style="mso-spacerun: yes;"> </span></div>
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The Leader starts his Sacada by leading the Follower into
the cross and then into the clockwise molinete, doing a left foot sacada at her
right foot forward step of trailing her left foot, immediately into a Leader’s
right foot sacada into a big 1.5 pivot.<span style="mso-spacerun: yes;">
</span>He should not spill out outside of the line of dance.<span style="mso-spacerun: yes;"> </span></div>
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We then had another class quiz followed by Maestros’ demo to
DiSarli’s <i style="mso-bidi-font-style: normal;">Indio Manso</i>.</div>
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Notes courtesy of Anne at <a href="http://scoutingtour.blogspot.com/">http://scoutingtour.blogspot.com</a></div>
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<br />TangoStudenthttp://www.blogger.com/profile/15276818586883837436noreply@blogger.com0