Check back Sunday July 12th for completed notes on this figure.
That gives you two days to practice so no excuses!
Entire View from 4 Directions
The Man’s Part
With your partner in dance position, shift your weight to your left leg, inviting the lady to stand on her right leg:
- Extend the right leg back (from the hip) and push off the floor with the left foot to send yourself straight back. When dancing at milongas, proceed with caution so you don’t kick or bump into another couple. The act of to avoiding bumping into other couples as well as the ability to continue dancing without pause when boxed in is one definition of what is called floorcraft.
- Once you’ve landed and shifted weight to the right leg, push off the floor with your right foot and step to the side landing on your left foot.
- Turn your shoulders to the right (this is called contra-body) to face your partner which opens up room in between both your bodies. Step forward through the space with your right leg positioning yourself in outside-partner position.
- Still outside-partner with your weight on your right foot and shoulders facing your partner, push off the floor to send your partner forward (this opens up space between the two of you) as you step diagonally (forward and to the left) with your left foot.
- Rotate your body to the left to send your partner back in front of you which causes her to cross her left foot in front of right into the Cruzada position. As she crosses, you right foot closes to the left so that both feet are together. Soften your right knee to shift the weight from your left leg to your right as you rotate your upper body slightly to the left. This leads the lady to free herself from the Cruzada in preparation to perform another movement starting with her right leg/foot.
- Push off the floor with your right foot and step forward with your left.
- Push off the floor with your left foot and side step to the right.
- Complete the Resolution by closing your left foot to your right. If you are going to repeat this pattern from here, soften your left knee so your weight shifts from the right leg to the left, and start from Step 1 above.
The Lady’s Part
- Slightly extend the left foot in front of your body and push off the floor with the right foot to send yourself forward landing on your left foot (don’t step on your partner’s feet!).
- Once you’ve landed and shifted weight to the left leg, push off the floor with your left foot and step to the side landing on your right foot.
- Before stepping, feel your partner’s lead to rotate your truck (upper body) to the right to match his (called contra-body). With your torso now facing his, extend your left leg back, from the hip, and push off the floor with your right foot to step backwards. Your partner will be walking outside of you (walking outside partner) and you do this.
- Still outside-partner with your weight on your left foot and shoulders facing your partner, your partner will take a large step forward and to the side. When you feel this lead, take a step back and diagonally to the right, making sure to land on the inside edge (blade or toe) of your right foot.
- As your partner releases his dance hold from contra-body position, he will rotate to his left causing you to twist into your Cruzada position. Remember, cross your left foot in front of your right so that your left calf rests on your right schinn. Both feet should be facing forward towards your partner.
- As your partner rotates his upper body briefly to the left, you will be able to release the cross position by placing all your weight in your left foot as you right foot frees itself and prepares for a resolution. As you’re transitioning from the cross to putting your weight on your left foot, the right foot stays light (knees touching) and draws on the floor like a pencil. With the right leg free, extend it back and push off the floor with the left foot to step backwards for the first step in the resolution.
- Land on your right foot and prepare to push off the floor with the same foot causing you to step to your left, landing on your left foot.
- As you land on your left foot, shift all your weight onto it and slowly drag the trailing right leg to close next to the left foot.
- If you are going to repeat this pattern from here, soften your right knee so your weight shifts from the left leg to the right, and start from Step 1 above.
Low View from 4 Directions
Feet Only View – Lady’s Part
Feet Only View – Man’s Part
And now, another perspective on the same technique. Enjoy!
Keep dancing,
Panayiotis Pete Karabetis
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{ 3 tango-induced comments… read them, love them, and add your 2 cents! }
[WEARING A DUNCE HAT]
So you just took a few tango lessons and you are a teacher now?
Hey, I followed the story here from the posting about the guy (lady?) leaving the comments. Wow.
It so happens that I have provoked a particular follow in D.C. – I don’t know for sure how I did this; but maybe by cutting some tandas short.
…I have provoked this person to a degree that she declines to dance with me at all, even in class settings. It has also happened that with a particular follow I have had a case or two of the trembles — a totally irrational response to this elderly lady who is the very soul of gentleness.
I suppose where I am going with all this is that the dance can provoke a variety of responses we don’t fully understand at the rational level. Perhaps that is what has happened here with your anonymous “responder”.
Good point about it possibly being a woman who posted. Blog copyrighting tips suggest picking on gender so you don’t mix he/she, his/her, theirs, etc., so I chose male.
I’ve had feelings towards dancers before like your followers have toward you, but our response to these situations is totally under our control.
I’d be amazed if all we (since we’re all not perfect) stopped for a moment after our initial reactions to such things and checked why we feel a particular way.
Responding rather than reacting. Know what I mean?