Combinazioni Classic Sacada - Adv - Trading Back Sacadas

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Questo passo sembra fresco e abbastanza semplice quando lo si guarda. Come molti passaggi, è più difficile da fare che sembra. In particolare, dopo il primo set, tende ad aggravarsi se non sei molto chiaro di quello che stai facendo.

Aiuta molto se i tuoi segnali al tuo partner sono veramente chiari:

Segnali chiari

Nome dell'artista:
Orchestra Berretin
Titolo Canzone:
Berretines
Titolo album:
Electrotango Vol. 1
Sito web dell'artista:
http://www.tangoberretin.com/

Dal sito web: (Alex Krebs) Ha studiato il bandoneon dal maggio 2001, ha diretto la band tango "Conjunto Berretin". (con 2 CD registrati) dal 2003-2008 e attualmente sta organizzando / dirigendo un sesto di tango e organizzando / dirigendo un Orquesta Tipica per i festival del Portland Tango a febbraio e ottobre.

00:05
We tell people that, if they want to impress
their non tango dancing friends,...
00:09
..they should do ganchos.
00:10
But, if they want to impress their friends that tango,...
00:12
..they should do trading back sacadas.
00:15
It’s not quite as hard as it looks,
but it could be a lot easier.
00:19
I was going to say that.
N. Yeah.
00:30
I’m always ready to keep going with that one.
00:35
So, you start just in a normal, you're facing,
beginning of dance position...
00:39
..or after any of the steps we teach almost.
00:43
Now I’m going to rotate my upper body
to get her to go around me.
00:49
And then, I’m going to pull back to stop her.
00:52
So in the chest, there's
go, stop.
00:57
And, when I start pulling back to stop,
I’ll use that to pivot myself around…
01:02
..so that my foot,
can grab that sacada.
01:05
Notice that my left foot is going to her left foot.
01:08
Are we in the feet cameras?
01:09
D: Yeah, we are.
N: Oh cool.
01:13
Now, most people, when they see back sacadas, both the leaders
and the followers, but especially the guys…
01:19
..the guys have this image of I’m facing her
and somehow I’m going to get my foot over here.
01:25
"There’s no way," that’s what they say.
01:27
And, really, the trick is to not face.
N. Right.
01:30
So, if she’s here, and then I just point back
with my leg, it's really easy.
01:37
And then I want you to say, “Oh okay,"
you come back.
01:41
But, notice my hips are actually quite far away.
And I’m just looking at her with my head.
01:46
And so then that makes it possible to get around
without suffering.
01:49
And it's the same for the followers.
01:56
Now, I’m going to shift back to that left foot
and rotate to my left…
01:59
..as she shifts over to her right foot
and we face.
02:06
And now, I’m going to step around her
and pivot her a ton.
02:09
A ton and a half.
02:13
And then she can go back to my left foot.
02:16
And then we’re where we started.
02:18
As I come out of the sacada,
I’m going to push with my right arm...
02:23
..which will start him back around
into his sacada.
02:26
Right.
02:30
So right here…
02:32
I’m so eager.
02:34
Now, right now, I push. And then he pulls.
02:40
And so, you really want to think for each of the -
both people in the couple?...
02:46
..for each person in the couple
that, as you take that side step,...
02:49
..you really want to go a little bit wide and way around
and reach around with your right hand.
02:54
What he said was really important,
you want to take big side step.
02:57
So, in slow motion.
03:00
If I do this,
it’s relatively easy.
03:03
If I do this.
03:05
Let’s do it this way to the camera,
so they could see my suffering.
03:07
Okay, I'm all for them seeing your suffering.
03:10
If I do this, it's really hard.
03:14
If I give him more space,
my body's out of the way
03:18
And it gives him a lot more chance.
03:21
And then likewise,
right here I'm going to step more around her.
03:24
D: You were on your right foot.
N: I knew that.
03:26
So I step around her, to get her to have the chance
to pivot and go through me...
03:33
..with my body being out of the way.
03:36
Let's do it across the floor.
03:37
I was just so jazzed we could do that.