Wortschatz - Take 2 - Leaders - Ochos
- It Takes Q To Tango
- Künstler Website:
(From the website): Created in July, 2009 by Erskine Maytorena, a third generation tango musician and opera singer, QTANGO performs authentic Argentine tango arrangements as often as two to three times a week throughout the Southwest for tango dancers and listeners.
- In these front ochos now, I’m going to
show a few more fine points...
- ..about the use of the arms in the lead
and the adjustment,...
- ..about the sense of timing and complete -
that you want to give each thing its right time...
- ..and then finally leg styling.
- The first thing, this idea of giving each thing
its right time…
- ..you’ll see that when I do these ochos,
we go all the way over,...
- ..then we pivot,
then we extend and then we step.
- All the way over, pivot, extend and then step.
- And so I want you to think right now,
that each thing can be discreet…
- ..that you can take a step
and let that step finish.
- That you can pivot her and let that finish.
- That you can extend both of you
and then you can step.
- And then what happens is eventually,
you take that and...
- ..you smooth out the edges
so they all can blend together.
- But the risk is that you do two things
at the same time,...
- ..that I step side,
the same time I pivot her.
- And if you do that,
the results are not so good.
- So instead you want to make sure,
one thing and then the next…
- ..and then the next. That’s the first thing.
- The second thing; I want you to be aware
of the use of each of your arms.
- So if you watch the right arm for the leaders,
you’ll see that it slides.
- So as we step side -
- Yes, that’s a big one.
- ..I let it slide around
so I have a better hold.
- And then right here, if I don’t let it slide
around and she pivots…
- ..that starts to take me off this way.
- D: So instead -
N: That was fun.
- ...I’ll let my arms slide in.
- You see that? The hand position changes
and then I’ll pivot her.
- And so does my hand position change.
- And I’ll take her around and then it adjusts;
that’s the right arm.
- If you look at the left arm,
usually guys, your instinct is…
- ..bring the hand in.
- And if I have her here -
- That is so not optimal.
- ...and I do this, nothing happens,
except her arm moves.
- So instead of bring her arm in to you, I want you to think
you’re bring it over your left shoulder…
- ..or from this angle, over your left shoulder.
- So right here, you see I pull my arm back in this path...
- ..and that’s reasonably far away from me
and that will create the pivot.
- So some time - next time you go out dancing,
next time you’re with someone who dances tango...
- ..I want you to just ask them, guys,
to stand here and do this...
- ..versus this,
when trying to pivot them.
- Finally, in front ochos I want you to have an idea
that you do have a choice of leg styling.
- And while you’re not required to do styling,
there are three choices.
- And sometime it depends on who I dance with.
- One choice is you go side, you change weight,
you pivot her…
- ..you step and then you collect with her.
- This is the kind of styling which requires
better balance, right?
- If she pulls, you’re on one foot
and you’ll topple.
- So you don’t want to do this unless
the woman is very stable.
- A different kind of styling,
you might leave both legs out, right?
- So the styling we just did was this,
which is very nice because...
- ..you see your leg moving with her legs.
However it’s less stable.
- The more stable option is you go here
and you leave the toe on the floor…
- ..it gives you a beautiful line,
but also it gives you a little bit of an anchor...
- ..in case anything untoward happens.
- A few more things to think about front ocho.