直角でのクロスシステム - 岩
構造的アプローチを取ることは、通常、ヌエボスタイルで踊るダンサーによってより一般的に行われます。しかし、私たちは、これはどのスタイルのダンサーにも役立つ動きが可能であることを理解する方法だと考えています。
- アーティスト名:
- Jaime Wilensky
- 曲名:
- Aquella Noche
- アルバムタイトル:
- Tango Nuevo
（Latinpulsemusic.comより）：これは Jaime Wilensky によって制作および編曲された新しい「電化」タンゴです。Aquella Noche はゴシックな音とテーマを持つタンゴです。
- 00:04
- In this chapter, we're going to be talking about rocking at right angles.
- 00:07
- And, what you'll see is in some way, we're taking that vocabulary that we taught you first,
- 00:12
- This sort of beginning vocabulary of walking and rocking, and ochos,
- 00:16
- And now we're translating it into right angles.
- 00:19
- We're cooling it up some.
- 00:20
- Yes, so our stair-step was actually walking, and now this is rocking at right angles.
- 00:27
- So, if we have that same entrance from beginning of front ochos: side, he changes, we pivot her,
- 00:32
- Right here, we can do that stair-step.
- 00:35
- But we can also go, I meant to go that way, no I didn't, let's go that way, no I... let's not.
- 00:40
- We can rock... back for him, or side for him; side for her, or forward for her.
- 00:47
- So, every time I do back, she does... Side, and every time I do side, she does forward.
- 00:57
- And we can turn it.
- 00:58
- And now, in isolation, that's like, "That's nice."
- 01:01
- But, when you say, well, you can mix that with stair-step, and you can mix that with front ochos, and you can mix that with back ochos,
- 01:06
- All of the sudden, the complete version is pretty cool.
- 01:10
- Now, the important thing, as we do this, is I'll really hold her with my back arm, so that she really knows which way to go.
- 01:16
- And so I don't bounce around.
- 01:17
- So, when we go side, I'll pivot her...
- 01:20
- And, actually, if you look at the back arm here,
- 01:23
- You can really see that my back arm holds her firmly.
- 01:26
- And so there's cla. It clamps in.
- 01:29
- I like cla.
- 01:32
- And that keeps her with me.
- 01:40
- And so, there I switch sides.
- 01:43
- So, I can either rock with my left foot, and she with her left.
- 01:51
- Here we go: oh, let's go that way - let's not, let's go that way - let's not.
- 01:55
- How can she rock so together with me? I'm not even holding her with my left hand.
- 01:58
- You know, I'm scratching my ear or something. No.
- 02:00
- No, ear scratching allowed.
- 02:01
- No ear scratching when I'm dancing with her.
- 02:04
- But with my right arm, I'm really clamped in.
- 02:07
- And then, for the followers, and for the leaders, there's this sense that the leg is connected to the body.
- 02:12
- So that, as we move our bodies this way,
- 02:15
- We extend together. As I come back, we collect together.
- 02:20
- And that's because it makes no sense, there was this in the "Moving the Whole body as One " chapter, it makes no sense to do this...
- 02:26
- Oh, he's going to rock me.
- 02:28
- Why did your leg move? It makes no sense. As the body moves, it makes no sense to say, ""oh, he's going to rock me."
- 02:34
- Where the body is caught. Or, you know, where the leg catches the body. Instead, you move everything together.
- 02:38
- Oh, there's the rock.
- 02:42
- I'm doing the follower's part right now.
- 02:44
- That's pretty hard to learn, and it's really worth it.
- 02:46
- Yes.
- 02:49
- So, one more time, the entrance is: side, he changes weight, we pivot her.
- 02:55
- With my right arm now, as I change weight, I'm going to rotate my right side towards her, so my right arm can come all the way around and squeeze.
- 03:01
- And my arm comes up around his neck, 'cause if I try to keep it back right here...
- 03:04
- Yes, she'd get this chicken wing.
- 03:05
- It's really uncomfortable, and not pretty.
- 03:08
- And then, we can rock side, and in, or I'll rock back and she'll rock side.
- 03:16
- And if we take that step, and we do some stair-steps,
- 03:21
- Then, right here, I could rock with my right leg, and her, she with her right leg.
- 03:25
- So, I can rock forward, she rocks side, or I can rock side, and she rocks back.
- 03:30
- But it's the same exact idea.
