System krzyżowy pod kątem prostym - Rocks

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Taking a structural approach is usually more commonly done by dancers who dance in Nuevo style. But we think that this as a way of understanding what movements are possible is useful to dancers of any style.

Nazwa wykonawcy:
Jaime Wilensky
Tytuł piosenki:
Aquella Noche
Tytuł albumu:
Tango Nuevo

(From Latinpulsemusic.com): This is nuevo "electrified" tango produced and arranged by Jaime Wilensky. Aquella Noche is a tango with a gothic sound and theme.

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.