Ćwiczenia w domu - Front and Back Ochos
- Nazwa wykonawcy:
- Tytuł piosenki:
- A La Gran Muñeca
- Tytuł albumu:
- It Takes Q To Tango
- Strona artysty:
(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 this series, we’re going to go over the ways
you can practice at home…
- ..if you don’t have a partner and
you don’t have feedback and you’re not in class.
- And, you’ll notice with this chapter
and also other chapters…
- ..but especially this chapter,
that we’ll be using a different accoutrements, right?
- So here we have a ballet bar.
- And we know you all have one at home.
- But if you don’t, then think of this
as a dresser or a wall.
- I imagine you have a wall at home.
- And this is a chair and it really is a chair
and you’ll have one of those at home.
- So, starting with the followers,
if you're doing front and back ochos,…
- ..and this is a very brief reminder, actually,
of what was said earlier.
- You can watch the chapter and, as you watch the chapter,
you can do this with us,…
- ..the front ocho chapter,
and you can use a counter or something.
- Stepping forward, and then feel how your arms
would work to help you pivot.
- Because they would actually do the same
with the leader.
- As I go over, I want you to experience...
- .. how, if my leg is open, it’s harder to pivot.
- And, if the leg is tighter, it’s easier to pivot.
- Right? So the experience you get,
pivoting at home with your kitchen counter…
- ..is really very similar to the experience you get
doing it with a leader.
- Except, leaders can make it sort of harder than
the kitchen counter or easier...
- ..depending on the leader.
- For the leaders, as you do this,
front ocho technique is actually,…
- ..ocho technique is actually quite hard,
because it’s counter intuitive.
- And so, the first thing I want to -
make the point...
- ..is that, when you lead the follower to ocho,…
- ..that this pivot does not come from your hips.
- Your hips are stabilizing
and then through your abs it happens.
- So if I do this, my upper body moves
but my hips do not.
- So what you’re going to do is
you’re going to get a chair...
- ..and you’re going to put it on something that can slide.
Just behind you like this.
- And then if, when you ocho her, you do this...
- ..and then you come back
and there’s space there...
- ..that means you moved your hips.
- How'd that happen?
- So you move the chair there
and you rotate through your abs.
- It’s not about my arms, it’s about rotating through my abs
to pivot my chest.
- But, I look back and the chair is still touching me.
This is good.
- That’s number one.
- Number two, when you’re pivoting the lady,
there’s this instinct to do this or that.
- And so, I want you to think that - beautiful follower
right here in front of you…
- ..it’s a good life.
- Left arm a little open, so that there’s space…
- ..so you’re going around the circle of the follower.
- So what guys usually do,
let’s pretend, once again,...
- ..your ballet bar, that you keep at home handy
for instances just like this.
- There, if my follower's here and I’m pulling back
with my arm to pivot her,…
- ..I want to do this with my left arm.
- And usually what guys do is this, right?
- They pull the arm in.
- And so, the reason you use a wall or a dresser,
is so that, as you go along the wall,…
- ..you’re forced to keep this left arm touching it,
keeping it out.
- And the same thing is true of your right arm,
but instead of letting it be out,…
- ..you’re going to pick something
you’re right next to.
- So, with the right arm, as you pivot her,...
- .. for example, to pivot this way, this way,
wherever she is…
- ..I’ll do this.
- So you see, my right arms stays close to her body
in this line…
- ..and my left arm stays open.
- So ideally, you can, for example, set up a chair
slightly taller than this alongside a wall…
- ..and stand, you know, a couple feet away from the wall
so your arm stays open…
- ..but right next to these lines of chairs.
- And then you can do this thing
to her to pivot.
- So you can learn that coordination.
And then you have the touch as feedback.
- Because what will happen,
and this will happen to you, unless you’re, like, gifted...
- ..far more than I was, you’ll do this.
- Chair behind you,
you’ll do this, and the chair will move.
- And you’ll do this, and you’ll lose contact
with the wall.
- So try that.
- Wall, left arm open, right arm alongside her body...
- ..or, in this case, very close to your body, in a line,