More About Molinette - Follower
Too many things to pay attention to. We suggest you concentrate on one aspect and then add another to your attention after you're comfortable with the first:
- Practice the steps slowly until each one is complete in itself before you take the next one. We don't want the end of the side step, for instance, to run into the pivot for the back step. And we don't want the pivot to run in to the back step. We punctuate the different steps in the molinette with a slowing.
- Then speed up slowly.
- The goal is to move smoothly but not at the cost of clean endings to the movements.
- Be careful to get completely over the ball of your foot in one step before moving on to the next.
- At an advanced level, there is a subtle counter pull against the direction of the movement when a step begins.
- It takes practice to learn to stay the same distance from the leader as you go around. Be gentle with yourself if you don't get it right. But do go back and try it again.
- Artist Name:
- Juan Carlos Caceres
- Song Title:
- Como Dos Extranos
- Album Title:
- Album unknown
- Artist Website:
(From the website): Possessed by a strong magnetic tellurism, Cáceres was always to be found within the limits of the hurricane’s eye.
- More about the molinette for the followers.
- So as we do this, the first thing
I want you to pay attention to…
- ..is that the distance stays constant.
- And we’ve said this before
but I’m going to talk about this...
- ..in greater detail right now.
- That’s the second thing you should
pay attention too also.
- The second thing?
- And the first thing.
- Oh, both things.
- So as I go around, as the follower.
Now I’m the follower.
- I have this - let’s go the other direction.
- I have this psychic idea in my mind that
that point right there...
- ..is the same distance as the point I was at.
- And the question is, well, how do you learn that?
- And fundamentally I think probably
you can only do that by practicing.
- The lucky thing is you don’t need a guy right?
You can use a -
- Yes, a broomstick, well something
you don’t have to hold up.
- N: A chair.
D: A chair, or better yet a light with a base...
- ..and then one single pole.
- And so you hold the light and then you go around
and you say “Am I the same distance?”
- And this time when I just stepped, I stepped further away.
So that was sort of my mistake.
- And now I’m the same distance.
N. Too close.
- No it’s the same distance.
- Or it’s too close. One of the two.
But I would actually say you should do that.
- Get a light, go around it.
- Second thing, like the front ochos
and the back ochos…
- ..as she’s going around, she’s able to use her hands
to create these pivots.
- Hands in the sense of countering pressure.
- It always goes through the body.
Always goes through the body.
- Like the media vuelta,
there can be a slight slight pull.
- A little bit of centripetal.
- I’m going to follow this and I’m going to exaggerate a lot
so you can see it.
- But it’s really much more subtle.
- And really I’m pulling back quite a lot.
- Yes he certainly is.
- I don’t want you to pull back that much.
- I only want a few pounds, but so it’s easy to see.
- It’s that little hesitation before you step...
- ..that we talked about in the media vuelta
- And this hesitation is related to
the collection also.
- N. Right
So that as we do the collection you’ll see that she goes...
- ..she steps, collects and then goes.
- Collects and then goes.
Collects and then goes.
- And you’ll see the part of the step
which has the most time...
- ..is when her feet are together
and then she’s off.
- So if you watch it again, molinette.