More About Molinette - Close Embrace
One thing that's interesting in molinette in close embrace that we don't talk about is that it seems to want to be a little faster.
In open embrace, on a forward/side, typically it can go in this long controlled way. In close embrace, because it's so much smaller, usually it becomes more staccato by stopping.
So that, if you do a quick, quick, slow, then slow becomes a stop where in open embrace that slow goes through. Not only does the distance radically change the follower's styling but it also changes the musical dynamic within the same timing.
- Artist Name:
- Carlos Libedinsky
- Song Title:
- El Día Despues
- Album Title:
- The Rough Guide To Tango
- Artist Website:
(From Wikipedia): Carlos Libedinsky is an Argentine musician, composer and producer. He is most renowned for his neo-tango project, Narcotango.
- And so that’s doing molinette in close embrace,
which is not -
- Very different animal.
- Not nearly as easy as doing molinette
in open embrace.
- You know, at this point everyone turns off
- For the followers, a lot of the idea is about
keeping the right distance.
- So you want to stay the same distance
and we've said that over and over.
- But how do you stay the same distance,
when the distance is this big.
- And the answer is, if you see the styling of my feet…
- ..I’m cutting behind and it’s that tight, right?
So your backstep becomes this.
- And that way because you don’t have that much
rotation in your hips...
- ..because your chest is fixed.
- So you have much less rotation in your hips.
- So there’s your cut.
- On your side step you have more pivot
and then you step side, around.
- On your front step, instead of stepping front,
it almost becomes a pivot with a cross.
- N. A go nowhere ocho.
D. A go nowhere ocho. And then you pivot some more and you step side.
- It’s that tight.
- For the leaders, really if anything I want you to stay a little bit back weighted.
- So you’re on the balls of your feet.
- But if you lean at her, at all,
even in the least bit then...
- ..then she sort of flies off into oblivion,
taking you with her.
- They’re like, “That doesn’t sound so bad.”
It is. It is. There are better ways.
- So as you’re here for example, I just turn and
she’ll cut around me.
- That was kind of fun.
- And a lot of close embrace,
a lot of close embrace is about...
- ..finding the space when
there’s no space.
- That's really right.
- So for example if she’s here and I’m here
and you say, “There’s no space.”
- But at the same time.
- So he’s following now.
- Right, I’m following. I’m the follower.
My right arm is up.
- But I want you to imagine that right here between you...
- ..your body could slide past and turn for the followers,
that you create space where there’s none.
- If we’re talking about a gancho
and she has her foot out…
- ..right here we’re still in close embrace.
But you know it barely needs to move.
- So I want you to think that you can use the
rotation of your upper body somewhat…
- ..and especially the lower body a lot
to make things work.
- And that’s very obvious in this step.
Let me follow once, so I’m the follower.
- Oh boy.
- Told you that was the only way I knew
how to lead this.
- That works. It works.