Classic Sacada Combinations - Adv - Trading Back Sacadas
This step looks cool and fairly straightforward when you watch it. Like many steps, it's more difficult to do than it looks. Particularly, after the first set, it tends to get tangled up if you're not really clear about what you're doing.
It helps a lot if your signals to your partner are really clear:
- Artist Name:
- Orchestra Berretin
- Song Title:
- Album Title:
- Electrotango Vol. 1
- Artist Website:
From website: (Alex Krebs) Has been studying the bandoneon since May 2001, directed the tango band "Conjunto Berretin." (with 2 CD's recorded) from 2003-2008, and currently is arranging/directing a tango sextet and arranging/directing an Orquesta Tipica for the Portland Tango Festivals in Feb. and Oct.
- We tell people that, if they want to impress
their non tango dancing friends,...
- ..they should do ganchos.
- But, if they want to impress their friends that tango,...
- ..they should do trading back sacadas.
- It’s not quite as hard as it looks,
but it could be a lot easier.
- I was going to say that.
- I’m always ready to keep going with that one.
- So, you start just in a normal, you're facing,
beginning of dance position...
- ..or after any of the steps we teach almost.
- Now I’m going to rotate my upper body
to get her to go around me.
- And then, I’m going to pull back to stop her.
- So in the chest, there's
- And, when I start pulling back to stop,
I’ll use that to pivot myself around…
- ..so that my foot,
can grab that sacada.
- Notice that my left foot is going to her left foot.
- Are we in the feet cameras?
- D: Yeah, we are.
N: Oh cool.
- Now, most people, when they see back sacadas, both the leaders
and the followers, but especially the guys…
- ..the guys have this image of I’m facing her
and somehow I’m going to get my foot over here.
- "There’s no way," that’s what they say.
- And, really, the trick is to not face.
- So, if she’s here, and then I just point back
with my leg, it's really easy.
- And then I want you to say, “Oh okay,"
you come back.
- But, notice my hips are actually quite far away.
And I’m just looking at her with my head.
- And so then that makes it possible to get around
- And it's the same for the followers.
- Now, I’m going to shift back to that left foot
and rotate to my left…
- ..as she shifts over to her right foot
and we face.
- And now, I’m going to step around her
and pivot her a ton.
- A ton and a half.
- And then she can go back to my left foot.
- And then we’re where we started.
- As I come out of the sacada,
I’m going to push with my right arm...
- ..which will start him back around
into his sacada.
- So right here…
- I’m so eager.
- Now, right now, I push. And then he pulls.
- And so, you really want to think for each of the -
both people in the couple?...
- ..for each person in the couple
that, as you take that side step,...
- ..you really want to go a little bit wide and way around
and reach around with your right hand.
- What he said was really important,
you want to take big side step.
- So, in slow motion.
- If I do this,
it’s relatively easy.
- If I do this.
- Let’s do it this way to the camera,
so they could see my suffering.
- Okay, I'm all for them seeing your suffering.
- If I do this, it's really hard.
- If I give him more space,
my body's out of the way
- And it gives him a lot more chance.
- And then likewise,
right here I'm going to step more around her.
- D: You were on your right foot.
N: I knew that.
- So I step around her, to get her to have the chance
to pivot and go through me...
- ..with my body being out of the way.
- Let's do it across the floor.
- I was just so jazzed we could do that.