More With The Gancho - Advanced - Gancho - Overturned Inside
We like this step. We think it can feel nice and not "overly hard". As with all ganchos, you need to turn away. But here, it's really dramatic. You can really see the turning away at the feet and the hips. Not only that, but you turn away the chest and upper torso, as well. All that you really need to do is acknowledge your partner with your upper chest and your face. But that doesn't necessarily mean you have to face them.
- Artist Name:
- Kristina Olsen
- Song Title:
- The Man With The Bright Red Car
- Album Title:
- All Over Down Under
- Artist Website:
From a review on the website: Olsen, an itinerant troubadour who regularly graces Australian folk festivals, was at her most engaging. Such was the candour of her songs and chatty tales that it would impossible for anyone with blood in their veins not to empathise with her. Her full-throated voice and crisp guitar served up such diverse subject matter as crop-dusting and prostitution, while a revealing yarn about life-drawing classes introduced The Truth of a Woman. From her new CD came In Your Darkened Room, the title track to an album containing some of her finest work, a black frost edging her usual warmth and humour.
- The idea is that you take a normal gancho,
a traditional freno, she walks over, gancho.
- And you let her complete the step and then,
gancho with the other leg overturned.
- And I think there's a lot of fun out of
doing the unexpected.
- Yes. And some comments: like all ganchos, for the followers,
especially, for the followers...
- ...I want you to go back with your thigh first.
- And, if you can go pretty high, you might say,
"Oh that looks dangerous."
- D: Right so, let's say he's here...
N: It doesn't just look dangerous.
- D: ..and let's say I'm doing...
N: It is dangerous.
- .. a gancho here and I go, bang.
- But it's going right there.
- We'll do a new angle.
- This will be a really exciting video, right?
- So we're here in the freno, she walks over,
- ..right here in this gancho,
the question is: "well how can that be safe?"
- And the answer is:
there's a place where the knee bends.
- So, if she, slow motion, just slowly kick back
and you're going to hold it.
- So, right here, if you're near this foot, got it,
this can go up high. This can cause damage, this foot.
- Do you see that foot? The big spikey heel?
- You see right here near the knee,
where it's really low?
- So, you want to make sure, for the leaders,
that you're there where it's low...
- ..and not where it's high.
- So, do that again. Do that again.
- D: It makes perfect sense to me.
N: It makes perfect sense.
- It was the delivery.
- And that was hard. I'll tell you why that was hard,
actually. Interesting thing.
- It has to do with the shift of the body.
- So that, after she walks over,
I have to make sure my body passes the back of her...
- ..so that I'm over here. I'm behind her.
- And then I pivot her around her own axis.
- Okay it's good to show why it is hard, but you should also show
why it was really good what they did.
- So they tried something. It didn't work...
- D: And they made it work.
N: And they stopped and they went back and they did it again...
- ..and they made it work.
- And how did they make it work?
- What I'm saying is that they have the courage to just say,
"Okay, this wasn't going on." Stop, reposition, do it again.
- Right. Most people wouldn't notice.
Even watching the video, maybe you wouldn't notice.
- But that's really cool to be able to understand
that you're able to do that is really important.
- D: I love you.
N: Love you.
- So, for the followers, when you walk over...
- ..you want to make sure you walk over
to the top of the triangle.
- So, if he's here.
- Let's start you, actually, this angle.
- And then, when I walk over, if you look at the feet,
you'll see that there's an equilateral triangle...
- Well, it's hard to see, between my foot and his feet.
- One more time, new angle
- So I walk over, I walk over to here.
- And then I can gancho.
- And then, when I extend back, for the followers...
- I really make sure I go from the thigh first...
- ..so I make sure I know what I'm hitting.
- So let's do this one last time.