Media Vuelta - Intermediate - In Honor Of Orlando Paiva
Here is a link to Orlando Paiva, Sr. dancing in the movie, "Assassination Tango": Orlando Paiva, Sr.
There are many qualities that make this dance special. Doing overly fancy things is not one of them. He doesn't have to do extremely flashy things to look extremely beautiful.
Here is a partial list of what is wonderful about his dancing:
- The simple step out at the beginning. By not making a big thing of it, there is a purity that is wonderful.
- The clarity of each of his steps.
- His beautiful line and the wonderful articulation through his feet.
- The sense that he has all the time in the world. It feels like Orlando Paiva, Sr. has more time than the others who are dancing to the same music.
- Artist Name:
- Michael Allen Harrison
- Song Title:
- Tango Moon
- Album Title:
- Artist Website:
From the artist's website: Michael Allen Harrison delivers music to the heart. His classical contemporary style carves a distinct niche of timeless music that has connected with so many during his two and a half decade career.
- We think Orlando Paiva, Sr. who choreographed
that particular vuelta...
- ..is, speaking conseratively, one of the greatest
tango choreographers of all time.
- He also had a really beautiful style
of dancing himself.
- And if you've seen the movie
- ..he has a reasonably long dance in the movie.
- We think he is wonderful.
- In the grave, that is.
He's not currently living.
- He's still wonderful.
- D: Love you.
N: Love you.
- D: Starts with a media vuelta...
- ..instead of two steps back, one step back.
And I'm going to rotate this a little bit.
- One step back.
- Now, I'm going to place my right foot,
- ..but close to her right foot.
- Then I'm going to over pivot her...
- And when I over pivot, then I can step
around his foot.
- Instead of over it.
- So it's a freno with a different kind of styling.
- So right here, with my back arm...
- I reach around.
I really make sure she's pivoted...
- ..so I can encourage her to go
forward and around.
- Then with my back arm, still flat on her back,
we take her another forward step.
- You need to remember when you're
- ..to lead that forward step very strongly...
- ..because it's counter-intuitive. Woman are used to
stepping over and pivoting to face.
- And here, you want her to take another step forward.
- So you get a good hold and you lead it,
so that she knows you really mean it.
- Meaning that you take your right forearm
and you place it flat on her back.
- And then this forearm which is -
let me rotate you...
- - which is on her back, but lower of course,
stays in the same place as you rotate her.
- And so that keeps her walking forward.
- Oh that was cool.
I certainly didn't have any choice.
- Now right here, for this beat...
- ..we pivot us both, and then after she's just past half
or approaching - facing that is...
- I'm going to pull in a little bit,
as if it were an ocho cortado...
- ..to get her to beat her left leg over her right.
As I beat behind to match.
- And that's how come we have
such perfect - perfectly together timing.