Putting Lots of Stuff Together - Adv - Varied Going Around Eachother
- Artist Name:
- Ruth Roshan
- Song Title:
- Strange Games
- Album Title:
- Tango Noir
- Artist Website:
(Nancy speaking) I remember, for a long time, I'd see some long cool looking winding combination and have no idea what it was. It takes a while to get comfortable enough with the elements to not see, for example, (follower's part): side right, back left, side right, forward left, as so many of these steps start. And instead, see a large piece of a media vuelta. Once you can see larger pieces, it becomes much easier to grab more complex steps.
In the meantime, if you like a combination, practice it in pieces, the way we break it down when we teach it. Sometimes, it helps to slow things down or loop, using VLC.
We explain how to acquire the free program, VLC, in the comments under the video: Take 3 - Gancho here: Free Program VLC
- And that cross was actually led...
- D: Which I think was very fun.
N: It was.
- And it’s all about rotating around each other
in interesting ways.
- It starts with a media vuelta
and then one would expect it to go out…
- ..but instead, I drag her leg to keep it around,
grab a sacada and a molinette,...
- ..grab a drag and pull her up,
over to cross.
- Here’s media vuelta.
- Now right here, before she collects
- before she finishes shifting…
- ..I’ll move my left foot, so that we have that trap.
- Let’s show the trap again.
- Maybe for the feet.
- For the foot camera.
- Right there, I stop her before she collects…
- ..move my foot, pivot my hips, so she traps.
- In my thigh, I crowd her
to discourage her from walking over.
- He’s actually got, he’s got
my knee trapped there.
- Now I’m going to push down and to the left,
she drags, rotates to get her to shift.
- For the guys, it’s the media vuelta
you know and love.
- But, at the end you shift your leg
and then you drag her leg and then her body.
- So, it’s the media vuelta you know
and we hope you love.
- You know and love.
- Imagine the spirals of 'Be hypnotized.'
- I don’t know how to the do that with the editor.
- Yes, that would be fun.
- But, I don’t know how.
- Now, after this, we drag,
shift her over there.
- When she walks over,
I’m going to be in.
- And, as she goes side, I’ll grab the sacada.
- One more time.
- She’s here, when she walks over,
I’ll be in, I’ll pivot, rotating my left,…
- ..she pivots, steps side.
- Here, I’m going to shift forward
and grab that sacada.
- We pivot more,
so I can grab this foot.
- Now, from there, there’s the drag
and actually I’m going to rotate this.
- The drag in a line far and right here, now,...
- ..you want to lift up to encourage this,
the lady's free leg to go up.
- And he stops me very early, so I haven’t
completely put my weight over my back foot...
- N: ..which is where I would collect.
D: Right before she collects...
- Actually, I give the indication,
the pressure, when she’s in the middle…
- N. Early.
D. ..so there’s plenty of warning.
- It was even earlier than...
- And then as she shifts, the leg gets free...
- ..and I can shift her into that cross.
- Leaders, the sense of the lead is this:...
- ..you’ve got her stopped, you go up,
rotate over, down.
- Leaders, I think you need to think about
starting that stop…
- ..as soon as she takes the next
to the last step.
- So, you’re thinking about beginning it,
just as she’s barely starting back.
- For the followers, it’s a counter intuitive thing,
that last cross...
- ..which is why I did it. I'm like, "oh, that's cool."
- Yes, that is cool.
- So, when he's going to - let’s see,
he just dragged you.
- As he’s lifting up, I really want you to pay attention
to the way that...
- ..as you shift, this leg becomes free to come up.
- And then over.
- And she actually led that.
- Yes, he’s controlling not only that my leg goes up...
- ..but he’s controlling the direction
it comes across.
- So he’s making it cross.
- We’ll show this one or two more times.
- Also, pay attention to how circular it is,
so that we stay close.
- One more time.
- When he does that cross,
when he’s beginning to cross us…
- ..when we come to the cross on our left leg,
we need to stay on the ball of our foot…
- ..so we can stay forward to him.
- Don’t fall back, anything but that.