A few thoughts Heres the terminology Ive used for years in teaching and discussions.
Outside Partner: Man is on the womans right side. Inline: Man is directly facing the woman. Inside Partner: Man is on the womans left side. Some people are reasoning that if the cross happens automatically in outside partner, then it should happen automatically in inside partner. Except that doesnt consider the womans comfort (if she aint comfortable, it aint gonna happen), which differs because of the asymmetry of the embrace, as a several people have noted. The molinete is a womans default, which takes years for her to do really well (at least 5 years, Id say to get a good one), which opens doors to more possibilities than having each step being led (which really doesnt happen, anyway). Changing or adjusting the default is not that difficult if the man pays attention to timing and her hip position. Ive tested in open embrace (demonstrating it in beginning classes) that completely novice women will usually automatically do back-open-front if the man asks for molinete that begins with a back step/cross. If you start her on a front step, shes likely to continue doing forward steps around you. If you start her on a side step (unless youre using it to set up a back step), shes again likely to go forward. Left to their own devices, women wont do a clean side step during a molinete, which is critical to a good back step. Hence, their tendency toward forward steps. Whats interesting, though, is that her natural tendency during her front step of the giro and the first time shes invited to a cross (whether its the ocho cortado or a led 8CB) will be to turn her hips away and then pivot back toward her partner. So, what she needs to learn for the cross is to not pivot her hips away from her partner and to remain on one foot (shell normally want to revert to a balanced 2-leg stance). This will also keep her in time to the music. So in a salida, what causes me to cross or not cross? Quite simply, in step 4, the bottom part of my right hip is taken past my left hip as I extend backwards, and if my left hip is not allowed to "catch up" with my right hip, I either cross or kick myself. The man doesnt even need to turn his shoulders toward his left. If my left hip is allowed to "catch up" with my right, I continue walking straight back. Thats my current analysis anyway. In my favorite invitation to cross (which is in close-embrace), the man uses a slight lifting of his chest (like taking a breath) to gently lift my left leg and moves ever slightly to place it into the cross. From there he can shift my weight (like an exhale) or not, as he pleases. Perfect for my favorite orchestra of DiSarli, though I'm loving D'Agostino/Vargas more and more. Trini de Pittsburgh PATangoS - Pittsburgh Argentine Tango Society Our Mission: To make Argentine Tango Pittsburghs most popular social dance! http://patangos.home.comcast.net/ ____________________________________________________________________________________ Luggage? GPS? Comic books? Check out fitting gifts for grads at Yahoo! Search http://search.yahoo.com/search?fr=oni_on_mail&p=graduation+gifts&cs=bz _______________________________________________ Tango-L mailing list [email protected] http://mailman.mit.edu/mailman/listinfo/tango-l
