Ballroom Dance > Confliction Information of Cruzado Walk Technique

Discussion in 'Ballroom Dance' started by paintanker, Oct 10, 2012.

  1. paintanker

    paintanker Member

    I've moved here and there, and heard conflicting information on exactly how the cruzado walk is done. I did it one way, then I moved and got corrected. The new technique was confirmed by an unrelated secondary source, so I figure I had been doing it wrong all along and I change it. Then I move again and am told what I was doing in the first place was right, and what I changed to was wrong.

    Please tell me what you think of the two techniques for this move, as explained below:

    Start on the left foot, ready to step onto the right.

    1) Straighten your left leg, foot flat on the floor, as you collect your right leg leg to stand up. Then as it collects, switch the hip that is forward from the left to the right in the blink of an eye. Use the hip going behind you to let your core absorb the straightening of the leg to reduce rise. Then, with your hips locked in position, straighten your right leg in front of you, and soften it as you step on, pushing off with the back ankle.

    2) Soften your leg a little more in order to collect, then pull your hips up underneath you, on the ball of the left foot, with both legs bent, allowing the right foot to pass underneath. Hips are now square forward. Push off the whole back leg, and extend the right foot forward. As you put weight onto the front leg, bend it, and push through the entire back leg, swivelling the back foot outward to help in hip rotation.
  2. dbk

    dbk Well-Known Member

    Take this with a grain of salt, as I am not a latin dancer:

    I've been told that it's not so much the positions of the legs, knees, etc. (i.e. locked, straight, slightly bent, etc.) that is important, but the action itself of using the bounce to move your legs.

    So I'd say find the underlying principle behind the two techniques, which should be about the same, then figure out which little details help you achieve your goal the best.
    vit likes this.
  3. paintanker

    paintanker Member

    Usually when one thing is explained to me in seemingly contrasting ways, I think it's either just the same thing said a different way, or a different explanation of the same phenomenon, and I try to make it work for me. But this is something different, and I'm surprised to see that apparently people seem to do either one or the other and have neither heard of the one they don't do.

    I guess, I'd like to see what people think here so I know that there are two lines of thought that respect each other, to hear that one is totally out there and I should certainly not do, or that I am not seeing the big picture which is that they are the same thing somehow.
  4. vit

    vit Active Member

    Dance is very complex thing, where whole body is involved and should work in harmony (especially samba, which is a big mixture of everything). So, since it is very complex, different teachers can explain the same thing differently. Also, the same teacher can explain it differently to different students, in order to correct what is wrong etc. And also, the opposite is possible - I got very similar explanation for some things in dance from 2 different teachers -- just there was a big difference between them - more than one student of the first teacher was Blackpool finalist (in both amateur and pro), while almost all students of the second teacher, who was convinced that is even better that the first one, developed only very bad habits ...

    So don't take explanations too literally
  5. latingal

    latingal Well-Known Member

    There are two types of cruzados walks that I use, one emphasizes the samba "tick" and rhythm of the walk, the other emphasizes the body action. The first "bounces" more, the second is flat-er and smoother.

    It looks to me like you're describing the technique of the two types. You really need to be able to do both if you ask me. I use the rhythmical version whenever I am going in to some other movement (i.e. promenade runs, going in to turns, etc.) directly out of the walk (it happens quite a bit!), and I choose either to use the rhythmical or smoother version in multiple cruzados walks depending on what I want to emphasize in that pass.
  6. latingal

    latingal Well-Known Member

    and p.s. if I had to choose which was the "main" type, I would choose the rhythmical version. It uses the same standing leg technique as the rest of samba (yes, get that heel down!!). just remember to keep your center moving over the standing foot when you "stand up", otherwise you'll look like you're doing cha-cha not samba!
  7. paintanker

    paintanker Member

    That make sense to me - thanks so much for giving me your take on it. I guess I'm just really confused as to why each teacher seemed never to have heard of the other way. Maybe they learnt their way and never gave it any more though, or maybe they were just stubborn and wanted me to do it that way.
    latingal likes this.
  8. Jananananana

    Jananananana Active Member

    Especially when you're learning, teachers can say two things that sound like they're conflicting. More often than not, it is the same information using different words or just emphasizing different parts of a step.
  9. paintanker

    paintanker Member

    I'm not so sure - the two explanations look, sound, and feel so different.
  10. vit

    vit Active Member

    Not sure about that. From your description, first teacher seems to be putting emphasis on quick action of the hips (however, it's not only hips but whole spine working) while the second teacher doesn't. Standing foot will straighten, but it's questionable how do you define exact moment when. I'm not sure it can be at the very beginning. Also, have in mind that the same teacher will explain the figure one way, then it will show it slow motion slightly differently, then with a partner and/or on the music it will be different again, so if you film him and analyze the record frame by frame, you will find lots of contradictions ...

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