Tango Argentino > What are you working on?

Discussion in 'Tango Argentino' started by Zoopsia59, Jul 10, 2011.

  1. Zoopsia59

    Zoopsia59 Well-Known Member

    Couldn'r find the old 'What are you working on?" thread, so maybe it's time for a new one.

    For me, it's time for yet another return to basics.
  2. dchester

    dchester Moderator Staff Member

    Believe it or not, I'm working on my walk again.
  3. AndaBien

    AndaBien Well-Known Member

    A new way to do clockwise molinetes in apilado. It begins with an ocho cortado (whatever we think that means, but I know what I'm talking about), but then the woman takes full weight on her L foot and begins a molinete crossing in back with her R foot. I suppose it's been taught before, but I don't remember seeing anyone doing it.
  4. sixela

    sixela Well-Known Member

    Maintaining the embrace better (in all embraces).

    Making sure I don't drop my left hand.

    Dancing in strictly parallel close embrace (rather than my usual fairly flexible V-embrace that's close during walking and as close as possible during turns) more comfortably.

    Splitting everything I know up in atoms to give me more freedom to follow the music and the flow on the dance floor (rumour has it that I'm already bordering on the maddeningly and unpredictably 'original' according to most followers I know, but I'm still stamping out some automatic patterns).

    As an example, I'm figuring out all the ways of not doing an alteration when you're in the position of doing one, and several different ways of really doing an alteration but with varying rhythm, energy, and timings of weight changes (including some with three subtle weight changes instead of one).

    Dancing well, with as light a method of leading as I can get away with (I can't get away with as little as some leaders who follow the local mould with respect to weaving patterns, because I always do the unexpected. In fact, I'm mischievous enough to do something different from what a follower expects if I feel it too strongly even if I haven't got a clue as what to do next, unless I sense a purpose --I will happily be subtly backled, but I will not go where the follower's autopilot goes. I can't help it).

    Lots of other stuff.
  5. Subliminal

    Subliminal Well-Known Member

    Mixed bag, as usual.

    Lately, on the subtle side of the spectrum, I've been experimenting with what effect each foot position has in close embrace during during the turn. Rediscovered a few things about leading turns I learned as a beginner but had forgotton. :-/

    On the complexity side of the spectrum, I've been working on ganchos that involve a swinging motion from the follower's leg.

    Last but not least, working on reinventing my dynamic embrace.
  6. AndaBien

    AndaBien Well-Known Member

    I encourage you in this direction. It has given me much satisfaction.
  7. AndaBien

    AndaBien Well-Known Member

    Tried my new movement out at a milonga floor this afternoon; it requires lots of space.

    I'll need to see if I can reduce it in size.
  8. Dave Bailey

    Dave Bailey New Member


    Lots of decorations.

  9. bordertangoman

    bordertangoman Well-Known Member

    iS IT one of the figures in here?

  10. bordertangoman

    bordertangoman Well-Known Member

    staying upright......

    ( as the bishop said to the actress)
  11. AndaBien

    AndaBien Well-Known Member

  12. dchester

    dchester Moderator Staff Member

    Does the woman complete the ocho cortado (get to the cross), before starting the turn?
  13. AndaBien

    AndaBien Well-Known Member

    No. In an ocho cortado she would sort of bump sideways on her L foot just before the fwd ocho. My idea is that she takes full weight on that L foot and begins a molinete with a back cross using her R foot.
  14. dchester

    dchester Moderator Staff Member

    I'm probably not getting it, because it sounds like the normal front side back (RF LF RF) giro.
  15. AndaBien

    AndaBien Well-Known Member

    For the follower it is, but it comes out of the standard preparatory steps for an ocho cortado.
  16. sixela

    sixela Well-Known Member

    But then it's not really "cortado", now, is it?

    To me there is no set "preparatory sequence" to "the" ocho cortado, so to me if you continue turning rather than bounce back to a cross for the follower┬╣, it's no longer an ocho cortado at all, just one possible way of starting a molinete.

    ┬╣(which, if it's the "normal" cross is actually one natural ending to the counterclock molinete after the side step if you don't lead a pivot there but force a parallel frame and lead the follower to step inside rather than in a back ocho milonguero).
  17. AndaBien

    AndaBien Well-Known Member

    No, the "cortado" never occurs. I think the generic ocho cortado is a 6-ct movement, as shown first here:

    Instead of doing the "cortado", my thought is to begin a molinete.
  18. dchester

    dchester Moderator Staff Member

    That's something I do quite often. Another (3rd) possibility is to just have the follower complete the front ocho (from the first front step), rather than doing the ocho cortado, or the giro. The only "issue" with doing/completing the front ocho, is that a certain number of followers will assume that a pasada is coming next, and then go on autopilot for a bit, before allowing you the lead anything again.

    Basicallly, there are three really good options (and probably many more that I haven't yet thought of) from that initial front step (front ocho, ocho cortado, giro).
  19. AndaBien

    AndaBien Well-Known Member

    I do your 3rd possibility sometimes.

    If you can find a video of what you do commonly, I'd like to see it. What I have in mind is not at all a common movement. I've been going through videos this morning and I haven't found any that show it, yet.
  20. dchester

    dchester Moderator Staff Member

    I don't know off the top of my head of a video that shows it, but Oscar's video you listed, right in the beginning (30 seconds into it), almost has it. It's where he shows the various foot positions the leader can use in parallel system at the follower's side step of the ocho cortado. To make it a giro, the leader uses his right foot and does an entrada or sacada when she does the side step. Then the leader just pivots on his right foot, while the follower does her back side front.

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