- Nice dynamics
- Recognition of opportunities is better than recall of patterns.
- Framework for creating variations
- Base movement: dynamic change of direction with lots of circular energy.
- Variants: coming from in front and coming from behind.
- Opening variant of El Gato.
- Small space movement with big dynamics. (‘Pull’ with side furthest from axis vs push)
- Techniques as a framework for creating variations on things we already know.
1. CS Alteration FO F2B, 2AS
We use the term alteration to refer to a movement that combines a rock step with a pivot, sending us off in a new direction. For example, demonstrate — with hand-side pointing down line of dance — Alteration front-to-back, going to arm-side. The rock step stores energy, and the pivot sends it off in a circular action to create a surprising change of direction.
Tonight we’ll start with this one particular alteration. We’ll learn what makes alternations successful, and at the end of the hour you will learn ways to make variations, and have a chance to explore them. We will also use this as a vehicle to explore the power of recognizing opportunities to fuel your dance creativity.
It’s a lot to cover, so pay close attention, make notes and connections however you can. I may also ask you to show your work
Now… You know the Americana? We open to the hand-side (only rarely, in old movies, to the arm-side) like a book, then both step through with the inside legs. But for this figure the leader steps through with the outside, left leg. So we are in cross-system, both stepping with left legs, in a shadow position.
How many different ways do you know or can figure out to get into that position, going from here (facing toe-to-toe), to here (little side rocks to position us, then step)? Give that a try for this song, and raise your hand if you want hints or help.
♩ Music ♫
Who has a slick way to get to this position? Demonstrate, please.
Followers — Filling out the frame-energy, occupy the space; Twist of legs together; Activate with energy of rebound from rock step; This is clearly a QQS timing-do that. This is a block movement for the pivot, not dissociation.
The important thing to notice is the matrix that starts the step. Here it is FO. My partner is in a front-cross leg position; I am in an open position. Even though it looks like my legs are crossed, too, if I turn toward my partner they open, but if my partner turns toward me their legs cross tighter.
The next thing to ask is, “If we back up one step, how do we get from that standing leg to this position?”
So our partner could be coming from in front of us, leaving a right leg somewhere in our NE-E sector, or maybe they come from behind us, say out of a molinete. For our creativity we can either create those conditions, or we can recognize when they just happen during our dancing and take advantage of them.
1A. Coming from in front
Simplest, merely lead a front ocho toward AS as you step back to create space. (You could do a neat little enrosque R behind L, to ready the L to rock forward.
1A’. Coming from in front, with a sacada
Alternatively, we would like that to be an overturned ocho, and we can nicely achieve that with a sacada to power the pivot. So…
El Gato, FsR
1B. Coming from behind
A molinete will achieve this. How about a standard 2-3 ROP entry?
♩ Music ♫
- Substitutions from the O/F/B matrix
- Mirror images (F2B/B2F, L2R, R2L)
- Varying N-E-S-W placement
♩ Music ♫
These alterations will generally but not necessarily be in CS, and it usually works better to have our partner’s legs in a F or B, and us in an O. With their legs twisted, and with the pivot moving toward the twist they can more easily keep them tight together. Since we’re leading the figure we can know to manage our legs, and we need the greater O flexibility to help create the pivot.
Speaking of O, can you figure out the adjustment you need to make for an O2O alteration to work? (Leader must step inside partner’s leg when going toward them.)
♩ Music ♫
Extra credit sacadas
- CS BO F2B (for me) 2AS to provoke a follower sacada as I step across their path. That powers my L lápiz for a B-sacada.