Intermediate I workshop (3 hrs) with Ivan & Sally

May 21, 2005

Loved it. This more or less is how I would have designed my classes if I were a salsa teacher (except that I may have kept each segment separate and made it 3 progressive classes in a part of longer course).

Part 1. Spin technique

Ivan’s philosophy on double and triple spins is to borrow time from other beats.

All preparation for leading the follower to a turn can be completed within beats 1 and 2. From leader’s point of view hands swing to left on 1 and back to right and up on 2. In single spin, lead for a clockwise turn is initiated by a slightly nudge (slightly to left and towards the follower) on 5 and completed by the follower during 6 and 7 without any additional input from the leader. In double spin, initial turn is indicated on 4 and is reinforced for a second turn on 6. In triple spin, lead for initiating each turn is made on 3, 5 and 7. Only two fingers are used to lead partner to these spins in part to emphasize the point that the leader’s lead should not be too strong to cause the follower to lose her balance. Do not bend your wrist (which puts it the hand in a weaker position); instead bend the fingers downwards and keep the forearm and the hand straight.

Ivan gave out a handout, which I may place in a separate page (I should ask Ivan for a permission first).

Part 2. Expanding cross body lead repertoire

For me this was the meat and potatoes part of the workshop. I learned a bit more about things that can be done during a cross body lead and how to lead them. I learned A LOT about reverse cross body lead, which I had seen in a few classes but had not been very successful in finding many satisfactory things to do with it.

Standard cross body lead starting with closed hold

1,2,3 standard cross body lead start (leaders step 1 is basic, 2 is R foot in place (or slightly to right) while pointing left, and 3 is L foot moving in step with R foot – this means that leader is turning 90 counterclockwise thus the relative position of the leader and follower is at 90 degree angle with follower on leader’s front right (conversely, leader is to front left from follower’s perspective))
4 leader uses R hand on partner’s back (center underneath the shoulder blades) to apply a gentle pressure forward
5,6 leader uses L hand to guide follower forward
6,7 leader pulls L hand towards himself to turn follower counterclockwise (left turn) 180 as the leader turns 90 counterclockwise to face follower

False start of cross body lead
1,2,3 is the same as the standard cross body lead
4 but no pressure is exerted with R hand on 4
5 and L hand is not used to aid in leading the follower forward on 5
5,6,7 so, this should be read by the follower to mean that cross body lead is not be completed and she should be stepping in place. Same applies to the leaders
This is followed by basic 1,2,3 or more likely another start of cross body lead (real or fake)

Note. This is different from “Block” concept, in which the follower does walk forward on 5 only to be stopped by the leader and is forced to go backwards

Cross body lead with a turn
1,2,3,4,5 is exactly the same as standard cross body lead
6 leader raises his hand (L hand if L-R if starting from closed or open hold, but it could be R hand if R-R hold was the starting position) – I think additional hint is a slight pull towards myself (leader) when the hand goes up)
7,8 allow follower to complete her 1 1/2 counterclockwise turn

Now, you could do cross body lead with R-R hold (easiest for spinning presumably because most people are right-handed)
note. During early demonstration, leader’s L hand was placed on follower’s L shoulder for some purpose (which escaped me) but this is not necessary and is not used normally during a typical dance
1,2,3 footwork is still the same
4 there’s no pressure on follower’s back since R hand is already occupied – perhaps there is signal coming from R hand anyway (something of a tension perhaps?)
5 lead follower forward with R hand
(optional 5,6 lead follower at angle to left forward with R hand)
6 (or so) lead follower to a full counterclockwise turn – this involves something of snap motion somewhat towards myself (and then perhaps to my right also at the same time or slightly thereafter)
8 (or 7 depending on how fast follower turned) place L hand on partner’s shoulder to prevent further turn (another major factor in stopping further turn is deceleration)
[note: position of leader and follower would depend on whether there was an angle to the lead on 5 (and/or 6) – if follower was led straight forward, she should be directly in front of the leader and if follower was led to right forward, leader should step to left to be adjacent to the follower (to left and behind the follower) – in either case, R-R is outstretched to right
1,2,3 R-R is lowered on 1 (using deceleration technique) and raised back up to partner’s forehead on 3
5,6,7 lead follower to a full (or 1 1/2 if not facing each other yet) clockwise turn

Same could be done with crossed hand hold with L-L on top
if on 5,6 follower is led straight forward, this ends with “Titanic” position
if on 5,6 follower is led to right forward, L-L could be placed on follower’s L shoulder while R-R is outstretched to right
the ending basically the same

Also crossed hand hold was done with R-R on top – this I didn’t get to learn to my full satisfaction … I think I may need to lead follower to a reverse turn … this is where having a regular dance partner would come in very handy
Because I’m not quite sure about the position on 8, I don’t have a good speculation about the ending. I seem to recall the word "hammerlock" be used, and some of the demonstrationg related to this resulted in "Setenta" position.

Reverse cross body lead with crossed hold with L hand on top
1 open break
2,3 step forward and slightly to left on 2 and turn 90 clockwise to reach “reverse cross body” position – on 3, leaders would be opposite position compared to normal cross body lead position

at the same time on 2,3 – one of many different things can be done

in all case, L-L goes over follower’s head as follower is lead to a 180 counterclockwise turn so that at 3 both leader and follower are facing the same direction

0. default or neutral position is somewhat like Titanic with both arms outstretched except in lateral position,

however, at least four other variations exist (and have been demonstrated)
1. L hand outstretched to left and R hand on follower’s R shoulder
2. L hand outstretched to left and R hand on follower’s R hip
3. R hand outstretched to right and L hand on follower’s L shoulder
4. R hand outstretched to right and L hand on follower’s L hip
In all four above, the outstretched direction is easier direction to lead follower towards

There is at least one (possibly one more) more option (more open?), which in retrospect, I cannot quite distinguish from the four options described above.

4 indicate direction to which follower is to be moving towards (I think my tensing up or some such thing was a pretty good indication according to practice partners I spoke with)
5 lead partner towards to direction to which the follower is to be lead
6,7 lead partner to a 1 1/2 counterclockwise turn

However, especially with default/neutral position, you can play around quite a bit. Some of the things I considered afterwards included placing both hands on follower’s shoulders and/or hips on 7 and would be fun to try out

One example, which I just made up is as follows -
3 both hands outstretched
5 both hands on shoulders
7 both hands on hips
1 L hand on shoulders and leave R on hips
3 L hand on shoulder R hand outstretched
5 both hands on hips
7 both hands on shoulders
1 R hand on hips and leave L on shoulders
3 R hand kept on hips and L outstretched
4 indicate move to left
5 lead follower to left
6,7 lead follower to 1 1/2 counterclockwise turn and get to open

Also, I think that it might be possible and fun to throw in a quick in-place (full) turns and shines in the middle of sequence like above.

Part 3. Dips and Tricks

First dip was very similar to one taught by Johnny in one of his intermediate class and also to one taught by Helen and Rhona in the Rueda class.

Ivan was also of the opinion that most dips can be dangerous and should not be done with strangers. The ones he demonstrated today are considered to be safer because the followers should be able to balance themselves without support (as long as followers don’t all of sudden decide to throw themselves – which could certainly happen as Michelle noted)

dip #1 (borrowed from Tango?)
1,2 basic closed hold – be ready to tighten hold … R hand could move further beyond center of follower’s back for more support
3 pull partner towards myself for a closer embrace – I’m stepping backwards and open legs up (follower can use her R leg in between my legs – for additional support?)
4,5 twist counterclockwise (optional)
7,8 return to closed hold position

dip #2 (borrowed from Lambada?)
open hold but hands are gripped tighter than usual
1 open break (both hands used to push partner backwards
2,3 pull partner back while keeping R leg slightly forward (follower can grip this leg with her legs for additional support)
4,5 slightly lower both hands (maybe about shoulder level to chest level … maybe less) to lead follower to bend backwards (head last) – follower could also move in circular motion – this seems to be completely dependent on followers knowledge and ability
7,8 follower unbends and gets back up (raise hands slightly)

tricks (various hand toss)

For some reason, I had a brain freeze doing a simple toss, which starts with cross holds and which is used to switch back and forth between L-L on top and R-R on top. The key is to initiate hit with hand on the bottom and release the hand that did the hitting (and was in the bottom) to cause it to fly up in the air, then to catch this flying hand on its descent with the same hand except above the hands, which had been hit but kept the connection. The toss could be done in the middle of basic steps or as a turn is being finished (i.e. just about any time).

Various sequences were done using the maneuvers learned today. However, I don’t think that there is no point in writing them down.

Most of the things taught were learned and were practiced with fair proficiency. Big exception is leading cross body lead from crossed hold with R-R on top (which presumably involves a reverse (clockwise) turn). Also, I never quite got around to distinguish “opening up” variation during reverse cross body lead. It's possible that this "opening up" is similar kind of move as the second 1,2,3 of "Montana", which ends in open hold.