June 4, 2005
Advanced (watched and took notes only)
Patine los dos – this thankfully adds detail my Patine notes – this note is based mostly on my observation of some people’s interpretation of this move
1,2,3 Enchufe start
5,6,7 walk to the center and to right and join other leaders arm-to-arm
1,2,3 back rock to right (L foot behind and to R of R foot on 1, then in place with R foot on 2, and to left with L foot on 3), glance at old follower
5,6,7 back rock to left (R foot behind and to L of L foot on 1, then in place with L foot on 2, and to right with R foot on 3) and glance at new follower on right
1,2,3 spin counterclockwise while moving to left and to outside part of the Rueda circle as followers now move into the center
5,6,7 this seemed awkward for many leaders – maybe this is just time to get bearings while followers move to center – curious thing is that in Patine mujeres, followers do not move to the center until next 1,2,3 – maybe both follower and leader are still at the outside portion of the Rueda circle on 8???
1,2,3 back rock to right (L foot behind and to R of R foot on 1, then in place with R foot on 2, and to left with L foot on 3), glance at old follower
5,6,7 back rock to left (R foot behind and to L of L foot on 1, then in place with L foot on 2, and to right with R foot on 3) and glance at new follower on right
1,2,3 walk to the returning and spinning follower without doing any back rock
5,6,7 complete second half of Dile que no
Another basic step, whose name escaped me-
1,2,3,5,6,7 forward and back for leaders, back and back for followers
Cuba libre
R-R hold
1,2,3 roll hands and walk to left to initiate Once-like walk but let go of hands and place R on follower’s R waist
5,6,7,1,2,3,5,6,7 do Once walk while leading follower by touching R waist on ~4 with R hand, touching L waist with L hand on ~8 – meanwhile follower is raising R hand straight up on 3/4 and L hand on 7/8
1,2,3 get under follower’s raised L hand to initiate Dile que no
5,6,7 L hand on follower’s R shoulder while starting the second half of Dile que no – on 7/8 L hand ends on follower’s back shoulder while R hand goes to follower’s L back shoulder – follower’s L hand is outstretched on 8
1,2,3 bring follower back to the right side (follower’s L hand must be brought in) – I think Steve said something about there being a Siete motion to this part – slow down on 3/4
5,6,7 lead follower slowly clockwise under arm(pit) – follower should tilt her head toward the leader rather than completely ducking under – on 8 both partners were facing R of the Rueda circle
1,2,3,5,6,7 L hand on follower’s R shoulder to lead follower to (backwards?) counterclockwise turn (on 5,6,7?) (see salsa tip below) as leaders move to the next follower with a full clockwise turn
1,2,3,5,6,7 Dile que no with next follower
salsa tip:
positioning of hand on back (left shoulder vs center back vs right shoulder) determines whether the follower makes a turn (and direction of this turn) – so L hand on R shoulder leads to counterclockwise turn
Lasso
open hold from an extended position
1,2,3 go forward on 1 as follower is brought to the right side of the Rueda circle leading with L hand – I think follower and I turn 1/2 clockwise on 3 and are facing each other
5,6,7 leading with R hand lead follower away from the center of the Rueda circle (and to my right)
1,2,3 bring follower back to my right as I turn towards the inside of the circle (involves a slight ~1/4 counterclockwise turn?) – follower and I are facing the center of the Rueda circle with R-L outstretched to right
5,6,7 lead with R-L drawn inwards to lead follower to across to the left side of the Rueda circle and lead follower to a full counterclockwise turn and a wrap (and both facing the center of the Rueda circle again)
1,2,3 raise R-L and step in front of the follower and walk to the left side and bringing the follower back to the right side again with R-L outstretched to right
5,6,7 again lead with R-L drawn inwards to lead follower to across to the left side of the Rueda circle and lead follower to a full counterclockwise turn and a wrap
1,2,3 again raise R-L and step in front of the follower and walk to the left side and bringing the follower back to the right side again with R-L outstretched to right
5,6,7 again lead with R-L drawn inwards to lead follower to across to the left side of the Rueda circle and lead follower to a full counterclockwise turn and a wrap
1,2,3 again raise R-L and step in front of the follower and walk to the left side and bringing the follower back to the right side again with R-L outstretched to right
5,6,7 lead follower to a free counterclockwise turn into the center of the circle
[note. I have a funny note that says slide back on 1, which I don’t get]
1,2,3 basic for leader while follower “takes a breather” and turn to look back at the leader
5,6,7 leader move forward while follower comes back and both get ready for Dile que no
1,2,3,5,6,7 Dile que no
Intermediate
Cero (from Guapea) – Zero (0)
1,2,3 Enchufe start
5,6,7 step in place
1,2,3 start walking around each other with leaders doing the top half of the 0 in clockwise walk with feet facing into the circle at all times but head turning to look at the follower
5,6,7 finish walking around each other with leaders now doing the bottom of the 0
1,2,3,5,6,7 Dile que no
Cero Giro (from Guapea) – Zero (0) with turn
1,2,3 Enchufe start
5,6,7 step in place
1,2,3 start walking around each other with leaders doing the top half of the 0 in clockwise while turning half turn counterclockwise (more or less as follows - L foot pointing 10 o’clock on 1, R foot pointing 8 o’clock on 2, L foot pointing 6 o’clock on 3)
5,6,7 finish walking around each other with leaders now doing the bottom of the 0 and doing another half turn counterclockwise (more or less as follows - R foot pointing 4 o’clock on 5, L foot pointing 2 o’clock on 6, R foot pointing 12 o’clock on 7)
1,2,3,5,6,7 Dile que no
Roca (from Dile que no) – This is rather similar to Coca cola in my opinion
1,2,3 start of Dile que no with a need to make L-R connection and ideally a fairly tight closed hold
5,6,7 lead follower across to the left side and follow her so that I end up back on the left side like Coca cola
1,2,3 start Dile que no again and repeat until a new call (such as Dame or Parriba) is made
Parriba – just wanted more of a fake look toward the follower on right on 7/8 before turning to real next follower on left
Beginners
Guapea – this was third version I’ve seen (first version from Peter/Rhona/Helen, second version from Johnny)
1 L foot in place
2 R foot forward and inwards
3 L foot together with R foot – R-L palm-to-palm connection made at this time??
5 R foot in place – push off each other with R-L
6 L foot backward and outwards
7 R foot together with L foot
contrasting versions of Guapea
Peter/Rhona/Helen – this is the version I use
1,2,3 L foot, then R foot, then L foot in place in succession
5 R foot forward and inwards and brief R-L palm-to-palm connection, followed by immediate pushing off each other
6,7 L foot backward and outwards, then R foot together (back to position assumed in 1,2,3)
Johnny’s version from one of the last Friday intermediate class I attended
1,2,3 L foot in place, then R foot, and then L foot walking inwards in succession
5 R foot forward and inwards and brief R-L palm-to-palm connection, followed by immediate pushing off each other
6,7 L foot backward and outwards, then R foot together (back to position assumed in 1,2,3)
Dereta?? – Direct
1,2,3 let go and walk past the current follower on the outside of the Rueda circle with R hand raise high to get to the next follower (on left – like parriba)
5,6,7 second half of Guapea with new follower
Abajo (from Guapea)
1,2,3 forward on 1, get into tight embrace by 2/3, scoop up follower and turn both of us 1/2 turn clockwise ???
or was it?
1,2,3 Enchufe start followed by accommodating 5,6,7 and step forward on 1
… I am a little confused about this move because I cannot remember whether backwards walk start on beat 5 or beat 2.
Things we did that require no or little alteration include –
Dame – no change from usual
Dame dos – followers move a little along clockwise to reduce the amount of distance that needs to be traveled by the leaders to get to the second follower – this was practiced in the other two workshops also
Enchufe – going directly forward on 1 (more like Peter’s version rather than Rhona/Helen version)
Enchufe doble
Adios – going forward on 1, get into tight embrace by 2/3 and scooping up follower on 3 to turn both of us 1/2 turn clockwise (like Abajo!?), then change follower as normal
Al medio – slide to L and R foot join together on 1,2,3 with weight on L foot from beat 1 onwards and slide to R and L foot join together on 5,6,7 with weight on R foot from beat 5 onwards
Tarrito – no change but I might want to keep going the direction I was going when doing abajo rather than being completely stationary (also there was a fake tarrito)
Fly – no change (or no time to change)
there were couple of calls that involved yelling or going Ooooh (something and something sexy)
Arriba
Ping pong
Bacala – hmm I was being picked on for several details -- but I have been doing this for quite some time now?! I think that the problem may be that I had too many teachers for this (or similar move) – both Johnny and Ivan taught me similar move(s)
- issue 1 – they didn't like that I’m stepping backwards a bit on 3 (or is it 5?) (used for stabilization purpose, perhaps wrongly)
- issue 2 – when I removed the backward rock, I wasn’t leaving enough space for the follower (without bending over backwards, which also is not recommended)
So, I’m not sure how to fix (if needed) this problem
Overall comment: In Cambridge, I don’t think there is any way to take a beginner level Rueda student to intermediate level except by throwing beginners into the wolves and make them be completely overwhelmed for first few lessons. Considering the slower pacing and more repetitions today, I could have joined in on the advanced level workshop today with fewer problems compared to that I had with my first two intermediate Rhona & Helen Rueda classes. Also, it seemed that changing old familiar routine of doing something is as difficult and perhaps more difficult than learning a new routine.
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