May 30, 2005
Everything was more or less new today. Only for the third time this year, we didn’t start with Enchufe (and the other two times, we did a single extended sequence for the entire class)
Once – 11
R-R hold
1,2,3 break follower’s hand and then move to the left of the follower (keeping behind) and make L-L connection by 4 – i.e. sweetheart’s position with follower in front and to my right
5,6,7 move to the right side of the follower (staying behind)
1,2,3 move to the left side of the follower (staying behind) – on ~4 raise L arm and release R-R
5,6,7 move to the front of partner and walk to the right side of the follower and make R-R connection by 8 – i.e. sweetheart’s position with follower now in back and to my left
1,2,3 move to the left side of the follower (staying in front)
5,6,7 move to the right side of the follower (staying in front) – on ~8 raise L arm and release R-R
1,2,3 move back behind the follower and move to the left side
5,6,7 give myself a hat with L-L
Coca cola
1,2,3 start of Dile que no (=cross body lead) – by 3 or 4, L hand could be placed on follower’s R shoulder but do not lead/pull (if any) until 5 (in fact, just placing the hand on follower’s shoulder should be sufficient in real Rueda)
5,6,7 lead follower to a tight full (or slightly less) counterclockwise turn as I follow the turning follower in a circular walk in counterclockwise direction involving not quiet a full turn
1,2,3 start of Dile que no (this one probably will involve more going backwards than usual to get to the usual position by 4)
5,6,7 finish Dile que no
Juana Cubana -
crossed hold with R-R on top
1,2,3,5,6,7 Sombrero start and finish = pimienta-like step away from follower and back on 1,2,3 followed by leading follower to ~ 1 3/4 clockwise turn (R-R going first high) and ending with Sombrero position
1,2,3 get out of the Sombrero position and lower both hands to waist level in front
5,6,7 lead follower to the left side (like cross body lead – probably using R hand for the lead) while keeping L-L high – L-L ends up behind follower’s head on 8
1,2,3 break follower’s R hand and then move to the left of the follower (staying behind)
5,6,7 take L-L over my head to back of my neck and back over in front of my head
1,2,3 Exhibela like – step into the circle and back and then raise L hand on 3/4
5,6,7 lead follower to a full clockwise turn while follower walks into the circle and back then get into the Sombrero position – NOTE: in this maneuver, follower is being led with L hand and NOT R hand as is the case in the start of sombrero
1,2,3 let everything go – R hand moves down to follower’s back – start of Dile que no
5,6,7 finish Dile que no
Renewed emphasis on leading gently all the time is working out very well. Obtained some additional coaching from Peter and Cinzia afterwards and talked more about Coca cola (and about not completing a move if falling behind). I even managed a crossed body lead with a counterclockwise turn a la Coca cola followed by another cross body lead with clockwise turn while dancing with a ringer without a hitch on my first live trial (with just one demonstration practice with Cinzia earlier in the evening) and was repeated couple more times without any problem. A pair I knew from Sergio's class showed up, which made tonight special. A very busy night of dancing was only marred slightly by too much Merengue.
My salsa history prior to this blog
May 28, 2005
September 24, 2004 - I take my first salsa lesson from Johnny & Serap after about a month after Ignacio talked me into taking lessons. I think there was some Merengue thrown in for a relief near the end of the lesson. I stay in the Beginner's class for the rest of the year without progressing very much.
October 6, 2004 - I take my first lesson with Mauricio. Almost all of his classes worked on solo footwork (no partner work) for next several weeks. This means I am taking two lessons per week.
October 20, 2004 - I got my first glimpse of salsa beat in Mauricio's class. I consider this my first breakthrough.
October 30, 2004 - I order my first salsa instructional DVD - Quick and Dirty Guide to Salsa - Part 1, Beginners. I find the style totally foreign compared to my lessons with Mauricio or with Serap.
November 16, 2004 - I did my first "Beginner-to-Intermediate" workshop with Mauricio at L.A. Fitness. I find myself struggling going between side-to-side, back-to-back and mambo-basic when dancing with a partner. This means I am taking three lessons per week and still going nowhere fast.
Beginning of December 2004 - Now I can do basic, side-to-side, back-to-back and leading the follower to a pivot turn more or less with a partner. One fellow returning student commented that I improved a great deal and that I no longer tremble and shake trying to do these things.
Also around this time, I learned something similar to Enchufe. However, I was doing it wrong (starting with R foot going back for open break instead of L foot) and did not discover this mistake for well over a month.
December 10, 2004 - This was my last salsa class for 2004. There was a salsa party featuring a belly dancer. I danced for the first time on Friday doing nothing but basic, back-to-back, side-to-side and pivot turns, cross body leads (in an experimental way and poorly), and enchufe (incorrectly). Amazingly, a stranger said (perhaps sarcastically?) that she liked the way I danced.
Holiday break 2004/2005 - I vow to try to find a place to dance salsa in New York with Ignacio. We failed. In retrospect, this was probably a very good thing. I purchase my 2nd and 3rd salsa instructional DVD - Josie Neglia's Dance Hot Salsa DVD 1 & 2. Although the style looked familiar enough, they do little to improve my salsa skills.
January 3, 2005 - I take my first lesson at Po Na Na. Mauricio dumps me into the upper level with substitute teachers Enrico and Angelique. They show me how to smoothly transition back and forth between basic and back-to-back.
January 5, 2005 - Club Salsa was closed for Wednesday lesson. I later learn that this was because of an argument between Mauricio and the Club Salsa management.
January 10, 2005 - I take my first lesson with Peter & Cinzia. This is my first experience with the Rueda wheel. I note that this style is closer to the one in the Quick and Dirty Guide to Salsa.
January 16, 2005 - I went to Salsa on Sundays (SOS) for the first time in London. My instructor refused to let me leave multiple times after the lesson. In the end, I danced with 3-4 partners thanks to this act.
January 21, 2005 - Johnny & Serap finally returns. I move up to their Intermediate class and leave the Beginners class for good. I am back to taking two lessons a week.
February 2, 2005 - I take my first lesson with Rhona & Helen at CDC - taking both their Improvers and Intermediate classes. I am now taking lessons three days a week.
February 3, 2005 - I take my first lesson with Sergio at CDC - taking both his Improvers and Intermediate classes. This means I am taking lessons four days per week.
February 24, 2005 - Sergio talks about taking notes of classes during one of his class. I start taking notes on my laptop.
March, 17, 2005 - I tried my first real Casino Rueda class with Rhona & Helen with CDC lent term ending.
March 20, 2005 - I tried my first (and thus far my last) lesson with Nelson. So within a seven day span, I took lessons on five days. This is a record that has not been duplicated.
March 24, 2005 - I decided to take my notes and use them to start this blog after getting a comment about how well I seem to remember my lessons from a fellow student. I thought it might be useful to share my notes with interested people.
May 28, 2005 - At this time, I am probably classified an intermediate level leader with fairly large number of routines under my belt - probably using too many difficult routines for less experienced followers and a bit unpracticed for more experienced followers. For the past month, I have been taking salsa lessons avearage of three days per week.
September 24, 2004 - I take my first salsa lesson from Johnny & Serap after about a month after Ignacio talked me into taking lessons. I think there was some Merengue thrown in for a relief near the end of the lesson. I stay in the Beginner's class for the rest of the year without progressing very much.
October 6, 2004 - I take my first lesson with Mauricio. Almost all of his classes worked on solo footwork (no partner work) for next several weeks. This means I am taking two lessons per week.
October 20, 2004 - I got my first glimpse of salsa beat in Mauricio's class. I consider this my first breakthrough.
October 30, 2004 - I order my first salsa instructional DVD - Quick and Dirty Guide to Salsa - Part 1, Beginners. I find the style totally foreign compared to my lessons with Mauricio or with Serap.
November 16, 2004 - I did my first "Beginner-to-Intermediate" workshop with Mauricio at L.A. Fitness. I find myself struggling going between side-to-side, back-to-back and mambo-basic when dancing with a partner. This means I am taking three lessons per week and still going nowhere fast.
Beginning of December 2004 - Now I can do basic, side-to-side, back-to-back and leading the follower to a pivot turn more or less with a partner. One fellow returning student commented that I improved a great deal and that I no longer tremble and shake trying to do these things.
Also around this time, I learned something similar to Enchufe. However, I was doing it wrong (starting with R foot going back for open break instead of L foot) and did not discover this mistake for well over a month.
December 10, 2004 - This was my last salsa class for 2004. There was a salsa party featuring a belly dancer. I danced for the first time on Friday doing nothing but basic, back-to-back, side-to-side and pivot turns, cross body leads (in an experimental way and poorly), and enchufe (incorrectly). Amazingly, a stranger said (perhaps sarcastically?) that she liked the way I danced.
Holiday break 2004/2005 - I vow to try to find a place to dance salsa in New York with Ignacio. We failed. In retrospect, this was probably a very good thing. I purchase my 2nd and 3rd salsa instructional DVD - Josie Neglia's Dance Hot Salsa DVD 1 & 2. Although the style looked familiar enough, they do little to improve my salsa skills.
January 3, 2005 - I take my first lesson at Po Na Na. Mauricio dumps me into the upper level with substitute teachers Enrico and Angelique. They show me how to smoothly transition back and forth between basic and back-to-back.
January 5, 2005 - Club Salsa was closed for Wednesday lesson. I later learn that this was because of an argument between Mauricio and the Club Salsa management.
January 10, 2005 - I take my first lesson with Peter & Cinzia. This is my first experience with the Rueda wheel. I note that this style is closer to the one in the Quick and Dirty Guide to Salsa.
January 16, 2005 - I went to Salsa on Sundays (SOS) for the first time in London. My instructor refused to let me leave multiple times after the lesson. In the end, I danced with 3-4 partners thanks to this act.
January 21, 2005 - Johnny & Serap finally returns. I move up to their Intermediate class and leave the Beginners class for good. I am back to taking two lessons a week.
February 2, 2005 - I take my first lesson with Rhona & Helen at CDC - taking both their Improvers and Intermediate classes. I am now taking lessons three days a week.
February 3, 2005 - I take my first lesson with Sergio at CDC - taking both his Improvers and Intermediate classes. This means I am taking lessons four days per week.
February 24, 2005 - Sergio talks about taking notes of classes during one of his class. I start taking notes on my laptop.
March, 17, 2005 - I tried my first real Casino Rueda class with Rhona & Helen with CDC lent term ending.
March 20, 2005 - I tried my first (and thus far my last) lesson with Nelson. So within a seven day span, I took lessons on five days. This is a record that has not been duplicated.
March 24, 2005 - I decided to take my notes and use them to start this blog after getting a comment about how well I seem to remember my lessons from a fellow student. I thought it might be useful to share my notes with interested people.
May 28, 2005 - At this time, I am probably classified an intermediate level leader with fairly large number of routines under my belt - probably using too many difficult routines for less experienced followers and a bit unpracticed for more experienced followers. For the past month, I have been taking salsa lessons avearage of three days per week.
Another way out of Setenta + that stomach move again + Peter's explanation of Coca cola - Johnny & Serap Advanced mostly
May 27, 2005
1,2,3 basic, raise L hand and keep R hand low
[complicated version: 1,2,3 prepare follower for a double turn)
5,6,7 lead follower to a full pivot turn (clockwise) into Setenta position
[complicated version: lead follower to a double clockwise turn ending in Setenta position]
1,2,3 basic and slightly backwards on 3
5,6,7 lead/pull follower forward on the right side (R hand lead) and past me and unwrap
1,2,3 pivot turn for myself (let go of R-L)
5,6,7 lead follower to a full clockwise turn on 5,6,7 and do a hook turn myself on 7/8 keeping L-R hand low, thus having it end up behind my back waist - at this point follower is on my right side facing me (but not vice versa)
[complicated version: same but lead follower to a double turn instead]
1,2,3 similar to open break on 1 (push follower backwards), pull follower forward on 2,3 as I slide behind her with R hand on follower's stomach - try to catch follower's L hand with my L hand on 4
5,6,7 pull follower backwards as I get out of her way by moving to her left
1,2,3 slight twisting of follower clockwise and back
5,6,7 lead follower forward and to a 1 1/2 counterclockwise turn
Taken from a Rueda discussion with Peter
Coca cola
1,2,3 start of Dile que no - R hand on follower's R shoulder for the lead
5,6,7 lead follower to a full counterclockwise turn as I step around inside the Rueda circle while walking around in counterclockwise circle for half turn to end up on follower's left side (as was at the start of Dile que no) - in the course of leading this move, R hand goes from follower's R shoulder and end up on follower's back probably via follower's R waist or top of R hip
1,2,3,5,6,7 Dile que no
1,2,3 basic, raise L hand and keep R hand low
[complicated version: 1,2,3 prepare follower for a double turn)
5,6,7 lead follower to a full pivot turn (clockwise) into Setenta position
[complicated version: lead follower to a double clockwise turn ending in Setenta position]
1,2,3 basic and slightly backwards on 3
5,6,7 lead/pull follower forward on the right side (R hand lead) and past me and unwrap
1,2,3 pivot turn for myself (let go of R-L)
5,6,7 lead follower to a full clockwise turn on 5,6,7 and do a hook turn myself on 7/8 keeping L-R hand low, thus having it end up behind my back waist - at this point follower is on my right side facing me (but not vice versa)
[complicated version: same but lead follower to a double turn instead]
1,2,3 similar to open break on 1 (push follower backwards), pull follower forward on 2,3 as I slide behind her with R hand on follower's stomach - try to catch follower's L hand with my L hand on 4
5,6,7 pull follower backwards as I get out of her way by moving to her left
1,2,3 slight twisting of follower clockwise and back
5,6,7 lead follower forward and to a 1 1/2 counterclockwise turn
Taken from a Rueda discussion with Peter
Coca cola
1,2,3 start of Dile que no - R hand on follower's R shoulder for the lead
5,6,7 lead follower to a full counterclockwise turn as I step around inside the Rueda circle while walking around in counterclockwise circle for half turn to end up on follower's left side (as was at the start of Dile que no) - in the course of leading this move, R hand goes from follower's R shoulder and end up on follower's back probably via follower's R waist or top of R hip
1,2,3,5,6,7 Dile que no
Casino Rueda with Helen & Rhona - week 7 over all - 1st week in intermediate - into the fire!
May 26, 2005
Into the fire!
Mochila – rucksack
crossed hold R-R on top
1,2,3 Pimienta-like start
5,6,7 lead follower to 1 1/2 clockwise turn (R first) ending face-to-face with hands in front
1,2,3 lead follower to 1/2 turn counterclockwise ending follower and I both facing into the circle with follower in front right and R-R on follower’s right shoulder
5,6,7 move to follower’s right with L-L on follower’s left shoulder
1,2,3 move to follower’s left with R-R by follower’s right waist
5,6,7 move to follower’s right with L-L by follower’s left waist
1,2,3 lead follower to a 1/2 clockwise turn ending face-to-face with follower but follower on the right side and hands-crossed
5,6,7 move to next partner
Dame pa fuera
not sure about the beats
5,6,7 lead current partner to a free spin 1/2 turn clockwise using R hand on follower’s L hand and turn myself 1/2 turn counterclockwise to face my new partner
1,2,3,5,6,7 Dame (or Dile que no) with new partner
Coca cola – a guess
1,2,3 lead partner to walk forward on 1 using R hand on follower’s R shoulder and lead follower to a full turn counterclockwise as I move to follower’s left side while turning 1/2 turn counterclockwise
5,6,7 complete second half of Dile que no
Siete – 7
7/8 point L-R towards the center – this is kept at waist level throughout
1,2,3 pull L-R to outside the circle to lead partner to a full clockwise turn ending in a wrap
5,6,7 unwrap partner
Siete y Coca cola (Siete immediately followed by Coca cola) was frequently used today
Once – 11 - another guess
1,2,3 Enchufe start
See Week 8 notes.
Dedo - finger
R-R hold
1,2,3 Pimienta-like start
5,6,7 lead follower to a 1 1/2 clockwise turn ending face-to-face
1,2,3 Enchufe start
5,6,7 hook turn
1,2,3 Enchufe start
5,6,7 hook turn
1,2,3,5,6,7 Dile que no
Dedo guarapo y bota
don’t remember
Dedo saboreado – tasty finger
see Peter’s class note
Setenta – 70
a bit unsure about the start, especially in the beginning
1,2,3either basic or Pimienta-like (I would have guessed Pimienta but I couldn’t tell that this was what others were doing) ending with L hand up
5,6,7 lead follower to a 1 1/2 clockwise turn (follower probably ends up on the right side of the Rueda circle) ending with R-L behind follower’s back R waist
1,2,3 maybe walk in circles (clockwise)
5,6,7 unwrap follower
1,2,3 start of Dile que no while giving myself a hat early on using R-L
5,6,7 finish Dile que no
Patine
1,2,3 Enchufe start
5,6,7 walk into the center
1,2,3 walk to right and back as you look over behind your left upon your old partner
5,6,7 walk to left and back as you look over behind your right upon your new partner
1,2,3 walk to new partner while performing a 360 counterclockwise walking turn
5,6,7 complete Dile que no
Patine mujeres
1,2,3 Enchufe start
5,6,7 walk almost past your partner and then use R hand on follower’s back to propel follower into the center
1,2,3 not sure (walk to left??)
5,6,7 not sure (walk to right??)
1,2,3 not sure (walk to left?? and catch your new follower spinning back to the outer circle)
5,6,7 finish Dile que no
Above descriptions of Patine is somewhat incomplete. See workshop notes on Patine los dos for more details.
Pulpo – Octopus (probably… not totally sure about the name)
1,2,3 Enchufe start and switch to R-R
5,6,7 keep R-R high and walk to left and go underneath the raised R-R arm of the leader and follower on the left side of the circle
1,2,3,5,6,7 walk along the Rueda circle clockwise
-upon se fue
lost timing
place L hand on next follower’s R wrist
then lead follower to left and outside the circle as you let go R-R and place R behind your back, which the follower will get hold of with her L hand
then lead follower in and out of the circle with L-R over follower’s L ?? shoulder when follower is on the outside of the circle (to my left side)
- upon todos
you start going in and out alternatively
To be completed later
Into the fire!
Mochila – rucksack
crossed hold R-R on top
1,2,3 Pimienta-like start
5,6,7 lead follower to 1 1/2 clockwise turn (R first) ending face-to-face with hands in front
1,2,3 lead follower to 1/2 turn counterclockwise ending follower and I both facing into the circle with follower in front right and R-R on follower’s right shoulder
5,6,7 move to follower’s right with L-L on follower’s left shoulder
1,2,3 move to follower’s left with R-R by follower’s right waist
5,6,7 move to follower’s right with L-L by follower’s left waist
1,2,3 lead follower to a 1/2 clockwise turn ending face-to-face with follower but follower on the right side and hands-crossed
5,6,7 move to next partner
Dame pa fuera
not sure about the beats
5,6,7 lead current partner to a free spin 1/2 turn clockwise using R hand on follower’s L hand and turn myself 1/2 turn counterclockwise to face my new partner
1,2,3,5,6,7 Dame (or Dile que no) with new partner
Coca cola – a guess
1,2,3 lead partner to walk forward on 1 using R hand on follower’s R shoulder and lead follower to a full turn counterclockwise as I move to follower’s left side while turning 1/2 turn counterclockwise
5,6,7 complete second half of Dile que no
Siete – 7
7/8 point L-R towards the center – this is kept at waist level throughout
1,2,3 pull L-R to outside the circle to lead partner to a full clockwise turn ending in a wrap
5,6,7 unwrap partner
Siete y Coca cola (Siete immediately followed by Coca cola) was frequently used today
1,2,3 Enchufe start
See Week 8 notes.
Dedo - finger
R-R hold
1,2,3 Pimienta-like start
5,6,7 lead follower to a 1 1/2 clockwise turn ending face-to-face
1,2,3 Enchufe start
5,6,7 hook turn
1,2,3 Enchufe start
5,6,7 hook turn
1,2,3,5,6,7 Dile que no
Dedo guarapo y bota
don’t remember
Dedo saboreado – tasty finger
see Peter’s class note
Setenta – 70
1,2,3
5,6,7 lead follower to a 1 1/2 clockwise turn (follower probably ends up on the right side of the Rueda circle) ending with R-L behind follower’s back R waist
1,2,3 maybe walk in circles (clockwise)
5,6,7 unwrap follower
1,2,3 start of Dile que no while giving myself a hat early on using R-L
5,6,7 finish Dile que no
Patine
1,2,3 Enchufe start
5,6,7 walk into the center
1,2,3 walk to right and back as you look over behind your left upon your old partner
5,6,7 walk to left and back as you look over behind your right upon your new partner
1,2,3 walk to new partner while performing a 360 counterclockwise walking turn
5,6,7 complete Dile que no
Patine mujeres
1,2,3 Enchufe start
5,6,7 walk almost past your partner and then use R hand on follower’s back to propel follower into the center
1,2,3 not sure (walk to left??)
5,6,7 not sure (walk to right??)
1,2,3 not sure (walk to left?? and catch your new follower spinning back to the outer circle)
5,6,7 finish Dile que no
Above descriptions of Patine is somewhat incomplete. See workshop notes on Patine los dos for more details.
Pulpo – Octopus (probably… not totally sure about the name)
1,2,3 Enchufe start and switch to R-R
5,6,7 keep R-R high and walk to left and go underneath the raised R-R arm of the leader and follower on the left side of the circle
1,2,3,5,6,7 walk along the Rueda circle clockwise
-upon se fue
lost timing
place L hand on next follower’s R wrist
then lead follower to left and outside the circle as you let go R-R and place R behind your back, which the follower will get hold of with her L hand
then lead follower in and out of the circle with L-R over follower’s L ?? shoulder when follower is on the outside of the circle (to my left side)
- upon todos
you start going in and out alternatively
To be completed later
A very very long sequence - Peter & Cinzia
May 23, 2005
In a change of pace, Peter and Cinzia decided to do a very long complex sequence. I was told by one of the woman in the class that this routine was tried on Thursday salsa party and that she was doing men’s part. Sean returned from his Oxford trip.
Sordo - Deaf man?
R-R hold
1,2,3 Pimienta start
5,6,7 lead partner to 1 1/2 clockwise turn and turn counterclockwise ~90 to be side-to-side with partner who should be on your left – place L hand on partner’s L shoulder
1,2,3 walk in circles with partner (clockwise circle with me walking backwards and partner walking forwards)
5,6,7 hook turn and change to L-R
1,2,3 another hook turn with L-R kept low, and get hold of partner’s L hand with my R hand in front thus ending in Setenta position for myself (i.e. my L hand is behind my back on my R waist)
5,6,7 do a back half of basic – on 8, you should be facing your next Dame partner or to the right side of the Rueda circle
1,2,3 forward basic and get arm or elbow lock with R-L (my R arm over partner’s L arm)
5,6,7 back basic while getting out of arm/elbow lock and get R-L over partner’s head to behind partner’s face (note. this probably looks the best if R-L goes over partner’s head on 7 (or even 8) rather than earlier) [Note added May 26: release arm lock on 5 then swing it in a small counterclockwise circular motion during 6,7 and get it over follower's head on 7/8]
1,2,3 walk in semi-circle with partner (going to my right) and get L-R over partner’s head to in front of partner’s face -- R-L is lowered gradually during 1,2 while L-R is raised at the same time
5,6,7 keep L-R high and turn clockwise essentially full turn – on 8, you and your partner should be back in starting position within the Rueda circle
1,2,3 two-handed Enchufe start
5,6,7 raise both hands over partner’s head and wrap partner down to waist level
1,2,3 Sacala – walk into the circle and back (small steps) and raise L hand on 3
5,6,7 walk in place and lead partner to walk into the circle and back while walking around that essentially is the same as a full clockwise turn - get R-L over partner’s head and to shoulder level for a neck wrap
1,2,3 Coca cola – get R-L back over partner’s head to lose the neck wrap quickly – use R hand high (and using a gentle pulling motion) to lead partner to a full counterclockwise turn again ending with a neck wrap with R-L behind partner’s neck
5,6,7 use a gentle nudge with R forearm on back of partner’s neck to help lead partner to my left as in the end of cross body lead as she unwraps herself with a clockwise turn – on 8, you and your partner should be back in the starting position within the Rueda circle
[note added May 27: I think I may have Coca cola wrong - instead of it lasting 1,2,3,5,6,7, it may go more like 1,2,3,5,6,7,1,2,3,5,6,7 as written below:
1,2,3 Coca cola (two-handed) - raise R-L back over partner's head to lose the neck wrap - maybe do Dile que no steps
5,6,7 lead follower across to my right with both hands while leading follower to a full counterclockwise turn while I walk around in counterclockwise circle for half turn to end up back on follower's left side also ending with a neck wrap for the follower with R-L behind follower's neck
1,2,3,5,6,7 Dile que no with the follower unwrapping with a clockwise turn - a gentle nudge with my R forearm on follower's back can be used to help in leading]
1,2,3 two-handed Enchufe start
5,6,7 do accommodating steps and release R-L
1,2,3 walk into the circle and back and raise L hand on 3 for Exhibela
5,6,7 lead partner to Exhibela = partner walks into the circle and back while walking around clockwise equivalent to a full turn
1,2,3,5,6,7 Dile que no (or cross body lead)
Later on when I was trying reverse cross body lead (which worked only with somewhat more experienced partners with some partners getting very amused-happy responses despite some raggedness to it all), I was having difficulty with timing but I was told by a follower with more experience than me that my technique was pretty good. This timing problem was almost non-existent when I danced with a ringer the end.
In a change of pace, Peter and Cinzia decided to do a very long complex sequence. I was told by one of the woman in the class that this routine was tried on Thursday salsa party and that she was doing men’s part. Sean returned from his Oxford trip.
Sordo - Deaf man?
R-R hold
1,2,3 Pimienta start
5,6,7 lead partner to 1 1/2 clockwise turn and turn counterclockwise ~90 to be side-to-side with partner who should be on your left – place L hand on partner’s L shoulder
1,2,3 walk in circles with partner (clockwise circle with me walking backwards and partner walking forwards)
5,6,7 hook turn and change to L-R
1,2,3 another hook turn with L-R kept low, and get hold of partner’s L hand with my R hand in front thus ending in Setenta position for myself (i.e. my L hand is behind my back on my R waist)
5,6,7 do a back half of basic – on 8, you should be facing your next Dame partner or to the right side of the Rueda circle
1,2,3 forward basic and get arm or elbow lock with R-L (my R arm over partner’s L arm)
5,6,7 back basic while getting out of arm/elbow lock and get R-L over partner’s head to behind partner’s face (note. this probably looks the best if R-L goes over partner’s head on 7 (or even 8) rather than earlier) [Note added May 26: release arm lock on 5 then swing it in a small counterclockwise circular motion during 6,7 and get it over follower's head on 7/8]
1,2,3 walk in semi-circle with partner (going to my right) and get L-R over partner’s head to in front of partner’s face -- R-L is lowered gradually during 1,2 while L-R is raised at the same time
5,6,7 keep L-R high and turn clockwise essentially full turn – on 8, you and your partner should be back in starting position within the Rueda circle
1,2,3 two-handed Enchufe start
5,6,7 raise both hands over partner’s head and wrap partner down to waist level
1,2,3 Sacala – walk into the circle and back (small steps) and raise L hand on 3
5,6,7 walk in place and lead partner to walk into the circle and back while walking around that essentially is the same as a full clockwise turn - get R-L over partner’s head and to shoulder level for a neck wrap
1,2,3 Coca cola – get R-L back over partner’s head to lose the neck wrap quickly – use R hand high (and using a gentle pulling motion) to lead partner to a full counterclockwise turn again ending with a neck wrap with R-L behind partner’s neck
5,6,7 use a gentle nudge with R forearm on back of partner’s neck to help lead partner to my left as in the end of cross body lead as she unwraps herself with a clockwise turn – on 8, you and your partner should be back in the starting position within the Rueda circle
[note added May 27: I think I may have Coca cola wrong - instead of it lasting 1,2,3,5,6,7, it may go more like 1,2,3,5,6,7,1,2,3,5,6,7 as written below:
1,2,3 Coca cola (two-handed) - raise R-L back over partner's head to lose the neck wrap - maybe do Dile que no steps
5,6,7 lead follower across to my right with both hands while leading follower to a full counterclockwise turn while I walk around in counterclockwise circle for half turn to end up back on follower's left side also ending with a neck wrap for the follower with R-L behind follower's neck
1,2,3,5,6,7 Dile que no with the follower unwrapping with a clockwise turn - a gentle nudge with my R forearm on follower's back can be used to help in leading]
1,2,3 two-handed Enchufe start
5,6,7 do accommodating steps and release R-L
1,2,3 walk into the circle and back and raise L hand on 3 for Exhibela
5,6,7 lead partner to Exhibela = partner walks into the circle and back while walking around clockwise equivalent to a full turn
1,2,3,5,6,7 Dile que no (or cross body lead)
Later on when I was trying reverse cross body lead (which worked only with somewhat more experienced partners with some partners getting very amused-happy responses despite some raggedness to it all), I was having difficulty with timing but I was told by a follower with more experience than me that my technique was pretty good. This timing problem was almost non-existent when I danced with a ringer the end.
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.
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.
Fairly easy but still useful – Johnny & Serap Advanced
May 20, 2005
open hold
1,2,3 cross body start
5,6,7 lead partner to a two handed 1 1/2 counterclockwise turn (forward on 5 and turns in 6,7,8) and keep hands high
1,2,3 pivot turn 180 and split hands over my head with my hands crossing in front of my head and R-L connection over my L shoulder and L-R connection over my R shoulder
5,6,7 lower both hands to waist level and switch hands and keep connection at waist level – both of us are facing the same direction with me in front
1,2,3 slight forward while pushing partner back on 1, step to right on 2 (and 3) as partner is pulled to my left side
5,6,7 (initially we led partner to a free 1 1/2 clockwise turn leading with my L hand – gently pulling it towards me) this is the hardest bit - lead partner to a 1 1/2 clockwise turn while breaking partner’s hand to get to Setenta-like position (partner’s R hand behind her waist) and do a hook turn (I found it better to wait until partner is nearly done with her turn before turning myself) as L-R is switched to R-R at the end – show L hand high (to reach a proper Setenta position by 1)
1,2,3 cross body lead start
5,6,7 unwrap partner by leading her to a 1 1/2 counterclockwise turn ending in open hold
1,2,3 do a 180 left turn (counterclockwise) with L hand high with the turn occurring at step 3 (I was doing a clockwise turn pivoting on 2 initially until Sally pointed out that I was doing this differently compared to others) – L-R lands on my L shoulder on 3
5,6,7 step aside (to R on 5) as L-R moves in sweeping counterclockwise circle rising from my L shoulder and ending next to (edited July 31) my R waist where my R hand is waiting and use the R hand to get hold of both of partner’s hands – both partner and I are facing same direction with me in front
1,2,3 step forward on 1 as partner is pushed backwards like open break, then turn around (this time clockwise) 180 on 3 pivoting on my R foot
5,6,7 lead partner to an optional double turn (clockwise)
open hold
1,2,3 cross body start
5,6,7 lead partner to a two handed 1 1/2 counterclockwise turn (forward on 5 and turns in 6,7,8) and keep hands high
1,2,3 pivot turn 180 and split hands over my head with my hands crossing in front of my head and R-L connection over my L shoulder and L-R connection over my R shoulder
5,6,7 lower both hands to waist level and switch hands and keep connection at waist level – both of us are facing the same direction with me in front
1,2,3 slight forward while pushing partner back on 1, step to right on 2 (and 3) as partner is pulled to my left side
5,6,7 (initially we led partner to a free 1 1/2 clockwise turn leading with my L hand – gently pulling it towards me) this is the hardest bit - lead partner to a 1 1/2 clockwise turn while breaking partner’s hand to get to Setenta-like position (partner’s R hand behind her waist) and do a hook turn (I found it better to wait until partner is nearly done with her turn before turning myself) as L-R is switched to R-R at the end – show L hand high (to reach a proper Setenta position by 1)
1,2,3 cross body lead start
5,6,7 unwrap partner by leading her to a 1 1/2 counterclockwise turn ending in open hold
1,2,3 do a 180 left turn (counterclockwise) with L hand high with the turn occurring at step 3 (I was doing a clockwise turn pivoting on 2 initially until Sally pointed out that I was doing this differently compared to others) – L-R lands on my L shoulder on 3
5,6,7 step aside (to R on 5) as L-R moves in sweeping counterclockwise circle rising from my L shoulder and ending next to (edited July 31) my R waist where my R hand is waiting and use the R hand to get hold of both of partner’s hands – both partner and I are facing same direction with me in front
1,2,3 step forward on 1 as partner is pushed backwards like open break, then turn around (this time clockwise) 180 on 3 pivoting on my R foot
5,6,7 lead partner to an optional double turn (clockwise)
Traffic jam! I get totally lost – Sergio Intermediate
May 19, 2005
Wow. Until this lesson, I was feeling quite comfortable this term with Sergio's lessons. Some of the overwhelmed students were nearly in tears especially early on and seemed uncomfortable throughout. At the end, I too was completely flustered because of high level of difficulty of today's lesson.
First the traffic jam – jarring enough for me, more so for many others, esp. Tamryn.
R-R hold
1,2,3 open break (not backwards) on 1 (or maybe partner is pulled towards you right away on 1) and partner is pulled towards me to my right into sweetheart’s position as R-R is released and R hand goes to partner’s R hip (both now facing the same direction) on 3 for a slight tap
4 before partner makes a move forward for her 1 1/2 counterclockwise turn, I step across her path on 4 with my R foot
5,6,7 on 5, quickly step to my left with my L foot (!!!) as I turn ~90 counterclockwise and continue to turn counterclockwise ~270 to face partner by 8 as I somehow keep correct distance to comfortably place my R hand on partner’s back on 8
more filler to get to R-R hold
version 1 – tried once but aborted after Sergio complained of no one paying attention to a easy routine
1,2,3,5,6,7 basic
1,2,3,5,6,7 clockwise turn on 5,6,7 for partner
1,2,3,5,6,7 cross body lead with change to R-R hold
version 2 – shorter but slightly more complicated (simple enough but nifty and easy to use for changing to R-R hold!)
1,2,3,5,6,7 standard cross body lead until 6 (or 7 for Sergio) whereupon I switch to R-R hold and turn ~270 clockwise to face partner
Now the one that really confused the heck out of me…
open hold
1,2,3 cross body lead start
5,6,7 L hand high on 5 while R is kept low and end with wrap with L hand on partner’s L shoulder – release R hand (partner is meant to keep her L hand behind her back for a bit longer)
1,2,3 R hand moves over my head and get hold of partner’s R hand on her L shoulder in the inside (my forefinger is closest to her shoulder and my palm is facing partner’s neck)
5,6,7 gently pull partner’s R hand backwards (this is not too unlike breaking partner’s hand to get to sweetheart’s position except the connection is broken) and R-R is released – while partner is going backwards, I prepare my R foot on 5 and turn 180 counterclockwise (I was pivoting on my R foot, which may or may not be correct)
1,2,3 now it starts getting confusing – catch partner’s R hand with my R hand again and (I think on 3) my R hand is over my head and is tossed on 4 as my L hand goes to partner’s R hip
5,6,7 getting very lost now – R hand gets hold of partner’s L hand which had been kept behind her back all this time … my steps involve stepping in counterclockwise circles with my partner for at least 5 and 6 – I think starting on 7, I might be pulling partner’s hand backwards and then forwards (resulting in a full clockwise turn for partner and us facing each other with R-L pointing to my R)
– the ending was never resolved
A shine Sergio claims to have made up this morning
1,2,3,5,6 basic
7 R foot pointing to R
1 L foot cross over (Suzy Q)
2 R foot cross over behind
3 L foot cross over
4 R foot kick
5 R foot toe
6 pivot 180 on L foot
7 R foot kick
8 R foot rest
1 L foot cross over
3 R foot cross over behind to normal position
5 L foot cross over
7 R foot cross over behind to normal position
1 L foot toe pointing forward (=90 turn to right from previous position)
2 swivel on my R foot for a 180 clockwise
3 turn all of head to look left
4 …I can’t remember it anymore (not because it was hard) … maybe get ready for hook turn on 4
5 …maybe do a hook turn 180
6,7 …maybe do a split (not all the way to the floor, mind you – but Sergio did end with something like it)
and go back to basic
This being the last class and all (same was offered at the end of improvers), Sergio passed around a sheet to get info of people who’d be around during the summer and would be interested in “On 2” classes. I think he has more willing leader compared to followers. In any case, my reply was “To learn more things that cannot be used? Why not! Go New York!”
Wow. Until this lesson, I was feeling quite comfortable this term with Sergio's lessons. Some of the overwhelmed students were nearly in tears especially early on and seemed uncomfortable throughout. At the end, I too was completely flustered because of high level of difficulty of today's lesson.
First the traffic jam – jarring enough for me, more so for many others, esp. Tamryn.
R-R hold
1,2,3 open break (not backwards) on 1 (or maybe partner is pulled towards you right away on 1) and partner is pulled towards me to my right into sweetheart’s position as R-R is released and R hand goes to partner’s R hip (both now facing the same direction) on 3 for a slight tap
4 before partner makes a move forward for her 1 1/2 counterclockwise turn, I step across her path on 4 with my R foot
5,6,7 on 5, quickly step to my left with my L foot (!!!) as I turn ~90 counterclockwise and continue to turn counterclockwise ~270 to face partner by 8 as I somehow keep correct distance to comfortably place my R hand on partner’s back on 8
more filler to get to R-R hold
version 1 – tried once but aborted after Sergio complained of no one paying attention to a easy routine
1,2,3,5,6,7 basic
1,2,3,5,6,7 clockwise turn on 5,6,7 for partner
1,2,3,5,6,7 cross body lead with change to R-R hold
version 2 – shorter but slightly more complicated (simple enough but nifty and easy to use for changing to R-R hold!)
1,2,3,5,6,7 standard cross body lead until 6 (or 7 for Sergio) whereupon I switch to R-R hold and turn ~270 clockwise to face partner
Now the one that really confused the heck out of me…
open hold
1,2,3 cross body lead start
5,6,7 L hand high on 5 while R is kept low and end with wrap with L hand on partner’s L shoulder – release R hand (partner is meant to keep her L hand behind her back for a bit longer)
1,2,3 R hand moves over my head and get hold of partner’s R hand on her L shoulder in the inside (my forefinger is closest to her shoulder and my palm is facing partner’s neck)
5,6,7 gently pull partner’s R hand backwards (this is not too unlike breaking partner’s hand to get to sweetheart’s position except the connection is broken) and R-R is released – while partner is going backwards, I prepare my R foot on 5 and turn 180 counterclockwise (I was pivoting on my R foot, which may or may not be correct)
1,2,3 now it starts getting confusing – catch partner’s R hand with my R hand again and (I think on 3) my R hand is over my head and is tossed on 4 as my L hand goes to partner’s R hip
5,6,7 getting very lost now – R hand gets hold of partner’s L hand which had been kept behind her back all this time … my steps involve stepping in counterclockwise circles with my partner for at least 5 and 6 – I think starting on 7, I might be pulling partner’s hand backwards and then forwards (resulting in a full clockwise turn for partner and us facing each other with R-L pointing to my R)
– the ending was never resolved
A shine Sergio claims to have made up this morning
1,2,3,5,6 basic
7 R foot pointing to R
1 L foot cross over (Suzy Q)
2 R foot cross over behind
3 L foot cross over
4 R foot kick
5 R foot toe
6 pivot 180 on L foot
7 R foot kick
8 R foot rest
1 L foot cross over
3 R foot cross over behind to normal position
5 L foot cross over
7 R foot cross over behind to normal position
1 L foot toe pointing forward (=90 turn to right from previous position)
2 swivel on my R foot for a 180 clockwise
3 turn all of head to look left
4 …I can’t remember it anymore (not because it was hard) … maybe get ready for hook turn on 4
5 …maybe do a hook turn 180
6,7 …maybe do a split (not all the way to the floor, mind you – but Sergio did end with something like it)
and go back to basic
This being the last class and all (same was offered at the end of improvers), Sergio passed around a sheet to get info of people who’d be around during the summer and would be interested in “On 2” classes. I think he has more willing leader compared to followers. In any case, my reply was “To learn more things that cannot be used? Why not! Go New York!”
Sergio again demonstrates why dancing with your teachers can really deflate your ego – Sergio Improvers
May 19, 2005
R-L hold
1,2,3 cross body lead start
5,6,7 wrap partner – lead is forward on 5 and to left on 6 (Sergio wanted my lead even lighter!)
1,2,3 pull partner backwards (apparently she does a crossover step too) as my L foot crosses over to right behind R foot on 1, to right and forward on 2 and turn counterclockwise to face partner on 3
5,6,7 basic
1,2,3 open break on 1 (no backwards movement on 1 as usual for Sergio), forward on both 2 and 3 slightly leaning towards right and R-R is pulled towards me as it is raised and moved over my head to left and tossed while L hand gets partner’s R hip
5,6,7 Probably a very delicate pull with L hand on partner’s R hip (button! for partner) to lead to a 1 1/2 counterclockwise turn while I simply turn 180 counterclockwise to face partner and catch partner’s back with R hand
1,2,3 L foot forward to left on 1 and R foot forward to right on 2 (keeping it very close to partner as this is the foot used for pivoting turn) (surrounding partner’s legs is how Johnny would have done this in a previous advanced class – not sure if Sergio is completely in agreement) and turn both myself and partner (as one unit) counterclockwise on 3
5,6,7 finish as at the end of cross body lead
filler at the beginning
1,2,3,5,6,7 cross body lead with a turn starting with closed or open hold and ending with L-R
1,2,3,5,6,7 prepare on 1,2,3 with L high, and turn partner a full turn clockwise preferably with R-L switch on 4 or so
I thought I had this nailed more or less until Sergio asked me to lead him. I made some mistakes I would not have made normally (thanks in part to extra pressure caused by dancing with your teacher) but even in parts, which I didn’t think was problematic received corrective adjustment-type comments. Ugh!
R-L hold
1,2,3 cross body lead start
5,6,7 wrap partner – lead is forward on 5 and to left on 6 (Sergio wanted my lead even lighter!)
1,2,3 pull partner backwards (apparently she does a crossover step too) as my L foot crosses over to right behind R foot on 1, to right and forward on 2 and turn counterclockwise to face partner on 3
5,6,7 basic
1,2,3 open break on 1 (no backwards movement on 1 as usual for Sergio), forward on both 2 and 3 slightly leaning towards right and R-R is pulled towards me as it is raised and moved over my head to left and tossed while L hand gets partner’s R hip
5,6,7 Probably a very delicate pull with L hand on partner’s R hip (button! for partner) to lead to a 1 1/2 counterclockwise turn while I simply turn 180 counterclockwise to face partner and catch partner’s back with R hand
1,2,3 L foot forward to left on 1 and R foot forward to right on 2 (keeping it very close to partner as this is the foot used for pivoting turn) (surrounding partner’s legs is how Johnny would have done this in a previous advanced class – not sure if Sergio is completely in agreement) and turn both myself and partner (as one unit) counterclockwise on 3
5,6,7 finish as at the end of cross body lead
filler at the beginning
1,2,3,5,6,7 cross body lead with a turn starting with closed or open hold and ending with L-R
1,2,3,5,6,7 prepare on 1,2,3 with L high, and turn partner a full turn clockwise preferably with R-L switch on 4 or so
I thought I had this nailed more or less until Sergio asked me to lead him. I made some mistakes I would not have made normally (thanks in part to extra pressure caused by dancing with your teacher) but even in parts, which I didn’t think was problematic received corrective adjustment-type comments. Ugh!
Dedo saboreado (and Balsero) - Peter and Cinzia
May 16, 2005
Two longer sequences were done.
sequence 1
1,2,3,5,6,7,1,2,3,5,6,7,1,2,3,5,6,7 enchufe doble (no change of partner) end with R-R hold
Dedo saboreado - tasty finger
1,2,3 Pimienta-like steps
5,6,7 lead partner to 1 1/2 clockwise turn with R-R high (lowered on 7 and raised back on 8)
1,2,3 enchufe start with R-R high (lowered briefly and raised again during 3/4
5,6,7 hook turn
1,2,3 break partner’s hand to get into low sweetheart’s start position
5,6,7 go back to original position underneath R-R with a counterclockwise turn at the end to face partner
1,2,3 enchufe start with R-R high (lowered briefly and raised again during 3/4
5,6,7 hook turn
1,2,3,5,6,7 sacala
1,2,3,5,6,7 dile que no with R-R (no hands on the shoulder)
one way of translating dedo saboreado would be as follows (made up by me)
1,2,3 with R-R hold, go into opposite cross body
5,6,7 immediately start turn partner clockwise 1 1/2 and face partner on 7/8
1,2,3 enchufe start
5,6,7 hook turn
1,2,3 break partner’s hand to get into sweetheart’s start position
5,6,7 return to position at 1 (underneath R-R with counterclockwise turn on 7/8)
1,2,3 enchufe start
5,6,7 hook turn
1,2,3 prepare partner
5,6,7 lead partner to a full clockwise turn
1,2,3,5,6,7 cross body lead (R-R only) and end with open hold
sequence 2
1,2,3,5,6,7,1,2,3,5,6,7 Pimienta ending with R-R hold (and L-L later underneath)
Balsero - rafter
1,2,3,5,6,7 sombrero start until 7 but instead of finishing, L-L goes over my head to behind my neck while R-R stays in front
1,2,3 L foot crosses over in front on 1, step back and to left on 2, step to left on 3 (going around partner - with both walking in circles in clockwise direction and facing same direction)
5,6,7 sombrero finish
1,2,3,5,6,7 dile que no
Two longer sequences were done.
sequence 1
1,2,3,5,6,7,1,2,3,5,6,7,1,2,3,5,6,7 enchufe doble (no change of partner) end with R-R hold
Dedo saboreado - tasty finger
1,2,3 Pimienta-like steps
5,6,7 lead partner to 1 1/2 clockwise turn with R-R high (lowered on 7 and raised back on 8)
1,2,3 enchufe start with R-R high (lowered briefly and raised again during 3/4
5,6,7 hook turn
1,2,3 break partner’s hand to get into low sweetheart’s start position
5,6,7 go back to original position underneath R-R with a counterclockwise turn at the end to face partner
1,2,3 enchufe start with R-R high (lowered briefly and raised again during 3/4
5,6,7 hook turn
1,2,3,5,6,7 sacala
1,2,3,5,6,7 dile que no with R-R (no hands on the shoulder)
one way of translating dedo saboreado would be as follows (made up by me)
1,2,3 with R-R hold, go into opposite cross body
5,6,7 immediately start turn partner clockwise 1 1/2 and face partner on 7/8
1,2,3 enchufe start
5,6,7 hook turn
1,2,3 break partner’s hand to get into sweetheart’s start position
5,6,7 return to position at 1 (underneath R-R with counterclockwise turn on 7/8)
1,2,3 enchufe start
5,6,7 hook turn
1,2,3 prepare partner
5,6,7 lead partner to a full clockwise turn
1,2,3,5,6,7 cross body lead (R-R only) and end with open hold
sequence 2
1,2,3,5,6,7,1,2,3,5,6,7 Pimienta ending with R-R hold (and L-L later underneath)
Balsero - rafter
1,2,3,5,6,7 sombrero start until 7 but instead of finishing, L-L goes over my head to behind my neck while R-R stays in front
1,2,3 L foot crosses over in front on 1, step back and to left on 2, step to left on 3 (going around partner - with both walking in circles in clockwise direction and facing same direction)
5,6,7 sombrero finish
1,2,3,5,6,7 dile que no
Advanced doesn't seem so advanced today - Johnny & Serap Advanced
May 13, 2005
Maybe it was because it was a big class but the only thing worth talking about in detail is as follows:
R-R hold (we got here by cross body lead with change of hands)
1,2,3 open break on 1, pull partner forward on 2,3 as I step to left and turn 90 and get a hold of partner's left upper arm/shoulder - at this point, I'm facing my partner, who is in front of me and facing my right (direction from which I came from) -- this is like getting into opposite cross body lead position
5,6,7 lead partner across to my right on 5 and turn partner clockwise 1 1/2 and end with open hold
[note added July 31 - This most likely is a 1 1/2 counterclockwise turn for the follower on 5,6,7 rather than a clockwise turn thus making this a simple reverse cross body lead with normal outside turn.]
Also led partner to a double turn ending in Setenta position, followed by cross body lead to unwrap.
We also did a simple shine, which was done back on March 25 and which I remembered quite well.
Intermediate class which I missed seemed more elaborate than it was the case last several weeks.
Maybe it was because it was a big class but the only thing worth talking about in detail is as follows:
R-R hold (we got here by cross body lead with change of hands)
1,2,3 open break on 1, pull partner forward on 2,3 as I step to left and turn 90 and get a hold of partner's left upper arm/shoulder - at this point, I'm facing my partner, who is in front of me and facing my right (direction from which I came from) -- this is like getting into opposite cross body lead position
5,6,7 lead partner across to my right on 5 and turn partner clockwise 1 1/2 and end with open hold
[note added July 31 - This most likely is a 1 1/2 counterclockwise turn for the follower on 5,6,7 rather than a clockwise turn thus making this a simple reverse cross body lead with normal outside turn.]
Also led partner to a double turn ending in Setenta position, followed by cross body lead to unwrap.
We also did a simple shine, which was done back on March 25 and which I remembered quite well.
Intermediate class which I missed seemed more elaborate than it was the case last several weeks.
Hands on and behind your shoulders, now cross 'em over - Sergio Intermediate
May 12, 2005
open hold
1,2,3 cross body lead start
5,6,7 lead partner to a full counterclockwise turn with L hand high and R hand low to wrap partner
1,2,3 twist partner further counterclockwise on 1 and return to normal on 2,3 with both hands high
5,6,7 lead partner to a 1 1/2 clockwise turn with both hands high and on 7 turn self counterclockwise 180 with L hand over my L shoulder and R hand over my R shoulder (my hands are crossed behind my neck with R over L)
1,2,3 R hand goes over my head to my L and lowered to my waist and the connection is released, then L hand goes over my head to my R to form an arch as I turn slightly to my right to get to a cross body position
5,6,7 lead partner to a simple clockwise 180 (reverse) turn
1,2,3 perform a 3 o’clock turn to get to another cross body position and switch to R-R on 2 and toss R hand forward (don’t have to release though) on 3/4 to open up partner and catch partner’s L hand with my L hand
5,6,7 use L hand to lead partner to a free 1 1/2 counterclockwise turn
1,2,3,5,6,7 catch up with partner to initiate and complete simple cross body lead
alternate start (easier or more conventional or the way I'm more used to right now) [added January 5, 2006]
I took another look at the original version above and couldn't figure it out for some time, so I wrote another version here. Writing this latter version made me realize that the original version works just fine and is quite interesting. Even now, I haven't incorporated many stuff from Sergio's lessons and what little I have were incorporated much later after I looked through the notes few more times.
1,2,3,5,6,7 starting from open hold, lead a cross body lead with traveling full counterclockwise turn with all connections intact (L-R is raised briefly while R-L is kept low throughout) to end in wrap of follower
1,2,3,5,6,7 prepare follower (a slight counterclockwise twist and back) and lead follower to stationary 1 1/2 clockwise turn with both hands high - finish with leader turning half counterclockwise with hands going over leader's head - leader's hands are crossed in front of his neck with R-L over L-R and with R-L going over leader's L shoulder and L-R going over leader's R shoulder) - leader and follower are facing the same direction with leader in front on 8
1,2,3 R-L goes over leader's head and to leader's R side down to waist level (release if a clockwise traveling turn will be led next) while L-R kept high - meanwhile get into cross body lead position
open hold
1,2,3 cross body lead start
5,6,7 lead partner to a full counterclockwise turn with L hand high and R hand low to wrap partner
1,2,3 twist partner further counterclockwise on 1 and return to normal on 2,3 with both hands high
5,6,7 lead partner to a 1 1/2 clockwise turn with both hands high and on 7 turn self counterclockwise 180 with L hand over my L shoulder and R hand over my R shoulder (my hands are crossed behind my neck with R over L)
1,2,3 R hand goes over my head to my L and lowered to my waist and the connection is released, then L hand goes over my head to my R to form an arch as I turn slightly to my right to get to a cross body position
5,6,7 lead partner to a simple clockwise 180 (reverse) turn
1,2,3 perform a 3 o’clock turn to get to another cross body position and switch to R-R on 2 and toss R hand forward (don’t have to release though) on 3/4 to open up partner and catch partner’s L hand with my L hand
5,6,7 use L hand to lead partner to a free 1 1/2 counterclockwise turn
1,2,3,5,6,7 catch up with partner to initiate and complete simple cross body lead
alternate start (easier or more conventional or the way I'm more used to right now) [added January 5, 2006]
I took another look at the original version above and couldn't figure it out for some time, so I wrote another version here. Writing this latter version made me realize that the original version works just fine and is quite interesting. Even now, I haven't incorporated many stuff from Sergio's lessons and what little I have were incorporated much later after I looked through the notes few more times.
1,2,3,5,6,7 starting from open hold, lead a cross body lead with traveling full counterclockwise turn with all connections intact (L-R is raised briefly while R-L is kept low throughout) to end in wrap of follower
1,2,3,5,6,7 prepare follower (a slight counterclockwise twist and back) and lead follower to stationary 1 1/2 clockwise turn with both hands high - finish with leader turning half counterclockwise with hands going over leader's head - leader's hands are crossed in front of his neck with R-L over L-R and with R-L going over leader's L shoulder and L-R going over leader's R shoulder) - leader and follower are facing the same direction with leader in front on 8
1,2,3 R-L goes over leader's head and to leader's R side down to waist level (release if a clockwise traveling turn will be led next) while L-R kept high - meanwhile get into cross body lead position
Another way into and out of Setenta position - Sergio Improvers
May 12, 2005
open hold
1,2,3 start with basic on 1 and go to opposite cross body lead start position on 2,3
5,6,7 first lead with R (kept low throughout) then L high to lead partner to a 1 1/2 clockwise turn into Setenta position – on 7/8 L hand goes over my head and is released
1,2,3 open break (almost no backwards movement on 1), move R hand back (to gently pull partner towards me and turn 180 counterclockwise), and R hand forward with some force to stop the turn and get to a cross body-like position (both facing same direction – partner is to my right)
5,6,7 lead partner to a 1 1/2 counterclockwise (left) turn with R hand high and turn self a full clockwise turn on 8
1,2,3 cross body lead start switch to L-R on 3/4 (also tried doing this with hands to partner's hips (L hand on partner's R hip)
5,6,7 turn partner 1 1/2 counterclockwise
open hold
1,2,3 start with basic on 1 and go to opposite cross body lead start position on 2,3
5,6,7 first lead with R (kept low throughout) then L high to lead partner to a 1 1/2 clockwise turn into Setenta position – on 7/8 L hand goes over my head and is released
1,2,3 open break (almost no backwards movement on 1), move R hand back (to gently pull partner towards me and turn 180 counterclockwise), and R hand forward with some force to stop the turn and get to a cross body-like position (both facing same direction – partner is to my right)
5,6,7 lead partner to a 1 1/2 counterclockwise (left) turn with R hand high and turn self a full clockwise turn on 8
1,2,3 cross body lead start switch to L-R on 3/4 (also tried doing this with hands to partner's hips (L hand on partner's R hip)
5,6,7 turn partner 1 1/2 counterclockwise
Simple Rueda - Peter (slight Setenta twist)
May 9, 2005
Nothing new. Upon one of student's suggestion, the class was made more pure Rueda-like (except that no change of partners was made except with Dame). Routines done were Enchufe, Enchufe doble, Pimienta, Adios con la hermana (sentada optional), Sombrero and Setenta.
Setenta has a slightly twist - instead of arm lock, I gave myself a hat using my R hand (which moves to my left side of neck with partner's hand over my head) during the second 1,2,3. This alternative is safer than then arm lock (with which I hit one of my partner's nose last Friday - which only stunned her but didn't cause any real damage thankfully.
Nothing new. Upon one of student's suggestion, the class was made more pure Rueda-like (except that no change of partners was made except with Dame). Routines done were Enchufe, Enchufe doble, Pimienta, Adios con la hermana (sentada optional), Sombrero and Setenta.
Setenta has a slightly twist - instead of arm lock, I gave myself a hat using my R hand (which moves to my left side of neck with partner's hand over my head) during the second 1,2,3. This alternative is safer than then arm lock (with which I hit one of my partner's nose last Friday - which only stunned her but didn't cause any real damage thankfully.
Getting closer to using Johnny & Serap Advanced (similar ending as SOS routine earlier this week)
May 6, 2005
Shine of the day (only because it was easy to remember)
1 L foot forward
2 R foot in place but now pointing to R
3 L foot crosses over in front of R foot and now facing R
5 R foot to R (swing hip to R)
6 put weight on L (swing hip to L)
7 put weight on R (swing hip to R)
1 L foot crosses over behind of R foot
2 R foot in place but now pointing L (=original forward)
3 L foot in place and pointing same direction as R foot (=original forward)
5 kick forward with R foot and quickly place R foot in place
6/7 L foot behind R foot and both feet slide forward (L foot slide first then R foot)
1 resume basic
routine of the day (remarkably similar ending as was taught at SOS earlier this week)
(skipping shines for ladies)
R-L hold
1,2,3 pivot turn (full clockwise turn) switching to L-L on 1 thus resulting in L-L behind my back with connection at my back left waist on 4 and my R arm to the left of this connection (i.e. inside)
5,6,7 continue basic while use R arm to disconnect L-L with a fluid circular counterclockwise motion (about 1 1/2 revolutions) and re-establish R-L high while L hand is placed on partner's waist to prevent turn either way (note. keep this L hands on partner's waist as long as possible during next 1,2,3 - I'm not sure which way the partner is more likely to turn if this is not done) - at this point partner and I are almost level with each other while still facing each other
1,2,3 pivot turn (180 clockwise turn - note that this likely involves going past partner) underneath R-L high to reach a position where partner and I are facing same direction on 3/4 (R-L goes over my head on 2/3 to between partner and myself and is perhaps lowered to waist level on 3/4)
5,6,7 lead partner forward on 5 and wrap partner around waist by leading partner to a full counterclockwise turn
1,2,3 footwork is cross over behind on 1, slightly to right and forward on 2 and to left on 3 - the idea is to get to a position where both partner and I are facing the same direction and I am to forward and preferrably slightly to left of my partner - R-L is unwrapped gradually during this walk-around to get to a position similar to last 1 - at SOS, left hand was used to help guide partner around in this walkaround
5,6,7 lead partner forward on 5 and throw partner (like vacillara) to a full counterclockwise turn and catch partner on both shoulders to prevent further turn
1,2,3 twist counterclockwise slightly on 1 and back on 2,3
5,6,7 lead partner to another free turn clockwise (double would be nice but it's up to partner's ability) while I do a counterclockwise turn - end facing each other
This routine seemed fairly easy now for me during the lesson. I still couldn't do it during the dances. It's getting close though.
I also met a soon-to-be-a-colleague who turned out also to be a salsa dancer (with well-practiced Cuban style).
Shine of the day (only because it was easy to remember)
1 L foot forward
2 R foot in place but now pointing to R
3 L foot crosses over in front of R foot and now facing R
5 R foot to R (swing hip to R)
6 put weight on L (swing hip to L)
7 put weight on R (swing hip to R)
1 L foot crosses over behind of R foot
2 R foot in place but now pointing L (=original forward)
3 L foot in place and pointing same direction as R foot (=original forward)
5 kick forward with R foot and quickly place R foot in place
6/7 L foot behind R foot and both feet slide forward (L foot slide first then R foot)
1 resume basic
routine of the day (remarkably similar ending as was taught at SOS earlier this week)
(skipping shines for ladies)
R-L hold
1,2,3 pivot turn (full clockwise turn) switching to L-L on 1 thus resulting in L-L behind my back with connection at my back left waist on 4 and my R arm to the left of this connection (i.e. inside)
5,6,7 continue basic while use R arm to disconnect L-L with a fluid circular counterclockwise motion (about 1 1/2 revolutions) and re-establish R-L high while L hand is placed on partner's waist to prevent turn either way (note. keep this L hands on partner's waist as long as possible during next 1,2,3 - I'm not sure which way the partner is more likely to turn if this is not done) - at this point partner and I are almost level with each other while still facing each other
1,2,3 pivot turn (180 clockwise turn - note that this likely involves going past partner) underneath R-L high to reach a position where partner and I are facing same direction on 3/4 (R-L goes over my head on 2/3 to between partner and myself and is perhaps lowered to waist level on 3/4)
5,6,7 lead partner forward on 5 and wrap partner around waist by leading partner to a full counterclockwise turn
1,2,3 footwork is cross over behind on 1, slightly to right and forward on 2 and to left on 3 - the idea is to get to a position where both partner and I are facing the same direction and I am to forward and preferrably slightly to left of my partner - R-L is unwrapped gradually during this walk-around to get to a position similar to last 1 - at SOS, left hand was used to help guide partner around in this walkaround
5,6,7 lead partner forward on 5 and throw partner (like vacillara) to a full counterclockwise turn and catch partner on both shoulders to prevent further turn
1,2,3 twist counterclockwise slightly on 1 and back on 2,3
5,6,7 lead partner to another free turn clockwise (double would be nice but it's up to partner's ability) while I do a counterclockwise turn - end facing each other
This routine seemed fairly easy now for me during the lesson. I still couldn't do it during the dances. It's getting close though.
I also met a soon-to-be-a-colleague who turned out also to be a salsa dancer (with well-practiced Cuban style).
Another useless except for BBC-like demo - Johnny & Serap Intermediate
May 6, 2005
For about 50 minutes, class focused on uninteresting shines, cross body leads and Rueda basic steps. Only the Rueda step was mildly interesting and this was only because it was slightly different. On 1,2,3 both partners are slowly angling towards each other instead of simply staying put. On 5,6,7 R-L connect and push off occurs as was observed in other Rueda-based classes.
Then in the last 10 minutes, a slight variation and an extension to BBC/Para mi para ti was introduced. However, only one demonstration was given and it was never practiced except for the very beginning portion, which I already knew.
Because I never gave a description of the original move and variations, I'll go over the original routine and my interpretation (based on watching it just once!) of today's demo.
original routine (taught by Mauricio, Johnny & Serap and Rhona & Helen - apparently Rhona & Helen referred to this as "BBC" - very much like para mi para ti also)
1,2,3 open break on 1, forward and to left on 2, turn clockwise on 3 while leading partner to a 120-180 counterclockwise turn on 2/3 with L-R high in front of partner's forehead - this is very much like enchufe start
5,6,7 back on 5, forward and to left on 6, counterclockwise turn on 7 as partner turns clockwise 120-180 on 6/7 -- I knew of two ways of doing this
repeat as often as wanted
version 1 for 5,6,7 - like para mi para ti, lead with L-R high but with my fingers pointing up in front of my forehead for my turn
version 2 for 5,6,7 - keep L-R at my left waist and keep connection as long as possible during the turn and reconnect as soon as possible
For me, a satisfactory end is to finish with Dile que no (cross body lead) and get back to open hold...
now, another variation Johnny brought up is as follows
version 3 for 5,6,7 - let go L-R on 3/4 and connect R-L by 4 and do the same footwork as before except using R-L high (instead of L-R high)
different ending on 5,6,7 - keep L-R while connecting R-L and do the same footwork but do a full counterclockwise turn instead of 120-180 turn. This will result in a wrapping of myself around my neck
1,2,3,5,6,7 walk backwards in clockwise circle indefinitely (small steps is probably better based upon my further experimentation with Adios tonight)
ending of the walk is pure guesswork on my part ... on 5,6,7 unwrap myself with 180 clockwise turn and maybe do a Enchufe start followed by Dile que no.
For about 50 minutes, class focused on uninteresting shines, cross body leads and Rueda basic steps. Only the Rueda step was mildly interesting and this was only because it was slightly different. On 1,2,3 both partners are slowly angling towards each other instead of simply staying put. On 5,6,7 R-L connect and push off occurs as was observed in other Rueda-based classes.
Then in the last 10 minutes, a slight variation and an extension to BBC/Para mi para ti was introduced. However, only one demonstration was given and it was never practiced except for the very beginning portion, which I already knew.
Because I never gave a description of the original move and variations, I'll go over the original routine and my interpretation (based on watching it just once!) of today's demo.
original routine (taught by Mauricio, Johnny & Serap and Rhona & Helen - apparently Rhona & Helen referred to this as "BBC" - very much like para mi para ti also)
1,2,3 open break on 1, forward and to left on 2, turn clockwise on 3 while leading partner to a 120-180 counterclockwise turn on 2/3 with L-R high in front of partner's forehead - this is very much like enchufe start
5,6,7 back on 5, forward and to left on 6, counterclockwise turn on 7 as partner turns clockwise 120-180 on 6/7 -- I knew of two ways of doing this
repeat as often as wanted
version 1 for 5,6,7 - like para mi para ti, lead with L-R high but with my fingers pointing up in front of my forehead for my turn
version 2 for 5,6,7 - keep L-R at my left waist and keep connection as long as possible during the turn and reconnect as soon as possible
For me, a satisfactory end is to finish with Dile que no (cross body lead) and get back to open hold...
now, another variation Johnny brought up is as follows
version 3 for 5,6,7 - let go L-R on 3/4 and connect R-L by 4 and do the same footwork as before except using R-L high (instead of L-R high)
different ending on 5,6,7 - keep L-R while connecting R-L and do the same footwork but do a full counterclockwise turn instead of 120-180 turn. This will result in a wrapping of myself around my neck
1,2,3,5,6,7 walk backwards in clockwise circle indefinitely (small steps is probably better based upon my further experimentation with Adios tonight)
ending of the walk is pure guesswork on my part ... on 5,6,7 unwrap myself with 180 clockwise turn and maybe do a Enchufe start followed by Dile que no.
This place sounds like an after-hour social - Sergio Intermediate
May 5, 2005
1,2,3,5,6,7 cross body lead normal
L-R hold
1,2,3 prepare partner for a clockwise turn (to be done during 5,6,7)
5,6,7 lead partner to a clockwise turn during 5,6,7 switching to R-L and keeping R-L high (full turn and if partner is willing, double turn) and do a full counterclockwise turn myself with R-L high on 7/8 and face partner for either basic or next maneuver
1,2,3 open break on 1 on (still R-L), let go of R-L and back in place on 2 with L hand showing high and making L-R connection hopefully by end of 2, overpass on 3 trying to be at the same position as partner on 3 as partner is lead to a 180 counterclockwise with L-R high thus ending in the middle of cross body lead with R hand on partner’s back (or the side away from the direction partner will walk to during 5,6,7) on 4
5,6,7 lead partner forward (back toward where she came from) on 5 and lead partner to a counterclockwise turn on 6,7 and give partner a hat on 8/1 (keep L-R high at the end of partner turn and aim for partner’s right ear and drop it and catch it (R hand) with R hand)
1,2,3 cross body lead start (ending with R-R hold)
5,6,7 lead partner forward on 5 and lead partner to a full counterclockwise turn on 6,7 and prevent further turn by placing L hand on partner’s L shoulder (both facing same direction)
1,2,3 twist partner slightly to left (counterclockwise) on 1 and back on 2,3 (partner should be preparing)
5,6,7 lead partner to a 1 1/2 clockwise turn – toward the end of the turn maneuver the hand counterclockwise for a “pizza” turn as R foot crosses over L foot on 7 and do a quick 180 to left and back 180 to right on 7/8 and release partner’s R hand on my R shoulder when I’m faced away from partner between 7/8
1,2,3,5,6,7 cross body lead normal
L-R hold
1,2,3 prepare partner for a clockwise turn (to be done during 5,6,7)
5,6,7 lead partner to a clockwise turn during 5,6,7 switching to R-L and keeping R-L high (full turn and if partner is willing, double turn) and do a full counterclockwise turn myself with R-L high on 7/8 and face partner for either basic or next maneuver
1,2,3 open break on 1 on (still R-L), let go of R-L and back in place on 2 with L hand showing high and making L-R connection hopefully by end of 2, overpass on 3 trying to be at the same position as partner on 3 as partner is lead to a 180 counterclockwise with L-R high thus ending in the middle of cross body lead with R hand on partner’s back (or the side away from the direction partner will walk to during 5,6,7) on 4
5,6,7 lead partner forward (back toward where she came from) on 5 and lead partner to a counterclockwise turn on 6,7 and give partner a hat on 8/1 (keep L-R high at the end of partner turn and aim for partner’s right ear and drop it and catch it (R hand) with R hand)
1,2,3 cross body lead start (ending with R-R hold)
5,6,7 lead partner forward on 5 and lead partner to a full counterclockwise turn on 6,7 and prevent further turn by placing L hand on partner’s L shoulder (both facing same direction)
1,2,3 twist partner slightly to left (counterclockwise) on 1 and back on 2,3 (partner should be preparing)
5,6,7 lead partner to a 1 1/2 clockwise turn – toward the end of the turn maneuver the hand counterclockwise for a “pizza” turn as R foot crosses over L foot on 7 and do a quick 180 to left and back 180 to right on 7/8 and release partner’s R hand on my R shoulder when I’m faced away from partner between 7/8
Just as suspected - Improvers are harder on leaders with Sergio
May 5, 2005
1,2,3,5,6,7 cross body lead with a turn normal and ending with basic or go straight to next
R-L hold
1,2,3 open break on 1, let go R-L hold, overpass and establish L-R hold high (shoulder level to start with) on 2 and overpass again on 3 as partner is lead to turn 180 (or 90) with L-R high on 2/3 – at this point partner is to my right forward at a right angle
5,6,7 keep L-R high for my own turn and prepare by going slightly forward with R foot on 5 and facing away from partner, turn left for a full turn (counterclockwise) pivoting on L foot on 6,7 thus ending up facing away from partner and when the turn is completed, drop partner’s R hand (which has gone over my head) from my right shoulder and catch it with my R hand behind my back at the waist level
1,2,3 prepare (maybe step slightly forward as partner is pushed back?) on 1, lead partner slightly to right (no more than 45 degrees) as I turn clockwise to almost face the partner on 2/3 and block partner’s right hand (preferably but left hand could work too) with my L hand on 3/4
5,6,7 catch partner’s left hand with my R hand (L hand is blocking partner’s R hand) and lead partner to a left (counterclockwise) full turn
1,2,3,5,6,7 cross body lead with a turn normal and ending with basic or go straight to next
R-L hold
1,2,3 open break on 1, let go R-L hold, overpass and establish L-R hold high (shoulder level to start with) on 2 and overpass again on 3 as partner is lead to turn 180 (or 90) with L-R high on 2/3 – at this point partner is to my right forward at a right angle
5,6,7 keep L-R high for my own turn and prepare by going slightly forward with R foot on 5 and facing away from partner, turn left for a full turn (counterclockwise) pivoting on L foot on 6,7 thus ending up facing away from partner and when the turn is completed, drop partner’s R hand (which has gone over my head) from my right shoulder and catch it with my R hand behind my back at the waist level
1,2,3 prepare (maybe step slightly forward as partner is pushed back?) on 1, lead partner slightly to right (no more than 45 degrees) as I turn clockwise to almost face the partner on 2/3 and block partner’s right hand (preferably but left hand could work too) with my L hand on 3/4
5,6,7 catch partner’s left hand with my R hand (L hand is blocking partner’s R hand) and lead partner to a left (counterclockwise) full turn
Mauricio would not let me leave
May 2, 2005
Sean reminded me that Peter and Cinzia would not be teaching their class this Monday. I went anyway to see who was substituting. When I realized that there was no substitute per se and that Mauricio was going to do the class, I thought about taking off but Mauricio kinda stopped me from doing so. The routine was provided by Mauricio with some of the ending being provided by another student and me.
Note: Mauricio doesn't like counting 1,2,3,5,6,7 for what it's worth.
1,2,3 candado (or sientala) start - open break (or continuation from back-to-back) on 1, followed by wrapping partner with L-R high and R-L low and turning partner counterclockwise one turn
5,6,7 unwrap (turn partner clockwise to unwrap presumably on 6,7)
repeat if needed
1,2,3 candado start again
5,6,7 unwrap partner and lead partner to an extra clockwise turn with R-L lowered and L-R high to end in the end of Setenta position after the first 1,2,3,5,6,7 - this would be L-R high and R-L wrapped behind partner's back at waist level with connection at partner's back right waist
variation 1
1,2,3 unwrap partner by leading another counterclockwise turn
5,6,7 back to back basic probably is the best option
variation 2 (my suggestion)
1,2,3 cross body lead start
5,6,7 cross body standard finish to unwrap partner (partner turns counterclockwise 180)
variation 3 (second student version)
1,2,3 lead partner to walk forward as both of us slide past each other on our backs - R-L ends high while L-R ends low on 3 and R-L goes over my head to in front of my face on 4
5,6,7 lead partner to a full clockwise turn to end in open hold
Sean reminded me that Peter and Cinzia would not be teaching their class this Monday. I went anyway to see who was substituting. When I realized that there was no substitute per se and that Mauricio was going to do the class, I thought about taking off but Mauricio kinda stopped me from doing so. The routine was provided by Mauricio with some of the ending being provided by another student and me.
Note: Mauricio doesn't like counting 1,2,3,5,6,7 for what it's worth.
1,2,3 candado (or sientala) start - open break (or continuation from back-to-back) on 1, followed by wrapping partner with L-R high and R-L low and turning partner counterclockwise one turn
5,6,7 unwrap (turn partner clockwise to unwrap presumably on 6,7)
repeat if needed
1,2,3 candado start again
5,6,7 unwrap partner and lead partner to an extra clockwise turn with R-L lowered and L-R high to end in the end of Setenta position after the first 1,2,3,5,6,7 - this would be L-R high and R-L wrapped behind partner's back at waist level with connection at partner's back right waist
variation 1
1,2,3 unwrap partner by leading another counterclockwise turn
5,6,7 back to back basic probably is the best option
variation 2 (my suggestion)
1,2,3 cross body lead start
5,6,7 cross body standard finish to unwrap partner (partner turns counterclockwise 180)
variation 3 (second student version)
1,2,3 lead partner to walk forward as both of us slide past each other on our backs - R-L ends high while L-R ends low on 3 and R-L goes over my head to in front of my face on 4
5,6,7 lead partner to a full clockwise turn to end in open hold
Foray into London - SOS level 3
May 1, 2005
For a change of pace, I took a little trip to SOS (Salsa on Sundays) with Sean tagging along. Great time was had by both of us dancing with many quality dancers. Routine taught is as described below (includes a TRIPLE(!) turn).
They first did a double turn after a cross body lead to make sure that people were ready for this level.
1,2,3,5,6,7 basic closed hold
1,2,3,5,6,7 basic cross body lead ending with open hold position
1,2,3,5,6,7 standard cross body in open position to 5, let go L-R and turn partner 1 1/2 counterclockwise on 5,6 with R-L high on 6 and lowered on 7 for my own 180 counterclockwise turn with R-L behind my back on 7,8 - on 8, partner is facing me and is located to my left and maybe slightly behind me at the same time and R-L is behind me with my R hand located at left side of my back waist
1,2,3,5,6,7 push partner back on 1 (preferrably I am stepping away from my partner as well on 1), pull partner towards me on 2,3, partner continues to move forward on 5 which I block with my L hand on partner's stomach and lead partner to go backwards on 6,7 as I raise R arm and swing it over partners head and try to do a counterclockwise turn (270 degrees) to face partner on 7,8 ending with R-L hold
1,2,3 cross body lead start with R-L hold only
5,6,7 lead partner forward on 5 and lead partner to a full counterclockwise turn on 6,7 with R hand kept low for a wrap around partner's waist (probably using L hand on partner's should to stop further turn should be fine although perhaps unnecessary) - partner is positioned slightly in front and to left of me on 8
1,2,3 cross over behind on 1, slightly forward on 2, slightly to right on 3 as partner is lead to walk around me (no turns) - postion of partner relative to me is behind and to left of me on 2 and behind and slightly to right of me on 3 with partner and I facing the same direction whole time and right hand goes a little higher (about shoulder level) as early as 3 - the end position at 4 is the same as if I did a pivot turn from basic with R hand up on 1,2,3 in order to get ready for Vacilara-like move or other similar move
5,6,7 lead partner forward on 5 and lead partner to another full counterclockwise turn on 5,6 ending with R-L wrapped around partner's neck and stopping further turn
1,2,3 twist partner further counterclockwise on 1 and back to original position and perhaps turning further to face me on 2,3 (I think it would be nice to try to make this smoother using advice given by Ivan and Sergio.
5,6,7 lead partner to a double turn (clockwise) with R-L high and a further clockwise turn with R-L lowered to end in a waist wrap for partner - TRIPLE TURN!!! and most of the students actually managed this pretty well!!!
1,2,3,5,6,7 cross body lead with a turn (counterclockwise) thus unwrapping partner on 6,7 and ending with open hold on 8
For a change of pace, I took a little trip to SOS (Salsa on Sundays) with Sean tagging along. Great time was had by both of us dancing with many quality dancers. Routine taught is as described below (includes a TRIPLE(!) turn).
They first did a double turn after a cross body lead to make sure that people were ready for this level.
1,2,3,5,6,7 basic closed hold
1,2,3,5,6,7 basic cross body lead ending with open hold position
1,2,3,5,6,7 standard cross body in open position to 5, let go L-R and turn partner 1 1/2 counterclockwise on 5,6 with R-L high on 6 and lowered on 7 for my own 180 counterclockwise turn with R-L behind my back on 7,8 - on 8, partner is facing me and is located to my left and maybe slightly behind me at the same time and R-L is behind me with my R hand located at left side of my back waist
1,2,3,5,6,7 push partner back on 1 (preferrably I am stepping away from my partner as well on 1), pull partner towards me on 2,3, partner continues to move forward on 5 which I block with my L hand on partner's stomach and lead partner to go backwards on 6,7 as I raise R arm and swing it over partners head and try to do a counterclockwise turn (270 degrees) to face partner on 7,8 ending with R-L hold
1,2,3 cross body lead start with R-L hold only
5,6,7 lead partner forward on 5 and lead partner to a full counterclockwise turn on 6,7 with R hand kept low for a wrap around partner's waist (probably using L hand on partner's should to stop further turn should be fine although perhaps unnecessary) - partner is positioned slightly in front and to left of me on 8
1,2,3 cross over behind on 1, slightly forward on 2, slightly to right on 3 as partner is lead to walk around me (no turns) - postion of partner relative to me is behind and to left of me on 2 and behind and slightly to right of me on 3 with partner and I facing the same direction whole time and right hand goes a little higher (about shoulder level) as early as 3 - the end position at 4 is the same as if I did a pivot turn from basic with R hand up on 1,2,3 in order to get ready for Vacilara-like move or other similar move
5,6,7 lead partner forward on 5 and lead partner to another full counterclockwise turn on 5,6 ending with R-L wrapped around partner's neck and stopping further turn
1,2,3 twist partner further counterclockwise on 1 and back to original position and perhaps turning further to face me on 2,3 (I think it would be nice to try to make this smoother using advice given by Ivan and Sergio.
5,6,7 lead partner to a double turn (clockwise) with R-L high and a further clockwise turn with R-L lowered to end in a waist wrap for partner - TRIPLE TURN!!! and most of the students actually managed this pretty well!!!
1,2,3,5,6,7 cross body lead with a turn (counterclockwise) thus unwrapping partner on 6,7 and ending with open hold on 8
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