With Scala-induced exhaustion setting in

August 28, 2006

Intermediate with Tiz

1,2,3,5,6,7 open hold Copa over and under so end with L-R behind follower’s L waist
1,2,3,5,6,7 open break and unroll follower (follower does 1 1/2 clockwise traveling turn – L-R is brought up on 6 if safe for follower of course) with leader turning clockwise to face away from follower with drop catch to end R-R by leader’s R waist
1,2,3,5,6,7 open break and bring follower forward on leader’s R side offering L hand to connect L-L and R-R going over follower’s head and double windmill-like motion (or perhaps I should call it windmill with R-R and over and under with L-L) to bring L-L behind follower’s R waist with leader turning full clockwise in switching to R-L
1,2,3,5,6,7 back basic
1,2,3,5,6,7 half left turn (like broken left) for leader on 1,2,3 while leading follower to turn about 1/4 counterclockwise while switching to L-L (at this point the couple is back-to-back) and lead follower to continue turning a traveling counterclockwise double turn overall with an over and under move with L-L ending across follower’s stomach on her R side (it should go without saying that the lead for followers turn should be smooth and continuous (i.e. no pause) throughout)

There was no exit move taught in the class, which was not a problem for me. The first three moves were quite familiar because I have seen all of these moves (in fragments) at least twice previously. Because there was a shortage of followers in the class, I spent my extra time practicing follower’s role for much of the first hour. Possibly my biggest contribution to the class was to get Tiz to say, “Never use thumbs.”

1,2,3,5,6,7 lead follower to a single stationary clockwise turn with both connections intact
1,2,3,5,6,7 Copa start with L-R going over and fake and bring follower to step back together on 5,6,7
1,2,3,5,6,7 Mambo jazz followed by lead follower into 1 1/2 traveling clockwise turn with leader turning 1/2 counterclockwise to end with drop catch to R-R
1,2,3,5,6,7 open break and bring follower forward with R-R going over and resting just above her R shoulder with L-L brought up to her L shoulder – lead follower to do a cross walk with a slight twist to R on 5, to L on 6 and to R on 7 (with both connections – this like most things is tension based… perhaps more so than usual)
1,2,3,5,6,7 slight twist to L on 1 (think of it as leading slave shine for follower) and bring follower to straighten on 2,3 with L-L brought up and lead follower into a stationary 1 1/2 clockwise turn
1,2,3,5,6,7 forward basic into CBL as L-L hat is made, CBL for follower while leader turns 1 1/4 counterclockwise (using R foot crossing over technique on 5)

Nice review. It should be interesting to see how challenging it would be to try to lead some of the trickier moves on unsuspecting followers. Sad but probably true – I probably have better chance of following these moves than a third of the followers in class and possibly nearly half of the followers in social setting.

Instructors today were Joe (with his voice breaking from tiredness?), Tiz and Aiste. Tiz and Aiste must have been dancing together for quite some time, and their repertoire is quite varied and extensive. Watching them dance together, I wondered how much of their material is choreographed rather than being widely leadable.

Sometimes I suspect that some people attend these classes with little intention of using what they learned on the dance floor during social dancing. For many, taking part in classes seems to be the main social activity and entertainment.

It was somewhat quieter than usual because the Salsa team people were all off to Hitchin for some Salsa BBQ benefit event. I only saw one other person among people who attended the Scala last night. There was one new fairly experienced follower to couch their absence somewhat; I don’t know if this is someone just passing through. I was tired yet managed to stay until shortly past 11 PM.