Drag from Right to Left Parada
(Titling is gentleman first, lady second,
so that "Right to Left Parada" refers to
gentleman's right foot to lady's left foot)
Argentine Tango 3 with
Andrew Conway (Philadelphia, Pa.)
and Kana Kubota (New York, NY)
DT: Andrew, you aren't taking weight on your left foot at the sandwich, are you?
The right to left parada, or
stop. The leader will then take a
left touch step and left step
(neither shown) and will ...
...drag the lady's left. The
leader's drag leg is bent,
Andrew: No. Before the drag, with my left foot, I do make a light sandwich. I really don't take any weight on it. I just make sure I have my balance and the follower has her balance before I step with my left and drag her foot with my right.
DT: Could you hesitate there -- before stepping left -- for more than one beat even?
Andrew: Sure, we can do embellishments there, I could do little lapizes, tap my foot, brush her leg, etcetera. There is no hurry there.
DT: Could you skip the sandwich?
Andrew: Sure, and some leaders do. But in my opinion, skipping the sandwich makes it more difficult and doesn't look as good
DT: Is there any error that leaders do over and over to this move?
Andrew: Some leaders have a tendency to step away from the follower instead of stepping around the follower. The leader needs to step in front and around the follower in a circular motion.
DT: Is the follower kept in the center?
DT: Kana, what can you say from the follower's perspective?
Kana: I picture 2 circles. My back leg is center of inner circle. My front leg draws circle. An outer circle is Andrew's back leg. Lady should think about straightening her front knee when she transfers the weight to back leg.
DT:Where is the weight on the back foot?
Kana: Heel of back leg lifts slightly off the floor so weight is on the sole of foot.
DT: On the drag, how much force are you feeling from A's foot?
Kana: Umm, very gentle. Gentle but definite connection
DT: Andrew, when the follower's foot is turned, on the drag, does the follower's body necessarily turn?
Andrew: Yes, the follower's leg is an extension of her body. Her leg should be rigid. If the follower is not used to this, the leg is too heavy and there is too much weight on it.
DT: The follower feels the leader's foot and she sees the leader moving. Where does the lead come from?
Andrew: I would answer this way. As a leader we're not just dragging her foot with our leg, we are moving our body across the front and bringing our leg with us.
DT: Kana, if you are led to do the drag in this figure, will your body rotate the same amount as your foot that is being dragged?
Kana: Uh huh, yes, as Andrew said, the leg moves as an extension of the body. As in a circle, the body or standing leg would be the center of the circle and the moving leg would be the outside circle.
DT: So, in a sense you're like a doll, if you stick a doll's leg out and turn the leg, the doll will completely turn.
Kana: Yes, good comparison.
The Keys:The parada is his right to her left. The key to performing this figure for the leader is to keep the lady still while he is stepping prior to the drag. The leader should stay close enough to the follower so that she can maintain the focal point of the circle with her right leg without being pulled off center. The key for the lady is to wait for the lead of the drag and to attempt to maintain her balance over her right foot.
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