Sacada in Right Grapevine

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On the lady's side step
the leader bends at his left
knee to get a thigh to
thigh entry

The leader's forward momentum
causes a thigh to thigh exit ...

...and a high step for the lady

DT: Thatís a high sacada!

Kana: I personally call this leg wrap. The leg wrap is happening from his sacada, so his point of view itís sacada. For me, I am doing leg wrap, I am wrapping around my leg to his deep sacada or high sacada. This one side to side.

DT: It looks like he is stepping forward which moves you right leg up and out.

Kana: He steps in on side step. This is another one where my regular step after the side step would be the back step anyway. This would not work the same if he stepped in on side step where my next step would be forward step.

DT: So he is nudging you in a direction you were already going in?

Kana: Yes.

DT: Kana, in certain dance forms there is more or less freedom for followers to embellish. Where is Argentine tango on the scale.

Kana: The largest freedom.

DT: For the follower?

Kana: Yes. To embellish, no?

DT: Yes.

Kana: In waltz, foxtrot, we can still express with body but there is not much freedom for embellishment.

DT: What kinds of embellishments are you thinking about for tango?

Kana: I am talking about leg. When two people can really connect and dance together there is a wide space for interpretation of the music. You don't have to constantly move on the beat like cha cha cha or many partner dancing unless otherwise choreographed. Tango allow us to interpret the music at the moment and leaves us a lot of space for freedom I think.

DT: Is tango a less patterned dance than cha cha?

Kana: We cannot dance tango with pattern. We constantly improvise without relying on pattern.

DT: Your comment reminds me of an Argentine tango workshop that was part of a swing dance weekend. The instructor taught walking and leading and connection and the reaction of the students was like, "What was THAT?!".

Kana: (laughs) They felt too much freedom was given. They didn't know what to grasp.

DT: In a whole hour we didn't know even what it was about. Do students generally appreciate the learning curve or difficulty of tango?

Andrew: It's not for the faint at heart to learn Argentine tango. In the beginning you do have set of structured patterns but besides those your frame and your technique are very crucial also.

DT: More so than in other dances?

Andrew: Yes, I think so.

The Keys:
There are two lady side steps in the grapevine or molinete sequence -- the sidestep before a backstep and a sidestep before a forward step. Here, the gentleman must enter on the side step before the backstep.

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