DT: Andrew, when you step over Kana's foot, you look to be in a kind of full torso contact.
Andrew: If I want to tell the follower that she is going to need to stay on one foot, I will close in that tight. I can lead many things from this position [1st photo, right] and the contact is important so that the follower does not expect something else.
DT: Could you lead this on the social dance floor?
Andrew: Yes you can and I do it all the time. And for the followers that are not familiar with it (laughs) -- they love it!
DT: Seriously , that is the important thing, isn't it?
Andrew: Exactly. Dance for fun and excitement.
DT: Are there any common mistakes with this one?
Andrew: One common mistake of followers is to not know to hold their leg up there as we go into a sideways lunge.
DT: What do they do, drop the leg to the floor.
Andrew: Yes, they step back in-between our feet. Another mistake would be that as you are lifting the follower's leg, she won't bend her knee so that she will wrap around your leg.
DT: Kana, what are the keys for the follower?
Kana: Instead of four legs supporting two partners, now we have three legs to hold us up. So I have to transport all my body weight to either my back leg or to his legs with my body contact.
DT: You transfer some to your leg and some to his leg.
Kana: Um hum. I am holding up myself pretty much with my right leg, but I am transferring a lot of weight through my left leg, contact with his right leg.
DT: Can you think of any other common mistakes that are made with this figure?
Kana: Just that my right leg and his right leg should be close together.
DT: It looks like Andrew is initiating full-length body contact when he steps over. He moves flat against you?
Kana: Yes, and his body and my body are almost perpendicular so that I have my front against his right side, and he wraps my left leg around his right leg, creating a very tight contact.
The gentleman has to be in full torso contact to do this pose comfortably.
For another example of a pose, visit Argentine Tango 2's pose #1.
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