Left-to-Left Rear Sacada

Notice how early leader
has adjusted his frame
with reference to the
follower's right leg

Contact is calf to calf

DT: What does the leader have to focus on here?

Andrew: Adjusting the frame.

DT: How so?

Andrew: The left arm needs to come down and in front of your stomach or right hip, pivoting on the right foot, at the right time, and as we go through the sacada we keep the foot low, preferably on the floor. The contact is calf to calf and without much force at all.

DT: Is the lady knocked off the line, the line of dance.

Andrew: Yes, she is, because as we pass through the sacada, we need to get back in front of the follower and the only way to do that is to pivot the follower.

DT: You mentioned the "right time"?

Andrew: The timing is that we need to start our pivot as we are making her take weight on her right foot.

DT: That's the pivot. The sacada occurs when?

Andrew: More or less the pivot and sacada are part of the same motion.

DT: Kana, what are the follower's concerns here?

Kana: We try to have a nice stretched line with our back leg, and here he is stopping my body and letting me take a nice long step so he will have a lot of space to do his secada. So I am holding my body weight on my front leg while I reach back with my right leg. Really nice long step, and then the moment you feel the back secada on the front leg, you shift all the weight to the back leg and find a nice axis balance for yourself. If ladies transfer her body weight too soon, gentleman will not have the opportunity to perform rear sacada, because he will not have enough space between her legs.

DT: What is the ideal contact point for the sacada?

Kana: Usually the back of the calf, the soft spot of calf, depending on the heights and leg length of the dancers.

DT: Leg lengths?

Kana: Some people higher or lower knees, as well as different leg lengths.

DT: I never knew that. Would thigh to thigh be a possibility or should we not think about that?

Kana: If I feel more to my thigh, I may go to the leg wrap. It would lead to a different development after that. But since it is a rear sacada chances are less that gentleman will contact thigh to thigh.

DT: Foot to foot?

Kana: That would be problematic because gentleman's heel can kick us.

DT: Where are the standing legs in relation to each other?

Kana: It's very important in any sacada that the three standing legs form a triangle with 3 equal lengths.

DT: And after the sacada?

Kana: Leader steps onto the foot he just performed the sacada with.

DT: Are there other options after the sacada?

Kana: The moment lady receives the rear sacada she will transfer all her weight onto her right foot. So this is a perfect moment for gentleman to start walking around her, getting into calecita.

DT: You are frowning again? (laughs)

Kana: After receiving the sacada, ladies should keep left foot on the floor all the time. Here I see my toe flys away from the floor a bit. If gentleman wanted our leg to leave the floor after sacada, they could give that kind of impulse, the way you see on stage dance.

Some Keys:
The leader makes major adjustments with his frame to perform this figure -- with arms, angle, height and feet. Both the ganchoing leg and the leg receiving the gancho should remain low, preferably on the floor. The contact on the rear sacada is calf to calf, unlike with other sacadas where the contact is higher.

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