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Second Lesson In their second lesson they began to move together. In couples, he learned how to feel which foot was carrying his partner's weight and how to transfer it. They spent time working out how he could lead his partner into a step taking care to move his torso gently but firmly in his desired direction to show his partner his intention before moving off, then checking she was going before completing the step. |
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drew his partner forward, keeping the space
between them constant, as he took a step backward
on his right leg, transferring his weight to that
leg while keeping balance and remaining square to
his partner. Then he took a longer than normal step to his left while turning his torso slightly towards his follower so she only took a normal side step to her right. Now his hips, thighs and feet were facing forward while his upper body was turned slightly to his right. His follower mirrored his position. His next step brought his right foot across to touch his left before moving forward, keeping his upper body connected with his follower as she stepped across and backward. Then he stepped forward onto his left foot remaining offset from his partner. Then, as they both took their fifth step to bring his right foot alongside his left, he turned his chest back to face forward so his follower moved across in front of him and her left foot travelled back to settle in front of her right foot in the crusada position. Pausing and turning his torso slightly so she transferred weight fully to the new foot, he stepped forward onto his left foot, turning it and his whole body slightly to his left before transferring his weight onto it. Their seventh step took his right foot forward alongsde his left and then to the right. Finally, he brought his left foot alongside his right and stopped. They learned that, by adapting the amount of turn on the sixth step, they could use it to traverse the room in classic anti-clockwise mode. They made it smoother by changing the eighth step so his left foot moved across to the right but then a little backwards before continung with the first step of the sequence. He learned to eliminate the tendency to spiral into the centre of the dance floor by pivotting slightly to the right whenever he transferred weight to that foot. Marta and Manuel showed them how pivots could be added to most of the steps to help manoeuvre around a dance floor, decorations to embellish the moves in mood with the music and even swapping feet at times during the move. They also showed a shorter six-step version in which the leader moved to his right during the fourth step so as to move back in front of his follower and skipping the fifth and sixth steps. |
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La Yuega is supported by Vecta Consulting Limited |
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©2002-3 Frank Morris |
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