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Leg Play Various teachers had included barridas, boleos, ganchos or sacadas in their lessons but he always had difficulties making them work. His balance was not strong enough to remain upright when completing a barrida so he often appeared to sit down or tip over when reaching for her foot with his; he was rarely close enough to his follower to avoid transferring weight onto the foot that should have provided a loose platform for her gancho; and he was often too shy to insert his leg deeply enough between his follower's legs to complete an effective sacada. |
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Then he met Mingo and Esther Pugliese in Buenos Aires and began to understand the importance of his follower's position relative to his own; how timing was critically important; that ganchos were possible whenever his follower's moving leg was prevented from collecting; that sacadas were possible whenever his follower's free leg was about to move; and that barridas were mostly illusions created as his foot was made to appear attached to that of his follower as she moved. On his return to Cambridge, a series of workshops and courses with Rodolfo Aguerrodi and Miho Omaki added structure to his learning. With more control of posture, position, and timing, he began to add some of the decorations that made his feet appear to interpret the music more closely, moving in and out of the cross system more freely, especially when dancing to waltz music. Barridas, boleos, ganchos, and sacadas became an intrinsic part of his style, especially in open embrace. Another trip to Buenos Aires showed him how many dancers were able to continue using a rich set of leg play even very close embrace and shortly after hs return Rodolfo Aguerrodi and Miho Omaki showed him how barridas, sacadas, ganchos, and boleos could be performed in close embrace. |
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............................................................................... La Yuega is supported by Vecta Consulting Limited
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©2002-3 Frank Morris |
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