Dancing Soul

Even more about sacadas

As both my Salem and Portland intermediate classes are tackling sacadas right now (due to requests from class members), I want to offer more tips about executing specific sacadas, as well as general comments about sacadas.

Kinds of sacadas

A sacada is a step where one dancer "replaces" or "displaces" the other in space. Often, it looks as if one partner has stepped through the other dancer's step and pushed the first dancer's foot/leg away. This is an illusion, as the step is led by the torso.

There are many types of sacadas.

One way a sacada is named by the person executing the step:

• Leader sacadas: the leader makes the follower move, and steps where the follower had been standing.
• Follower sacadas: the leader moves to a new spot on the floor WHILE leading the follower to move to the leader's original location.

Another element of the naming process is determined by what step the person doing the sacada, was performing during the sacada:

• For example, if the leader walked the follower to the cross and then initiated a clockwise (or right) turn (so the follower was doing a front cross step with the right), and did a sacada with the leader's right foot, that would be a leader front sacada.
• However, if the leader used the left foot for the same setup, this would be a leader side sacada, as the step is really an open step executed as a forward step.
• Hint for the highly structured: To determine whether a step is "front" or "side/open" you can stop the motion and see what system is in place. If the follower is doing a cross step and we are in crossed system (both using right foot), then the leader is doing a front (or back) sacada. If the couple are in parallel system (follower's right, leader's left), this is a side sacada.
• Hint for less structured folks: Don't worry if it's a front or side sacada, since using either foot is kosher. Use a foot and then figure out what to do next :-)

A third element of naming a sacada is the step upon which the sacada operates. For example, the leader can do a leader front sacada through the follower's front cross; or a follower can do a side sacada through a leader's back cross.

A fourth element of naming a sacada is the shape of the step. There are circular and linear sacadas. If the step is done as part of a turn, or staying in the same general vicinity in the room, it is probably a circular sacada. If it is used to travel in the room, it is probably a linear sacada.

Figuring out how many this is would take someone more structured (and mathematical) than myself.  It's probably been done before; go look on the web and tell me who has figured this out!

Easy vs. problematic circular sacadas for leaders

Easy (OK, less difficult!) sacadas are those which can be performed without breaking any tango codes or causing interesting dilemmas about what to do with dangling/moving legs and feet that now appear to be in the way. We'll deal with those later.

When doing leader circular sacadas, the "easy" versions are those which are done using the follower's front cross step and the open/side step after that. In both of these cases, the follower can continue doing a turn without breaking code (i.e., s/he can continue with the next expected step: front, open, back, open, etc.).

Interesting problems crop up when doing leader circular sacadas through the follower's back cross step or the open step following that step. When doing a sacada through the follower's back cross step, the follower's other leg is blocking from stepping into the next side step (for sanity's sake, let's pretend that this is always true). In this case, a front-boleo-like moment occurs, followed by the natural rebound inherent to boleos. This means that the follower will usually continue with another back step, either linear, or back the other way in a turn (change of direction).

When the leader does a sacada through the follower's open step after the back cross, this also blocks the natural turn progression because the follower cannot step forward with the leader in the way. Doing a sacada through this step produces a back cross step (rather than the expected front cross).

To summarize: if you are just learning these sacadas, ONLY do the sacadas through the follower's front cross and open steps of the turn. Try the others when you are bored/more advanced/feeling crazy.

The leader can do any of these sacadas with either foot to either side, using the leader's front cross, open and back cross steps (ack!). Most sacadas are easier if attempted with a front or open step, as the leader back sacada requires the leader to pivot A LOT and then step through the follower's step moving backwards. Again, only try these more difficult sacadas after you understand how to lead the easier ones.

Follower sacadas

First, you need a follower (I just type foolower--perhaps you need a tango fool?) who is not afraid to step towards you.

Leaders: remember the first day (month, year) you spent getting used to walking towards someone whose feet were RIGHT IN FRONT OF YOURS? The follower gets very little practice stepping towards your feet, and the typical intermediate follower gets nervous when you ask her/him to do that. Be sympathetic and patient!

Followers: here is a major test of your tango powers. You have been carefully trained to do ochos and turns AROUND your partner. Now they are going to lead moves that are very similar, but require a different angle of preparation from you. Take a deep breath. Take a very deep breath. Then, exhale and trust that the leader is indeed sending you where the leader has asked. Try not to "help": follow the leader's torso and angle of rotation. I promise you that this will become easier as you get comfortable. And, if they ask you to step on their toes, please do so :-)

For a follower sacada, the most important part of the lead is to let the torso point where you want the follower to move: the location from whence you came. This is harder than it sounds, but it gets easier as the follower becomes more willing to step into your space.

Next, the follower can step through any step of the leader's: front, back, open. However, in some cases, you will encounter the "leg/foot in the way" issue that I discussed above. As the person in charge, however (we hope!), the leader can either respond to a leg block with a boleo-like motion, or can simply untangle the legs and move on.

The easiest way to do follower sacadas is to move across the line of the follower's momentum, rather than redirecting the follower (these are usually linear sacadas). Because we have only tackled circular sacadas so far, we redirected the follower, either at the cross, or in the turn.

My favorite sacada (and organicity of movement) game

Perhaps this is only because I am somewhat insane from almost fourteen years of tango, but I enjoy taking all the possible moves, writing them down on scraps of paper, pulling them out of a hat, and trying to create new patterns from the steps that I know. If I want to work on a specific step, I'll put that on a scrap: "leader back sacada through follower back sacada, clockwise." If not, I might just put "some leader sacada" or "leader sacada through follower open step" or "back leader sacada" or "counterclockwise leader sacada" or something like that. Then, I'll put some other ideas in the hat: follower gancho, follower front boleo, follower back linear boleo, overturned ocho, etc. I pull three scraps of paper out of the hat, and then I have to do them in that order, with as few steps in between as possible. 

Make sure that you have either a patient dance partner, or someone who also likes to play with tango puzzles and can help you figure out what works best. Sometimes, a combination only works clockwise, or counterclockwise. Sometimes, if you change systems in the middle, it simplifies the pattern. Be creative!

I'm sure I have a lot more to say (as you all keep asking questions in class!), but that's enough brain food for one day.  Have fun!

Combining leader and follower front sacadas with other tango moves

Sunday Special participants: good work yesterday! Below, I'll outline the drills we did to prepare for sacadas, sacada technique for leader and follower front sacadas, and the combinations we played with in class, as well as some other ideas to work on yourselves. Remember, next Sunday Special will include a review class on this material, so if you have any questions, comment here and I'll get back to you, as well as making a list of what to cover

Types of sacadas

• circular or linear (we worked on circular and linear forms in our combinations, but we emphasized circular this time)
• leader or follower (who is replacing the other person?)
• forward, side or back (what kind of step is the person doing who is doing the sacada?)

Preparing for sacadas

The most important element of a good sacada is a good turn. Even if you are doing linear sacadas, the technique inherent in turns and ochos is needed by BOTH partners to do spectacular sacadas: pivoting well against the floor, having your axis perpendicular to the floor, grounding in each step, and using the floor to push off for each step. For that reason, I always have leaders and followers do "follower" turn technique to warm up the body for sacadas.

Follower technique (for good turns and sacadas):

1. Grapevine step (molinete) across the floor in a straight line: get your balance, breath & grounding in place
2. Grapevine step in a circle: add your focus on keeping the energy of the body towards the center of the circle
3. Square/Chair drill: "the dreaded chair drill" came to me from Luciana Valle. The chair drill alters a turn into a square, so that four steps completes a full revolution. The torso faces towards the center of the chair at all times. The hips flip 180 degrees before the back cross step, as well as before the "slow" open step of the turn. The front cross and the "quick" open step of the turn do not result in much hip motion at all (think zero for the purpose of this exercise). Remember to change directions so as to practice to the right and left, and to avoid dizziness.
4. "Watch your hand" drill: This was taught to me by Oscar Mandagaran in Buenos Aires in 2000, and I have used it more and more in my dance and my teaching. To turn CCW (to the leader's left), make a normal embrace. The follower watches her/his hand, and "drives" the turn. This helps focus on having an embrace that is parallel to the ground in energy (even if the dancers are not the same height and the embrace does not physically follow a parallel path!). Also, the follower is responsible for helping to create energy and give that to the leader for the dance: make sure no muscles are locked in the embrace that will hurt the turn.
5. Naughty Toddler: in this version of Naughty Toddler, the follower is still in control of the dance and the leader is still trying to carve a tango out of all that wild, untamed energy the follower lets out. However, what we focused on was having Naughty Toddlers who wanted to TURN! so that the followers could still practice turn technique, while searching for just the right amount of energy to give to the leader. Leaders: see how much easier it is to turn when the other person does most of the work? :-)

Leader technique to prepare for sacadas:

Do all the follower exercises. #1, 2 & 3 are especially important. A good sacada lead includes preparing to step through and then (often) pivoting to continue to another step, just as the follower does in all turns.

Spiral exercises/Disassociation exercises:

• I just discussed these in the lapiz blog entry below, so I'll be quick here. Find your axis through your foot into the floor, and up through your head to the ceiling. Rotate your solar plexus, keeping your hips stable in space (solar plexus and hips are pointing different directions; disassociated). When you have reached your maximum twist, release the hips to realign under the torso.
• Part #2: As the hips release, continue to spiral them while keeping your torso stable. When your hips get ahead of your torso, release your torso to realign with your hips. This level of control helps your body learn to move only one part at a time, while not breaking your axis line. Also, it will aid in all sorts of fancy stuff later on.

Sacada practice:

• Make a path: One partner walks slowly around the room. The other partner steps exactly where the first person stepped. Notice that, if you step exactly where they were, you remain the same distance apart. Although in some combinations, the sacada is used to get closer or further from the partner, in most sacadas, you are trying to remain the same distance apart.
• Slo-mo: Without touching, the leader's torso leads the follower to a new place on the floor. For leader sacadas, the leader then steps where the follower was. For follower sacadas, the leader is moving the follower to the place where the leader had been. Slo-mo makes sure that the leader is completing the lead, rather than indicating a location in space and abandoning the follower to finish on their own. If you can lead sacadas without arms, in slo-mo, you can do it with NO problems in an embrace, up to speed :-)

Leader front sacadas:

• Practice doing leader sacadas through the follower's turn. You can step through the follower's front or open steps. If you step through their back cross step, this creates a different result (boleo-like with unwind) that we will tackle another time. High school math version of tango: don't step through the follower's back step for the moment!
• For leader sacadas, the leader can step through with either foot, to either side. Sometimes, this results in the leader doing a "front cross" step (for example, doing a clockwise, circular lead sacada through the follower's front cross step with the leader's right foot; whew!). Other times, it feels like a straight-ahead step: you are actually doing the sacada with an open/side step. Let's not worry at this point whether this is a front or side: just get comfortable with using either foot, and we'll get technical about terms next time. Also, the leader can use back cross steps to perform a sacada, but we'll do that next time.

Follower front sacadas:

• Practice doing follower sacadas through the leader's open step. The leader stands in a wide stance, with the follower centered in front (making a triangle). The follower holds onto the leader's torso, at the level of the solar plexus, and closes his/her eyes to focus on following. Using torso rotation, the leader moves the follower towards one of the leader's feet, and gets out of the way. Rachel advocated leaning to one side as well.
• Be careful not to change your level! The knees are flexible, but you don't want to bob up and down. Once you can get the follower to step into your space to replace you (do a sacada through the leader), try it in an embrace.
• It is HARD to convince a follower who is new to sacadas, to walk into the space where you were. Make sure you don't overturn the follower, or they will happily do an ocho around your center instead of stepping where you asked. Be clear, and the follower will eventually become comfortable with stepping into a sacada. Try not to pull!

Sacada combinations

We only had time for a few combinations this time. Remember: play around! Try new stuff! You may find a combination that you really like. Use it! Here's what we did in class on Sunday:

• Leader front sacada + follower front sacada: Walk the follower to the cross. Start a right (clockwise) turn around the leader. Leader front sacada with left foot (actually a side sacada) through follower's front cross step (1st step of turn). Then, lead the follower to do a front sacada (actually a side sacada) through the leader's front cross step. Repeat a few times (each person alternates front cross step, sacada through other person's front cross step) and exit. If you want a specific exit: let the follower take a side step around the leader, collect feet and walk out in a regular tango walk.
• Leader sacada + drag: Walk the follower to the cross. Sacada through the first step of the right turn. Turn the follower one step more of the turn (open step). Drag the follower's foot (follower's back step) around with either foot of leader (try both and see what you like). Lead a stepover and exit.
• Leader front sacadas: Lead overturned front ochos down the room (these are linear sacadas, BTW). Sacada every step, using either foot: you can mix it up and step with the same foot each time, switching between steps; or just "walk" alternating feet. Find an exit you like and keep dancing.
• Follower front sacada: Walk the follower to the cross. Lead a follower front sacada straight forward, with the leader moving clockwise in an open step with the left foot. If you want a circular sacada, move around the follower's position. If you want linear, move left BUT remember to finish the follower's step with your chest rotation!

Next time, we'll review these. Then, we'll learn follower and leader BACK sacadas, and combine those with front sacadas and other stuff. The next Sunday Special is slated for Sunday, April 26th.

Let me know if anything is not clear here, or if you'd like more detail.  Thanks for coming to class!

In honor of the foot: the anatomy of walking and standing in tango

I just re-read Irene Dowd's excellent "In Honor of the Foot" article, from her book, Taking Root to Fly. She details the structure of the foot, exercises to strengthen it, and ways to think about moving that use the foot efficiently.  Although I'd love to just print her article, that would not do :-) so I will just provide you with some ideas from her article as we discuss walking and the use of the foot in tango (Tango I in Salem and in Portland, this is for YOU!).

The platform of the foot is shaped like a trapezoid, with the corners being the ball of the foot (big toe), the ball of the little toe, the inner border of the heel, and the outer border of the heel.
The way the bones of the foot are built make a twisted arch between the heel bone (calcaneus)  and the ball of the foot. The bones that make up this arch can be locked into place or relaxed, "depending on the degree of twist in the foot."
When the inside border of the heel drops (the arch is untwisting), that is called pronation. Some people naturally do this, and extreme pronation is often called having flat feet (guilty here!)
When the arch is raised higher, the outside border rolls out, or supinates. People who tend to do this have "high-arched" feet.

Walking

• A quote from Dowd: "When we walk correctly, it appears that the center of the knee travels directly above the pathway . . . from the center of the heel through the third toe."
• This does not mean that the foot actually moves on a straight line, because the arch of the foot bones creates a more serpentine path of movement (read the article for all the details!). The actual path strikes slightly to the outside of the center of the heel for the heel strike; rolls inside the cuboid bone (next bone forward from the calcaneus) for "midstance"; rolls back more to the outside as the heel comes off the floor in a step; and rolls back to the middle of the big toe as the toes leave the floor.
• The arch of the foot twists and untwists slightly as this happens, relaxing into the floor for stablity, then making a stiff lever to propel the body forward, and relaxing again (whew!).
• The big toe completes the push off of the floor. I think of this as the equivalent to following through when I throw a ball: I don't just leave my toes limp, I use them to complete the transfer to a new location.

Standing

• Dowd says the foot has to work harder to stand than to walk: "This is especially true when you are standing balanced on one foot only. In this circumstance, the foot has to be somewhat mobile because the rest of your body does not stay perfectly still relative to the ground and yet the foot has to be very stable in order to support you."
• The foot has to have equal balance inside (big toe), outside (little toe) and back (heel). Think of an open space between these points, lifted up. I think of a plunger, lifting/suctioning up the center of my foot.  Dowd suggests "a receptive aperture through which energy can come in from the earth." Yeah, like she said!

Remember, the foot needs to both relax and tighten in a series of motions, to complete just one step! To stand, it constants adjusts between these extremes to maintain stability.

Exercises to strength/tune into the foot:

• Put the sole of your foot on the floor, and, with your big toe, practice pushing away a finger or some small object on the floor next to your foot. You are making a fan-shaped motion that spreads your big toe away from your other toes.
• Do the same thing with your little toe. Both of these exercises are hard at first, especially if you've been wearing high heels with itty bitty spaces for your toes ;-)
• Put your foot on the floor, and try to "dome" your foot (lift the center while keeping all corners down). Make sure you are not gripping with your toes: keep them relaxed. This is about the muscles in the center of your foot, not your toe muscles.
• Then, try all three at the same time (ha! no, actually, I just did this while typing, and it is possible).
• After that, start with that exercise, but draw all the toes towards the big toe; then all the toes towards the little toe.

You will be happy to know that Dowd recommends massage in order to loosen up the muscles and bones in your foot, to uncramp muscles as you try these exercises, and to understand the structure of your foot through feeling that structure.

Musicality exercises for tango

Clay Nelson, who used to teach in Portland, called me one day. "I'm trying to design a software program that teaches musicality to dancers.  Any suggestions?" For me, musicality needs to be taught through movement because it is mapped neurologically on/in the body. The body experiences the combination of sound and movement.  It FEELS music, rather than THINKING music first. As the feeling moves into the body's set of experienced memories or its comfort zone, then thinking can enhance it.

I am currently teaching dance to preschoolers at my son's daycare. Although it is certainly a huge step from my lifetime of teaching adults, experiencing dance and music with this group teaches me a lot about how humans learn musicality. I see four groups of learners: the naturals, the interpreters, the mimics, and the not-interested-can-I-play-on-the-swings group.

There are a few children who bounce in time to ANY music I put on, literally unable to wander off to the playground and ignore the beat (I'm one of these). Their bodies understand the beat and feeling of music: the teachers tend to call them "naturals" (i.e., "John is a natural! Look at him!"). Those kids can copy anything I do, with less fine motor skill ability than an adult. They CANNOT dance off the beat. They don't have to count or think about the music, so they can learn the movements easier than the other children. As adult dancers, I probably don't have anything to add to tango musicality: they just "get" it without any help.

Then, there are children who want to participate, are interested in dancing, but tune into the idea of the dance, not the beat; I call them "interpretive" dancers (i.e., "Suzie is being a snowflake!" despite the pounding disco beat to which the others are dancing). These kids like the idea of learning new movements, but they don't worry about the music: what counts is pure motor activity, preferably flowing motions. As adult learners, these are the folks for whom I originally created Naughty Toddler and my other games: less structure, more participation than technique drills (which they won't do!). On the other hand, I think that learning how to flow and play with the movement is fundamental to tango, but not my focus when I talk about musicality.

The third group in preschool dance class are the mimics: they don't necessarily dance on the beat if I don't dance, but if I model a movement to the beat, they repeat it on the beat. After a few sessions, I now see some of them doing those motions to the beat without me. I see a lot of adults learning dance who are in this category: they hear a beat, they like the movement, and they want to learn to put them together better. The exercises we did last night had this focus (see below).

The last group are those totally disinterested in the idea of music and dance, or not willing to try the new activity on the playground yet: each week, one child stands next to me, watching, until I ask him to dance. "No, I don't wanna," he says, and walks off. I think there are a lot of shy kids in this group, so I'm guessing that tango also includes many folks who would have only watched dance as a kid. My guess is that all three divisions of music/movement learners above are also represented in the "I don't wanna" group ;-)

Musicality exercises from Portland Tango II class

Clapping exercises:

• Find the steady beat of the music
• Find the endings of phrases (8- and 16- bar)
• (One we didn't get around to this time) Clap with the melody while someone else claps the rhythm (aha! now you know how we are going to start next week!)

Dancing exercises:

• Pause at the end of each phrase (7&8 or 15&16)
• QQS at the end of each phrase (we did corridas, but try resolutions or . . .)
• Half-speed (step on every other beat, keeping time)
• Slo-mo (Jedi dancing, breath like Darth Vader--hey, it works, don't knock the weird Star Wars jokes!): this is different from half-time movement, as the effect is completely removed from rhythm, so the return to rhythm creates amazing moments of clarity in the dance.

Specific moments to play with musicality:

LISTEN TO THE MUSIC!  Recently, I've seen a lot of intellectual exploration of musicality on the dance floor in Portland that is not connected to the song being played. That is, I've been subjected to slo-mo or pauses or lots of QQQQQQQQQS that DOES NOT fit with the music, simply for a "dramatic" effect. Let the music suggest what to do. What does it feel like?

Pauses: Incorporate in the following moves:

• salida
• walk
• at the cross
• in the middle of ochos

Slowing down (the idea of slo-mo instead of a specific count):

• at the cross
• side steps
• anywhere, really :-)

Adding more quick moves in a row (QQQQS, for example):

• ocho cortado variations
• corridas
• in turns

Different orchestras suggest different musicality elements (in my humble opinion):

Pugliese: For me, Pugliese works best with playing with different length pauses, slo-mo, extra syncopation (QQQQS) and pretty much anything within the scope of tango expression. This music changes tempo, lending itself to the idea of speeding up or slowing down, rather than worrying about double- or half-time. It is not contained music: it gives you tons of energy, of flow, of, well, DRAMA. Go for it! You don't need fancy moves for Pugliese, but fancy musicality: yes!

D'Arienzo: For me, d'Arienzo establishes a strong beat underneath the music, whoomp, whoomp, whoomp. It is like a strong heartbeat driving the music. At the end of phrases, I really hear that QQS (7&8) that we worked on. I don't hear pauses at the end of phrases. I hear sprinklings of syncopation, but not a constant flurry: use them with discretion! Half-time is dramatic here, while slo-mo just doesn't work as well. Various playful mixings of syncopation work sometimes (QQQQS), but listen to the music; don't fabricate!

Tanturi: We'll work more on Tanturi next week, but this is my favorite orchestra. The beat is steady and easy to hear, but the focus is more on the melody and the songs. I sometimes dance on the melody with these songs, returning to the underlying beat in between verses. A steady walking beat is nice, and pauses work well (remember to use different lengths of pauses: listen to the music). Syncopation is found here, but it's not the focus, in my opinion. Slo-mo doesn't work as well, and I use more of the QQS than QQQQS to Tanturi. Because I know these songs really well, I have to try not to hum while I dance. For me, these songs are about the experience of the entire piece of music, not as a vehicle to show off my tango prowess.

Firpo: Sometimes, Firpo's songs sound like tango on crack to me. It's not my favorite orchestra, but its zippy, strong beat provides space to really play with QQS, QQQQS, and other variations of syncopation. Pauses tend to be short (I really use half-time here, not pauses, I think). Slo-mo does not work. I don't feel as if I have much space for interpretation, but other people may not agree with me.

Laurenz: Ah! Here is a tricky one. When you listen to Laurenz, there are a lot of different possibilities within the music. The melody is strong, so you can dance to that. The beat is clear, so you can dance to that. BUT . . . Laurenz has a lot of fun establishing expectations and then trouncing them. For example, he may end a few phrases with a QQS, and then NOT do that, leaving you hanging if you weren't listening. Or, he may emphasize the 2 & 4 beats, rather than the 1 & 3 beats of a measure, so that it moves against your expectation. It's more subtle than Pugliese, but it has a lot to play with.

D'Agostino: I've listened to this orchestra for years. It's not my favorite, but I find that certain songs really attract me. There is depth of feeling, especially through Angel Vargas' lovely voice and interpretation of these tangos. The main element for me is an elegance. The beat doesn't just pound along, but works along with the lyrics, the melody, the singer. I find that I dance the feeling, so I do a lot of pauses, some slo-mo, some half-time, with (I hope) well-placed QQS (not a lot of QQQQS). It is a deliberate, slower tango for me.

ColorTango: I've included a modern orchestra just for comparison. I'm not crazy about them, but they take the songs to an extreme. You wanted slo-mo opportunities? Here they are! You wanted dramatic pauses? You've got it! You want tango on crack, where you can take twenty thousand quick steps before a pause! Here! I don't find it restful to dance to them, but as a musicality exercise, they can't be beat.

Comparative song exercises:

Even the same song, when played by different orchestras, asks for different interpretations by the dancer.  We danced to the following songs:

• Sabado Ingles (d'Arienzo, Firpo)
• Rondando Tu Esquina (Pugliese; next week, d'Agostino)
• Gallo Ciego (Pugliese; next week, d'Arienzo)
• Emancipacion (Pugliese; next week, ColorTango)
• Que Nunca Me Falta (Tanturi, Laurenz--these are next week)
• Amurado (Laurenz, Pugliese--these are next week)
• Doug M. brought Danzarin as his favorite: we'll do this next
• Doug N. is bringing a favorite song next week
• Mike: thanks for the Sabado Ingles by d'Arienzo request!

Other class members: if you have a favorite song, let me know, and we'll add that to the list. We'll keep doing musicality as we tackle the other (movement) requests of the group. See you next week!