I'd like to report a typing error "Pay attention how Sebastian shifts Roxanna's weight in place while staying put himself (repeated at 02:17)" Should be 02:27
"One shade the more, one ray the less / Had half impaired the nameless grace / Which waves in every raven tress / and lightens her steps in each tight space." - by Lord Byron, for Roxana. What is the melody / song they dance on?
Lovely! Of course, at any reasonably attended milonga you do not have room to do that. More than 3 or so forward steps in a row and you have just plowed into the couple in front of you.
Jari, thnak you for sharing this and adding the notes about the lesson. We are all fans of Sebastian and Roxana. Have done several lessons with them over the years but still there is so much to learn. The Tanturi/Castillo music is also so wonderful !
Renato Vieira Barreto It's a little difficult to find information about any artist and their tours. Sebastian's and Roxanna's web pages seem to be dormant (not up to date), so the only possibility is to get a Facebook account and start following their status updates. See facebook.com/sebastian.achaval.12 and facebook.com/roxana.suarez.315 -- Some of the the 2015 Tour information can be found from post facebook.com/sebastian.achaval.12/posts/10152699299216345
H0rsefish ...about the sitting people all over. If you ever had taken classes it's utmost important to sit whenever you can so save your precious tools, your feet, in order to use them effectively for practise (and save for later evening milonga). Maybe people in their 20's - 30's can endure long sessions, but having 9 cm high heels for hours ... good for you if you are a trained dance instructor or ballerina but for rest of the mortals ...
Jari kiitos näistä Costa videoista! Costan pari on tosiaan taitava musiikin tulkitsija Jäin vain miettimään noita peilikuvia takaseinällä missä tanssivan parin liikket heijastuvat. Mistäs tuo johtuu?
To your question, the "reflections" are due to the mirrors on the looking end wall. This was a good thing because while moving behind the pillars you could see Adrian's and Amanda's dance.
Compliments to thorough analysis of the video. Really good job. Comments about heel vs toe first. It's a different lead, learn what's most comfortable to you, and try to be consistent. Roxanna is his partner and excellent dancer. If you changed style continuously during a milonga you could confuse your partner. They never had "milonguero" embrace, They use light V-embrace and false close embrace (they are close but not touching their bodies). And their embrace is very fluid, adjusting it continuously so it's easier than doing in close a one(body connected). Demo is nicely done with a lot of elements from various styles.
So beautiful. Could you please elaborate more on your comment? What's the difference with a true sacada, is it that in the sacada the leader does not wait for the weight switching but he causes or forces it, or something like that? Thanks
I understood that there are different ways to do the sacada. Normally[1] the follower is lead to take into direction of a side step but she does not move her weight 100% just by the lead, The impulse for follower to transfer her weight comes from the leader after he puts his foot forward to the place where the follower's exiting leg will be. Many teacher's emphasize that the legs must touch in "true sacada" but that the touching is purely visual. The leader does not try to cause the leg to move. He uses only his weight to occupy the space, thus causing weight transfer in the follower; generating the "sacada effect". Here on the other hand the follower is so to speak "free agent". The impulse to go has already been given and the follower does not wait to listen the complete weight shifting "process" but trusts that the leader will just "follow her" as she is lead to move forward with each step. It's like "I create a vacuum, you (the leader) fill it" effect. Sebastian's example is quite compact as the movements stay in place because the leader's movements are targeted more in the MIDDLE that the LEG. [1] it's debatable what is normal or standard in Argentine tango; it depends on the teacher and his style.
