| He 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 who took a forward step with her
left leg. 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 size 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 on her left leg.
Then
he stepped forward onto his left foot
remaining offset from his partner as she
stepped back onto her right foot.
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
alongside 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.
All
good in theory but very shaky in practice.
|
