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.
|
