I wrote about Daniela, a solo maestra who is an outstanding leader as well a follower, and who teaches both roles in detail for the utmost in style, elegance, and technique. And this past weekend Austin was treated to the opposite configuration of a solo maestro who is an outstanding follower as well as a leader: Javier Rochwarger.
In our first private lesson as a beginner a year ago, and reinforced every time I lead him, Javier did more for my understanding of what it really means to signal our intent to the follower, detect their readiness, and then move with confident clarity. Although Javier makes for a wonderfully comfortable, capable follower, who can and will do anything I can reasonably ask, he has an uncanny ability to remain immobile until he feels the lead intention.
What makes this technique so memorable and striking is how it in no way feels heavy, stiff, or difficult. David Turner’s book, A Passion For Tango, on page 33 has a good exercise for developing sensitivity both by follower to leader’s moment of intention, and by leader to follower’s moment of readiness to respond. Summarizing . . .
A couple stands holding hands, side-by-side. One of the two, as leader, will indicate (invite) a forward movement. The other teases by holding on as long as they want before committing to the step. The leader tries to sense the moment of commitment and the couple go together. The exercise can be done without music to increase the randomness of the response. This exercise hones the body-listening skills of both leader and follower.
With any exercise I like to play, How many different ways can we do this? Switch leader and follower, of course! Does it make a difference whether leader is on left or right side? How about backward steps; what, if anything, must the leader change in their indication? Now do the exercise facing each other, adding the possibility of side steps. Do it in practice hold. Do it with no hold. Try the exercise where you intentionally try to fake out your partner – naughty leader/follower. Now try the exercise where you seek above all else to be utterly in sync with one another. How does your movement change between the two? Certainly a partner can move too soon, but what about moving too slowly, is there a sweet spot?
Javier taught a variety of classes: basic, intermediate, and advanced, and I enjoyed and benefited from it all. Here I will report on just one night’s lesson, Villa Urquiza perl sequences. (Mari Johnson also has a report on Javier’s visit at her My Tango Diaries blog.)
Long, elegant lines characterize the Villa Urquiza style. For the follower, after they have unweighted a leg preparatory to stepping back, they step back with a straight leg, not merely moving the upper leg back and carrying the lower leg with it, but having a long leg that moves back as a whole. Same for the lead, the legs are straight as they move. Not by any means to say a stiff leg. The knees and ankles will be ever so slightly softened to absorb the forces of takeoffs and landings, yet there will be an ever so slight undulation in height of the traveling couple due to the straighter legs, versus absorbing every bit of height variation that you can with bent knees. (By the way, though takeoff and landing are my (an inactive pilot) terms and seem like useful images to me, think not of airplanes going up and down, but rather of track and field long jumpers moving horizontally across the ground.)
The style uses a close embrace throughout, though elastic enough to accommodate limitations in a couple’s dissociation. The room for the feet and legs to maneuver below is provided through apilado posture, where the couple “tents” against each other at the upper body. The embrace, from both sides, is firm and clear, to hold the couple together and to aid in producing the greater dissociation required of both partners in the close embrace.
Each of these three sequences is based on the eight-count basic. All using the styling above.
At #5, where follower crosses and leader collects, leader steps back on left, right once or twice to produce a clear apilado. From there leader “loads” the undercarriage, getting somewhat under follower, to step out decisively in a long, dramatic step. Normal ending from there.
Linked forward sacadas to back ochos
Following #5, the cross, instead of continuing ahead as usual, leader steps decisively (so as to be clear to follower that this is not a forward step) to the left, and as follower comes to axis on right foot, lead them to pivot right so couple is now in perpendicular position with follower facing to leader’s left.
Lead follower to step across and left-pivot to now face back to leader’s right, then lead continues across left/backwards for follower, and as they step back-left on left leg, leader gives sacada to their right to produce a voleo. Notice that the close embrace requires extreme dissociation in this position, with his legs tightly twisted against each other.
They unwind the follower’s voleo in a back ocho until follower is now backing to leader’s right, then the sequence repeats on that side. The entire sequence zig-zags left-right in front of leader, down the line of dance.
Left, right sacada to barrida
As in the previous sequence, following #5, lead follower to step sideways, then as you lead follower for a forward ocho, you step side and back cross with right leg, giving follower room to step around. As follower steps around leader’s right. Leader gives sacada with left leg to follower’s trailing back-crossed left leg. Then on follower’s side open give sacada with right leg to follower right leg. Overturn follower’s back ocho as you, too, overturn to give barrida left-to-left.
One final thing, please. Down at the bottom of this blog entry, where it says Written by David Phillips — No comments — . . . , you should interpret that to say, click on “No comments” to give us all the benefit of your thinking on the matter! (What a poor user interface choice in the template: minimalism versus clarity. Now I’m going to have to fix that some day.)