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Casino Partnerwork adv Adrain Valdivia. The followers, usually the ladies, who perform as the following elements in each couple. Same as Dame un tarro, but walk back atras again on the outside to the lady before in the cw direction to your original lady. Can end in la botella by staying linked and dancing around in the circle, then start these tarros from within this linked wheel. Glen Minto, who teaches advanced material in some of my classes has introduced many blending sequences such as those below. Gurarachea March with sandals , on the spot with shoulders moving as well Hombre a la derecha Gents to the right Call in Primo a medio to make gents move to the right. Leaders and ladies stand opposite while the leaders left hand holds the ladies right hand.
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Note that the first 3 steps are from an earlier sequence. Then you move into Sombrero Doble, and near the end of that move, go into Exhibe. The last three moves in this sequence are also linked in the sequence above this one. You move into Dedo guarapo y bota near the end of that step i.
The chains can be longer and longer. In this sequence, you do the first 16 beats of Dedo and then start Uno right from the beginning. You do two of the side to side Uno rocks and then the guy comes in front as he does in the combination step Uno y Dos. Then, 8 beats before the end of Dos, move into Balsero. Balsero is truncated a bit the say way it is for the combination step, Balsero y Beso.
Again, 8 beats before the end of the Beso, you go into the Exhibe. From that point on, this sequence is the same as the one above it! Note that in terms of the calls on this sequence, Balsero is called just before the leader brings the lady to his left side for the sombrero part of Dos.
Then 12 beats later, Beso is called. The reason for this is that the moves aren't always done with the same hand or from the same position. A good example of this is the Exhibes which cement a number of the moves together in these chains. One Exhibe may be done rather differently from the way another is done, based on how you enter it. Another matter of interest, is that the closer to the time of transitioning between steps that you call the next one, the more challenging it is.
The dancers have less time to think. You never call more than 8 beats ahead of moving into the new step, but it can be closer than that if you want to ratchet up the challenge level. You have some latitude in many cases on exactly where the call is made. This is unlike the standard for calling a circle in which case the call comes on beat one nearly all the time. If you are new to this blending, and want to try a few simple sequences to get started with it, here are some that I can recommend: Kentucky - Exhibe - Setenta.
You may be used to this if you do Kentucky Complicado so it will be familiar. Note that Exhibe is called about 16 to 20 beats into the Montana. The later the call is made, the more challenging the transition is. But even when called 20 beats into Montana, you have enough time to make the transition. Dedo -- Uno y Dos - Balsero - Beso. First an important note is in order. As might be expected, the advanced moves are somewhat less standardized than the more basic moves.
And the longer the move, the more variability you can encounter. Dame un tarro para atras. Same as Dame un tarro, but walk back atras again on the outside to the lady before in the cw direction to your original lady.
Dame un tarro para fuera. Same as dame un tarro, but skip one lady on the outside. Gents L foot into center and ladies r foot.
Gents step back to give room for the lady to step in front of them, the gents leads the lady w the r arm in front of them and do the basic guapea steps again. Gents does an enchufa with r-r instead of normally l-r change hands just before doing this combination. When he is on the other side of the lady he starts doing a back step in front of the lady facing in to the center of the circle.
On the third time when the gents walk to the r side of the lady he lifts his right arm and do a sombrero ending with the Guapea again. Lady does inside turn. Gents change place with the lady cw and go strait for the next lady. On the way toward pushing the partner in the guapea the gents does almost an adios so that the lady and gent almost changes place, while he does a cw turn and change hands to r-r. Then the gents does a dile que no to the c and goes back to guapea — very cool looking move!!
Freeze on one-three-one-three-one and start on two w. Basic rueda de casino steps push-your-partner r-l , on-the-spot. Down stream — indicating against the dir to where the gents is turned in gurarachea.
In gurarachea gents start on l, ladies follow the gent, put the l in the ccw dir and move your l arm down and in the ccw dir so that now the lady is facing inward and the gent outside.
Do 2 and 3 as if normal salsa forward step. On 1 step forward with r again in the ccw dir and pull the lady in the cw dir with the gents l hand. Now the ladies face outward and the gents inward. Repeat the pattern until e.
Exhibela or other call is issued. In gurarachea gents start w l ladies mirror the gents on 1 go to c and at the same time lower your arms that are pointing into the center. On 3 move r into c as well just behind l. On 1 move r out again and start raising your arms again while taking the l out as well on 3. Keep doing this until para abajo or other call is issued. Sync by stepping into the middle of the circle to mark beat one.
Gents w r and vice versa. When called gents should look at caller to sync with his step. Combo where gents and ladies make the circle pulsate and which ends up looking like a flower remember to keep hands outstretched gents when walking toward the middle of the rueda. Enchuffa where gents kiss lady on r hand on the gents left while passing her. You don't have to think too much about it if it's called. Persistence in the learning process.
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