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Mini Epiphanies

I’ll continually be updating this page with mini epiphanies I learn. Some of them will probably be pretty dumb and obvious looking back. (Updated 09/22/2021)

  • The term giro and molinette are used interchangeably except molinette is used specifically to refer to the follower’s version of it. I’d often get confused in the beginning when the instructor would refer to one or the other.
  • Front/Back Ochos can keep going to turn into a giro. I’ve had lessons where the instructor would teach us figures involving ochos, but it wasn’t until months later I realized if you just continue leading the follower in the same circular direction after the ocho you’ll lead her to do a giro.
  • You can pivot between back and front ochos.
  • There are several techniques to get the follower into the cross.
  • When a follower is doing a front ocho, you can walk alongside her with your inner leg to match the step (it looks cool). (it’s called the promenade)
  • There are a ton of moves that get into/out of the molinette, need to discover them all.
  • During a molinette the follower should just keep going around you if you keep turning your chest unless directed otherwise. You can get her to stop during her side or front step by lowering your weight. With the front step you can also lead her to pivot to redirect the molinette in the opposite direction during your weight shift.
  • The follower is supposed to follow the center of your chest.
  • You direct the follower’s direction with your chest while directing your own direction with your hips. (Disassociation)
  • During the giro you can match her step with your own step in the same direction (promenade), or you could maintain the same axis (like do nothing), or you could step where her standing foot is (like a sacada).
  • You can make giros around you tight/more circular by making a sideways T shape with your feet or by tucking one foot behind the other.
  • When trying to pivot during a follower giro going around you, it’s a lot easier to time the pivot during/after the follower’s front ocho to your side, since your torso will be facing her and twisted, allowing your foot to uncork in the twisted direction giving energy for the pivot.
  • The milonga weight shift pattern from your body should be more like a pendulum (hips first then upper body)
  • Sacadas Most Steps seem to go way smoother when I plan the step immediately after it (for now).
  • For walking on the dark side in cross system, should make the follower take a bigger side step than you (so you have more room to walk on that side)
  • When leading milonga double time traspie steps, need to lift follower up a bit to signal that movement
  • You can essentially lead a calesita or a mini boleo in most(any?) positions just by lifting the follower up a tiny bit to signal her to stay on one foot
  • To make a right turn easier in a crowded milonga, start with it facing outside the circle so you can see how much space you have. (Thanks Regina)
  • For milonga music, for traspie / rock steps try to have your weight in between both feet.
  • For leading back ochos / turns, its more about pulling your back (lats) rather than your arms.
  • For milonga music / style, only the lower half of your body should be tense / heavy.
  • The knee on the standing foot when walking don’t necessarily need to bend, power should just come from the ground without relying on bending the knee.
  • Need to keep shoulders/hips level when leading turns.
  • Need to reset my embrace after several phrases in a song until I can keep it correct the whole song.