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Ocho Cortado Options


Ocho Cortado Options

Ocho Cortado. The word ‘cortado’ translates into English as ‘cut’ or cutted (which isn’t a word) or an Ocho that is Cut. In today’s version of the modern Ocho Cortado it rarely resembles its ocho variations or ocho roots. It’s no wonder when people say the words for the first few times they get a little confused and can’t see the embedded ocho properties that are sitting there. When we think of ochos, we tend to only think of BACK (Traveling) Ochos, not their forward variety which is where the confusion comes from. Further still it’s the interruption that of the ocho (hence the ‘cut’ part) that people don’t see which creates more confusion. Today’s Tango Topic takes the idea of Ocho Cortado and adds a few nuances to it that you wouldn’t ordinarily think of or consider, this particular variety of the Ocho Cortado are considered variations on a theme, or ‘Options’. Think of these ideas as what you can do with the Cortado before, during, and, after you execute one. This is nuance vocabulary, variance vocabulary. Ideas to give you a starting point to expand on and to play with. Hence today’s topic, Ocho Cortado ‘Options’.

Linking Notation: All the links on this site are internal definition links, nothing is external (excluding tangotopics youtube channel links), meaning the links are there to create a deeper and richer clarity.

Check Please! The video above is small snippet of a full HD video (total runtime: 14m:31s). You can purchase Ocho Cortado Options for just 14.99 not including your level discount

From A Following Perspective, the fact is that while you may believe that you have absolutely ZERO control over the execution of an Ocho Cortado, you’d be very, very, very wrong. You, in the role of the Follower, have an inordinate amount of control. Specifically in how and where you cross your feet. How and where your side step goes. How and where your forward step goes. All 3 of those steps have variances built into them, and those variances give you far greater control than you might realize. Just a few millimeters this way or that way is a difference between a lead choosing to go one way, or choosing to go another simply because you’re ‘not’ in the right position for them to execute their next idea. As a result they have to think quickly and come up with something else, or more to the point they have to Follow where you’ve gone! Some might consider this to be highway robbery and inciting the Follower to not be cooperative. Some might say that the polar opposite is true, where we’re creating an egalitarian dance of equals. While the latter in the real world is a pipe dream for a variety of reasons, the former is the hard cold fact – that’s how most Lead’s see the Follower having any initiative. Sadly. Regardless of which side you come down on the fact remains if they may lead it, ultimately YOU, as the Follower, have a choice in how and where you Follow it! That’s power right there dear reader! That said, there are two options that you can start doing today that add nuance to the Ocho Cortado: 1.) Decorate the 3 steps outlined on either side, either as the step begins or ends. But there is a caveat -> it must be in time to the music. If there’s no accent note, then there shouldn’t be a decoration. If there’s no musical flourish, then no decorations. If there’s no musical counter point, then no decoration. You can not just willy nilly throw in decorations because they look pretty. No. You must decorate with purpose! The purpose is that if it’s in the music, then there is a decoration! 2.) Go here. Watch that, and then set about to doing it, religiously.

From a Leading Perspective, full disclosure here – there are two options that are not covered specifically or shown in this video: The first is the Cortado Wrap - Meaning a Cortado that turns into a wrap as either the entry or the exit from the Cortado. The second is the Multiple Cortado, meaning multiple Ocho Cortados. For those items you must see their respective videos on Wraps and Ocho Cortado. There is one thing about the Cortado that does come up quite frequently and it’s here as a reminder more than anything else that you as a Lead must be aware of, and to start to adjust for. What is that ? As the Follower takes their side step they’re going to end up in your arm pit and then stay there as they cross their feet. The key is to not to allow that to happen and to quite literally adjust the Follower’s body position so that they don’t end up there. And by ‘adjust’ that does not mean to use your arms and to force the Follower into position. No. We’re talking about 2 millimeters to the left (not to the right) that would make the Cortado comfortable for the both roles and more important than that, no body contortion is required. Far too often when performing these things (like an Ocho Cortado) you end up contorting your body to do X, Y, and Z. And while you may not realize that you are in a state of contortion, you are contorted, and you’re making the Follower contort even more! The contortion is the result of you not understanding how X, Y, and Z is also due to the poor application of your underlaying technique. So as wonderful as it is to have options and cool entrances and exits, it far more important than you work on your foundation. Specifically your walk must be stable, clear, steady. Your embrace should be effortless everywhere, specifically in turns where you don’t need to hold onto or more importantly squeeze your Follower with your forearm and/or your hand in order to stabilize yourself or to execute or indicate a leading element.

dancing in a small space ? try these articles!

bsas-prep-title

From a Dancing Perspective, the Ocho Cortado happens. Sometimes it happens with great frequency, and sometimes not. However what is true is that with a little bit of variation here and there, the same ole - same ole can be be very very nice and welcomed addition. And that’s primarily what this video is all about - providing different entrances and exits, nuances to how to engage the Ocho Cortado for a series of commonly used pieces of vocabulary and some not so common and a few new ideas that you probably haven’t seen before. There is one aspect to the Cortado that is generally not talked about, and that’s the fact that it really is close embrace vocabulary for tight, small spaces. It’s compact enough that it can be executed on a dime without a whole lot of movement. This is aspect is shown in the video Preparing for Buenos Aires. Which is really dancing in small spaces. And the Ocho Cortado is perfect for that. These Options that are shown here display a few more nuances that can be added to dancing in small or compact way.

About The Video. This video comes in at 14m:31s in length in 7 Sections. Both lead and follower technique is combined and integrated in the video.

Section 1 - Introduction - 00:00:18
Section 2 - Linear Ocho Cortado Review - 00:02:53
Section 3 - Entry Points - 00:01:36
Section 4 - Possible Exits - 00:03:44
Section 5 - Cortado Ideas - 00:01:46
Section 6 - Cortado Variances - 00:03:32
Section 7 - End - 00:00:12

It can be purchased for $14.99 or downloaded as part of your subscription with a discount.

The Missing Information.  There's a free tip (for registered free users) that's not here because you're not logged in. If you were logged in, you'd see a free tip, but because you're not, you're not seeing it. So ? If you want the free tip, then go register as a free user and login. 🙂 However, if you want the toys, and to see the 07m:10s HD quality video on how to properly lead & follow Ocho Cortado Options and all the toys that go with it. Then you have 2 options. 1.) You can buy it. or 2.) You can subscribe!

 Watch It On Youtube ? Why should you pay for this video, or subscribe to this website when stuff like this is available on Youtube ? Because what you'll find on Youtube doesn't explain and walk you through the how of Ocho Cortado Options. That’s why! 

So, please, go right ahead, go watch all the presentation videos on youtube all you want. Because that's what they are 'Presentation' videos. The couple's that you're used to seeing are performing for the 15th row for a room full of people, they're not social dancing. Whereas this website is all about 'Social Dancing'. So please, go spend your time, trying to infer, and figure out how things may work in that situation. Bend your body this way or that, twist and force this position or that. Place your foot here or there and figure it out.  Which can be a lot of fun, but more than likely it won't help you, because you're missing something: The explanation from an experienced teacher! (ahem) ME!  The goal of youtube videos is to entice you to go study with those teachers in person. The goal of these videos is allow you to work at your own pace, in the comfort of your own space, so that you can play them over and over again to improve your understanding of the vocabulary or technique being described to therefore better your dancing experience. The goal of classes and workshops is to get you to come back over and over and over again, thereby spending more money with that teacher. This website and the videos under it are here to act as a resource for you to help you to improve your dance. Pay once and be done with it. 😉

Eventually, one way or another you’re going to pay for this lesson, either here and now, or with them. TANSTAAFL! The difference between that lesson and this ? Is that you get to play this lesson over and over and over again. Further still, there are supporting materials (other videos) that help to explain the language and the underlying technique.

In an hour long class, with the blind leading the blind through rotation of partners (uuuggggh!), you may glean a piece of the information you need and not get the whole thing, and you’ll miss important pieces that you’ll end up having to take a private lesson for to get the finer points. This way, you can watch over and over again, and get all the supplementary materials, and if you want you can still go take the class, only you’ll be better prepared to do so!

The Last Word. Tango Topics is little reminders and snippets of information that your teachers would have told you about but didn’t have time to or didn’t care to remind you for the umpteenth millionth time. Do you need videos like these ? Yes. Why ? Simple…you need as many reminders as possible in as many forms as you can get. In today’s Tango world it does take a village to raise a dancer. And that means having as many voices, reminders, ideas, concepts, perspectives as possible. This video and the rest of the ones that are sitting behind the Tango Topics paywall are that. While what you’re seeing above is only the smallest hint of what’s contained in the actual video. It should be enough for you to make a reasoned and intelligent choice that perhaps there’s something of value in this site and the videos that are here. Considering becoming a Gold, Gold Plus, or Diamond level subscriber today.

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Argentine Back Sacadas


Back Sacadas

Sacada. Meaning – 'a-really-cool-move-that-you-think-is-really-complicated-but-is-an-illusion of techniques'.  For most people when they see a sacada for the first time, their reaction is one of surprise that a.) it looks really complicated (it's not). and b.) that they can never see themselves doing one (you will). And these are usually forward sacadas for the Lead into the Follower's side step. Usually. There are about 1024 sacadas, which drops to 512 when you rule out certain impossibilities. In reality there are about 10 different 'flavors' of them that when you combine the different flavors of walking systems, that number jumps to insane number.  Things go right off the rails (as the saying goes) when we see a sacada that does not fit into this paradigm. Enter the "Back Sacada".

From a Following Perspective. This is the quite possibly the scariest of all moves in Tango for the Follower. Why ? Most people have an innate desire NOT to hit or hurt anyone, and the Follower's Back Sacada opens up that fear in very real ways. The Follower's Back Sacada to the Lead's side step or Forward Step is quite possibly one of those moves where the Follower has to do some serious acrobatics to make it work. Or so you would think. Not entirely true. Almost from the day that a Follower learns to dance. They're expected to do 5 things right from the start: 1.) Walk backwards. 2.) Embrace nicely. 3.) Cross their feet. 4.) Turn. and 5.) Ocho. It's the 5th one that we're on about because your 'Ocho' as you understand it, with a tiny modification, and a little bit of technique work can become your default for all Ocho movements and thereby take the 'scare' factor out of any and all Back Sacadas for you. The fact is because the Follower is stepping backwards into their Lead they're trusting (eeeek) that they're not going to hurt the Lead! Talk about scare the shit out of you! "Please god, don't let me screw this up!". Usually that screw up comes in one of three ways. 1.) Missing it entirely (which is rightfully not the Follower's fault, the move is poorly led most of the time). 2.) Stepping on their Lead's foot (he led it, so why are you apologizing for it?). and 3.) Not placing their heel close to the floor. You see, the Follower is in 3in heels, and those things are lethal weapons, leaving the heel up, can cause...shall we say, 'Issues'. 🙂 However, the solution to making a led Back Sacada work for you ? Is two fold ... 1.) Learn to collect your feet. No. Seriously. Frequently you throw your leg out behind you like so...

And the 2nd solution ? Extend your leg only AFTER you have completed your applied disassociation!

From a Leading Perspective. The Back Sacada qualifies as the quint-essential 'cool' move that quite honestly is on the radar screen (at the beginning) and is seemingly just out of reach for a variety of reasons, not the least of which is the applied disassociation that's in the equation. Applied Disassociation ? In order for MOST back sacadas to work, that means that you're going to have to do some foundational work that you would think only belongs in the purview of the Follower: Study Your Ochos. And the foundation of the Ocho is ? Applied Disassociation. Most Leads, think kind of work is beneath them. They see women doing this work and think 'Follower' Technique. "I don't have to study that stuff." And they'd be wrong. Flat out wrong. If you want the cool toy, then that means you have to lose the attitude and go learn how to Follow and in specific learn how to Ocho without being pushed, or pulled in order to do it. That's where the study of Applied Disassociation comes in. Correction: Intention Based Applied Disassociation! This isn't pushing and pulling folks, this is work. And quite honestly, most people don't want to do it. They'd rathe push and pull to do the job. It's not necessary. How does this relate to the 'Back Sacada' ? Because the engine of the Lead Back Sacada is in fact their ability to FREELY APPLY DISASSOCIATION without the use of resistance from the Follower, tension in the arms, or needing to push off of, or compress the Follower in any way, shape, or form, not even in the slightest. And all of this is just the tip of the iceberg because this definition above assumes that we're talking about a LEAD back sacada to the Follower's side or forward steps! What about the reverse ? 

From a Dancing Perspective. The Back Sacada takes up an inordinate amount of space on a social dance floor, while it is the cool flashy move, it also like spice in a meal. Spice ? Use it too often or too much and you ruin the meal! Use it sparingly (very sparingly) and then it’s a nice surprise now and again (like once in an evening and then let it go). However, most of you, specifically the Leads, are not going to hear this and think that you're being ‘cool’ because now you can set up and receive a Back Sacada or you can do them yourself. The fact is that there really is no space on a social dance floor for them, except in the middle of the room. And most certainly not on a crowded floor in the outer track. Not now. Not ever. But again, you're not going to hear that because you've gone Sacada crazy, and you want to try out the cool new toy. Let me introduce you to the only place where you should use them - A ‘Practica’. Specifically the ‘North American’ version of one. Where it’s not a class, it really is about ‘practicing’. That’s about the only place where you really want to pull this thing out and play with it. So if it doesn’t belong on a social dance floor, then why teach it ? Answer, it’s not about the Sacada but rather the underlaying technique of how you generate one – the Applied Disassociation!

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bsas-prep-title

try these articles

argentineparadas-title

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ochocortadooptions-title

About The Video. This is a combined video format, lead and follow technique is mixed together.

Sacada Foundation Review - 00:03:50
Lead Foot/Leg Technique Review - 00:00:52
Disassociation/Applied Disassociation Review - 00:03:20
Lead Disassociation - Engaging the Follower's Side Step - 00:04:51
Engaging a Circular Side Step - 00:01:40
Follower's Back Sacada - Using Linear Ochos - 00:01:25
Follower's Back Sacada - Lead Details - 00:04:54
Follower's Back Sacada - Follower Technique - 00:02:06
Back Sacada Review - 00:00:53
A Variation - Rotating Back Sacada - 00:02:31
A Variation - The Closed Side Back Sacada - 00:01:13
Multiples - "Chained" Back Sacadas - 00:02:49

The Missing Information.  There's a free tip (for registered free users) that's not here because you're not logged in. If you were logged in, you'd see a free tip, but because you're not, you're not seeing it. So ? If you want the free tip, then go register as a free user and login. 🙂 However, if you want the toys, and to see the 31:38 HD quality video on how to properly lead and follow the Back Sacada and all the toys that go with it. Then you have 2 options. 1.) You can buy it. or 2.) You can subscribe!

You're Not Logged In: If you were paid user of this site you could login to your account, you'd see a different video from the one above! You'd see the full Back Sacada video.

Watch It On Youtube ? Why should you pay for this video or subscribe to this website when stuff like this is available on Youtube ? Because what you'll find on Youtube doesn't explain and walk you through the how a Back Sacada works! That’s why!

So, please, go right ahead, go watch all the presentation videos on youtube all you want. Because that's what they are 'Presentation' videos. The couple's that you're used to seeing are performing for the 15th row for a room full of people, they're not social dancing. Whereas this website is all about 'Social Dancing' and Social Dance Vocabulary and it's execution. So please, go spend your time, trying to infer, and figure out how things may work in that situation. Bend your body this way or that, twist and force this position or that. Place your foot here or there and figure it out.  Which can be a lot of fun, but more than likely it won't help you, because you're missing something: The explanation from an experienced teacher! (ahem) ME!  The goal of youtube videos is to entice you to go study with those teachers in person. The goal of these videos is allow you to work at your own pace, in the comfort of your own space, so that you can play them over and over again to improve your understanding of the vocabulary or technique being described to therefore better your dancing experience. The goal of classes and workshops is to get you to come back over and over and over again, thereby spending more money with that teacher. This website and the videos under it are here to act as a resource for you to help you to improve your dance. Pay once and be done with it. 😉

Eventually, one way or another you’re going to pay for this lesson, either here and now, or with them. TANSTAAFL! The difference between that lesson and this ? Is that you get to play this lesson over and over and over again. Further still, there are supporting materials (other videos) that help to explain the language and the underlying technique.

In an hour long class, with the blind leading the blind through rotation of partners (uuuggggh!), you may glean a piece of the information you need and not get the whole thing, and you’ll miss important pieces that you’ll end up having to take a private lesson for to get the finer points. This way, you can watch over and over again, and get all the supplementary materials, and if you want you can still go take the class, only you’ll be better prepared to do so!

The Last Word. Tango Topics is little reminders and snippets of information that your teachers would have told you about but didn’t have time to or didn’t care to remind you for the umpteenth millionth time. Do you need videos like these ? Yes. Why ? Simple…you need as many reminders as possible in as many forms as you can get. In today’s Tango world it does take a village to raise a dancer. And that means having as many voices, reminders, ideas, concepts, perspectives as possible. This video and the rest of the ones that are sitting behind the Tango Topics paywall are that. While what you’re seeing above is only the smallest hint of what’s contained in the actual video. It should be enough for you to make a reasoned and intelligent choice that perhaps there’s something of value in this site and the videos that are here. Considering becoming a Gold, Gold Plus, or Diamond level subscriber today.

Triangle Methodology


Triangle Methodology

The Sacada is probably one of Tango's more interesting pieces of Tango vocabulary. Mostly because it looks really cool and complicated. And yet it's complexity can be explained in one simple sentence – It's an illusion! The illusion is an intersection of walking techniques. The Lead's walk intersecting the Follower's. It's walking, nothing more than that. It's just never explained that way. And yet, that's exactly what it is. However, there's a cute little trick that happens for every sacada, every single sacada no matter how complex, no matter how difficult it may appear. It's an observation that I don't own, but rather compsve fro a very reliable argentine source. So what's the cute little trick ? The Triangle Methodology!

From a Leading perspective, this toy is all about Triangles. Every time you lead a Sacada (and it doesn't matter which one it is of the 504 available ones, and yes there are 504 of them. I counted.) each one will consist of a very simple Triangular pattern on the floor. A little clarity – your feet, and the Follower's feet form a very tidy little Triangle on the floor. There are two supporting points (each supporting point of the Triangle is a free leg of either the Lead or the Follower), and then there is one shared axial point between the couple. If you're leading a Sacada then you want to make certain that this 'Triangle' is spot on. Just as a side note, the more 'shallow' the Triangle, the easier it can be to execute the Sacada.

From a Following perspective, quite honestly you have no idea if you're being led to a Sacada, because for you this is all about forward, side, or back. It just so happens that your step may intersect the lead's or their's yours. However once you start to see that the Lead is leading you to a Sacada. You'll start to see triangles everywhere, that means that you should start to see that the intersection of your extending leg into the Lead's trailing foot which should form a 90º angle. And as a result you're going to extend your leg along that 90º line into the Lead.

From a Dancing perspective, who'd have thought that actual geometry would help you out here. The fact is that a good portion of Tango is all about the geometry. Get it right and cool things happen. Get it wrong...and well... you're going to have issues! This trick is all about that geometry thing. Honestly, this is just a trick of how to remember, from a leading as well as from a following perspective ,that when engaging in Sacadas, you're going for creating Triangles on the floor. That's it, that's all. Typically however, we don't remember this little tiny factoid and the Sacada fails mostly because the Triangle is either too shallow, too oblique, incomplete (yes, that happens – more so than you can imagine), or where the apex of the Triangle isn't in the right place. Mostly people forget this stuff and try out a Sacada and it usually fails because this stuff hasn't been drilled into them! And it needs to be. 

The Final Word: Clarity! If you want to change your dance. If you want to perform a Sacada as a Lead or as a Follower, there are a lot of videos out there on youtube that I recommend that you go and watch. However, there's just one little tiny problem with 98% of them. They're not there to actually teach you to do these things. Not one of them. And furthermore a good portion of them have awful sound, terrible light, don't focus on the right things you need to focus on, or explain the proper technique. All-in-all...a complete waste of your time. If you want clarity in your dance, there's really only one place for that clarity of understanding and it's right here. You can either buy the video on Simple Sacadas, or you can subscribe as a Gold level user, and get access to over 150+ videos and articles on technique, history, codigos and a lot more for just 19.99 per month with more content being added every month (about 5 to 6 new posts). Really it's a bargain if you stop and you think about it! Give it a try, you won't be sorry. 

Follower Back Sacada

Follower Back Sacadas

Realistically there are very few sources of information about this stuff. 

In order to be an efficacious dancing partner for a Lead that engages with these things, there are 3 things you absolutely must be able to do without hanging, pulling, or pushing on your Lead:

1.) Disassociation and Applied Disassociation.
2.) Controlled Collection from the Forward (Lead/Follower), Side, or Back Steps. and
3.) Heels, heels, heels in every sense of the word!

The simple fact is that good tango, from the Follower's side of things via a Lead perspective, comes from a Follower who has mastered these things in lurid detail, you practice and practice and practice this stuff religiously so that you don't have to think about it at all when you're dancing...instead you 'react' and that reaction is born of the technique that you clearly have built into you over and over and over again. 

But let's be clear about something this 'technique' is not just about repetition. That's a mistake. This is MINDFUL repetition. Meaning that you consciously build or weed out errors from a movement and a motion, slowly, carefully building it to the point where it becomes reactionary. However, again, this is not necessarily all about reaction but a good portion of the time – very controlled! 

You want to be able to control every facet of your movements from toes to feet, to heel, to ankle, knees, hips, torso, shoulders, head, arms, and fingers. Every aspect of those body parts in exacting precision. Failure to do that, and you have not mastered your tool. Your body is an instrument and it must be learned, toned, tooled, and retooled, constantly. You are never a finished product, never. 

What specifically are you focusing on then ? 

Your forward step, your side step, and your back step. Your embrace within the construct of the movement of those steps. Your disassociation. Your applied disassociation. And you would think that this is just easy work...like hell it is! It's a ton of work that must be controlled, tamed, tooled and re-tooled....hours, weeks, months of time just to weed out your issues so that better technique can creep in.