The Loco Sacada
The Loco Sacada is a misnomer. There’s no actual Sacada that’s named that. We made up the title. 😉 The actual title of this video is The Follower’s Over-Rotated Back Sacada. Kinda long and doesn’t exactly flow off the tongue. Hence the new moniker! You’re welcome.
We have to back up a bit and tell you that in the former incarnation of Tango Topics when it was the Tango Truisms Project, we created a series of videos that were for sale. This Topic was one of those videos. At the time, it didn’t garner that much attention. But as Tango Topics has grown and there’s one thing we keep getting asked about are more Sacadas, Volcadas, and Colgadas. This video has been sitting in the archive, untouched for almost 4 years. So here we have yet another Sacada. However, the title, is rather apt. It is a ‘Loco’, or as the word in Spanish when translated to its English cognate, ‘Crazy’. It’s crazy because of it’s over-rotation and the way in which the over-rotation occurs.
The Loco Sacada is exactly what it sounds like, but before we get into that. We have to issue a warning that most of you do not want to read, or care about because this is quite honestly cool vocabulary for both roles. So first the warning: This is not a simple move (duh). Do not attempt this unless you are under the active guidance of a teacher that knows what they’re doing. You can easily hurt yourself and/or your dancing partners in any number of ways.
There are certain things you have to have mastered before you should even attempt this stuff. 1.) Your walk must be stable from a Leading perspective as well as from a Following perspective. Meaning that you can not and should not use your fingers, palms, wrists, forearms, and/or biceps for stabilization from or against your partner’s reciprocal body parts. If you have not mastered your Intention-Based Dancing Skills yet and not using the embrace to push, pull, or engage ‘resistance’, then stop right here and go and master that stuff first and foremost. 2.) You must be able to Disassociate and then Apply that Disassociation (known as Applied Disassociation) without thinking about it. Because if you have to think about it, it’s too damned late! 3.) You must have precise and millimeter-level precision control over your legs, and feet. As in where you’re moving them, and how you’re moving them, and where they’re going to, as well as how they’re landing and/or resting.
If all of that sounds anal and not fun. There’s a reason for it. And that’s so that you don’t end up hurting yourself attempting to do something you’ve seen online without the necessary preparations so that you don’t injure yourself or your partners that this stuff can cause. Which is to say that you must prepare your body appropriately first and foremost. That said, without further yapping, we present for your perusal, The ‘Loco’ Sacada.
Have you seen the Golden Sacada video ? The Golden Sacada is a series of 6 Sacadas chained together to create a wonderful dancing construct that exemplifies one of our operating principles: Options & Opportunities.
See > The Golden Sacada
What is a ‘Loco’ Sacada ? This figure, and it is a figure, can be used in Open embrace, or Close Embrace (but not without some modifications) and be initiated in the line of dance if and only if there is ample space to do it. It is an over-rotation of the Follower’s Ocho, employing an Over-Rotated Back Ocho for the Follower into the Lead’s Forward Step. Rightfully most people would never think of employing this figure within the Line or Lane of Dance. And there’s a reason for that. It can take up an inordinate amount of space. Hence the reason why we stated previously that ‘there is ample space to do it’. So what’s ample space ? About 6 meters and a little ‘wiggle’ room on either side just in case things go south, and things ALWAYS go south. So plan on 7 meters to be on the safe side.
Realistically though, this figure isn’t about using it on a social dance floor. It’s more for study purposes to engage the applied disassociation for BOTH roles, not just the obvious one, the Follower’s role.
It should be noted that while this is a study-only figure and that it can be invoked on a social dance floor assuming space isn’t at a premium and it can be employed from Close Embrace, that at some point the embrace does have to become ‘Fluid’. Meaning that the embrace will change based on the choice of vocabulary that is employed so that the vocabulary can be accommodated.
Difficulty Rating: (4.5 / 5)
Why should you use a ‘Loco’ Sacada ? You shouldn’t. Not unless you have space, and a dancing partner that has mastered their foundational elements. And even then this is accent or spice vocabulary that is best left for your tango lab work and not necessarily for a social dance floor. Think of it as that piece of vocabulary that you pull out once in a blue moon, near the end of the milonga with a partner that you’ve danced a million times with, and you invoke this ONCE and you let it go and then you move onto other things that are far more important! In other words, this is a study piece that you want to work on and with, to extend your own flexibility, and adaptability to different movements.
Have you seen some of our Popular Posts ? On the topics of Asking A Woman To Dance ? Asking a Man To Dance ? The Follower’s Rescue Plan ? La Marca ? Tango Rigidity ? I Move Me ? Resistance ? Connection ? The Active Follower ? The Seven Basic Moves of Tango ? These topics and more are some of our more popular items, go look. You won’t be disappointed!
See > Popular Posts
There’s a lot more to this Article! There’s the extensive Lead’s Perspective, the deeper Follower’s Technique Perspective, and sometimes we throw in a complete Dancing Perspective part, all of which are only visible to Tango Topics Freemium Registered Users, Gold Subscribers, Diamond Level Users, and Milonga Madness Users. To become a Freemium user, Registration is absolutely 100% FREE, click the button below, and you get access to this article, and over 400 videos, hundreds of articles on a wide range of Tango Topics. So what are you waiting for, go register, then login to your Tango Topics Library page and then select the “ARTICLES” button and you’ll see this article with all that good stuff in there. Easy. No ? 🙂
you can do better, all it takes is practice and time.
The Case For WHY You Need This ? Actually, you don’t need it. Huh? Hmmm…that’s no way to sell videos or subscriptions. You’re right. It’s not. That’s because we’re not in the business of teaching you useless vocabulary that you probably don’t need. Stay with us on this one, it’s not going where you think it is. From a very specific point of view, this is cool vocab. No doubt about it. However, from another point of view, the social dancer who’s been dancing a while, a long while, this is nothing more than vocabulary that doesn’t further the cause of Social Dancing. Now here’s the kicker – Both, yes, BOTH points of view are valid. Here’s why:
From the Social Dancer’s point of view, you’re never going to use this stuff. Maybe once in a blue moon, but in reality the better that you get, the less you use this stuff. From their point of view, it’s four pieces of vocabulary that you need: The 6 Ways of Walking, Traveling Ochos/Milonguero Ochos, The Follower’s Molinete/The Milonguero Turn, and lastly – The Argentine Cross. That’s it. That’s all you need. From the Dancer’s point of view that’s hasn’t mastered this stuff yet, this is cool and you want to play with it, and to be able to master it. To find it’s in’s, out’s, how’s, and why’s, and mostly to have fun with it. Both points have their merits.
And now to the one twist in our point that you probably weren’t expecting. This stuff actually has validity, maybe not from a social dancing perspective, immediately, but more from a movement, and musical perspective. The fact is that this is all about one thing and one thing only: Skillz!
There’s a reason you study vocabulary like this, and it’s not because it’s cool (it can be), or that’s it’s musical (it is), or that it’s fun (it is that), or that it adds a little spice and variety now again (the once in a blue moon methodology). It’s because it’s all about your Foundation. Or put another way, because this vocabulary works your foundation in a really good way, by breaking down the movements to their component elements, so then you can become a much more fluid dancer so that you can use it, or not. It’s about availability, accessibility. Not about using it. Using it is entirely up you. But working the instrument, that’s what this vocabulary does. It works your instrument, … ahem…that’s you in case you weren’t paying attention.
No one wants to admit that they need help. That their dance isn’t stellar. Furthermore, you really don’t know that your dancing skills aren’t absolutely amazing until you see a room full of people all dancing way better than you are. And then you see it and feel like the poor cousin at the kiddie table during a holiday meal. There’s a reason those people have achieved ‘better’. It’s doing work like what you see in the video above. Being able to turn this stuff on and off as if it were a switch. A good portion of the time when we’re dancing we only think about the ‘cool’ toys in our dancing and we neglect the one thing that makes those cool toys possible: Our Foundation. That is, in case you’re not paying attention, this video series and others like it.
The Missing Information. Dearest Reader. TangoTopics is glad that you want to read this Topic, so that you can dig a little deeper into your foundation, into the music, into the codigos of the dance. However, you’re missing three important parts to this Article: The Follower’s Perspective, The Lead’s Perspective, and The Dancing Perspective. Which can change your thinking by informing of some important pieces of information that you may not necessarily be aware of. Watching a 5 minute video will not help you to change. Change is a concerted effort and requires a little thinking on your part: Becoming a Freeium User! As the name implies, it’s FREE. Register. You get to see everything above, and a whole lot more! 😉 Have a nice day.
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Why should you subscribe instead ? Several reasons. 1.) Probably the biggest reason is to save a boatload of money. Buying these things outright isn’t cheap. Besides when you buy you only have access to the one video. Subscribing, on the other hand, gives you access to everything else so you can see the foundational material that goes with this stuff. 2.) Even if you’re a Free User, you’ll get access to free tips that aren’t available to anyone just reading the post like this one. 3.) Sometimes there are slightly different versions of the videos, that add a bit more content for the free user vs. an unregistered user. 4.) Because the Dancing Perspectives (Lead, Follow, and Dancing) are hidden to the open user. And that’s where all the information is at, unless you actually subscribe. Until you do, those very important textual descriptions of what’s going on for both Lead and Follow you want to read. 5.) And the real reason you should subscribe ? If you’re used to YouTube videos where you’ll see a performance, those Youtube videos don’t explain or walk you through how these ideas work! That is why! What you’re seeing is a presentation, a performance. Not how things work! And what you really need to see is how things work, and more importantly why they work! This website shows you that and more!
Remember that what you’re seeing is a couple that is performing for the 15th row for a room full of people, they’re not social dancing. Whereas this website is all about ‘Social Dancing’ or how to make things function on a social dance floor. Social Dance floor ? Your local milonga! They’re showing flashy moves as a presentation! But not stopping and talking about how this works, why you’d want to put that piece of vocabulary there, or how to make things fit. This website is all about those things and more!
You could watch those videos and thereby spend your time, trying to infer, and figure out how things may work in that particular 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. This is known as Tango Twister. 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 showing you how to properly excute this stuff from a Leading Perspective as well as from a Following Perspective!
The goal of YouTube videos is to get you to study with those teachers in person. The goal of Tango Topics videos allows 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 you’re done.
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 of how and why things work, so you can easily reference those things in the corresponding articles that go with the material, and or any language in the Tango Topics Dictionary.
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