Simple Sacadas 2018
The Simple Sacada. This video has been in the works for a looooong time. It’s actually taken 4 tries over a 3 year period with 3 different partners to get anywhere close to passing what I had in mind, and it may be revised one more time, but for the time being, this is the final form of what Tango Topics calls a “Simple Sacada”.
Argentine Tango has many, many different pieces or types of vocabulary (moves, steps, patterns, and figures) that can be developed as a way to express the music in the dance, so that you see the music in visual form. One of those pieces of vocabulary is what we call a “Sacada”. You see them all the time in various forms, and probably because they’ve become commonplace you don’t pay a whole lot of attention to them of if you’re a beginner Lead, and sometimes the beginner Follower, you look at them and think “OMG that’s complicated!”. The visual of what you’re looking at is seemingly so fast, and so intricate that it just blows your mind. Today’s Tango Topic deals with what some consider to be the very first piece of vocabulary after the 7 Basic Moves of Tango. It’s the first real, seemingly intricate and complex (it’s not) tango move that we’re taught as a way to augment our dance.
So without further yapping :-), Tango Topics presents: The Simple Sacada.
Have you seen any of our Sacada Videos ? If you have a want to learn how to Lead and to Follow the Argentine Sacada, then this is the video series for you. Close Embrace Sacadas ? No problem. Simple Sacadas ? Yup. Back Sacadas ? You betcha! And a lot more.
What is a Sacada ? First, a Sacada consists of a walking step that just so happens to intersect with your partner’s walking step at the same time that they’re stepping forward, side, or back. Secondly and this part you have to keep in the back of your mind: It’s an illusion. An illusion of walking, an illusion of technique, and an illusion of execution. To put it simply the Sacada is really just a walking illusion that intersects with someone else’s walk. And that’s the part that most people are confused by. What they see is the illusion, and try to re-create the illusion instead of focusing on the part that will actually help them to get to the root of the Sacada, the walking part! Which is to say that people focus on the flash and not the substance! It’s just a step forward and side (and sometimes back, but not in Today’s Tango Topic), which is going cut through, and step very close to someone else’s step which results in a displacement of someone’s leg. The hard part for most people is the timing of that displacement, not to mention where that displacement goes. Speaking of ‘displacements’ the Sacada is in the family of Tango vocabulary that are called ‘displacements‘, and that’s because of two factors that occur: 1.) Because whoever is initiating the Sacada will take the place of the one who is receiving the Sacada. You are displacing, and sometimes being displaced. And 2.) The one who is receiving the Sacada will displace their free leg as a result of the intersection of the walk. Further down the rabbit hole, the Sacada is one of the 4 common Displacements that Tango Topics talks about which are: 1.) The Sacada. 2.) Ganchos. 3.) Boleos. 4.) Enganches or what is commonly known as an Argentine Wrap!
And just for your further edification because some people ask the question “How many types of Sacadas are there ?”. Answer: There are 22 Types of Sacadas, and a total of 501 variations of those 22 Types. And yes we have done the math, and it comes out to 501. The types, just in case you hadn’t thought about it, but we have, are as follows:
1.) Forward Sacadas (from Linear, Circular, or Over-Rotated Ochos) in Parallel & Cross System.
2.) Side Sacadas (from a Curved Side Step) in Parallel & Cross System.
3.) Back Sacadas (from Back step, or Circular or Over-Rotated Ochos) in Parallel & Cross System.
4.) Linear Sacadas (from a Linear Side Step, or Linear Forward Step) in Parallel & Cross System.
5.) Chained Sacadas (Think: Cadenas) In Parallel & Cross System.
6.) Walking Displacement Sacadas in Parallel & Cross System.
7.) Multiple Forward/Side/Back Sacadas in Parallel & Cross System.
8.) Multiple Alternate A (same foot) Sacadas (You’ll see an example of this in the Forward Sacadas section).
9.) Molinete Sacadas (from the Follower’s Molinete, The Lead’s Molinete, and/or the Anti-Molinete).
10.) Orientation Change Sacadas (See the Anti-Molinete, and/or the American Embrace).
11.) Two Footed Sacadas (jump into the sacada).
That’s 11 Types of Sacadas, and each role can perform these, so we end up with 22 Types of Sacadas. Now there are even further variations on a theme of these ideas where you can theoretically mix and match any one of these ideas with another on the list and create a hybrid of the two. However, it was late and we’d already gone through 1002 possibilities and then someone mentioned the concept of Tango Topology and that just blew everything out of the water by halving everything and so we stopped counting there … so 501, and 22 types is enough for one lifetime. 🙂
Now to the ‘Simple‘ Part. What makes it ‘Simple‘ ? The fact that we’re limiting the Sacada to two of the three basic walking steps: 1.) Side Steps. 2.) Forward Steps. The Sidestep is the more common of the two Sacadas, not the Forward. Usually, in order of precedence, it’s a.) The Lead Sacadas the Follower’s Side Step. b.) The Lead Sacadas Follower’s Forward step. c.)The Follower Sacadas the Lead’s Sidestep, and finally, d.) The Follower Sacadas the Lead’s Forward step.
Pre-Requisites: So that we’re all clear on this part, note the difficulty rating below, it is not an exaggeration! Do not attempt this stuff unless the following is true: You have mastered 1.) your walk. 2.) your stability. and 3.) your equilibrium. If you need to stabilize yourself against your partner when walking, if you need to use your hands or arms in any level of tactile compression, if you need are in the habit of watching your partner’s feet, if you are used to using resistance – compression – rigidity – tension – or force to engage your ideas, then a Simple Sacada will elude you. Or more to the point it will be painful and cause you problems going forward for any number of reasons, which has to do with your stability, your posture, and your walk! Fix those, and the Sacada will work as advertised. 😉
Difficulty Rating: (3 / 5)
Hey!!!!! Isn’t there more to this post ???? Where’s the Lead’s Perspective, the Follower’s Perspective, and the Dancing Perspective parts of the Post … ??? These very helpful, extremely descriptive, and FREE parts are still here, and you can see them too, just scroll to the bottom of the page, and register. Registration is a hassle! We know. But it is also free, and who doesn’t like free stuff!!! You get a whole bunch of other stuff that can help you with your dance, and the rest of this post. So go register, then login to your Tango Topics Library page and then select Articles, and you’ll see this article with all that good stuff in there. Just scroll, register, and then read! Easy. No ? 🙂
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 one of 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.
Introduction – 00:02:32
Follower Technique – 00:02:11
Lead Technique – 00:01:35
Sacada Clarity – 00:00:36
The Lead’s First Sacada – 00:02:06
The Follower’s First Sacada
Parallel & Cross System Sacadas – 00:03:03
Close-up Sacada – 00:00:32
Follower Forward Step Sacadas – 00:03:03
Lead Forward Step Sacadas – 00:01:46
Multiple Forward Step Sacadas – 00:02:35
Close Embrace Simple sacadas – 00:05:38
The Close Embrace Exercise with Sacadas – 00:03:26
Simple Sacadas from the Follower’s Molinete/End – 00:01:38
Related Videos Mentioned In This Article:
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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!
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