Rocking Double Gancho from Mordita

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Side, Two (this is 2).
No weight on man's
right or lady's left

On the way to a forward
step, the man ganchos

On her way forward....
"How does she know to do this?"

Lady steps forward, man back

Gancho again.

The exit.

DT: Kana, how does the follower know to gancho after the leader ganchos?

Kana:Not all the gentlemen lead this very clearly, whether they want us to do the gancho as well, or to exit. And some gentlemen squeeze our leg so that we canít exit.

DT: But Andrew is leading you to gancho?

Kana:Yes, yes. If Andrew doesnít turn his body to lead me to the exit or back ocho, then I donít exit. If he turns his body, I know to exit.

DT: Have you ever felt attacked, for lack of a better word, by someone leading a rocking double gancho?

Kana: (Laughs) This one when I feel done badly, it usually isnít clear. The gentleman is not determined enough or decisive enough. In some other things you feel more attacked.

DT: Andrew, as you step forward, she ganchos (third photo). How does the follower know to do that?

Andrew: We need to be glued together there, and she'll follow however many ganchos I am going to do, and she'll exit when I step forward.

DT: Andrew, in every kind of dance, students say, "I can do that move, but I don't look like that" and if it were to be broken down, is there a way that you could take a simple move and refine ANY student into looking good doing it?

Andrew: I believe so. And so far it's been challenging, some people are more concerned about how they look than others.

DT: It's patience too, isn't it?

Andrew: It's a lot of patience

Kana: I think very fortunate to have lots of patient students really devoted. But I think people who have that patience stay with tango, cause tango is infinite effort.

DT: You teach other dance forms as well, so you're a good person to ask whether tango students in general are in it more for the long haul than in other dances?

Kana: For life. (Laughs). You can't come to the end, always find more.

DT: Andrew, there are certain moves where someone might say that that move is not done in tango, for instance the underarm turn, which is a figure in nearly every dance form except in social Argentine tango. How strictly should a dancer follow the prevailing code in your opinion?

Andrew: Well, tango is each person's individual expression. It's true that there are things which I would not put in while I am dancing that other's would put in. There are things that I won't teach simply because they are not related to Argentine tango that I have seen other people doing . The most important thing is that you are dancing to the music, with your partner, and you are expressing yourself. In Buenas Aires, I would not do many of the things I do in America because there are different dance customs there.

DT: Kana, you are shaking your head yes. Would you agree?

Kana: I try to teach many different things but I try to teach them to find the right moment, the right situation, the right music to do so. The texture of the music and connection with the partner. IF you don't find a good cnnection with partner, don't do this or don't go that far. If you find the right moment or right music... I agree very much each couple find their own expression. So, I have underarm turn or free hands turn from some gentlemen, and sometimes it can be delightful. First I didn't think it's a tango move, but after while I started finding that can be right.

DT: DanceTutor has a west coast swing dance page in which the writer suggests that cha cha figures are interchangeable with west coast swing figures, -- so that a couple could go back and forth from west coast swing to cha cha during the same song. DanceTutor received determined criticism on that one from dancers who felt it inappropriate. But it works, really. I guess that is not a further question to you, but I was wondering if you felt there was a similar issue in tango.

Andrew: I agree if you are having fun doing it, do it. There is a line somewhere. I am sure there are steps that have been taken out of waltz, salsa, cha cha even that have been adapted to Argentine tango and vice versa. I have been asked by an advanced salsa class to teach some Argentine tango moves so they can mix them in with their salsa.

[Click here to see the west coast page spoken of]

The Keys:
The couple need to be close or "glued together" to effectively do this. This figure is a good one to demonstrate the importance of the lady not anticipating the lead. Generally, the lady does not move without a lead to do so. The exit is led by the gentleman turning his body.

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