Parada with Calecita with Puenta (bridge)

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Andrew: I want to comment on what Kana said about upright energy on the puenta. The follower needs to stay rigid, firm from her ankles to her head and just lean her chest on the leader's chest and this gives us that counter-balancing force. A lot of times the follower will sway in at the hips or they will push their hips out or they will grab on too much with their arms up at their frame and pull us down,. The follower just needs to pivot from the foot and the ankle and just keep one straight line, lean against the leader's chest and the leader will bring them down and stand them back up.

DT: On the tent, or puenta, it looks like the leader has weight solidly on both feet.

Andrew: That's true. Because we are putting the follower in such a precarious position. Most of our weight is on our right foot because we actually still need to be forward so we can give that equal pressure against the follower.

My left leg will actually more or less slide along the floor as I go into a lunge or a one-legged squat, but I need to keep my torso forward and keep that pressure against her.

DT: Kana, on the bend, are you resting on Andrew's knee, upper body, or both?

Kana: Knee up to chest.

The Keys:
On the puenta, the lady is supported against the gentleman's knee up to his chest. If danced socially, this figure should involve pre-knowledge or consent on the lady's part because it presumes both that the lady does not have back problems and otherwise does not object to being put in a risky position.

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