El Pulpo Norberto Esbrez Technique V371

0:00:48 Demo dance to Color Tango

0:04:32 Introduction

0:04:52 Paso Basico

  1. Back (leader R)

  2. Side, leader outstepping follow.

  3. Front (outside follow)

  4. Front

  5. Follow cross in front, change weight

  6. Front, diagonal, pivoting 1/8 turn to line of dance

  7. Side along line of dance

  8. Together, change weight.

There is only one of each step, e.g. 4 and 6 are different.

Cada nombre referencia uno movimiento.

0:08:14 Angles of step 6

  • Straight back: change R hand position from back to side of waist, and perhaps push the follow slightly.

  • To the left 1/8 turn (as above): R hand stays on back and leader steps somewhat between follows feet.

  • To the left 1/4 turn.

  • To the left 3/8 turn. This needs some explicit pivot from the leader.

  • To the left 1/2 turn. This needs a big explicit pivot from the leader.

Pivot on the right foot so it is pointing in the direction you want to take. He is pivoting his leg and partially his hips, and finishing the hip rotation before taking the forward step 6.

0:12:26 The follower’s cross

They clearly demonstrate taking a back step and having the weight on the back foot, other leg remaining extended in front.

  1. Forward L

  2. Side R

  3. Back L

  4. Back R

  5. Cross in front L but do not immediately change weight. Changing weight immediately is a mistake as it reduces the options available. For example, the leader could unhook the L and keep walking. Or, the leader could lead the L forward again. Or, unhook and back ocho.

For example, 1, 2, 3, 4, 5, unhook, 3, 4, 5, unhook, 3, 4, 5…​

0:15:33 Choices on step 5

  • Unhook and step back

  • Pivot L, unhook, and back ocho

0:16:08 details on leading this.

He has his R hand on follow’s waist.

0:16:43 Continuous resolution

5 to 2

1, 2, 3, 4, 5 (change weight), 2, 3, 4, 5, 2, 3, 4, 5

The ideal embrace allows the leaders R hand to move on the follow’s back. He showed waist L, waist R, scapula R. If you have a fixed position you are limited.

0:18:00 6 to 3

1, 2, 3, 4, 5, 1/2 turn pivot to 6, 3

The 6 can be small or larger, as a sacada. This is quite different from the 1/2 turn in "angles of step 6": this one is a sacada, with the leader’s L going forward into the follows side step. The "angles" version had basically no leader front step, just pivoting on leader’s R.

0:19:15 7 to 2

1, 2, 3, 4, 5, 1/4 turn L 6, 7, 1/4 turn L 2, so we have changed direction 1/2 turn.

The leader pivots L foot outward for 6, and R inwards for 7, preparing for pivot for 2. This is a very decided inward pivot, at least 45 deg.

0:21:01 Angles

  • 7 to 2 going forward.

    • 1/4 turn on 6

    • 7 along line of dance, outstepping the follow to encourage the pivot

    • 1/2 turn so 2 is along line of dance: it appears that 2 also outsteps the follow slightly, although I would expect this to inhibit the pivot to line of dance for 3.

  • 0:22:08 7 to 2 to the leader’s L

    • 1/4 turn L on 6, leader L next to follows L

    • 1/4 turn L before 7, right angle to line of dance, to L, leader R toe to toe close to follows L

    • 1/2 turn L before 2, right angle to line of dance, leader L foot length away from follow R so after pivot for 3 the leader is outside the follow.

    • 3 is at right angle L to line of dance

  • 0:22:33 7 to 2 ending to the leader’s R, however this is still a turn to the L

    • 1/4 turn L on 6

    • 1/4 turn L on 7, leader steps mostly back and to the side, follow steps in, almost a sacada, or a circular open step.

    • 1/4 turn L on 2, side steps with the follow stepping around the leader: allow enough space between feet so the pivot puts the leader outside the follow.

  • 0:23:03 "most difficult" 7 to 2 going backwards. This is the same as "to the leader’s L" except with more pivot before 6.

    • 1/2 turn L on 6, where R has stepped next to follows L and pivoted to pigeon toed.

    • 1/4 turn L before 7, back along line of dance

    • 1/2 turn L before 2, also back along line of dance.

    • 1/4 pivot L before 3, back along line of dance.

Pivot while shifting weight.

0:25:14 Walking step 8, Ocho Caminado

  • Start on 5, in cross

  • step 6, quarter turn to leaders L

  • step 7, leader side R along line of dance, follow side L, toes end up aligned. Perhaps do not transfer weight past halfway, as the following pivot gets the follow’s weight back onto their R.

  • Instead of 8 together, pivot quarter turn L so leader is facing back along line of dance: both on back legs, leader R, follow R. He calls this ocho caminado. Although he says both on back legs, it looks like both are pivoting with weight on both feet, shifting during the pivot.

  • Leader back L, follow front R outside leader. This appears to be a step and a half for the follow, as it starts with their weight more or less on their R, back, foot and steps forward onto R.

  • Step 1: Leader back R, follow front L

  • Step 2: Leader side L

As described, we go back and forth. To avoid this, pivot a quarter turn before (the ending) step 2, and a quarter turn before step 3, so as to continue in line of dance.

0:27:44 Step 7 to step 3

  • Start on 5, in cross.

  • Step 6, quarter turn to leaders L

  • Step 7, side step along line of dance without collection.

  • Hidden step 8, 1/4 turn L and leader crossing behind L and changing feet, follow moving back to R with the pivot. The follow step 7-8 is more or less a rebound.

  • Step 3 with the leader coming out of their cross.

0:28:35 Gancho on step 6

  • Start on 5, in cross.

  • Step 6 still involves a quarter turn, but here the follow takes a side step around the leader, the leader pivots to lead this, and inserts L leg to cause a gancho. His leg is near the center of the side step, and the gancho causes the follow to make another quarter turn. The leader steps onto L after the gancho.

  • Step 7, side step facing back along line of dance.

  • At this point, two options are

    • a quarter turn and step 2

    • ocho caminado

0:30:35 Salidas

We have been using the "back salida" starting with step 1. The "common salida" starts with step 2.

Double salida on 2

This was used a lot in the 70s but is not much used now.

  • Extend L, come back.

  • Step side L.

Salida americana

  • Pivot, front steps americana

  • Pivot to face each other, side L.

0:33:44 Turning 2 salida

  • Leader pivots on R, at least a quarter turn

  • Step 2, to the left.

Starting with step 1:

  • Leader steps back R, pivoting a quarter turn to his left on L, so it is perpendicular to line of dance. Follow steps forward L, almost a sacada.

  • Now leader steps 2 pivoting on R, so the side step is across line of dance, and step 3 is back along line of dance. Presumably one starts this facing back along line of dance.

0:35:20 To the other side, more difficult.

  • Leader steps back R, pivoting a quarter turn to his right on L, again to be perpendicular to line of dance. Follow steps forward L, around the leaders L.

  • Leader steps back L, stopping mid-step. He may do some adjustment here to lead the pivots. Follow pivots and steps back R: this is the open step 2 turned into a reverse americano mirror.

  • Follow pivots and steps back L, step 3, as leader steps forward R.

  • Leader steps forward L, together; follow back R, cross.

0:36:25 Ochos

Keep the weight on the back leg. This gives you more options. First place the leg, or foot, and then the weight. For example with a back ocho, transfer the weight immediately to the back foot, leaving the front foot extended. In particular, complete the pivot before extending the leg backwards: this may be the point he is trying to convey, as it is a "don’t do this".

For a forward ocho, first place leg, then transfer weight, then bring feet together, then pivot.

0:42:35 The shoulder lead.

When leading the woman on her R foot to a back pivot, the leaders R shoulder does the work by coming forward. For front pivots, the shoulder going backwards does the work. This pulling away also leads the step. Note this matches walking: when the follow goes backwards, the leader goes forwards, and vice-versa.

There are two centers at the pivots, and the woman faces the man during the pivots. At these centers you can change between front and back ochos.

0:47:45 Accompanying back ochos

The man is accompanying the woman.

  • Leader back R.

  • Leader side L, significantly outstepping the follow.

  • Follow pivots back, steps back L: leader feet together.

  • Follow pivots, back R: leader side R.

As the follow brings her feet together, the leader also brings his feet together.

0:49:08 Another one

  • 1, 2, 3 of basic

  • follow pivots 1/2 turn and steps back R: leader changes feet and steps back R.

  • Follow pivots and steps back L: leader changes feet and steps forward R.

Note the shoulder lead for the pivots.

With the syncopated basic (leader changes feet after step 2), the pattern is the same but the leader is stepping forward and back with the L. And, the leader can switch back and forth between these.

0:51:08 On the other side of the woman.

The man walks around the woman in two steps, then a back ocho

  • 1 of basic

  • Leader leads the follow to a R side and pivot, apparently faking a side L

  • Leader then actually steps front L on the other side of the woman, and pivots on L, as the follow steps back L.

  • Leader side R to follow back R, pivot

  • Repeat: leader steps on other side of follow L, pivot, to follow back L

  • Leader side R to follow back R

0:54:45 Same but going the other direction

  • 1 of basic

  • 2 of basic with the leader greatly outstepping the follow, then follow pivots in a back ocho and steps back L and pivots

  • Leader steps R and pivots around follow’s back R

  • Leader side L to follow back L and pivot

  • Repeat: leader steps R around follow back R

  • Leader side L to follow back L…​

In both of these the follow is not doing ochos, but taking 2 back steps and always pivoting on the same foot. By doing a back ocho we can switch between these two directions.

0:56:22 Accompanying forward ochos

Most basic, from step 5, the cross.

  • Follow unwinds and pivots to face the leaders R.

  • Both extend, then shift weight. This is the "weight on back foot" principle

0:58:07 In parallel system

From step 5

  • Follow unwinds and pivots to face the leaders R.

  • Leader pivots back on R, then steps back L to follow’s front R. He is pivoting R leg first before pivoting the body, resulting in an extremely chueco position. Here the leader prioritized the follow staying on the back leg, as he stays on his front leg until he leads the step. Otherwise, the follow will land heavily with their front step.

  • Leader steps R together, follow pivots 1/4 turn and steps forward L, pivots 1/2 turn.

This is a square.

1:01:42 With leaders front step, in cross system

From step 5

  • Follow unwinds and steps forward R: leader steps forward R in opposite direction, but keeping oriented towards her.

  • Follow pivots 1/2 turn and steps forward L: leader changes feet in place.

This can alternate with the preceding

1:02:40 All together

1:03:05 Molinetes (turns)

We start with a salida americana. This molinete has 8 steps.

  1. Americana salida, leader leaving L foot behind.

  2. Follow pivots and side R: leader pivots a bit on R, again leaving L in place.

  3. Follow pivots and back L: [leader extends forward L to match follow’s back L] leader finishes pivot on R, now facing back along line of dance (1/2 turn).

  4. Follow side R: leader starts lapiz

  5. Follow front L: leader continues lapiz ending with feet together but not changing weight. The leader must be facing the same position he started in.

  6. Follow pivot and side R: leader steps forward L into step, so next side will be along line of dance. This involves a 1/4 turn to the right, almost a sacada.

  7. Follow side L, leader side R

  8. Together, change feet.

At step 5 leader is facing the same direction as step 1.

Solo molintete practice

Keep the weight on the back leg: for side steps extend, then step.

1:08:17 Using boleos for molinete practice

High front boleos on every step.

1:08:50 Leader’s accompanying steps

In the americano step 1, leader stops in the middle with weight on both feet, so there is enough room for follows side, across his front foot. When leading the side/pivot, he shifts fully onto the R, leaving L extended for the lapiz.

1:11:02 Turning

Turning 4 in 10 steps

  1. Leader back R

  2. Leader side L

  3. Leader front R, a large step, past the follow’s R, outside follow

  4. Leader pivot and back L, outside follow’s l foot, a parada

  5. Leader side R next to follow’s R as follow pivots back ocho L

  6. Leader pivot and back L as follow side R

  7. Leader together R as follow front L and pivot (ocho)

  8. Leader front L turning 1/4 to left as follow back R

  9. Leader side R

  10. Close.

1:12:02 Leader steps

1:12:45 Follow steps

1:15:15 With a sacada on 4/5

  1. Leader back R

  2. Leader side L

  3. Leader front R, a large step, well past the follow’s R, outside follow

  4. Leader pivot and back L, outside follow’s l foot, near the heel

  5. Leader hook with R, set toe down, and gently sacada follow’s L

  6. Leader together

  7. (3) Leader forward R outside follow

  8. (4) Leader forward L

  9. (5) Leader together to follow’s cross

  10. (6) Leader forward L

  11. (7) Leader side R

  12. (8) Together.

1:17:15 The above continuously

On step 7, continue with step 4.

1:17:55 Sacada of back ocho

  • Uno

  • Dos, but leader does not transfer weight, just extends. Follow takes small step, pivots, back step.

  • Leader pivots on R, catches follow’s extended R leg behind heel with L, pivots follow to face away to R, steps onto L, contacts follow’s thight with R, with bent leg, and displaces follow’s leg. Pivoting the follow away is necessary to line up the knees so they can both bend.

  • Leader steps back L, and forward, as follow does a back ocho: back R, pivot, and back L.

  • Resolve 4, 5.

1:19:50 To the other side/ al otro lado

  • Uno

  • Dos, leader shifting weight, pivoting follow to back step.

  • Follow pivots, back step. Leader pivots on L, hooks follow’s extended L leg with R. Pivots follow to line up knees, touches thigh with L, sacadas.

  • Resolve 3, 4, 5.

1:20:38 What can we do after the sacada?

This is a detail of how to get from the sacada to the resolution.

1:20:00 Sequence of sacadas on back ochos.

  • Hook with, say L, sacada with R.

  • Rebound off R, pivot on L, hook the next back ocho front foot with R.

  • Sacada with L, rebound off L, pivot on R, again hook the next back ocho with L, repeating the pattern.

1:21:20 All the steps together.