Sebastian Arce & Mariana Montes

It is All Around Us. Turns

with Sebastian Arce & Mariana Montes · All levels

  • 17 lessons
  • 17 previews
  • 242 min total

About this collection

A collection about linear and circular dynamics, and the link between them; about how to feel the timing of what the follower is doing without stepping with her; on how to keep a constant energy and flow in the Giros and much more. Recommended study time for this collection is 8 weeks.

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Curriculum

17 lessons

About linear dynamic, circular dynamic and the link between the linear and circular dynamics in the giro. Music: Bahia Blanca (Carlos di Sarli).

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A lesson about how the linear part of the giro includes a dissociation and a change in the followers' axes. Women can use men's arms to remain centered. Music: Cada dia te extraño max (orquesta Troilo, singer Francisco Fiorentino).

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A lesson in which you'll learn to feel the timing of what the follower is doing, without stepping with her. Music: Cada dia te extraño max (orquesta Troilo, singer Francisco Fiorentino).

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On how to use a fake sacada to reposition and how a circular motion (around the leader/around the follower) will help you in this rhythmical giro. Music: Buscandote (orquesta Osvaldo Fresedo, singer Ricardo Ruiz).

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This time on how to use a real sacada and the five beat double time for men. Music: Paciencia (Juan D'Arienzo orchesta and singer Alberto Echagüe).

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On the five beat rhythmical play for both men and women. Music: Paciencia (Juan D'Arienzo orchesta and singer Alberto Echagüe).

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In this class the ladies will learn how to keep the rhythmical intention during the pivot. The couple exercises will improve the balance and the space management. Music: Paciencia (Juan D'Arienzo orchesta and singer Alberto Echagüe).

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A lesson on how to keep a constant energy and flow in the giros. Technical tips regarding the circular movement, the embrace and the lead. Music: Gitana Russa (Ricardo Malerba Y Su Orquesta Típica, singer Orlando Medina).

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In the first part of the structure, find tips about the change of weight for the leader, but also about his connection with the ground. Discover the rest in the class. Music: Te llaman Malevo (Orquesta Anibal Troilo, singer Tito Reyes).

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A lesson about a different way to approach giro. The connection changes and of course the feeling. Music: Porteño y Bailarín (Orquesta Carlos Di Sarli, singer Jorge Durán).

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The challenge of the lesson is pretty clear – a quick side step after the front step. Watch the class to learn to overcome it. Music: Marioneta (Orquesta Alfredo de Angelis, singer Floreal Ruiz).

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About a new approach to the linear-circular concept; on finding the angle by turning on the same spot; and using ochos to walk. Music: De qué podemos hablar (Orquesta Carlos Di Sarli, singer Argentino Ledesma).

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On how to work only with the lower part of the body and using the energy of the free leg to create different shapes for the backwards and forwards ocho. Music: Junto a tu corazon (orquesta Josè Garcia, singer Alfredo Rojas).

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Constancy is the main theme of this class. Followers will learn to help leaders to beautifully design their turns, by doing equal and small steps around them.

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What was at first a complex structure mainly performed by the maestros in shows, now has an approach more suitable for social dancing. And you'll learn it in this lesson. Music: Bien Frappe (orquesta Carlos Di Sarli, singer Roberto Rufino)

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Giradas can create a very nice feeling for both partners if done properly. One tip is to know how to move around your partner, keeping the center of your own body. Music: Bien Frappe (orquesta Carlos Di Sarli, singer Roberto Rufino).

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After the sandwich, the leader needs to close a little bit more the embrace, so that the follower has a stronger posture for the next step – the very nice girada. Music: Bien Frappe (orquesta Carlos Di Sarli, singer Roberto Rufino).

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