The joy of this move is in the musicality and the swoosh feeling it gives the followers during the dips (changes of our vertical plane). Every time I teach this move, it always receives lots of positive feedback from the followers. They love it.
Breakdown of the steps:
- In this class, we started the move off from back ochos. When I lead a back ocho to the man's right, I begin by pivoting on my right foot counter-clockwise and crossing my left foot in front of my right, while leading her to take a back cross with her left around me. KEY MOMENT: My left foot should hit the floor at the same moment her left foot hits the floor. At this moment I also go down slightly in my left leg(dip).
- At this point, there should be lots of compression in the embrace, as I lead her to take a side step around me with her right foot as I pivot around on my left and switch weight to my right.
- I continue leading her around to a forward cross step with her left, as I step around her with my left. KEY MOMENT: As I step around her with my right, I need to make sure that I do not go too close to her (I might push her off her axis and that I don't go to far away (pulling her off of her axis).
- I sink down (dip) into my left leg as I lead her around to another forward cross with her right. As she takes that forward cross I step back diagonally with her.
- To finish I lead her to yet another back cross in front of me and I switch weight to return to parallel system and walk out.
Important Notes: This move requires a relaxed embrace, so that she can pivot inside my embrace (especially my right arm). If I hold her too tightly she will find it difficult to do the large pivots necessary for this move and it will be very uncomfortable.
Musicality Notes: In the first part of the demo, we danced to Carlos di Sarli's "Junto A Tu Corazon." This this we keep things rather calm and stretch the dips out as long as we can. Starting at 0.43 we dance this same way to Juan d'Arienzo's "Compadrón" to show how it works, but does not quite fit with the music. Then bumped the energy up just a little bit to fit with d'Arienzo. We shortened the steps and made them a little more staccato as opposed to the more legato of di Sarli. In both cases, we use a quick-quick-slow timing for her first back cross and side step.
And a second video of us teaching this step: