Also, since “chequendengue” is for the fun staggered timing effect, let’s use  “cambio” as the call for shifting the entire dance by 4 counts (like when the musicians throw in an extra 4 counts).

Just a reminder that everyone is welcome and encouraged to participate in Suelta–which is happening this Sunday 4:30-5:00. This includes folks who are still new-ish to casino. It’s a great way to work on footwork and timing and improving your dancing. So I’m encouraging everyone to take advantage of this opportunity (and thanks Ofer for leading us!). Don’t sit it out!

Betsy G

Camínala = walk her (caminar= to walk)  When called during guapea, it means a walking version of guapea, moving to your right (which is counterclockwise when the circle is in the normal, inside orientation). We might sometimes call “caminamos” (we walk) instead of “camínala, but both commands mean the walking version of whatever position you’re in.

Se fué = it’s gone. Sounds like “Safeway” but with the emphasis on the second syllable. This call means that you stop whatever special thing was last called, and continue as before. If we call it during camínala, it means that at the next count of 1 you go back to guapea in place.

There is also a call “se quedó” which means roughly “keep it in the current position or formation.” You might hear this sometimes. What you do when se fué and se quedó are called depend on what you were doing before.

Enchufla pa’arriba = enchufla up. “Up” in this case means the damé will be in the opposite direction from normal, which means—if you are a lead—instead of moving to the next follow on your right (counterclockwise), you move to the follow on your left (clockwise). Follows stay put and let the leads come to them. Enchufla your current partner on counts 123. Then leads look to the next follow on the left. Head toward her far side on 567, and scoop her up with your right arm into the díle qué no on 123-567.

Enchufla pa’fuera = enchufla to the outside. This is the call that turns the circle inside out. Enchufla your partner on counts 123. On 567, the lead raises his left hand, which is connected to the follow’s right hand, making an arch, and walks under the arch, circling toward his left about 270 degrees until the pair is in guapea position with their open side oriented out from the circle. The trick here is that he has to use all 3 counts (5, 6, and 7) to walk into position. If he back-steps on 5 he’s not going to get there in time for guapea on the next 1.

Enchufla pa’dentro = enchufla to the inside. This call turns the circle back to an inside (normal) orientation. Lead and follow do exactly the same as in enchufla pa’afuera, and everyone ends up oriented into the circle rather than out.

I know there are videos out there on you tube, and now that you have the words you should be able to search for them.

Duane starts dancing on one, but starts his phrasing on the right foot – why not?
at 0:16 on the accent on four (listen to the bass), he switches to ‘four’ (aka son or contra tiempo) and stays with it until…
0:26 when the music changes to a “Reggaeton” section, Duane responds and changes back to dancing on ‘one’
0:29 he accents the four beat, but doesn’t switch to four. Some of us know this as a ‘ponche’
0:31 another ‘ponche’
0:41 he accents the hits with his feet (on the and of three and the and of four) – this is slick – try to do it!
0:51 he accents the hits (on beats ‘three’, ‘three and’, and ‘four’, where four is a ponche, but this time with two anticipating steps) – this is even more slick!! Try it!!
1:14 he drops the tap on four, twice in a row creating some nice pauses, thus tension
1:23 another ponche
2:05 Rumba footwork
2:20 back to dancing on four (son/contra tiempo)
2:40 another ponche to the hit in the music
3:02 he accents the lyrics and steps to each syllable (“ciao-ciao-es-ta-fu-era” – sorry Latinos, this is the best I can do for lyrics)
3:04 back to dancing on one
3:10 steps to the accents in the syllables like at 3:02

This is only a sample of what he’s doing and what’s going on in Timba…

…and follows take note – she is following all the time changes seamlessly

Now watch the video!!

Andre

1. MECHANICAL

The body is a machine, and it works in ways very similar to a car, hence we have:

1. 1. Legs = motor
   2. Hips and upper body = transmission
   3. Arms and hands = steering wheel

1. 1. The man suggests, but the woman has the last word;
   2. We do, we don’t «make do»: what you do in turn influences the other, but it’s not puppetry;
   3. The woman participates actively, you cannot and should not force her;
   4. Tension is contagious, tenderness isn’t: both partners must strive to maintain smoothness in the arms at all times, and regularly make sure that tensions did not appear;
   5. The best defence against tension is a shock absorber! Compare Clip 6.3 and 6.4.

1. VISUAL

Visual heaviness is a totally different phenomenon, which occurs when the weight transfers from one foot to the other are too sudden, or not gradual enough.  A one on the one marker makes it even worse.

Information taken from Timba.com. Please go to Timba.com and look under Doscondos for dance instruction. Then enter into Q&A for more detailed information like this.

(Direct Link here – Ofer )

1. AROUND VS IN LINE