EK SYSTEM:

BODY TECHNIQUE

 

Posture 

Lining up certain points that create a comfortable embrace .In EK technique 6 basic points .

1. lower belly

2. lower back

3. Core

4,5. Pelvic

6. Point between shoulder blades

step by step .

pull point 1 to pont 2,than continue sending energy to point 3 , when you receiving energy in to point 3 join poins 4,5 and send them up to diagonal that you will end in to position when your core is over your ball of the feet.to complete your posture stretch your arms on the side and curve the move, like you holding infront of you big ball.

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Intention

 

 

it's a direction for you body , most of the time intention directed towards your partner up to diagonal for better connection.

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Where's your core should be?

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Your core should be over your ball of the foot almost all the time, exception (colgada)

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Projection

It's a preparation with your free leg for your possible movement (forward, backwards ,side). always starting with your ball of the foot 

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Extension

  A move that is added to something to enlarge or prolong it; a continuation.

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3 points on your ball of the foot

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Lining up certain points that gives you stable position and strong axis.

1.bone of your big toe

2. middle part of your ball of the foot 

3.top of your big toe

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Transition

The process or a period of changing from one state or condition to another.

EK technique : when you make a transition use 3 points on your ball of the foot which moves point number 3,4,5 same time.

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Rolling or stomping idea (how to transfer your body weight from one foot to another)

 Rolling idea as a pendulum move:

you are moving your body weight from inside part of your foot "the bone of your big toe" 

to the middle of your Ball of the foot without passing over your middle part

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stomping ideas is when you land full ball of the foot right the way 

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Isolation upper body from lower body

Happening from point number 2 lower back .Upper body goes up  ,lower body goes down

tip(focus only on working with 1st 3 points,do not include other parts of your body)

when you are reaches your point 2 and sending energy to point 3

you are already creating isolation. 

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3 main points in your middle body

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You have 3 main points in your middle body that respond for :connection ,creating space for any rotation.

1. core (in other words HOME point)

remember you always have to come back to core point,

and you always will have a good connection with your partner as a follower to leader 

as a leader you have to bring your partner to your core first and only then you can continue with intention.

2. right ribcage 

3. left ribcage

 

 

 

 

Rotation (contraposition) in middle part of your upper body 

how to create energy for rotation.

exercises

hold your arms close to your body

1. right ribcage : 

inhale through your nose and exhale in to your right ribcage (what should happen?)

with exhalation you must create space between your body and arm .repeat it few times.

2. left ribcage: 

inhale through your nose and exhale in to your left ribcage (what should happen?)

with exhalation you must create space between your body and arm .repeat it few times.

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When do we create rotation ?

any time when you are pivoting  or inviting to pivot your partner or yourself .

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Pivot (options) heel in and out 

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The easiest way to pivot, is to pivot your heel in or out 

1.You pivot your heel out when you do OCHO FORWARD   2.You pivot your heel in when you do OCHO BACKWARDS

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NOTE: 

You must pivot on the ball of the foot to be more clear on 3 point as on pic. for better balance and axis

 

 

 

Basic walk

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Progressive move forward ,backwards or side

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How to walk forward 

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technique by EK,be sure you follow step by step : 4 steps 

1.Intention 

2.projection

3.Extention 

4.Extention-Transition

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How to walk Backwards

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technique by EK,be sure you follow step by step :technique by EK,be sure you follow step by step : 3 steps

1.Intention(towards your partner )-Projection (same time)

2.Extention 

3.Extention-Transition

note :stay longer on your standing ball of the foot.

soft your knee

stretch your legs to oposit side it will help you to stay longer on your standing leg.

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When do we walk from the ball of the foot?

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When there's faster timing ,and when you ocho backwards.

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Position for your Knees 

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There's 3 basic position for your knee

1.locked (when you feel that all your leg toned)

2.soft (when your leg is in comfortable position without tension)

3.bend (only if there's deeper move)

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When do we redirect energy for having a good axis?

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We redirect energy for having a good axis right when you arrive to the 3 points on your standing ball of the foot

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How to collect your legs?

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Remember to follow idea step by step:

THIGHS, KNEES, HEELS work with inside part of your leg

same time work with 1st 3 points in your body

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How to connect movements?

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You will be able to enjoy your dance only when you find a good and comfortable transition between movements.

Here's some tip:

ones you will put in your body idea about creating INTENTION  you can count that bridge for every move is in your body. 

exercises:

place your weight on one foot find balance and axis (keep your feet together),gradually move all 6 points means all your body as a one piece forwards up to diagonal and soft your knee than go back to neutral position . repeat few times.

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Stay longer on your standing leg. Why?

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The idea to stay on your standing leg will give you clear understanding about size for your step and connection .

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Ankle in and outside position

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1.Ankle in  giving you beautiful, comfortable shape and position.

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2.Ankle out use only when you adorn your dance with a signature move created bu EK

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Best foot position for your free leg.

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 There's 2 basic position for your foot 

1.Flex

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2.Point

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By mixing this 2 position you can get position #3 

3. point  arch of your foot ,flex your toes and heel ankle inside.

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REMEMBER !

ALWAYS use inside part of your foot and KEEP YOUR BIG TOE ON THE FLOOR

(when you close your foot, when you adorn your dance )

  

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 Giro 

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Turn around partner .Giro most of the time include next steps: back ,side, front if there's continuation +another side and repetition.

sometimes  when you have more sensitivity and creativity in your dance, idea can be changed for example:

back, back, front.

front, front, front.

EK RULES for Giro:

Whenever you go back never put your heel of your backward foot down, keep your knee soft ,don't hide side step take it as it full comfortable size ,make a front ocho do not  create a habits going in to the cross.

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Cross

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Cross happening when free foot changing direction and crossing standing leg.

We do use cross position in our dance a lot and the idea is very simple work only with that points that you need 

EK tips:

keep your big toe on the floor and use inside part of your leg when you closing  your free foot in to the cross position.

When you transferring your weight , go over 3 points in your ball of the foot from big toe to middle part, then keep  all your weight on the front part without dropping heel down right the way.

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NOTE: YOU CAN PUT YOUR HEEL DOWN ,BUT THERE'S NO BODY WEIGHT AT ALL.

KEEP CORE OVER YOUR BALL OF THE FOOT .

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Ocho cortado

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Ocho cortado consists of two parts .

1st part rock step backwards with returning in to the front step most of the time with right foot backwards for followers and front rock step with left foot for leaders.

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2nd part rock step to the side with left foot for followers ending in to the front cross ,right foot for leaders to the right with ending feet together possition.

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Parada

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Stopping the partner's leg with the partner's leg. Often used at the end of Giro or after ocho forward. Typically, the partner gives a mark to the partner when to resume movement. A Parada can often provide an opportunity for a woman to use adornos (decoration).

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Sandwich

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One partner's foot between the other's two feet.

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NOTE:What you need to pay attention for !

Followers: when your partner stoping you after backwards ocho between your feet don't put heel of your backward foot down.

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Barrida

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Shifting your partner's leg (or vice versa) along the floor with your foot, like sweeping with a broom. It can be performed in a straight line or in an arc, forcing the partner to rotate on one leg around her axis.

NOTE: keep connection only with ball of the foot ,hips and knee directed to the way that you are moving leg.

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Sacada

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Displacement one leg to the other.

The point that leg is arriving in the moment of displacement is ankle of calf of your partner. NOT IN THE MIDLE OF HER OR HIS LEGS .

Technique for saccada. please use idea for front or back step .

if you are moving forward to Sacada 

1.Intension 

2.Projection

3.Extenciaon 

4. Extension -Transition

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if you are moving backwards to sacada

1.Intension-Projection same time (keep your standing knee soft do not lock it)

2..Extension

3.Extencion-Trancition

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Volcada

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Off-axis movement of two partners towards each other with SHARING axis in core point . The partners creating  form the letter

“V upside down ”.

what's important to remember :

You can be of axis slightly or at a strong angle in both options remember to continue sending energy from the core to up to diagonal through your partners body .DO NOT SEND STRAIGHT FORWARD YOU WILL PUSH YOUR PARTNER OF AXIS AWAY FROM YOU.

with idea up to diagonal you can feel better how much you need to send your waight towards.

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Colgada

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Off-axis movement of two partners away from each other with  SHARING axis in the middle creating sandwich feet position .

The partners creating  form the letter V.

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For Leaders 

remember to place only ball of the foot when you creating Parada before rotation or colada action.

EK ABCD Technique how to lead Colgada 

A. bring yourself on the axis up she will copy you 

B. send her to the direction you want her to move "stay up" receive her in your right palm

C. once you feel her presence move your core away 

D. invite her to take a resolution most of the time to your  left side, and now you know if there's rotation you activate your middle body 

"rib cage part "

NOTE if you are not young middle part but focusing to work with upper body you going to pull her of .

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For followers 

A. arrive on your axis.

B.send your core to his palm without calapsing your posture remember to use only points that you need.

C.feel the space with your right palm in the moment of resolution you may use your thinners to pull yourself a little bit.

D.come back to the core ""home point .

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Boleo

A movement in which the partner changes direction creates an impulse that causes the partner's free leg to swing along the floor (low boleo) or, if the impulse is given with more energy, upward (high boleo). The change of direction can be performed during a normal stride (resulting in a linear boleo) or with twisting of the body (circular boleo).

 

Calecita

 Steps around the partner.

Most of the time Followers are the center for leaders .

means followers one one leg ,leaders goes around .each partner independent on the axis .

tip for followers:

arrive on the axis by using fist 3 main points that you already familiar with.and keep your core over your standing ball of the foot. if there's rotation - follow technique creating energy for rotation from ribcage and unwine lower body gradually. 

tip for leaders:

Keep same distance between feet all the way while you are leading calecita.

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Adornos

 Decorations. Graceful  legs movements  . Adornos often allows dancers to convey the music.

tip: Try not interrupt your partners intention to lead you somewhere.

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Lápiz

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A decoration in which the free leg makes a circle on the floor. Tip: keep big toe on the floor, and soft your free knee.

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Planeo

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Circular movement of the partner with her or his free leg gliding along the floor or slightly in the air.

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Gancho

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Gancho – Hook.

Occurs when a dancer hooks a leg around and in contact with their partners leg by flexing the knee and releasing. May be performed to the inside or outside of either leg and by either partner.

Technique :

follow the technique for back ,front ,side step.

feel the connection in thight part first.

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Tanda

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At a milonga, music is usually played in sets of three to five compositions, separated by short Cortinas. Tracks in tanda are almost always combined by the same orchestra, the same period of composition (if the orchestra covers different periods and styles), or the same singer. As a rule, dancers leave the dance floor during the Cortina and change partners at the beginning of the next tanda.

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Cabeceo

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At traditional milongas, men ask women to dance by catching their gaze and nodding toward the dance floor. If the woman nods in response, the man crosses the hall and approaches her. The woman remains in place, waiting for her partner to approach her.