A few sandwiches short of a picnic

[calandra]

I understand that the so-called sandwich is a staple of AT, but I am having trouble understanding its exact purpose. I find that in the beginner -intermediate classes, sometimes a leader will "throw it in" and then we both look at each other blankly as if to say - now what? Is its purpose a change of direction, change of weight, a signal that something is coming up next, or all/none of the above?

I'm sure there are infinite variations, but what are the most common resolutions/follow-ons from this move?

[Tanguera]

As you stated, there are infinite possibilities starting at the sandwich; the most common resolution for a beginner is to lead the follower into a ocho forward.

[Ampster]

I understand that the so-called sandwich is a staple of AT, but I am having trouble understanding its exact purpose. I find that in the beginner -intermediate classes, sometimes a leader will "throw it in" and then we both look at each other blankly as if to say - now what? Is its purpose a change of direction, change of weight, a signal that something is coming up next, or all/none of the above?

I'm sure there are infinite variations, but what are the most common resolutions/follow-ons from this move?

It is also called: "Sanguchito," and/or "Mordida." It is a prelude to some other thing. This is one of those movements that are distinctly, very elegantly, Argentine Tango.

As Tanguera has mentioned, it can be resolved as a forward ocho in its simplest resolution.

Sometimes, it is a prelude to an "Arrestre" (A pivoted sweep around the woman's axis); A prelude to a parada with a gancho; it can even be used to launch you into a molinete. It can be used as a change of direction. It always involves a change of weight. There is just so much you can do with it... as long as you resolve it afterwards.

[Steve Pastor]

This, I think is the "problem" with the "Sanguchito," and/or "Mordida.
It is my view that if it doesn't stand on it's own, then why do it?
So, how can it stand on it's own?

In very simple terms it is an opportunity to "play footsie" with your partner. When I touch my foot to my partner's foot, and she does not place her foot firmly against mine so that I know it is there, I won't do it again.
It is like saying "Hello" to someone, and having them ignore you.
It's non verbal communication.
When I am feeling light hearted, and talking to a close female friend, I will sometimes reach my foot out and touch her foot. Now, where did I ever get the idea to do such a thing?
Here's another way to think about it. Ever kiss someone (or more) with your eyes open? Oh, maybe that's why people don't get this. They don't want to get it.
But the "Sanguchito," and/or "Mordida" can be an acceptable "we are just dancing" way to "play with" your partner.

It's another tango thing that takes 2 people to make worthwhile.

[Me]

I think a benefit of teaching this technique early on is it really stresses an awareness of timing for both yourself and your partner, and also stresses the importance of maintaining center. The lead must sense where the follow is in her movement so as to not stick his foot out and trip her. Likewise, the follow must be sensitive to the lead and be on her center, ready to slow and stop whenever needed. Then both dancers have to take care to not push and pull one another off balance, and this is where understanding the embrace comes into play (as well as an awareness of center.) It can look and feel bad at first, because new dancers do treat it as a sort of 'new toy' pattern, but with good instruction and practice, the awkward wobbling will smooth out.

It really is a useful move, though it seems very strange at first. The move makes more sense as you learn more tango. Some gentlemen use that move to prep me for colgada, for example, and it was quite sometime before I began working on colgada.

[Steve Pastor]

Alicia will be in Pittsbugh early in March. Note that this post refers to her "beautiful foot play" and "the strongly sensual connection with her partner". I wonder what she would say about the "Sanguchito," and/or "Mordida"?

ALICIA PONS of Buenos Aires is an elegant and accomplished
milonguera with refined technique and distinctive
personality. Her ability to imbue the role of the woman
with verve and style has made her one of the most sought
after female partners in Buenos Aires milongas. She is
most noted for her beautiful foot play and the strongly
sensual connection with her partner, which is done with
humor and decorum.

[kieronneedscake]

More often than not it's a marvellous way to change direction, with that idea culminating in tight colgada turns. I find it to be a neat way to stop and reverse motion without stopping the dance, not to mention an easy entry to certain leg sweeping movements.

From a learning perspective, it is good for the leaders to learn how to locate the follower's feet without actually looking, thereby helping in the execution of saccadas and all sorts.

Also dance-footsie is just plain fun, and often an opportunity for followers to express themselves.

Note the importance of the lead doing something while you're sandwiched or you feel kind of lost. The grabbing of the partner's foot is only part of the message and the same effect can be achieved (although it doesn't look or feel so good) without any foot contact at all.

[Steve Pastor]

Following up on the idea of sharing in tango...
from the Elvis Presley album, his first
Elvis Presley (http://www.actionext.com/names_e/elvis_presley_lyrics.html) » One-sided Love Affair (http://www.actionext.com/names_e/elvis_presley_lyrics/one-sided_love_affair.html)
(words & music by bill campbell)
If you want to be loved,
Baby, youve got to love me, too.
If you want to be loved,
Baby, youve got to love me, too.
Oh yeah, cause I aint for no one-sided love affair.

If you wanna be kissed,
Well, youve gotta kiss me, too.
Oh yeah, if you wanna be kissed,
Well, you gotta kiss me, too.
cause I aint for no one-sided love affair.

Well, fair exchange bears no robbery,
And the whole world will know that its true.
Understanding solves all problems, baby,

[calandra]

Following up on the idea of sharing in tango...
from the Elvis Presley album, his first

Elvis Presley (http://www.actionext.com/names_e/elvis_presley_lyrics.html) » One-sided Love Affair (http://www.actionext.com/names_e/elvis_presley_lyrics/one-sided_love_affair.html)(words & music by bill campbell)

If you want to be loved,

Baby, youve got to love me, too.

If you want to be loved,

Baby, youve got to love me, too.

Oh yeah, cause I aint for no one-sided love affair.


If you wanna be kissed,

Well, youve gotta kiss me, too.

Oh yeah, if you wanna be kissed,

Well, you gotta kiss me, too.

cause I aint for no one-sided love affair.


Well, fair exchange bears no robbery,

And the whole world will know that its true.

Understanding solves all problems, baby,


Hmmm, lucky girls there in Vancouver.

[MaggieB]

A sandwich is a wonderfully simple place for a follower to be able to embellish her step...
as already suggested an ocho is often led, but also more frequent is a forward step-over into that ocho or moliente/giro. Since the action of the dance hesitates naturally with the "sandwich" it is the perfect place for you to "shine" the top of your shoe on the lead's pant leg, or to do a quick little on the floor back "boleo" before taking your step over.
Hopefully the lead will allow you the time to do this.

The thing that should not be happening is the deer in the headlights look from your lead... he led it and he should be leading what is to follow... if he hesitates, or gives you that type of look, use that time to play! That will also give him time to figure out his next move... and he might appreciate that too.

[Steve Pastor]

"Hmmm, lucky girls there in Vancouver."

Oh, yeah. The women of Vancouver go crazy for guys who can quote old Elvis songs!