The Pasada

[dchester]

Not exactly a life shattering question, but just something I'm curious about. I'm aware of three different philosophies on how the lead and follow are supposed to work when leading the pasada (step over).1) Once paused, it's completely up to the follower to decide what she will do (she can embellish at will) and how long it will take.

2) The leader only leads (with his chest) when it's time get on with it (for lack of a better word, or the rhythm and timing).

3) The leader leads every aspect of what the follower does, using a combination of his chest as well as using his left hand to move the follower's right hand to lead the motion of her free foot (the embellishments, are actually led).
What are your thoughts on the pasada, and how do you typically do it? I mostly go with the second option, although I've tried them all at various times.

[bastet]

Not exactly a life shattering question, but just something I'm curious about. I'm aware of three different philosophies on how the lead and follow are supposed to work when leading the pasada (step over).1) Once paused, it's completely up to the follower to decide what she will do (she can embellish at will) and how long it will take.



2) The leader only leads (with his chest) when it's time get on with it (for lack of a better word, or the rhythm and timing).

3) The leader leads every aspect of what the follower does, using a combination of his chest as well as using his left hand to move the follower's right hand to lead the motion of her free foot (the embellishments, are actually led).
What are your thoughts on the pasada, and how do you typically do it? I mostly go with the second option, although I've tried them all at various times.

I think this is probably one of those "grey areas" of tango, where it all depends on some variables like your level of dancing and who taught you how to do it.

I have experienced all 3 as a follower, including option 3 with a lead from BsAs.

I think quite a few things in tango get taught as a "do it this way" when you first learn, then later, as you advance, it becomes more like "oh- guess what, the Easter Bunny isn't real..." and it's not a black and white situation.

I think my partner and I most use a negotiation of 1 and 2. I am aware he may want to indicate movement so am ready to "move on", but he is also paying attention to where I am at in my "embellishment" and what I may be hearing in the music, so we sometimes end up with a combination of 1 and 2, but probably weighted somewhat towards 2.

[dchester]

I have experienced all 3 as a follower, including option 3 with a lead from BsAs.
BsAs is where I learned about that option as well.

[Zoopsia59]

1) Once paused, it's completely up to the follower to decide what she will do (she can embellish at will) and how long it will take.

2) The leader only leads (with his chest) when it's time get on with it (for lack of a better word, or the rhythm and timing).

3) The leader leads every aspect of what the follower does, using a combination of his chest as well as using his left hand to move the follower's right hand to lead the motion of her free foot (the embellishments, are actually led).

I prefer option 1.
REALLY prefer..

I've found that many leaders who try to determine the timing do one or both of 2 things...

1) They rush the follower so she doesn't feel she's doing it in a logical or well timed musical place. (with some leaders, pausing here is one way to get things back with the music or to at least give a good indication to the leader of how you are hearing the music)

2) They don't get their leg in at the right time or the right place because they are trying to keep it flowing, and it becomes a "trip over" instead of a "stepover". (Is there a Spanish tango term for tripover?)

I don't dilly dally around on them... Some followers go way overboard on the adornifications and that just makes leaders even more anxious to adopt a "leader leads the stepover portion" style.

But this is just about the ONLY place in a dance that the follower can create a pause if she needs one for whatever reason (regaining a good center/axis/balance, emphasize a musical element, catch her breath, get a leader back on beat if he's rushing things or lagging, whatever)
Why not let her have this one little moment?

[Ampster]

[/INDENT]What are your thoughts on the pasada, and how do you typically do it? I mostly go with the second option, although I've tried them all at various times.

In close embrace, Initiate with a forward ocho. Block with the right foot. Lead with the chest, gently, but positively... suggesting... Pasada. She moves. Allow her time (to embellish, shift weight, interpret the music, move, etc.) . Don't rush her.

When her weight lands and you feel her settle, continue with next flowing movement.

[AndaBien]

...But this is just about the ONLY place in a dance that the follower can create a pause if she needs one for whatever reason ... Why not let her have this one little moment?

If I lead a pasada, which is not often, I give my partner a moment or two to play. After all, I'm playing, too. But, there are some partners who take the opportunity to do every trick they know. I will hurry them along, and not lead them again to a pasada.

[dchester]

I prefer option 1.
REALLY prefer.. Somehow, I knew that would be your preference.

:mrgreen:

I've found that many leaders who try to determine the timing do one or both of 2 things...

1) They rush the follower so she doesn't feel she's doing it in a logical or well timed musical place. (with some leaders, pausing here is one way to get things back with the music or to at least give a good indication to the leader of how you are hearing the music)

2) They don't get their leg in at the right time or the right place because they are trying to keep it flowing, and it becomes a "trip over" instead of a "stepover". (Is there a Spanish tango term for tripover?) So no option 3 for led it masterfully?

:(

But this is just about the ONLY place in a dance that the follower can create a pause if she needs one for whatever reason (regaining a good center/axis/balance, emphasize a musical element, catch her breath, get a leader back on beat if he's rushing things or lagging, whatever) I will say that this weekend during my tanda with JW (you know who), she paused me someplace else (and it was the first time a follower had done that). I'll give her credit, it was clear what she wanted me to do. I just wasn't quite sure when It was OK to start again. She commented on it in between songs. She seemed happy (and I think, surprised) that I picked up on it. It scored me a second tanda with her.

http://www.dance-forums.com/images/icons/icon7.gif

Why not let her have this one little moment? Because we're guys. We want it all.

:twisted:


All kidding aside, the issue I run into sometimes, is that I may lead a pasada, and then later on I'll lead a front ocho on the side, which starts out similar to how a pasada might be setup, so then the follower just assumes that's what it is and wants to take over. I haven't done a foot tap or a parada (pause), be she'll do that on her own and then procede to take her time stepping over my foot that isn't there.

;)

[Gssh]

Hmm - if another leader would ask me this i would probably say 1, but when i dance, i tend to do all three -for me it is part of the game/communication with the follower. Actually 3 is part of one of my favourite variations on the pasada: sandwich, pasada, and on a a strong accent in the music take her out of her adornment+single axis turn a half turn or a quarter turn, resandwich, ground her again and open the sandwich to the other side for another pasada. Repeat till she slaps you (or pasadas befoe you have a chance to reverse it) :). At least for me this only works when the follower is balanced and does her adornment on the music/consciously and not by rote.

Gssh

[bafonso]

There are no pauses in the dance, really.

[bastet]

Hmm - if another leader would ask me this i would probably say 1, but when i dance, i tend to do all three -for me it is part of the game/communication with the follower. Actually 3 is part of one of my favourite variations on the pasada: sandwich, pasada, and on a a strong accent in the music take her out of her adornment+single axis turn a half turn or a quarter turn, resandwich, ground her again and open the sandwich to the other side for another pasada. Repeat till she slaps you (or pasadas befoe you have a chance to reverse it) :). At least for me this only works when the follower is balanced and does her adornment on the music/consciously and not by rote.

Gssh

that's pretty interesting. :)

I will note I often see ladies (and gents) generally doing this move by "rote" rather than at musically appropriate places...but if we're (in the general aspect) both listening to the music, and letting it guide us through the duration of the pasada, then that's where the "grey area" comes in and it can be a combination of the options, I think. Ultimately a phrase will end and the music moves on, and so should we.

I'd say I prepare myself in general for "option 2", but since I'm listening to the music also, then sometimes "1" may occasionally come in to play for me and IMO, at least, option 2 can be a toned down type of "option 3" in a way since in "option 2" the lead is still indicating the movement of the free leg to step.

I guess I am also of the opinion that it is my job as a follow to always be ready to take the step (assuming my leader is keeping track of where I am at) and so I tend to keep my adornments "in the vicinity" where I could get out quickly should the indication come at a time in the music I am not expecting and i either go, or if I am really adamant about what I am hearing, perhaps invoke "option 1" :).

Something large like a big sweeping ronde', half moon movement I see some follows do (on their own at a pasada position) to me would have to a led movement (option 3) and so to me isn't really an adornment anymore at that point.

[Lui]

I would agree with Gssh. When “traffic”, space and music allow it, I often give the women a little time to do some embellishments, as many love to do them. When I feel it’s time to move on, I will gently advance to option 2. I don’t want to disturb the flow on the dance floor and I’m not blessed with patience too much.

In other cases 3 is my option of choice. Sometimes a pause does not fit the music. In Valz, for example, I use sandwich and a pasada as a change of direction to enter a caminada. It’s fun to do it double time. On stage every movement is planned ahead anyway and it’s my responsibility to get it on the right accent of music, so I better lead everything.

[dchester]

Since it's quiet here, I thought I'd ask another question about this. To you, does a pasada (step over) imply a parada (stop or pause)? The reason I ask is that a while ago when in a class about something unrelated to this, I was partnered with someone who informed me that I was doing the pasada wrong, because my chest became disengaged with her, as she paused to do some embellishments. She went on to say, because of this, the only way you have to lead me over your foot is with your arms.

She's a very nice person that I like a lot, so I actually managed to keep my mouth shut and not say what I was thinking, which was: (1) I didn't pause you, and (2) if my chest is here and you are there, how is this my fault.

What are other's thoughts on this? Does a pasada imply a pause for you? I know I've seen others (although not often), do pasadas without a pause before stepping over.

[Peaches]

It depends? (Being this helpful and insightful is a skill, lemme tell ya!)

I'll assume for the moment that both the guy and the girl can actually hear the beat and time their steps to it, if not work the movment to go with the phrases. It's a big assumption, I know, but...well...if that basic assumption isn't there it's a whole other can of worms.

I think there is a high potential for the pasada implying a parada. If it's timed with the music and possibly the phrasing, the music will determine if a pause is implied. Sometimes it is, sometimes it isn't.

I'm trying to think about the disengaging thing...and mostly failing. It seems like the guy's chest is always somewhat dissociated through the movement. I can't think of how a lead from the arms versus the body would feel--except when done badly--but I know I can generally tell if the guy is letting me pause or not. Not sure what the tip-off is.

Personally, I'm not much of a pauser. My teacher had resorted to actually leading embellishments to try and get me to do them so I would become used to them. I sorta did get used to them...and then promptly stopped when he stopped leading them. But I will use them from time to time to try and get back on the beat with some leaders, or to catch my breath.

[Joy In Motion]

I didn’t weigh in on the first question, so let me add my two cents on that first… I am with those who advocate using all three at various points depending on the connection and the music. As a follower, I love the spontaneity of a partner who does the unexpected, or at least doesn’t constantly do the same pattern over and over. Plus, dancers who stick to only one are typically not as in sync with the music (in my experience – I realize that in some cases it’s just a matter of preference). Sometimes this is just part of the learning experience and becoming more comfortable, but with the time the hope is that those possibilities start to open up. And I think the music – more than any sense of right, wrong, or appropriate – is what calls for these multiple options. As a leader (I also lead), having three options gives me that much more flexibility with the music, the quality and speed of movement (especially playing with the acceleration or lack of when coming out of the pasada), and the follower’s unique energy in the moment.

But I agree with what others have alluded to, which is that what is typical in a community often reflects its tango philosophy, especially with regards to the leader-follower dynamic.

I think the parada/pause question is very closely related to your original question. I don’t think it’s automatic, although it may be considered automatic in certain communities or with certain individuals based on their training/experience. I think the leader has the option to move directly through or to pause, and both are equally enjoyable depending on the feel of the dance and the music. So I guess the short answer (my personal vote) is that the pause is not implied.

[li]

My experience is that options 2 and 3 give the choice of a pause, which still feels part of the dance. Option 1 can often feel like there is a break in partner dancing when the follower imposes a pause. I'm happy to take the time to allow for embellishments and gain more understanding of how my follower interprets the music. What's not so enjoyable is when all the stuff that I've led was intended to be shared, but the bit that she is taking her time over seems to have nothing particularly to do with me (other than using my leg as a prop). So long as the dancing remains engaged, I'm happy playing with all 3 options.

[AndaBien]

... Does a pasada imply a pause for you? I know I've seen others (although not often), do pasadas without a pause before stepping over.

My first teacher often said, "There are no rules in tango", which I liked. There certainly are customary things with tango, within any community (I suppose), and certainly with individual dancers. Your partner may think something is implied, but is there any room for doubt?

If I ever get the idea that my partner is dancing automatically, I try to jar her awake by leading contrary to what I feel her doing. I certainly don't want to have anything automatic in my dance. Frequently?, usually?, of course, but not automatic.

It sounds to me like your partner had a different idea, and that she was not following your lead.

Was she a regular partner, who knows your moves?

[Steve Pastor]

...I was thinking: (1) I didn't pause you, and (2) if my chest is here and you are there, how is this my fault.


I'll just say I can really relate to this. Been there many times. And there were times when I finally said what I was thinking.

She can pause if she wants. And take as long as she wants, because you have opened that space for her to move into. Or, she has allowed the space to be created.

But that would make her responsible for not following your lead, and she has no grounds for telling you you did something "wrong".

Beware of leading energetic steps without a pause in this position!
(addressed to no one in particular and based on personal experience)

I would think that it is then her responsibility to come to you at that point rather than expect you to "use your arms" to lead her.

Alex Krebs, as I remember it, teaches (or, has taught) that she can take as long as she wants once that space is opened, and made a joke of being yawning and being bored while waiting for her to complete her step.

[opendoor]

Since it's quiet here, ... does a pasada (step over) imply a parada (stop or pause)? ..

For me: no it doesn´t! If you do it without pause within the flow, you have to give more space (straightend leg), and have to dissociate at a greater degree. Without pause it would be an alteración (on the beat) or a rebote (double time). All together means to interpret the music.

[Angel HI]

...I actually managed to keep my mouth shut and not say what I was thinking, which was: (1) I didn't pause you, and (2) if my chest is here and you are there, how is this my fault.I was not going to comment b/c everyone else has said pretty much all there is, but this is such a pet peeve of mine that I had to just mention it. I concur completely with your [silent] assessments. I detest it when the woman 'takes over' these ops to do whatever crap she feels like, and then tells me that it's her option. ^&$@*(+!!, no it's not! We arrive at that point, and the lady takes off in a highjacked tantrum of stiletto fencing sieges of her surroundings and her partner. :shock: :evil: :headwall:

Neither does the parada imply a pasada nor the pasada, a parada. They are both implied by the intention of the man at that moment. If embellishments are not led, they may be allowed by the lead, that is to say, how the lead is indicated. Re the hands, we all know that this is incorrect. Yet, we have spoken of this chest thing before. The poster who said that there is always some sort of disconnect here is very correct. again, we must remember that a chest lead is argentinean for leading from center, not always "literally" from a velcroed chest.

comments are general, and not referencing any poster in particular.

[ant]

I detest it when the woman 'takes over' these ops to do whatever crap she feels like, and then tells me that it's her option. ^&$@*(+!!, no it's not! We arrive at that point, and the lady takes off in a highjacked tantrum of stiletto fencing sieges of her surroundings and her partner. :shock: :evil: :headwall:.

I think alot depends on the crap she is doing at that point. Is she playing with me or is she taking off as you say.


Neither does the parada imply a pasada nor the pasada, a parada. They are both implied by the intention of the man at that moment. If embellishments are not led, they may be allowed by the lead, that is to say, how the lead is indicated.

I feel this is a bit harsh. I prefer this

Originally Posted by Steve Pastor
She can pause if she wants. And take as long as she wants, because you have opened that space for her to move into.

...Or, she has allowed the space to be created.....

But that would make her responsible for not following your lead


I would then wait to see what she does with the space and time she created and when she gives me back the lead in relation to the music. I think the most beautiful part of the parada is the coming back and if this is done to allow a pause at that point all the better and it then shows that the follower is contributing more of herself to our dance.


The poster who said that there is always some sort of disconnect here is very correct.


I would have thought there was only a disconnection if the follower does not follow the leaders chest as SP described above.

[bordertangoman]

Alex Krebs, as I remember it, teaches (or, has taught) that she can take as long as she wants once that space is opened, and made a joke of being yawning and being bored while waiting for her to complete her step.

the parada is followed by an empanada ;)

[ant]

Not exactly a life shattering question

Personally I have found the topic very interesting, so thanks for raising it.


3) The leader leads every aspect of what the follower does, using a combination of his chest as well as using his left hand to move the follower's right hand to lead the motion of her free foot (the embellishments, are actually led).

The few times it has been taught this way in classes I have attended I have not liked it. However I think there is a good use for this, when there is room, I lead the lady to lift her free leg then open the space and see what she does with the situation. It gives me a very good indication if she prefers a Neuvo or Salon type dance to that track.

[Angel HI]

I'd be leary, and very careful of that left hand thing. Don't know that I would advocate this.

[v22TTC]

Not exactly a life shattering question, but just something I'm curious about. I'm aware of three different philosophies on how the lead and follow are supposed to work when leading the pasada (step over).
1) Once paused, it's completely up to the follower to decide what she will do (she can embellish at will) and how long it will take.

2) The leader only leads (with his chest) when it's time get on with it (for lack of a better word, or the rhythm and timing).

3) The leader leads every aspect of what the follower does, using a combination of his chest as well as using his left hand to move the follower's right hand to lead the motion of her free foot (the embellishments, are actually led).
What are your thoughts on the pasada, and how do you typically do it? I mostly go with the second option, although I've tried them all at various times.

I'm glad that this got revisited.:)

For me, theoretically/ideally 1 all the way! On a floor with no one else on it, she can carry on until the music stops, for me.... But I suspect that I'll never be 100% comfortable with the 'lead/follow' thing (even in its most enlightened form, where the definitions break down completely... the mis-perception tends to remain...), especially as the leader, so it's a way of being as equalitarian as I can be... I mean in an obvious way that pretty much no 'follower' can miss.

I tend to take the long view, so nearly always give at least two opportunities for her to adorn/play during a tune (one early on to allow me to get a better impression of what she prefers)... over time, the women realise that when they're with me they will have plenty of such opportunities over a tune/tanda, so they're less inclined to chuck everything but the kitchen sink in with each opportunity, and it becomes more 'tasteful'/musical each time.

I would never be comfortable with 3 - I would see it as completely defeating the object... though new beginners (or/and pattern-bots) sometimes need helpful nudges along til they get the idea, then it reverts to the 1 default.

In reality it tends to be 1... but macro-responsibilty to other couples trumps micro-responsibility to her (except in keeping her safe), and I'm the one who can see the opening gap between us and the couple in front, so it's up to me to get us moving when consideration requires this; so 2.

And if she's dangerous then no more play for her (though I'll try to contain or aim her excesses safely, before denial).

The pause is usually pretty much necessary, practically, but like all things in TA it is a tool that can be used or not, to best effect musically (with a partner with whom you have a very good rapport).

[Peaches]

The few times it has been taught this way in classes I have attended I have not liked it. However I think there is a good use for this, when there is room, I lead the lady to lift her free leg then open the space and see what she does with the situation. It gives me a very good indication if she prefers a Neuvo or Salon type dance to that track.
See, and that would just tick me off. Either make clear your intention to let me play and improvise, if desired. Or lead what you want to lead. Don't go mucking about halfway like that. If you lead me to lift my leg, I'll lead it...but unless you do something to follow that up I'm left just standing there looking like a fool. Nuevo or Salon or Milonguero or whatever would never enter my mind, just...what the f am I standing here like a damn flamingo for?

[ant]

See, and that would just tick me off. Either make clear your intention to let me play and improvise, if desired. Or lead what you want to lead. Don't go mucking about halfway like that. If you lead me to lift my leg, I'll lead it...but unless you do something to follow that up I'm left just standing there looking like a fool. Nuevo or Salon or Milonguero or whatever would never enter my mind, just...what the f am I standing here like a damn flamingo for?

The way I would lead when we are there would depend very much on how I feel you have reacted.

[newbie]

1) Once paused, it's completely up to the follower to decide what she will do (she can embellish at will) and how long it will take.

2) The leader only leads (with his chest) when it's time get on with it (for lack of a better word, or the rhythm and timing).

3) The leader leads every aspect of what the follower does, using a combination of his chest as well as using his left hand to move the follower's right hand to lead the motion of her free foot (the embellishments, are actually led).


I vote #2

[Dave Bailey]

I vote #2
I was playing around with this a little at my practice today, and for me, the answer is "it depends" :)

If it's a sloooow track ("Tai Chi tango"), with a regular partner and a great connection, every single part of the movement - including lustradas and suchlike - can quite easily be led from the chest / centre.

If it's a fast and furious one, or dancing normally in milongas, I think these are things where the woman usually takes the lead to a point. Let's face it, in Real Life most people don't lead every step anyway - when was the last time you led every discrete step of a giro in a milonga?

[Zoopsia59]

Since it's quiet here, I thought I'd ask another question about this. To you, does a pasada (step over) imply a parada (stop or pause)?

What are other's thoughts on this? Does a pasada imply a pause for you? I know I've seen others (although not often), do pasadas without a pause before stepping over.

This is really just a slight variation of the same question, isn't it? Since your chest kept going, you were leading the timing of the stepover. She either expected a pause (and then you would lead the pasada) or she didn't really expect you to lead the pasada at all and is subconsciously expecting to do it in her own time.

I would reiterate that if there is no pause for her to make contact with the leader's leg and realize she has to step over it, then the timing and placement of the leader's leg has to be impeccable. Otherwise it becomes a tripover. It becomes like doing a sacada to the reaching foot instead of the trailing foot just as she's about to transfer some weight to it. Oops... sorry. :( Sacadas don't work that way.

The stepover has to happen while she is still solid on her standing leg, not in the middle of the weight transfer... .ie: at the beginning of her reach.

Remember that the follower is instructed to keep her free reaching foot in ever so slight contact with the floor. Therefore, she's going to have to purposefully lift it to get over your foot. If there is no pause from you, she has a split second of time to realize she has to raise her foot AFTER she registers the info that your leg is in her path to accomplish this without stopping. And if you think about the construction of people's feet, the top of the foot has formed a hook under your leg which slows down the "getting it over" part. This geometry is not as big a problem in a sacada when her leg that's being displaced is behind her.

I think it's entirely do'able for the pasada to be led without a pause, but I suspect it's an advanced skill to get it working smoothly with someone who is not accustomed to you as a leader or this particualr way of leading it.

I would also point out that the follower's technique needs to be pretty impeccable as well, so that she has not started transfering weight to her reaching foot too soon... that makes the tripping more likely. But keep in mind that since she is to have her weight forward, and she's likely to be wearing heels, the amount of forward reach she has without placing any weight on that foot is: not very much.

I'd also add, that the way most people I've danced with lead the pasada, it's actually the big pivot around (on my right leg after the forward ocho to his right) that clues me in to the fact that I'm probably going to be stepping over his leg on my next step, whether or not there's much pause. And yes, I've stepped over legs that weren't there. But it's better than being tripped.

[Zoopsia59]

I detest it when the woman 'takes over' these ops to do whatever crap she feels like, and then tells me that it's her option. ^&$@*(+!!, no it's not! We arrive at that point, and the lady takes off in a highjacked tantrum of stiletto fencing sieges of her surroundings and her partner. :shock: :evil: :headwall:
.

That's why I usually do very little before stepping over unless:

A) His timing or placement has created a Tripover.

B) I really need to pause to get myself sorted out. In fact, this is the FIRST thing I consider. If I'm not on balance and solid with my axis/posture, I fix that while I've got that brief moment of stillness. I don't force in an embellishment when all twisted up, and I don't take time to do one afterwards either.

C) I need to "slow down" the leader because he is rushing things to a point of it being uncomfortable for me physically or very awkward musically.

D) Embellishment seems to fit the dance we are creating together based on things he's been leading.

Notice that embellishment is the LAST consideration.

[Zoopsia59]

what the f am I standing here like a damn flamingo for?

To me, the default position of the leg is down. So even if led to lift it, unless there is something in the lead that forces or indicates to me to KEEP it raised, it's going to go back down. I don't wait for a lead to lower it.

Maybe that's why I find these frozen ganchos that are becoming so popular to be rather odd.

[AndaBien]

... If there is no pause from you, she has a split second of time to realize she has to raise her foot AFTER she registers the info that your leg is in her path to accomplish this without stopping...

...I think it's entirely do'able for the pasada to be led without a pause, but I suspect it's an advanced skill to get it working smoothly with someone who is not accustomed to you as a leader or this particular way of leading it...

..I would also point out that the follower's technique needs to be pretty impeccable as well, so that she has not started transfering weight to her reaching foot too soon... that makes the tripping more likely. ...

I feel your pain, I guess, since I'm not a follower.

I'd just like to point out to leaders that a simple solution exists for this problem. When a leader blocks a follower's step with his foot, he must make contact with his blocking foot to the followers foot that he is blocking. That is, touch it. I think, if a leader touches the foot he is blocking, the follower will be clear about where his foot is - it's touching hers.

[dchester]

I'd just like to point out to leaders that a simple solution exists for this problem. When a leader blocks a follower's step with his foot, he must make contact with his blocking foot to the followers foot that he is blocking. That is, touch it. I think, if a leader touches the foot he is blocking, the follower will be clear about where his foot is - it's touching hers.
I tap/touch her pivot foot (while she's pivoting), to make the follower aware that her free foot will come to my ankle, (that she will need to step over).