Meticulous and precise, as a teacher and in approach to dance. Ricardo Vidort was neat and precise in his movements. I'm not sure if she taught with him, but she danced with him a lot.
After a single tango she reminds me the details are important: the upright posture, getting the embrace right, the right arm in full contact with the woman's left side but not tight, the left arm and hand firm, so the energy for a turn comes from the full extent of torso and arm. '& STRETCH that leg straight!'
I ask about Ricard Vidort's way of emphatic stepping, almost stamping, and her face becomes radiant; for a moment she becomes Ricardo walking. 'The energy!' she says, walking and turning her torso, eyes shining. Meticulous, precise, funny, friendly and utterly charming.
You don't need to do a lot of complicated things: it's good just to walk well.
The energy down into the ground, yes, the body upright. With the foot, like a cat, soft but strong, not pointed like a classical dancer, on the ball of the foot not the heel, the upper side of the foot leading, the weight forwards. The feet always collecting, stepping into the space left by the partner's foot. The legs straight. Breathe in and then keep the chest raised. The main connection is right upper arm under the woman's left armpit, rarely ever with the right hand. It's a flexible connection, the upper arm and shoulder opening a little in turns to give the woman more space. In turns make sure the upper torso, left hand to right shoulder, stays in line, firmly guiding the giro. Once the leader starts the giro, leave it to the woman to continue the energy. The head angled slightly down to the woman's right shoulder.
Head up and chest out when you go to dance with a lady. I am a winner!