The walk and backward ochos, both lateral (the lead sidesteps as he leads the ocho) and diagonal (the lead advances as he leads the ocho).
Reasoning: Lateral backwards ochos are a nice and easy holding pattern to slip into for a second or two while waiting for space to become available. Diagonal backwards ochos can add a nice punch to a simple walk. Teaching both in the same class highlights the differences between them, reducing the chances of Semaphore Tango and improving the quality of both the lead and the follow.
I agree that this is a good next step and make sense.
I would want to make the leaders aware that a lot of ochos are *very* wearing on the balls of the woman’s feet, and if you do pivot after pivot after pivot for an hour without rest it can hurt for the rest of the week. I would want to avoid suggesting them to a beginner (who might get into the habit) as a holding pattern. I know one teacher who uses a cunita for that – it’s easy to learn, plus it’s useful for getting into close embrace. Or any kind of box-step (that doesn’t include a backward step against the line of dance) or simple round turn is good too.
And be aware that it may not be easy for a woman who is new to dancing to deliver truly lateral ochos, without either travelling backwards or breaking the frame. It took me quite a few months to realise this was even physically possible, let alone do it reliably to order.
Thankfully I don’t insist on people doing ochos for an entire hour without rest. I mix it in with the walk so that it’s walk walk ocho ocho walk.
Good – I’ve known it happen! Over and over and over again, in a move where the man did difficult-to-learn footwork while the lady did ochos.
It is important to internalise movements not make them mechanical. My Maestro di arma used to scream at us for becoming automatons. The mind must be present, overworking something can lead to frustration and blocking which wastes peoples time and gets them nowhere.
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