Rueda Mixta - Aspects and Resulting Possibilities

I see three main aspects in Rueda Mixta:

 

If we disregard partner changes we have to look either for pair figures that have nice inside-outside characteristic like sacala/aspirina/exhibela, rodeala, vacilala, sombrero or rueda figures like caminala, complicate (after cadena), ni pa'ti ni pa'mi which could be interesting because of the mmwwmmww-Order. A nice example for a pair figure could be rodeala, directly into adentro y afuera (no dqn), directly into exhibela and finishing with (hand change) sombrero.

 

What we also can use are ‘orientation changers’ maybe as an additional (Add-on) command to modify normal figures. Enchufla media vuelta is such a ‘orientation changer’ and I think it looks nice when the whole rueda flips. Other examples for this are dqn afuera/adentro/mixta (like Rey calls and which I used in my video) or vacilala con bolas of Dave. As Add-on I would suggest ‘mixta!’ but maybe we will find something better.

Don’t forget the Rueda Mixta in closed position. This is also a new variation which as far as I know you don’t have in other structures. I think it could be worth to playing around with it a little bit.

 

 

The special order simplifies all the figures were two men and two women dance (for a short time) together. Molina al centro from Alberto is such a Figure and I’m sure if we think about it, we could find more. I’ve got a couple of other figures in mind but it’s not easy for me to describe it (in English). So you have to wait for the videos ;-).

 

 

There were some concerns, if this aspect works. Moving women and waiting men?

 

I think it works very well. Furthermore I think it is a feature and not a disadvantage of Rueda Mixta. Many of the experienced women are a little bored because they only have to wait while the men are doing all the cool stuff. In Mixta they have the chance to get a more active part. I know, some will not like it but I think they can get used to it.

Every Rueda structure has such an uncommon/uncomfortable aspect. In Llanta you have distinguish the different calls for grandes and pequenas and you have the bigger gaps in the outside circle. In Trebol some feel uncertain to which other two couples belong to their pequena. In Cruzada some dislike that they have to dance on5 instead of on1 and can’t copy directly the cantante. In Torno many have at the beginning problems with the two ‘spoke’ orientations and the special changing here. But in most cases they get used to it after an acclimatization period and so they will in RMx as well.

 

About the figures personally, I like more the direct changes without clapping, stamping, Mambos etc. because it has (in my honest opinion) more flow. But however I think it looks really nice when the one-circle-mmww-structure changes into a two-circles-mwmw-structure and back. This in combination of orientation changes keeps the potential for high dynamic ruedas.