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1
Technique of the
tread on
walks and turns |
The walk of the tango is the main support which sustains
the natural attitude and the serenity of the dancers.
The domain of the walk gives the dancers a great range
of possibilities because the main problem of the "basic
harmonious movement" is solved. The dancers of the old
generation already said without further deepening but
looking beyond the wisdom of experience: “learning to
dance the tango is learning to walk”. We’ll work then on
the possible combinations, the technique of the tread,
and the adjustment in time and space with the partner.
We’ll insist on the details, and give regular practice
exercises which we believe will help very much. is good
to remember that when feet attack the floor in the
correct way the whole image is highly improved. We could
even say: the tango dancer appears !
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2
The change of turn direction and its rhythm
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The changes of turn direction are fundamental to deeply
understanding the structure of the dance and from that
understanding, greatly improve the quality of
improvisation. The
concept implicit in
the changes of turn direction,
we firmly believe
has been, if
not the main fact,
one of the elements that have
triggered the
amazing
choreographic development of
the
argentine
tango
occurred in
the last 20 years.
In this class we will see not only those
changes of turn direction that the woman makes around
the man but also a very important aspect necessarily
related: its rhythmical possibilities. We'll try regular
timing, doubles and special cases. All these variants
will require a thorough exercise of control and
precise handling of space of course, ...but most of all
a very fine listening...
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3
Turns & Cuts |
The Turns structure is essential in understanding the functioning of the tango,
and it is present in virtually any
combination of rotation. Their knowledge is essential to
resolve with ease any situation that arose in
improvisation. Also the technique for its realization is
very important, especially in women holding pace, tread
and weight transfer in a particular way. We'll thoroughly
work on all those details.
A very traditional tango choreographic idea is the
famous "Corte" (cuts). Even when we have divergences on its
history, we can perfectly conclude that it is basically
about the interruption of a movement, of course always
done in a particular way. We'll treat convenient and
interesting combinations of turns and cuts, adding
action and dynamic to the dancing.
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4
Continued Sacadas |
Whenever you see a Sacada in any dance context you’ll
see necessarily Argentine Tango Dance, it identifies the
gender. While it is incalculable the number of possible
combinations, we will choose some of them for this
class, allowing us a clear treatment of the main
problems the sacadas present, and then the successful
approaching to continued combinations. This will not
only train us in reaction speed, but also will establish
sometimes and interesting choreographic dialogue between
man and woman.
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5
Ganchos: Front, Side & Back
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The “Ganchos” (hooks), the figure par excellence of the
Argentine Tango, have undergone great changes in recent
years, thanks to the rich contribution of new
generations of dancers. We’ll study them in detail, structurally, conceptually and technically.
We’ll discuss with particular attention the main groups:
Front, Side & Back ganchos, observing basic elements of
construction, texture of movement, rhythmical models,
and possibilities of combination.
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6
"Enganches" & "Enlazadas" |
We call
Enganches (hooking) to the taking of
the partner's leg
with an
enveloping movement directed
to the floor,
and we call Enlazadas (binding)
to the same idea
but done in
the air. They are figures that
do not require much
space for its
realization but
require a great couple
internal
space management. The technical
work of these figures
brings to light
the rotation of the
torso, a crucial element,
applicable in
numerous situations
of the dance
giving softness and
fluidity of
movement.
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7
Milonguero Embrace & Volcadas
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The “Volcadas”, modern term and technique of an old
choreographic idea (off-axis situation of women in the
couple inward, toward the man), have the magic of almost
"draw" the shape of the “milonguero” dance. Moreover,
almost naturally occur when the milonguero embrace is
correctly positioned, and is allowed to have the walking
pace. The technique is precise, the ornamentation is
multiple, and rebounds are a logical consequence but...
hey guys, not loosing the embrace makes it dramatically
true!
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8
Linear & Circular Colgadas |
The “Colgadas” (Hanging - off-axis position of women
out) although figures in themselves, are also an
essential dynamic of the dance. We’ll then see the main
problems of this situation and what to do to handle them
on improvisation. Also will be addressed the general
structure of possibilities and variations. And finally
we’ll focus on these two main groups: Linear & Circular,
through some examples that will clearly show when to use
each one. |
