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 !
Changes of Turn Direction
Crossed & Normal System
The changes of turn direction are fundamental to deeply
understanding the structure of the dance and from that
understanding, greatly improve the quality of
concept implicit in
the changes of turn direction,
we firmly believe
has been, if
not the main fact,
one of the elements that have
choreographic development of
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
how to solve them using either a Normal or a Crossed
System. This requires careful partner coordination, and
a precise handling of the simultaneity of the tread.
Sacadas of Long & Short Trajectories
The “Sacada” is another one among the important figures
of the Tango. It is essentially a visual effect by which
a leg of one of the dancers in the couple moved one leg
of his/her partner taking his place. Logically, and like
in many other cases, the success on this figure is based
on that effect’s adjustment and precision. Now, in this
adjustment, the speed of the legs’ movement will be
crucial to be able to reach the exact place at the exact
moment… We’ll work on that.
Walked & Planeo Turns
The structure of “Planeo” & “Walked” Turns is the basis
for understanding the functioning of the tango. Are the
two main ways to turn and are 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.
Internal & External Enganches
We call Enganches (hooking) the taking of the partner's
leg with an enveloping movement directed to the floor.
Then, once we understand the idea, it turns out that
there are as always, many different ways to achieve it:
right, left, inside, outside, forward, backward, etc.
While we go through variations, we’ll see that these 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.
Front Ganchos – Man & Woman
The Ganchos (hooks) are undoubtedly the most
representative figure of the Argentine Tango. From the
knowledge we have today about its structure, in this
class we’ll focus on a particular group: the front
hooks. These hooks have a difficulty level quite
important because they not only require precision and
adjust in time and space, but also necessitate a lot of
action and mobility.
Modules – Traspiés & Corridas
The link between movement and musical stimulus is (and
always will be) one of the basic elements that make up
the dance, so it is extremely important its exploration,
analysis and development, for the strength of the dance.
The subdivision of time is the main element of rhythm,
and the famous "corridas" and "traspie" add flavor to
the dance. But the dancer must not only have this
knowledge but should also develop sensitivity to react
at the right time.
We’ll work on that...
Milonguero Embrace & Volcadas
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 losing the embrace is what makes it
Colgadas plus Rotation
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 one of the main problems: the natural
rotation they generate...
Milonguero Crosses & Turns
For a long time there have been discussions about the
nature of the "milonguero" style. Too
often this discussion has gone to statements such as: "the
true milonguero is the one that dances with feeling."
While it is true that in this form of dance there is an
emotional side surely the great responsible for the
success of the style, it is also true that there is a
technique that explains how to get this image. We will
study in this class, how are the "milonguero" women's
crosses, the reasons for this so special design and how
the man has to mark (lead) to achieve such results. Once
crosses are understood, turns are the biggest challenge.
We will study what should be considered to rotate
smoothly danceable maintaining the milonguero embrace.
Boleos & Cuts – Double & Consecutives
The Boleos, another one of the genre identifying
figures, can be analyzed in different ways, given the
many aspects that make up its technical execution.
Through one of these, we can generally agree that the
Boleo is a kind of "rebound", but we will also call "rebounds"
to other movements that are not considered boleos ... In
this class we will study how the very idea of "rebound"
with the corresponding treatment can lead to the
creation of two completely different figures.
The Posture is theme of the most extended and unsolved
discussions about how must be used in the dance,
probably because it is the most representative element
in the tango image, of the eternal man-woman
relationship that exists within the tango. We firmly
believe that the tango dance must be “functional”, that
means that the quality in the dance doesn’t exist
without the “functioning harmony”, and this harmony is
the result of the correct leading and following, the
correct upper body’s position, the relative use of the
arms, the perception of the base axis, the use of the
spaces, the control of the distances, etc, etc. It is
clear that in all these elements, the Embrace and the
Posture are 100 % involved.