Scouting Tour (August 21-27)

Friday, August 22
Monte Cristo Milonga with Tete & Silvia lesson on "Making Friends with the Music." To a packed house, Maestros danced to each orchestra (DiSarli, Troilo & Pugliese), showing the types of dancing that would match the music (small steps for shorter, sharper beats, or long flowing steps with longer slower notes, single time or double time, or dancing with forceful, strong intention or more modest subdued elegance, depending on the music). The sequences Maestros taught were various turns and changes in direction, typical for them since Tete is known for his vals. Surprisingly, even though it was packed, there were not too many egregious floorcraft issues during the milonga.

Saturday, August 23
Tete & Silvia workshops. (1) Forgetting the Steps -- simple sequences, repetition and improvisation. Maestros basically taught us 4-6 interesting turning sequences that could be used in tango. (2) Vals. We worked on the same sequences from the first workshop, only in the vals rhythm, with much focus on musicality -- single versus double time, finding the pause in the music, and finding where to fit the turns, and putting it all together in the line of dance. (3) Finding Your Own Steps -- improvisation. We began with a dance to music, freestyle. Then we danced to various orchestras (DiSarli, Troilo, Pugliese). Then maestros went around to each couple and asked what their problems were. Then they attempted to correct them. It was a very full, exhausting day. There were a few extra leaders, and many people came with their own partners (who did not want to switch).

Sunday, August 24

Normally, my postings are more digital notebook from classes and workshops than digital diary regarding what I am feeling/humanly experiencing, but sometimes y'all have asked for juice, so here it goes... Believe it or not, Pablo and I were honored with the privilege of driving Tete & Silvia down to their workshops in Mountain View from San Francisco. What a treat it was to spend a whole hour in the car with Los Maestros! They are both incredibly warm, charming people and gave lots of tips regarding correct Castellano (Argentine) pronunciation of words. We chatted about the various tango communities in the U.S. and the world (and I won't spill the beans about which communities they said had the best dancers; my assessment is that their opinion is from the very porteno perspective of being based on the musicality of the dancers, and how well they dance at the milonga together as a group -- i.e., floorcraft -- meaning they didn't seem too impressed with the wanna-be show tango stars with big boleos, ganchos, triple back somersault name-that-"adas", who stop the flow of dancers, etc.), what it's like to be traveling on tour and teaching at festivals versus being teachers in BsAs, and just chatter about various maestros (like Negracha y Diego's trip being delayed, Jorge Dispari, Ricardo the milonguero) and milongas in Buenos Aires (Silvia DJs at Salon Canning on Monday nights), and their lives outside of tango (Silvia's art), and when they started dancing together (1996) and places they've been around the world. Really lovely, gracious people...

Tete & Silvia workshops
(1) Tete's Essentials: Secrets of a Real Milonguero. We learned a couple of interesting spins on some common "sequences" -- for the 8CB, for the Follower, the 3 is a small step, ending up just diagonal back of her right foot, and then a quick 4-5 to the cross. Then we did a change in direction sequence based on the ocho cortado (where the turn goes all the way around -- up one side of the leader and then down the other). Then there was the butt shake step (which lots of milongueros do in BsAs to show off the butt of their Followers to their buddies sitting around the dancefloor), going directly into a Follower front cross. Then there was the ocho flare.

(2) CADENCIA – "the lips don't speak, the body speaks" The effects of the music – movement and pauses. We worked on the same sequence taught at the Monte Cristo on Friday and Saturday (the one with the sacada and left leg displacement), only Maestros made us do it to tango, vals, and milonga music. Maestros pointed out various nuances regarding the music (Pugliese, the pauses/stops in vals, single time, double time).

There was a half-hour break before the milonga, so we decided to have dinner. Pablo invited Tete y Silvia, who responded that they were going to have dinner with Dorcas, but invited us to come along, too. So we went to a place a block and a half away on Castro Street. We had just been seated el fresco when we were joined by Omar Vega, who rode up very skillfully on a bicycle (are there laws against talking on a cellphone while riding a bicycle?! Any doubts about Omar's amazing balance and coordination should be thoroughly put to rest...). I was stunned that I was having dinner with three of the titans of the tango. I think I had to pinch myself several times to actually believe it was really happening. Gato y Andrea were also supposed to join us, but they sent their regrets via cellphone. Los Maestros chatted away in Castellano while Pablo, Dorcas and I chatted in English about the local tango scene, and how Dorcas came to host visiting Maestros. The Malbec washed down the Mediterranean fare quite nicely (Omar was disappointed he couldn't have mashed potatoes), and it was soon time to head back to the milonga...

The milonga was good. Alberto's has a new look -- an enlarged brand new oak hardwood floor with more efficient seating surrounding it. Tete & Silvia's performances were great (tango and vals), and so were Orlando Paiva, Jr.'s and Laura Tate's. Many local maestros showed up as well (Omar Vega, Lisette Perelle, Romina and Marcelo). The food was ample and delish I assume (it was snarffled up by the other dancers; I was full from dinner so didn't partake in any of the hummus and celery, cheese, bread, salami, and two cakes).

Monday, August 25
TangoVida Fundamentals Rhythmic Tango class. The class was very full, with the MeetUp AT group in attendance. I led. We began with Ney's usual musicality exercise with the chairs (clapping on the beats). Then we spent a little bit of time forward walking. For the Followers walking backward, he had them first put their arms up like the handlebars on shopping carts, with the Leaders first holding onto the bars, and then just leaning on the bars with their chests to lead them. We then moved on to the close embrace in our walk. The sequence was the two basic three-count steps (1) Leader steps left forward, right side, left side close and (2) Leader steps back right, left side open, right diagonal forward across his body. I did not stay for the practica (which usually lasts about an hour or so).

La Cumparsita Milonga (I missed the sacada lesson by Pier and Daniel because I was at TangoVida). The milonga was fun. It wasn't overly crowded, but the skill level of dancers was good. So we had a lot of space to dance without floorcraft being an issue. Though I've been to the hall many times, this was the first time I had noticed the nice acoustics of the space. There is a slate of excellent visiting maestros from BsAs who will teach here all of the Mondays in September.

Tuesday, August 26
TangoVida Ladies' Technique and Fundamentals lesson.
In Ladies' Technique, we began with our usual foot strengthening, articulation, and muscle memory exercises. We did our usual walking forward and back. Then we worked on the molinete counterclockwise and clockwise -- first alone upright, then around the pillars. Maestra taught a more smooth, rounded, natural footwork for the molinete, rather than a more square, collect-at-every-pass-

opportunity, militaristic footwork. One dancer had issues on getting around enough on the back step, and Maestra showed us a technique whereby the feet pivot into a straight line first before the foot steps back, which makes it easier to get all the way around on the step back.

In Vals (I followed), we began with Maestro's usual musicality exercise and then we walked together. We learned a simple step: a change in direction which begins with the leader with his back to the line of dance and ends with the couple facing correctly in the line of dance. Follower steps right, then back with left, back with right, (optional small beat back in front of right leg before the) back ocho of left leg (during which Leader steps around Follower), to step out into cross. We were also shown an interrupted version, which was an opportunity to insert an ocho cortado into the step. Maestro emphasized the slow, gentle, melodic quality of the music we were dancing to (and even corrected some dancers for "overdancing" the music). He gave an interesting tip -- when the singer goes high, even if you don't understand Castellano, pretend he is singing "s-t-o------p!" (or slow down...). He emphasized that the beauty of the turn of the Follower's hips should be savored, and that the moment should be wrung out for maximum tango juice (not rushed through, and not truncated by not leading her to pivot enough or her not disassociating enough).

Wednesday, August 27

In CCSF Followers' Technique, we watched a video clip of Rebecca Shulman on the topic of heels on or off the floor. Bottom line: on the floor for stability, off the floor for mobility. Regardless of whether heels are on or off the floor, weight should always be forward on the balls of the feet (even if heels are on the floor). It was great to be doing the exercises again at our brand new barres and on the floor to strengthen our cores, legs, feet, and ankles and to get more expression and articulation out of them. We also worked on walking at the barre to smooth things out and work on weight transfer and embellishments and accenting beats. We concluded with some walking exercises (regular forward and back, and adding tucking embellishments).

In CCSF Advanced AT, we did a nice sequence (from Gustavo's workshop this past summer) that had three different endings. It began with the 8CB to 5 (cross), followed by three forward ochos for the Follower. On the second forward ocho, the Leader leads Follower to do a half boleo around. On the third forward ocho, the Leader sacadas Follower's back left leg. Optional ending 1: Into Americana, walk forward a few steps, then Leader turns Follower in toward him to resolve, Optional ending 2: to Follower counterlcockwise molinete, where Leader back sacadas his left leg into her right leg on her forward step, then Leader does another sacada on her side step. Optional ending 3: Clockwise molinete with two facing sacadas (on the Follower's forward and side steps), on Follower's back step of the molinete, Leader steps in to displace Follower's left leg (optional caracia embellishment), then he unwinds (pivots) her to walk out to the cross.

La Milonga De Vega @ 23 Club in Brisbane. Maestro was charming as usual, dancing with all of the followers in attendance. It was a lightly attended milonga, but I had a great time. DJ Emilio did a fine job, as usual. Gato y Andrea put in an appearance (it was great fun watching them dance), as did Adolfo Caszarry. I didn't attend the lesson because of my CCSF classes.

Come join me!

Thursday, August 29
La Mariposa Milonga with lessons by Orlando Paiva Jr. and Laura Tate.

Friday, August 30
St. Aiden's Milonga with lesson by Omar Vega.

Sunday, August 31
Studio Gracia Milonga

Monday, September 1

La Cumparsita Milonga with lesson by visiting maestros Santiago y Amy

Tuesday, September 2

TangoVida Ladies' Technique and Tango Lesson followed by El Valenciano milonga

Wednesday, September 3

CCSF classes (not too late to add if you want to join in on the fun!) followed by Omar Vega milonga.


A number of you have asked me how does someone who is unemployed go to all these events?! So...

A belated thanks to Pablo (a.k.a. "mi pareja" in classes/workshops), the person I am coaching (giving him tools so that he can learn how to find and develop his own tango voice) and introducing to the SF BA tango community (yes Virginia, I know milongas can be scary). Without Pablo's sponsorship of my attendance at many workshops, milongas, and April in Buenos Aires, my emails/blog would have had significantly less content in the last six months. My coaching/taxi dancing notes are private and just in my head at this point. But ya never know...maybe Pablo will start a blog of his own on his tango development... ;o)

And on the job front... I expect to hear something by the end of this week (keep your fingers crossed for me!). But I am also thankful that unemployment benefits were extended another 13 weeks.

Scouting Tour (August 14-20)

Thursday, August 14
TangoVida's Women's Technique & Milonga classes. In women's technique, we worked on our walking technique for the entire class (beginning with the usual foot/ankle strengthening and embellishment body/muscle memory exercises). In milonga, we began with the basic baldosa and did a very simple check step on one side and then the other. I led. It was tough. I am using muscles that I don't normally use, and nearly all the followers are taller or heavier than I am. Still it's fun in that it gets my head in a different place, and I get to interpret the song. I guess I do OK at it, because some followers asked me how long I have been leading, and they look shocked when I say a week.

Friday, August 15
Homer & Cristina Ladas's advanced seminario and practilonga at Allegro garaje on Ochos. We learned four different types of ochos: (1) vanilla: close embrace small ocho with no Follower hip rotation. It's more like a crossed back step, similar to how Maria Rivarola teaches ochos. (2) mocha java: regular ocho in a more open embrace with much hip rotation. (3) rocky road: overturned back ocho. (4) chunky monkey: contra ocho, with leader on opposing side of Follower. This is a good ocho to use to set up for sacadas because it opens up a lot of room. We also did the switch step, which is a sharp, interrupted movement, sort of like a set-up for the Americana where the couple goes from side to side to directly in front of each other (and can swivel/pivot back). There was a 1-hour guided practica afterward for Maestros to give individual attention. This seminar was couple signup only (though they did allow singles to come and it all worked out mostly in the end with only one or two orphans). We did not switch partners the entire night. I don't have a partner for the upcoming seminarios, so if any of you leaders want to join me at it, please let me know. Interestingly, Cristina took a much more active, vocal role in the teaching. The practilonga was good, though I think the lights were turned down too low (too dark to cabaceo anyone). The food, catered by Cristina, was very yummy.

Saturday, August 16
Homer & Cristina's intermediate intensivo at Allegro garaje on Ochos. The topic was the same as yesterday, but we spent much more time on the technique of the ocho. We began in one big circle holding hands and did forward ochos to one side and then the other, and then back ochos to one side and then the other. We also worked at the barres on basic ocho technique. Of the ochos we did yesterday, we only had enough time to do the vanilla (close embrace with no Follower hip rotation) and the mocha java (the more open embrace usual ocho). During the practica, Homer saw that my partner and I were playing with volcadas, and he noted that by linking the vanilla to conclude in a small, tight tucks of Follower back foot against and next to the other foot, you can basically do a series of back volcaditas. The Leader's lead for this is a sort of small circular movement in the chest. Great class, as usual, and ended early enough to go to the Emeryville Public Market food court to snarffle up dinner before going to the Danceasy in El Cerrito.

Danceasy Milonga in El Cerrito. Negracha & Diego's visit has been delayed, so Gail Robinson taught the lesson, but I got there too late to make it meaningful for me to take it, and there were too many followers in class. The milonga was OK. DJ Emilio did a find job, as usual. It wasn't particularly crowded, which was fine by me. I really like the ventilation in this place (and the food is quite yummy).

Monday August 18
Jorge Torres Advanced Workshop @ Kabuki Dance Studio ($30 per person, 90 minutes). Jorge taught a couple of interesting sequences, one in which Leader does a gentle parada of his right foot to her right foot, then she steps outside right toward him with her right foot, then Leader does weight change and walks around Follower (she does lapice ornament with her left foot), out to exit. The second sequence was the 8CB to cross, then Leader does two back ochos while leading Follower to step side right, then side left, then leading her to exit with her back ocho of right foot. These were visually simple but technically complicated sequences. Kabuki dance studio is underneath Keiko's hair salon in downtown San Francisco. It's a long, narrow space with pergo flooring. This advanced workshop was advertised as being limited to 5 couples, but 8 showed up (we did not switch partners). Jorge had his baby on his chest for all of the workshop, so it wasn't easy to see his chest movements in terms of the lead. Parking was at the Sutter/Stockton garage (next time I will park on Pine St.). Overall, I thought it was OK but a bit pricey (though he did end up teaching for 2 hours).

Wednesday, August 20
Omar Vega's lesson and grand opening milonga @ 23 Club, Brisbane. Maestro taught a couple of interesting sequences. The first was based on the 8CB, where the leader does a series of weight changes on 3 before stepping forward, and Follower, after the cross, moves her right foot from the left side of her left foot, to the right side of her left foot, and collects, before stepping back. The purpose of this step was to add more interest and accentuate the music more. The next sequence was a series of sacadas during Follower molinete, stopped with a parada on the left of Follower's left foot, or the right of Follower's right foot. The next sequence involved getting the Follower to step back on her right foot with her left foot extended straight forward while she is side by side with Leader (sort of Americanaish). Her weight needs to be all the way back on her bent right leg, then he pivots her around while her left leg is extended forward to come all the way around him. The lesson was very technical. The milonga was fun. Maestro was very gracious in that he danced with all of the Followers who had attended the lesson and most of the ones who came for the milonga.

Come join me!

Friday, August 22
Tete & Silva lesson at Monte Cristo Milonga.

Saturday, August 23
Tete & Silvia workshops
NO MILONGA for me tonight - I need to rest!

Sunday, August 24
Tete & Silvia workshops
NO MILONGA for me tonight - I need to rest!

Monday, August 25
La Cumparsita

Tuesday, August 26
TangoVida ladies' technique and tango lesson

Wednesday, August 27
CCSF classes followed by Omar Vega milonga

Scouting Tour (August 7-13)

Thursday, August 7
TangoVida Women's Technique. We began with our usual foot strengthening, articulation, and muscle memory exercises. We spent more time today on the rib cage cadencia/disassociation exercises. We did our usual walking forward and back, with the embellishment of taps and beats back. Then we worked on the molinete counterclockwise and clockwise -- first alone upright, then around the pillars. Maestra taught a more smooth, rounded, natural footwork for the molinete, rather than a more square, collect-at-every-pass-

opportunity, militaristic footwork. She also emphasized keeping the toes on the floor in the molinete to add stability. As usual, a great class.

TangoVida Milonga class. We began with a quick review of the basic box. The sequence taught was basically a back rock step of Follower's right leg (with optional beat back embellishment of left foot to right of right leg), then right step forward, side close to left, followed by a right foot traspie step. It was a good class, with many enthusiastic leaders. There were a couple of students I knew from other classes who commented how much they liked the class, and how much more they learned in the three weeks (three milonga lessons) they had attended than in the milonga classes we've taken together. And so I got to thinking that no one really teaches milonga or vals this way -- where you can learn it every day for months on end. Each class is drop in, it's not progressive, and so a fun new step/sequence is taught each week -- which can add a whole lot of new words to your milonga vocabulary (a la Gabriela Elias from Escuela Argentina de Tango in BsAs). They made it easy and fun. This class has a steady core group of enthusiastic leaders, and I was impressed by how rich and textured their milonga vocabulary was. The more I take Ney's & Jennifer's classes, the more I am impressed with them as teachers.

Saturday, August 9
Late Night Milonga with Tango Con*Fusion funraiser boutique @ Cheryl Burke. I skipped the lesson (which I hear was lightly attended), and got to the Milonga pretty much right when it started. It was empty, but quickly filled up. I had an OK time; it was fun dancing with new/different people. Lots of local maestros showed up, especially later in the evening. Food was: Ritz crackers & cheddar cubes, tortilla chips and hummus, baby carrots, pound cake, water, no wine.

Come join me!

Thursday, August 14 TangoVida's Women's Technique & Milonga classes.

Friday, August 15 Homer & Christina's advanced seminario at Allegro garaje on Ochos.

Saturday, August 16 Homer & Christina's intermediate intensivo at Allegro garaje on Ochos.



For anyone interested in joining the CCSF yahoo group (open to everyone,
not just CCSF students): CCSF TANGO Mailing List and Yahoo Group

http://groups.yahoo.com/group/ccsftango/

For anyone interested in signing up for Fall semester tango classes with
maestra extraordinaire Chelsea Eng, visit www.ccsf.edu to enroll and
register. Classes start next week. CCSF is just a stone's throw away from Balboa Park BART. I find her follower's technique class outstanding (and it's open to men--and let's face it, the guys can use the work on their balance, posture, footwork, etc., too.), and even though it's been 7 years or so, her beginning and intermediate classes were very good at really teaching the basics and getting the concepts in our bones and bodies.

Scouting Tour (July 31-August 6)

Thursday, July 31
TangoVida women's technique. We worked on walking backward and forward, concentrating on rolling off our toes and heels, and posture/weight transfer. We worked on ocho movement -- talus extended, toes on the floor, fluid movement, especially at the point of collection (rather than a stiff militaristic look). One interesting technical point Maestra made was that on the step, the foot is angled outside a little (rather than straight). This makes the pivoting easier. We worked on ocho embellishments (taps, beat back), and then ochitos while walking. It was another great class, as usual.

CCSF ballroom and Latin dance party. The DJ and dancers were better than last night. The food was less healthy, and more abundant. I had a good time. It was fun seeing the same dancers, year after year...

Friday, August 1
Monte Cristo Milonga & Lesson with Claudio Asprea & Agustina Videla. Maestros have a very good, very technical, very complementary teaching style, in fluent English. We began with exercises: walking forward and backward, then adding counter torso rotation to work on getting used to the feel of disassociation in our bodies, then with a back floor boleo and forward floor boleo embellishment. The sequence was simple but pretty: Follower steps right (Leaders left), then back a couple of steps, into a Follower right foot overturned back ocho (almost like a reverse Americana), directly into two back floor boleos with Follower's left foot, into forward side step of left foot into Americana with Leader, then to normal resolution. Floorcraft was a bit of an issue at the milonga, likely due to packed conditions, but overall quite fun.

Saturday, August 2
Workshops with Claudio & Agustina
(1) "From the walk to the turn: techniques for elegance and musicality." We began the class with many of the same walking exercises as yesterday with a focus on contrabody movement in our forward and back walks. Then we practiced the molinete movement in grapevine formation -- forward, side, back, side, forward, with emphasis on collecting our feet at each pass and pivoting with lots of rotation. For the figure, it was a molinete (with a change in normal timing), into Follower right foot forward ocho. There was much discussion on Leader's technique in leading the molinete.

(2) "Sacadas for him and her." We began again with more walking exercises to help us with the sacada foot/leg movement. The sequence: Follower side step right (Leader side step left); Leader steps in to displace her right leg outside to boleo forward outside into Follower overturned back ocho, with Follower sacada between Leader's legs to displace Leader's right leg. Technical point: In Follower overturned back ocho to sacada Leader, his weight has to be on his back left leg so there is lots of space for Follower to step in between and so that there is no weight on the right displacement leg.

(3) "Musical volcadas for social dance" We began with exercises to help us with the volcada movement. Then maestros taught the reverse volcada footwork. Then, they taught us the regular volcada: Follower forward ocho to get her weight entirely on her right foot (forward), the leader walks around to do a big regular volcada. To be honest, this was a disappointing workshop. They could have taught it a lot better, with much more emphasis on Follower technique/posture, which I believe are essential in volcadas.

Sunday, August 3
Workshops with Claudio & Agustina
(1) "Special Colgadas (from normal to perpendicular, etc.)". We began with a counterclockwise sequence where Follower steps side right (Leader side left) to get all of her weight onto her right foot. Leader turns her out to a 90 degree angle from him, and then sends her out and away from him. (Follower's technical point: Her abs need to be fully engaged to sustain her back. Her right and left arms/hands need to be relaxed. Her posture needs to be slightly forward, she needs to be fully on the ball of her foot, and her hip needs to be straight [not out and not forward].). From here, leader can switch weight one foot to the other to get the feel of how her body feels, but he must always be sure that her weight is forward (not upright, and not back). Leader needs to be sure that he is really supporting her and secure in his hold of her back with his right arm and hand. When Leader rotates Follower around him to bring her around, the Follower must not change the angle of her back, it must be straight with slightly forward posture). Follower lefts leg leg up and then steps down around Leader when Leader bends his knee and opens his torso up to invite her to step over. Technical point: Follower has to bend her knee in the step over, and Leader must not push her through (don't change his arm angle relation). The Leader weight change is important -- all weight is on the Leader's left side step so he has a lot of room to work the movement, so he can have more swing when he rotates her around. It's a centrifugal force thing. We did another sequence which began with Follower side step right with Leader back sacada of his left leg to step and transfer his weight. Basically, the leader can get into colgadas in numerous ways, as long as he can send her out at a 90% angle when she is on her right foot (left foot too, but that is more difficult). Then we tried colgadas in the different direction (clockwise). From the forward ocho, Leader sends her out to her left in 90 degree angle while holding the front of Follower's body by the left side of her rib cage; her weight is on the ball of her left foot, and she steps over with her right foot.

Meastros emphasized that the Leader needs to know how the Follower dances and be sure that she is used to this type of vocabulary in her tango movement. Basically, he has to know that she knows how to do a colgada in the first place before attempting this with any follower. Both Leader and Follower need to know the technique and know how to do it for it to work. Leader must take care of the Follower, and not put in risks in their dancing.

(2) "Gancho techniques for him and her." We began with exercises walking to the mirror in front of us: three forward ochos, then a gancho with the leg facing the mirror. Then we did three back ochos, with a gancho of the leg facing the mirror, into a boleo of the same leg to the other side of the standing leg. The steps: Follower steps forward outside Leader's right side. Leader sacadas, meeting Follower's back left foot (he can correct his footwork if necessary to have contact with her foot); Follower does back gancho of Leader's left leg (Follower bends knee of opposite supporting leg on gancho movement). Follower does back ochos. When she is on her right foot, Leader sacadas (catching her right foot), Follower ganchos with her left foot/leg Leaders right leg. Basically, any forward step and any back step can create a gancho opportunity. Leader can sacada with his back foot, which offers a leg to gancho. Then we got to a more complicated move -- the simultaneous right leg ganchos of Leader's and Follower's leg sending Follower's right ganchoing leg into a front boleo on other side of her left supporting leg. Leader must feel (and wait for) contact of Follower's ganchoing leg (thigh).

(3) "Soltadas for social dancing." In case you didn't know (which a lot of people don't), soltadas are turns. Not molinetes, but small tight turns or spins a la ballroom or salsa. The step: From the Follower back ocho, leader turns follower when she is on her right leg. Technical point: Follower really collects her feet/ankles, to condense the energy in the axis and not spread it out. This can be finished with a back boleo. Another step: from the back ocho, a turn with Follower 3/4 molinete behind and around leader (forward, side, back), forward step into Americana with Leader forward step with his right foot (optional instead of Americana step, can finish into a front boleo). Then we linked two turns together: from the back ocho, a turn when Follower is on her right foot, and then when she steps out of it onto her left foot, another turn. These are all basically either full or half outside turns for Followers, using loop turn Leader arm work.

Overall, I thought the workshop series as a whole was excellent. Maestros have a very complementary teaching style, gave each couple individual attention and lots of time to work on the steps and began each lesson with physical exercises to help with the subject (I found their walking with disassociation particularly important/useful). The subjects were more nuevo in flavor, and it was good to have more exposure in that area. I was lucky to have a reasonably skilled leader to work with. If I had to rotate among newer partners I would probably not have gotten as much out of the workshops as I did. So I realize there is much to be said about taking workshops with a partner who is reasonably skilled (and I think it's an excellent idea to offer discounted "couple" pricing).

Studio Gracia Milonga. I skipped the lesson. The milonga was fun; DJ Emilio did a fine job rocking the house, as usual.

Tuesday, August 5
TangoVida Women's Technique. We began with exercises to increase our foot strength and improve our muscle memory with respect to embellishments -- point forward, point back, tap through, caracia. Much of the class was spent walking -- backwards and forward, with taps on the 1, 1-3-1, 1-2-4-1, 1-3-4-1, 1-2-3-4-1. For the embellishments, we worked on the rulo -- medium and small, combined (medium and two smalls), using the heels and using just the toes, and doing arcs.

TangoVida Fundamentals: Dramatic Tango. We began with two connection exercises: (1) just walking together face to face in practice hold; (2) a matching energy hand-to-hand push/pull. We did a walking exercise where the Leader stood in the same spot and just held out his hand and led Follower to walk around him. Then with Leader in the same spot, he leads Follower around him while all her weight is on her left leg, and her right leg is extended in a planeo. We practiced embellishing the planeo with small and medium rulos and arcs, which we learned in the women's technique class. We also did an exercise to get the Leaders used to sending the leg of the Follower out in planeo, and bringing it back in -- basically a raising and lowering of her rib cage to extend her leg in or out. We put it together in a simple sequence: Follower side step right, forward step across front of Leader with her left foot, into embellished planeo. Overall an excellent class with much discussion on the Leader's technique.

Wednesday, August 6
TangoVida Intermediate Class. We worked on a sequence -- Follower molinete while Leader does two ganchos on her side and then immediately on her back step. It was tough. The figure requires a lot of rotation in the Follower hips, posture needs to be straight up (no lean anywhere) and embrace gets broken at points (but connection in hands needs to be maintained).

TangoVida Beginning Vals Class. I tried my hand at leading; it was tough. We began with Ney's usual musicality exercise, and continued onto connection and walking to the vals rhythm. The figure was a turn. For the leader: footwork is an "L" figure: forward left, forward right, side left back, collect. Leading got my head into a different place musicalitywise. I really tried to insert the turn in the places in the song (Desde El Alma) where it made sense.

Come join me!

Thursday, August 7
TangoVida women's technique

Friday, August 8
Downtown Palo Alto Milonga with Lesson by Eric Lindgren
OR TangoVida followed by Monte Cristo

Saturday, August 9
La Milonga De Nora @ Allegro
OR Sausalito Milonga with Gustavo & Jesica
OR Late Night Milonga with Tango Con*Fusion funraiser boutique