December 24-31

Friday, December 25, 2009
Marcelo Solis's milonga at the Lafayette Dance Center. No lesson on this night, it was just all milonga. This milonga occurred because Maestro's regular students asked for it, and he graciously complied. This was my first time here. It was easy to get to and there is ample parking. The facility is a storefront dance studio (dance floor is 20 x 50 feet perhaps?), with a small seating area at the front desk, which got quite cluttered with shoes and coats. The floor is rolled linoleum (not linoleum square tile), with two seams and some sticky spots, over something quite hard, not sprung. Needless to say, dancing on such a texture was a bit physically demanding (at least to my fifth decade bones) and pivotally challenging (no matter how hard I tried to channel Luciana Valle). However, it also slowed us down a little bit, and we all looked a lot more elegant and musical because of it; floorcraft was the best I have ever experienced at any milonga in the SF Bay Area. Many of the attendees were Maestro's regular students, and the rest were tango die hards, some of whom came from as far as Sacramento just for the event! Thought it wasn't a very large crowd, the skill level was good, and the gender balanced. It was an extremely friendly crowd, and everyone respected the milonga codigos of leaving the dance floor during the cortina and not dancing or standing through it, and not dancing more than one tanda at a time with anyone (including the couples who came together). So everyone got to dance with everyone else, including Maestro, which made for a very social, welcoming, inclusive environment. The food was ample as several of the regulars made it a potluck event, and snacky in nature (trail mix, baby satsumas, grapes, gourmet chocolate, baklava, veggie stix, home baked cookies). Several people also brought wine and champagne to supplement the water (from an excellent, large, sturdy, non-leaking water cooler) and apple juice. All in all, it was a very fun, excellent night.

Saturday, December 26, 2009
Late Shift Milonga at Cheryl Burke Dance. I didn't make it for the lesson, taught by David and Mariana, but was told it was on side volcadas (linked). The milonga was lightly attended, likely because of the competing milongas (the very popular All-Nighter at the Beat, and Gustavo & Jesica's Sausalito Milonga) and the holiday weekend. Still, like yesterday, I had a good time. Skill level was good, gender was reasonably balanced, though skewed on the Leader side. I got to dance with several local maestros, so that was a nerve-wracking surprise, but definitely a treat. Floorcraft was pretty good and generally not an issue, though oddly we did get bunched up on the dance floor at times. Pretty much every follower danced the entire time, with only a few rotating leaders and the spectator non-dancers sitting things out. It was a very pleasant evening.

Sunday, December 27, 2009
Muscality class with Glenn Corteza at Bollyhood Cafe. I decided to pop in to the Musicality class and skip the first fundamentals class since I am keeping an eye on the budget. The class on this day was follower-heavy, and since followers also had to lead as well as follow, I decided to sit the class out. Also, the Musicality part of the class never started, it just continued with fundamentals, with a focus on the cross system walk and ochos. Maestro had some good commentary on Follower's technique, with specifics on how the Follower's (erroneous) technique can knock a leader off balance, or how she can be better balanced by having good technique. One of the best things Maestro said that all that we learn about technique, we should use and apply it immediately in our dance, since these nuggets are like food. We do not go shopping and buy food to put in the fridge for six weeks and take it out six weeks later to cook and eat. We use it right away. That's the way tango technique nuggets should be, used and applied right away (not six weeks later). Maestro didn't charge me at all for the lesson since I sat it out and didn't physically participate in it, and hence I won't convey the detailed specifics of what he taught. The facility has a nice wood floor, though it is a space where it is two rooms made into one, and where the two rooms meet, there is a threshold in the floor where the structural support beams are, which made for some challenging spatial awareness/footwork issues. The Bollyhood Cafe is a beer and wine place, though they also serve Soju-based cocktails ($7). The bartender was super nice, and after he realized he made my Soju Margarita wrong (he added cranberry, so turned it into a Soju Margarita Cosmo), he offered to make me another, gratis, the way it should have been made. I thanked him but declined since I wanted to dance. I also ordered the Chicken Sandwich, and I was favorably impressed by the down-home spin using gourmet ingredients. My chicken sandwich came with real chopped chicken meat on whole wheat bread, with avocado, capers, and cucumber, with a side of baby lettuce, all lightly dressed, for a bargain $6. Parking is not super easy, so allow for some time to hunt for a street spot, which on Sundays are free and without time limits. It was a very relaxing way to while away a Sunday afternoon, and a fun place to go if you need to get more mileage on the milonga dance floor or want to work things out at the practica. The practica is guided with Maestro going around and helping students improve whatever they are working on.

Monday, December 28, 2009
Orange Practica at the Beat with lesson beforehand by Homer and Cristina Ladas on "Why We Love D'Arienzo"

This is an intuitive movement class, as well as a class where we explore phrasing and rhythm, and how they are connected, focusing on the music of D'Arienzo.

Exercise 1:
We were to dance using only:
(1) weight change movement
(2) rock steps
(3) walking
as the building blocks for class. We were not to use any ochos or molinetes (turns).

Exercise 2:
The song for the exercise was Pensalo Bien.
The class was divided into two groups: (A) and (B).
Large phrase = paragraph.
During the first paragraph of the song, the first group (A), was to move around by themselves, using only (1) weight changes, (2) rock steps, or (3) walking.
During the second paragraph of the song, the second group (B), was to move around by themselves, using only (1) weight changes, (2) rock steps, or (3) walking.
During the next paragraph, group (A) would move around by themselves.
During the next paragraph, group (B) would move around by themselves.
The song Pensalo Bien was chosen because it has good structure and tight phrasing, as is typical with D'Arienzo, and on an overall paragraph level, he tells a good story.

Exercise 3:
The song for this exercise was also Pensalo Bien.
In the same group divisions, (A) and (B), each group would dance just the sentences.
Here, the point was not to count the beats. The goal was to intuitively feel where the sentence begins and ends.

Exercise 4:
Continuing our work with Pensalo Bien, we worked on microphrasing. Here, we broke up the sentence structure even further. Leaders would use one tool (weight change, rock steps, walking) for the whole sentence, working with the strong beat. That is, he would lead 1 sentence of walking only, 1 sentence of weight changes only, and 1 sentence of rock steps only. We attempted to dance this only on single time during the whole song, and noticed that for some moves, such as the rock step, it was very difficult to do in single time. The natural inclination is to do the rock step in double time. However, if we do it in single time, it enables us to pivot more.

Exercise 5:
Subdividing the Rhythm:
(1) Minimalism
(2) Maximalism

The idea behind Maximalism is to throw everything in there, and do it on the beat, including all the beats, if possible.
The idea behind Minimalism is to be restrained and let some beats go by without stepping on them.

To help us understand this difference, we danced to Pensalo Bien doing double time in most of our steps.

Exercise 6:
The song for this exercise was El Flete.
The class was divided into three groups: (A), (B), and (C).
During the first paragraph of the song, the first group (A), was to move around by themselves, using only (1) weight changes, (2) rock step, or (3) walking.
During the second paragraph of the song, the second group (B), was to move around by themselves, using only (1) weight changes, (2) rock step, or (3) walking.
During the third paragraph, the third group (C), was to move around by themselves, using only (1) weight changes, (2) rock step, or (3) walking.
During the next paragraph, group (A) would move around by themselves, etc.
For this song, it was noted that at the end, sometimes the sections overlap, so groups (A) and (C) could both be moving at the same time.

The Variacion:
A discussion followed on the "Variacion", which is the crazy part of the song at the end where typically the bandoneons do their solo in double time or double-double time or double-double-double time -- "almost" 1/16 time. Here is where the concept of Minimalism can be applied in our dancing, where the dancers can do something the exact opposite of what the music is doing. For example in this case during the variacion, the dancers can step emphasizing only the strong beat or step on every other beat, as opposed to Maximalism, where they would try to step on every beat during the variacion, in "almost" 1/16 time.

Chaos Factor:
A discussion followed on the Chaos Factor, where we could dance in single time, and throw in a double time when you feel like it, and it will likely work if you are dancing to D'Arienzo. This is because there is always the double time undertone of "chaka chaka chaka" in D'Arienzo's songs. That is why he is called "El Rey del Compas" -- the King of Rhythm. The train is always rolling underneath.

Switching from Single Time to Double Time
The question came up of how can/do Leaders prepare to switch from single to double time.
The answer was that they need to prepare a step before the switch actually occurs.
Sometimes they can lift, and take shorter steps, especially for double-double-double time ("almost" 1/16 time).
There is a very distinctive change of flavor, change of embrace to have more elasticity or breathing.
It helps if the Leader stays on the same flavor for a little bit (at least two steps) before changing.
It can be like a calm before the storm, with a pause or slowing down to build up, then an accelerating, then a stop, then a pause.
It also helps if the Leader knows the song well. The same goes for the Follower.

Exercise 7:
We were to dance the last song with no restrictions, but make clean phrasing. So we could do ochos, ganchos, boleos, etc., or keep the same movement if we choose.

Maestros concluded with a demo to D'Arienzo's Pensalo Bien, which can be seen at www.tangostudent.blogspot.com.

The lesson and practica both were very crowded; skill level was good to excellent. Overall, it was a fun night.

Tuesday, December 29, 2009
Lesson at Cheryl Burke Dance taught by Pier Voulkos and Daniel Peters on Barridas and Colgadas. I dropped in on the last class of a four-week class on Barridas and Colgadas. The sequence taught was from the molinete, where the Leader does a right foot barrida of Follower's right foot. Then he lets her out in colgada, and she steps over with her left foot counterclockwise. For the Colgada technique of the Leader, he needs to let the Follower out with his right arm; it is fully extended, his arm is straight but his wrist is bent and still provides support and connection with the Follower. The Follower's right arm should be straight also. The Leader needs to invade the Follower's space forward so that she has reason to go back in colgada. Follower should also not make the Leader pull her back in onto vertical axis. She should come back to axis naturally as a consequence of the circular impulse of the colgada coming to completion. Next sequence was a Leader right leg barrida of Follower's right leg, to reverse sweep of Follower's right leg barrida to Leader's right leg, back to another sweep of Leader's right leg to Follower's right leg. This was done with weight changes. Next, we did the 8CB to 5 (cross) to Follower right foot forward cross step clockwise, to Leader's right foot stop, to Leader's right foot barrida of Follower's right foot. Next, he could turn his right foot, and the bring her around clockwise to sandwich his right foot to Colgada around in a shared axis turn. Note that there is a Leader change of embrace where his fingers go from pointing toward 9 o'clock to 11 o'clock. The Follower steps out of this colgada shared axis turn with her left foot forward (Leader right step back). Notice that any colgada shared axis turn can be done on any forward cross / forward ocho step. We backed up a little so Leader's and Follower's could work on the colgada feeling/body technique with Leader stepping forward with his left leg and letting the Follower out in colgada, and then stepping back with his same left leg and then bringing Follower back to axis. Then we went onto link things in a Leader right leg barrida of Follower's right leg, to her colgada stepover of her left leg to a forward ocho to a right leg sandwich to a colgada shared axis turn. Then the class reviewed a colgada learned last week of Follower reverse barrida to Follower colgada. Overall, I thought the lesson was pretty good. It was held in the ballroom above World Gym, which can be a bit stuffy, and which has a peculiar tasting water fountain, so I would strongly recommend bringing your own water bottle. That said, it was still fun to dance with some of the leaders that I haven't danced with in over a year (why aren't y'all at milongas???!)

Scouting tour continues in the next few days from the San Diego Tango Festival.

HAPPY NEW YEAR!! BE SAFE!!!

(AND THANK GOD 2009 IS OVER!!!!)

December 3-23

Thursday, December 3, 2009
Verdi Club Milonga with lesson beforehand by Santiago Croce and Amy Lincoln. The topic was "old fashioned sequences from the 50's." The sequence taught was a simple one, the most important aspect of which was the Follower falling back cross. Basically, she falls into the back cross, it is not a pretty, technical movement. The lesson and milonga were very crowded, so floorcaft was challenging at times. Still, it was nice to see so many people at the farewell party.


Saturday, December 5, 2009
Santiago Croce and Amy Lincoln advanced lesson for partners at La Pista. This was a small lesson with only four couples, and we did not rotate. Maestros began with first asking each individual what aspect we wanted to work on (Leader's planeo, colgada, volcada, etc.), and they created a sequence that included all of these elements. Then we worked on these elements, really delving into the finer points. The most challenging aspect was for the Leader's enrosque/planeo, there is a point where he is at the mercy of the Follower to keep going with her counterclockwise molinete. Here, she must have tone in her right shoulder and not have it collapse, otherwise he will not get the energy he needs from her to maintain his axis on his stable, standing leg while his leg is out in a planeo. She cannot also wait for him to lead her around in the molinete while he is doing his planeo. The sequence also included a small colgada and small volcada. It is maestro's opinion that we all need to learn how to dance small, as they believe tango is returning to more milonguero style moves (as opposed to fantasia/performance/nuevo) since the milongas in general are getting more crowded and there is less room to dance big showy moves like huge volcadas.

Mat MaMoody and Shasha lesson at the Allegro. We began with a very quick review of some fundamentals (ochos, 8CB). Some interesting performance moves were taught, such as the Follower right leg raise to the outside of the Leader's left hip. He can step back to keep her hooked on for a more dramatic flourish. We also worked on Follower back boleos. Since this is a performance class, Shasha taught the boleo as a leg up all-the-way around boleo, not returning back down to the floor until after she finishes her pivot on the other side (as opposed to the more social dancing type boleo where it is up and back down, as close to the dancing couple as possible, before the pivot, to avoid kicking the other dancers). It was a fun lesson, as usual.


Wednesday, December 9, 2009
CCSF classes with Chelsea Eng. In Follower's Technique we began with a reading from the "On Following" section from Sally Potter's book "The Tango Lesson." Then we reviewed our floor, barre, and connection exercises. In Advanced, since it was review night, we worked on volcadas, which is what we began the semester with. I think we improved since then, and I found it helpful to hear again all the technical/physical aspects of following the volcada.


Wednesday, December 16, 2009
CELLSpace milonga with lesson beforehand by Homer and Cristina Ladas "Linear and Circular Impulsive Movements"

Our goal for the lesson was to work developing communication with our partners, focusing on the energy in communication to lead the Follower's leg to make certain shapes, linear or circular.

Exercise 1: Follower Small Circles
Done in open or close embrace, the Leader communicates a Follower small circle. The Leader leads the circle of the Follower's left or right leg, and he guides the direction of the circle, clockwise or counterclockwise. This exercise requires that dancers are able to do small circles by themselves. For Follower's technique, there are two different articulations of her feet on the floor: (1) the toe making the circle, or (2) the heel making the circle. The circle should be made from the hip bone and using the whole leg (not just below the knee). The freeness of the free circling leg depends on the stability of the standing leg. For Leader's technique, it is important that he pays attention to how he puts the Follower on one leg before starting to lead the circle so that he does not knock her off axis. The Leader communicates with the center of his body, not just his arms, when he communicates the circle. Leader tilts forward, then the Follower's leg goes back. Then he swings her leg around by swinging his body around a little, with the movement concentrated in his belly button.

Exercise 2: Linear or Circular Free Leg Exercise
Leader frees the Follower's leg so that it moves either in line or circular. Note that it takes time for the Follower to complete the movement, so the Leader needs to wait for her to collect before leading something else. The Leaders attempted to communicate the energy outward to do a counterclockwise circle of the Follower's right leg, or a clockwise circle of the Follower's left leg. Then the Leaders attempted to communicate the energy inward to do a clockwise circle of the Follower's right leg and a counterclockwise circle of the left leg. We recognized that in this exercise, being subtle is difficult. So our homework is to master the subtle feeling before going big.

Exercise 3: Follower Linear Side Extension
The Leader leads the Follower's leg out to the side as if for a side step while he remains in the same spot. There was no verbal instruction on how to do this; Leaders had to figure it out themselves. For the Follower there was no step or weight transfer, it was just a leg extension out to the side as the standing supporting leg grounds down into the floor.

Exercise 4: Pendulum Leg Exercise
We were to do this exercise with care and caution, and be responsible with our bodies and legs so that we do not cause harm to our fellow students. For the exercise, individually, we swung our whole leg back and forth like a pendulum, remaining strong and stable on our supporting standing leg, and with our rib cages up and upper bodies stable. Our arms were such that they looked like we were holding large imaginary beach balls. The Follower needs to be centered on her whole foot, not pushed forward on the ball of her foot because of her high heels, so that she will be maximally stable and not prone to being knocked over or imbalanced. The knees should be bent, not locked.

Exercise 5: Developing the Linear Boleo from the Pendulum Leg Exercise
Same as the Pendulum Leg exercise, only done with more energy and in partnership. The goal here was to get the Follower leg to go really high back behind her. The Leader takes one step forward to lead her to step back, but stops abruptly, preventing her body from continuing to go back (though it may continue to go back by one centimeter), but her back leg goes free and up behind her. This is a timing exercise. Then he steps back with her forward step as her back free leg returns forward. Leaders technique: Do not be afraid to lead her back. Prepare with your whole body. Use your breath, exhaling as he sends her back. Follower's technique: Go back with the whole body, just just the shoulders or butt.

Exercise 6: Colgada Counterbalancing
In partnership holding each other at the wrists, with our toes straight in line and touching each other at the tips, the Leader sends the energy back and goes back at the same time with his body so that both dancers counterbalance each other. The bodies are not bent or sitting. We were to maintain our rib cages up, cores engaged, and our bodies straight. We hung back a while counterbalanced, then came back to axis, then hung back again, then back to axis, several times. Maestro noted that the Follower going out and up with the leg is a consequence of the Leader counterbalancing her.

Exercise 7: Back Linear Boleo
The Leader takes one or two steps to have Follower's leg go back really high. Maestra emphatically pointed out this is just an exercise, and that on the social dance floor, the Follower should keep her leg down so that she does not kick or gouge anyone with her heel.

Exercise 8: Forward Linear Boleo
We were to build on the back linear boleo to a forward linear boleo between the Leader's legs. Here, we were to focus on the use of axis and energy, using it carefully otherwise you or your partner can get hurt. The Leader leads the forward linear boleo through his legs by creating a wall with his embrace after the Follower's leg goes back in the back linear boleo. He needs to make sure his legs are apart when leading the Forward linear boleo (otherwise she will kick him).

Comments about Linear Boleos on the Social Dance Floor:

Leaders need to be mindful when leading the back linear boleo (as well as all boleos). Ideally, the Follower's boleoing leg should be pointed out and away from the dance floor so that she will not kick anyone with her back linear boleoing leg. The Follower always has the option to do boleos low on the floor, not high, especially if conditions are crowded and it is dangerous to do on the social dance floor. In keeping the boleos low on the floor, she still responds to the energy and lead, but is also considerate toward other dancers on the social dance floor. The Follower is in control of her leg to answer big or small, no matter what the Leader's intentions are.

Maestros concluded with a demo to Fresedo's Cordobesita, which can be seen at www.tangostudent.blogspot.com.

The milonga itself was quite fun. I don't go to CELLSpace very often, but I had a good time. Maestro reiterated many times to mind the line of dance. This particular night was special because it was a cancer benefit for a famous tango teacher originally from Buenos Aires and now based in U.S.; Project Tango raised more than $600 for her.


Saturday, December 19, 2009
Holiday Milonga at the Masonic in Mountain View. I did not go to the lesson beforehand since I was at another party. The space has a very nice hardwood floor, high ceilings, and seemingly good natural ventilation (at least in the winter). There is ample, easy parking. Since this was a holiday milonga, the food was amped up a notch, and much better than I expected. The sandwich bar included pulled park, jerk pork, and tri tip on dinner rolls. Other than sauces and condiments there were no other sandwich fixin's (tomatoes, lettuce, pickles, that type of thing). The food was self-serve buffet style onto small paper boats, which slowed down the heavy eaters. I did not try any of the pork, but found the tri tip to be utterly delicious. The potato salad and coleslaw were on the extremely saucy side. There was ample wine, water, mulled wine, sangria, and punch. There was a selection of 4 desserts (lemon bar, Greek walnut cake, and two types of cakes). Overall, the food was extremely ample, and there were opportunities to take home leftovers if so inclined. As for the milonga itself, Sheldon the DJ did a very good, inspired, refreshing job, and played many songs that I had never heard before. The floorcrafting wasn't the greatest, but thankfully improved over the course of the night. I regret that it took me so long to make a trip down to this milonga, as I had eyed it for years. There was talk about decreasing the frequency of this milonga going forward, which would be kind of a shame.


Sunday, December 20, 2009
Cafe Cocomo milonga with lesson beforehand by Homer and Cristina Ladas: "Close to Open Transition to Promenade Plus One Alteration"

Close to Open Transition
We began with dancing with a transition from close embrace to open embrace and back to close embrace, seeing what we do, and how we do it. The music we used for the entire lesson was Di Sarli musicals from the 1950s.

Next, we worked on a specific transition close to open embrace, beginning with a side step, up, change weight, settling, and reaching with the other foot to make a side step one side to the other and back. Leader be clear with your intention and movement in your body. There is a "U" shaped energy in this side step action.

We continued to practice the side step and "U" energy intention.

Promenade
Next, in practice hold and open embrace, from the side step, the Leader steps down in the "U" part to pivot into the Promenade (Americana) on the open side of the embrace. For the two dancers, it is like gears meshing, with the Leader right hip counterclockwise turn to face forward, and the Follower left hip clockwise turn to face forward.

Next, we added the arms to close embrace. Our bodies rolled together and opened up. The movement to lead the promenade (Americana) comes from the Leader's hips. The Leader steps to the left and then pivots with his right hip. It should have a whipping, surprise sensation to the energy.

We danced to one song in the line of dance, incorporating this step.

To end this step, the Leader's chest is up and open. The Leader stops after her step on the outside (right) leg, then he leads the Follower to step forward on her left leg inside and return to be in front of the Leader, back into close embrace.

Next, we did the human magnet exercise in open embrace with our feet 6-8 inches away from each other. Our bodies were straight up and down and we were on axis. Then we were to meet each other in the middle with our chests, matching each other's energy.

Then we did the same pattern going from open to close embrace and then back to open. The Leader at some points lets go of his right hand, while the Follower's left hand slides up as her body tilts forward in response to his lead to invite her to come back to close embrace.

The Follower's forward step to return in front of the Leader should be long and around (curved) into the Leader to transition to close embrace. The Leader opens up his left shoulder, and his axis tilts forward a little. The Follower should be able to sense this forward Leader tilt, and answer with a forward tilt of her own to meet the Leader.

Alteration
From the promenade position, the Leader out steps the Follower with his right foot on her left foot forward step and turns clockwise so that after Follower gets back in front of Leader, she pivots on her left foot, to do a back step with her right foot and side step with her left foot in a half of a clockwise molinete. Here, it is important for the Follower to collect on her left foot with her right foot before she steps back with her right foot.

Next, we worked on the musicality of the sequence, doing it on all single beats. Then we added double beats (QQ time) on the Follower's back and side step, accelerating into the alteration.

We continued with dancing this simple sequence in the line of dance, and with the music, to make it feel good and to have the hip twist surprise element in our step into the promenade (Americana).

Maestros concluded with a demo to DiSarli's Una Fija , which can be seen at www.tangostudent.blogspot.com.


Monday, December 21, 2009
Orange Practica at the Beat with lesson beforehand by Homer and Cristina Ladas "Anatomy of the Contra Back Boleo"

We began with the Pendulum Exercise, making sure there was at least 3 feet of clear space behind us. We were to plant our weight on one foot (either left or right), and let the other foot swing freely. Our arms were in beach ball pose, being calm in our upper body with our rib cage up and core engaged so that there was no movement in our upper body. Both knees were bent. The Follower needs to find the sweet spot on her foot to distribute the weight on four corners of her foot to be stable and strong.

Tonight, we were to work on four categorical shapes of boleos. In all of these four categories, the Follower should always have control of her body. So she might not do a big boleo, even if the Leader asks her to do it that way.

(1) Keep foot to the floor
(2) Blade of Zorro
(3) Circular
(4) Circular but bigger

(1) Open up with hips, but foot stays on the ground. We can do this on either foot. Our goal was to find balance, make it tight, and imagine dancing on a crowded dance floor. We can add a little bit of pivot to it. The Follower heel points down on the floor so that she does not stab anyone with her heel.

(2) Blade of Zorro. The leg and foot movement is a flick, like a razor, a little out to the side across the back of her body, and then back down. The boleoing leg goes a little behind the standing knee so that the legs do not open up. There is no light between the thighs. Be sure not to sickle the foot. Turn the foot out a little and point the toes before the leg flicks and leaves the floor. The energy of the movement is similar to a match strike.

(3) Circular. This boleo shape begins with the Flick of Zorro, but the hips open more, and there is a semicircular movement to the leg before it drops back down. We can also add a little pivot to make it sweeter.

(4) Circular but bigger. Recalling the Pendulum exercise with our leg going straight back, we were to send the Follower's leg out in a line, but bring it back in with adding circular energy. For the Follower, she is more open in the knees. This is a more rare articulation.

We began with an exercise in tea kettle embrace with both arms of Leader behind him with his hands at the small of his back. Follower's holds on to Leader's biceps. The goal was for the Leader to lead the Follower to pivot her hips, either slow or fast, with Follower maintaining particularly strong connection with her embrace when the Leader led a faster pivot.

For the Leader, two things:
(1) The rotation comes from his spine, regardless of how slow or fast he is moving. He needs to contract his core muscles for faster rotation.
(2) There is a slight delay of the Follower's movements, so he needs to take time for the energy to travel from the Follower's embrace to her spine, and then to her hips.

For the Follower:
(1) Don't anticipate so that the Leader can calibrate his lead to your movements.

Leader: Observe how long it takes Follower to complete her movement. Wait. Do it slowly. Observe.

Follower: Engage your core so that there is no reverberation in your arms/embrace. Have resistance in your arms.

For the first contra boleo, Maestros noted that all boleos have both "send" and "rebound" energy to more or less degrees, even if they are called "with" boleos or "contra" boleos. The difference is in the way the Leader steps that makes the boleo "with" or "contra"/against the Follower's rotation in the hips.

Again in tea kettle embrace, the Leader steps against the Follower with a bit of send energy and a lot of rebound energy. The Leader would start with the slow shimmy, and then try to figure out how to step into / against the Follower to get the hip rotation to boleo.

Next, we added the open embrace, working on doing boleos on the easy side (the open side). Leader would walk in parallel system, making a very dynamic step with left foot. We were to focus on the contra energy. It is all about the Leader's left foot making a long step that is fully engaged and attacking like a karate chop into the floor. He needs to keep his embrace firm and totally engaged and compressed. He should be solid like a statue so that the Follower can hang on to him for that one moment in the boleo.

Boleos usually happen on the strong beat, so to lead it the Leader has to lead it a little ahead of the strong beat. However, he is limited by how well the Follower hears the music. Leader should not push with his right hand, otherwise the Follower will step (he will change her weight).

Next, we attempted to do this on the hard side (the close side). Here, the Leader's right hand has to detach, but be strong from the shoulder up (similar to the teapot embrace).

The next boleo step, which Maestros only demonstrated and we did not try as students, included a step with the Leader's right foot, to pivot on his right foot (collecting with his left), to rebound back with a left foot back cross step, really working his hips.

Next, we practiced linking two boleos as if dancing in a small space, in the line of dance. The sequence went something like step, boleo, promenade, step back, boleo, etc.

Concluding comments on boleos: The Follower decides how big or small, how high in the air or low on the floor, and the shape (linear or circular) of the boleo, depending on the music and space availability. She does, however, need to react when the boleo is led, and exercise discretion and common sense when doing boleos on the social dance floor.

Maestro concluded with a demo to Rodriguez's El Encopao, which can be seen at www.tangostudent.blogspot.com.


COME JOIN ME!
Come spend New Year's Eve weekend with me in San Diego. http://www.sandiegotangofestival.com/ Flights are cheap (check Virgin America and Southwest), and if you get a room with two queen beds, and find a roommate, you can cut down on the expenses. Pablo, Jr. Scout Extraordinaire, and TangoStudent will be there, along with Homer and Cristina, who are teaching. Other teachers include the fabulous Brigitta Winkler, and Jaimes Friedgen (who Homer raves about).

MERRY CHRISTMAS!

November 26 - December 2

Thursday, November 26, 2009 - Fandango de Tango workshops
Diego di Falco y Carolina Zokalski on Vals. We did the cadena, on both sides. For the Leader, it is important for him to relax his right arm when he steps near the Follower on her pivot. The question came up of how to improve the link if you don’t turn enough. The answer is (1) we can cheat with a calesita, OR (2) turn the first step. The first back cross is a back cross to the right side with left foot so she is out of the Leader’s way and he can turn. It was a good class. Or (3) the Leader opens up his left shoulder a lot to lead her to step to this left. In cadenas, the intention of the turn is always in the same direction, and the Leader should always keep opening up the left shoulder. For turn is always counterclockwise for left side cadenas, and for right side cadenas it’s always clockwise. The link is in the first step, from outside to inside or inside to outside to link directional changes. We can add a 1 step so it is 1-1-2-3-4-1-1-2-3-4

Pablo Pugliese y Noel Strazza on Back Sacadas. We began with dancing to two songs, really thinking about our footwork, trying to be precise, and being where we need to be, having good contact, and with Leader having relation to where the Follower’s shoulder is to know where her foot is. The first back sacada we worked on was the Leader’s back sacada of his left foot of the Follower’s left foot. She steps back quite far with her right leg. Leader pivots a lot to get around enough since it’s a straight back step for him. He should place his foot, and his front leg should be bent with the weight on it. The Follower’s weight should already been on her back right leg so her left leg is free to be sacada’d. Note that in the Leader back sacada there are two arm options for the embrace of the Leader’s right arm and the Follower’s left arm: close or sliding. For the Follower to receive the Leader’s back sacada, she needs to reorganize her movment. As soon as she can, she should try to bring her left leg to collect in, bringing her feet together, and not let her left sacada’d leg go flying out widely and wildly. Next, we did the Leader’s forward sacada of is left leg of Follower’s trailing right leg of the counterclockwise molinete on her left foot forward cross step. Maestro noted that in molinetes, it is more of an oval than circular shape, where the Front and Side steps are closer to the Leader and the Back and Side steps are farther away from the Leader. Because of this oval shape, the Leader should send her a little farther away from him to get her in the correct position for the sacada. Leader’s left foot back sacada of Follower’s right trailing foot on her left foot forward step of the counterclockwise molinete. We went back to an exercise of Follower pivots premised with maestros showing us moving like a block versus disassociating and moving like a spiral. Then we did partnered exercises with Follower ochos (using disassociation and spiral movement) with Leader doing open (side) steps, and then leader doing front cross steps with the Follower pivot. The Follower needs to pivot a lot in her feet, and then step back with heel down in the back sacada. Do not be careless about the movements. Apply pivots. Be exact with our feet. Use what we know to go back and review all that we need to do to do this kind of work. One great comment from Maestro was that we should not take tango so seriously. It is not the end of our life if we don’t get it.

Nito y Elba Garcia on Tango. It was nice seeing Maestros. Since this was a short class, only and hour long, Nito decided we would skip his usual walking and embellishment exercises and went directly into the sequence. Leader right foot forward sacada to Follower’s left leg back boleo. Leader stops her boleo with his left leg, then pivots her to Leader right leg parada to counterclockwise molinete footwork for her (back, side, forward) to two forward ochos. Next, we did an ocho cortado variation. Maestros are big fans of using the spiral cross and they frown highly upon schlumping crosses. Next, we did another small sequence of the 8CB to 5 (cross), to pivot around, into a cadena step, then walk Follower out to resolution on her left foot. It was, as usual, an excellent class.

Friday, November 27, 2009 - Fandango de Tango workshops
Diego Di Falco and Carolina Zokalski on Chacarera. Carolina started out as a folk dancer, so this topic was near and dear to her heart, and I personally was very glad to see it offered. Tango was born in Buenos Aires, and belongs to everyone since it was created by all the immigrants in the city. Chacarera belongs to Argentina and it is a native folk dance, danced at the Penas (folk dance milongas). Footwork is 1-2-3 with first step long, and next two steps short, and it always starts with the left foot. It uses a 1-2-3 rhythm, like vals. Maestro commented about the body and arm movements with the body being like a tree trunk and the arms being like tree branches. So the arms should sway away from the direction the body is moving, as a branch would do in wind or tree movement. Then we worked on the Chacarera choreography: avanzo-regresso (steps forward and back), hiro (small circle), vueltantera (big full loop to other side and back, done in 6 or 8 counts), the zapateo and sarendeo (Leader fancy horse footwork, with Follower diamond skirt flourish), the mediavuelta (go to the other side in 4 beats), the hiro y coranacion (small circle concluding with dancers in the middle crowing each other). This would be a first part of the song, and dancers will end up on the opposite side of where they started. Then this is repeated a second time, and ends with the song with dancers on the same sides where they started. Since our class did so well, we had time to ask about the culture of the chacarera and the music. THE group for Chacarera music is the Carabajal family. A new group is called Los Chalchaleros. For the group (4-6 person) chacarera, only the “vuelta” moves are done in group (media vuelta, vueltantera). This was a great class.

Guillermo Merlo y Fernanda Ghi on Expansion & Compression Techniques in Ganchos. Since they were heavy on Followers in this class, I ditched it and went to Nito y Elba Garcia’s Tango class instead, which was, as usual, a great class. It was fun.

Pablo Pugliese y Noel Strazza class on Ganchos and Voleos Combination. We began with dancing to one sing, doing boleos and ganchos, any ones that we knew, to get us warmed up to incorporate that type of movement into our bodies. Two reminders: (1) For boleos and ganchos, the movement comes from the floor (like a match strike), and returns to the floor. (2) Have clean movement, reorganize the movement by collecting to check our balance and be on our axis before taking the next step. Then we began with the Follower forward ocho with Leader open steps to the side/leg she is leaving, to lead the Follower boleo. Follower should not sacrifice body posture for boleo height (how high she can get her leg up). Next, we did the Follower front cross boleo of her right leg, then Leader sneaks in with his right leg in front of her supporting left leg, to cause her to back gancho his right leg as her right leg returns from her front cross boleo. Note here that on the Leader’s right leg sneak in his toe tip is what touches the floor while his heel remains off the ground. Both dancers should rotate their chests toward each other. It;s a contra boleo so the Leader’s right leg is free to position in to go in front of the Follower’s left foot to receive her right leg gancho of the back of his right leg. Follower should keep her knee soft and leg springy, which will help keep her body level constant. Next, we did a Follower front boleo to back external gancho of Leader’s on the left and right side to the left and right leg. Nuggets of wisdom: We should approach dancing in a playful way, to make it fun, easy, and uplifted.

George y Jairelbhi Furlong on Boleos & Their Timing. I was particularly excited to go to this class since it was their first time teaching at Fandango de Tango, and I had seen their summary teaching videos on YouTube and was favorably impressed. We began with dancing to a song trying to do all the boleos we knew so that maestros had an idea of where we were as a class. We began with an exercise with the Follower’s weigh on the left, then pivot as if for a forward ocho with our hips while torsos remained forward. For Follower’s technique on the boleo, she should keep one knee behind the other, and to get a high boleo, her standing supporting leg bends. Follower should try to do the boleo underneath her other elbow (i.e. left boleoing leg should reach for her right elbow). The Follower should not anticipate, and should always be a little behind so that Leader can lead her. For the social dance floor, we should do low floor boleos. Only do high boleos if the social dance floor is not crowded, and only if it’s safe. Otherwise, you risk injuring other unsuspecting, innocent dancers.

The milonga was good. It was punctuated by a series of performances by the three members of Tango Con*Fusion who are attending Fandango de Tango this year (Christy teaching with Facundo Posadas, Chelsea, and Debbie). The milonga itself was quite fun. Floorcraft was quite good, the best I’ve ever experienced here.

Saturday, November 28, 2009 - Fandango de Tango workshops
Fabian Salas and Lola Diaz on Combined Colgadas. It was a good class. We began with an exercise just doing the basic colgada body work of Follower’s left leg being her weighted standing leg, and her right leg being the free colgada leg. Leader starts by sending her right leg back in a regular colgada, and then bringing her in and pivoting her counterclockwise, so her right leg goes up and over to front cross against her left leg as he lets her back out in colgada by releasing her and holding on to the other side of her (near her the left side of her waist/stomach). The Leader uses his shoulder/arms/the embrace to initiate the Follower pivot, with his arms being in position as if shooting with a bow and arrow. Her left foot pivots away from him (Leader’s feet and Follower one supporting standing foot are all pointed forward and away from the Leader). She should face that way too, not toward the Leader since the head is a 10 pound weight. Here we modified the Leader footwork by adding in a forward right foot cross step toward the side of the embrace. Then the Leader pivots around with his left leg clockwise so that it lands on the other side of the Follower’s left foot resulting in a triangular frame of reference of his two feet and her standing left leg. The Follower’s left supporting leg is the center of the circle that he wants to side step around while her body is still off axis in colgada and his body is back as well to counterbalance her’s. The toughest part of this is the transition from the regular Follower right foot back colgada out back in and over to the turn so that her right leg comes up and over to the other side of the left leg. The Follower has to release her left hand in this change. The exit is to bring the Follower back up to axis, forcing her to cross forward step with her formerly right free leg clockwise. An interesting initiation of this involves the Leader’s right foot entry between her legs to lead Follower gancho of her right leg of Leader’s right leg to send her out to a regular colgada. Leader steps forward cross right leg to make her do a big figure 4 colgada. This was a very challenging, but obviously excellent class. This was my first class with Lola, and I found her to be a very articulate teacher.

George y Jairelbhi Furlong on Vals - Molinetes with Sacadas. We began with exercises to work on shifting our weight completely from our left foot to our right foot, first by reaching, then transferring the weight, to arrive completely. Next, we worked on walking forward and back, having the weight on the balls of our feet. Next, we worked on pivoting on our left foot and our right foot, while keeping our chest toward the front, where the Leader would be, working these concepts in as we did ochos. Then we worked in partnership on the molinete footwork of back-side-forward-side, where we worked from counterclockwise to clockwise. Then we added Leader Sacadas. Maestros have a philosophy of a moderately energetic sacada, not a forceful sacada. The sequence was the 8CB to 5 (cross) to Follower clockwise molinete with leader left leg sacada of Follower’s trailing left foot, a Leader right foot sacada of the Follower’s right foot on her left foot side step, to walk Follower back out to resolution, Leader walks forward right cross. Ever step is a possible sacada. Maestros emphasized the spiral top down concept of starting the movement in the shoulders/chest first, then hips follow, hen feet follow, so that we do not move in blocks. We did another sacada sequence of the Leader’s right foot sacada on the Follower’s right foot forward ocho trailing left foot, to another Leader sacada of his left foot on the Follower’s left foot side step of her trailing right foot, to forward Follower step to the outside of Leader’s right.

Fabian Salas y Lola Diaz on Sequences with Alternative Embraces. This was a very good, very challenging class. It began with Maestros working on her different embraces:
(1) regular embrace
(2) embrace with hand to hand contact, going into embrace
(3) begun by Leader putting his left thumb on top of her right knuckles, to hold onto it and take it with him while he takes their hands behind his back to end with the Leader’s left arm in L shape behind him, and his right arm being loose and open to allow Follower to stand next to him as they both face forward, going into
(4) embrace where Leader pivots Follower counterclockwise into the hammerlock embrace (Leader raises left arm Follower pivots clockwise), going into
(5) repeat No. 3 embrace

After we spent several minutes going from one embrace to the next sequentially, with the Follower always standing and pivoting on her left leg, we worked on adding the footwork, which included Leader and Follower back sacadas, pivots, and other interesting footwork.

Nito y Elba Garcia. The class was listed as Milonga Traspie, but we just worked on some interesting steps. The first was a walking step where the Leader weaves in and out of the Follower as he walks forward and she walks back, with a back cross for Leader and simultaneous front cross for Follower at every 5th step. The next sequence involved the Follower molinete with Leader sacadas into a spiral cross out to resolution. The next sequence was a series 3-4 sandwiches of the Follower’s left leg.

Sunday, November 29, 2009 - Fandango de Tango workshops
George y Jairelbhi Furlong on Rebotadas with Boleos. This was a good class. We began with some simple exercises, first walking forward in 4 steps, and then back in 4 steps. Then, we worked on forward ochos and back ochos with no pivot, focusing on keeping our torsos ahead where the Leader would be. Then we added the pivot to them and did them in a linear fashion (no travelling forward but staying in the same line), and then back ochos in a linear fashion. Then in partnership we worked on Follower back ochos while Leader does side steps. The Follower’s hips need to be relaxed completely and she should always complete her pivots. We practiced the rebotadas (switches), in exercise and in dance. To this, we added front contra boleos, with the Leader doing three steps to the side as Follower does side step, to left foot back ocho, to front contra boleo with her left foot. For the Follower, it is important that her right arm maintains tone and that she not absorb the lead in this arm as she receives the rebote action. From this, we worked on a different style of “boleo” -- one that look like just a raised knee (flamingo leg) boleo, where by there is a little bit of lowering and raising on the pivots as the lead. To this, we added the Leader accompaniment with his right leg to catch her right foot with his right foot. Here, the feet reach for each other, but the dancers’ knees and legs don’t change or open. After the catch, the Leader can drag their connected feet a little bit forward to the Follower’s right, after which she pasadas over it with her left foot. For Follower’s Technique, when bending the knee, it doesn’t mean the whole body goes down. If it does go down, it is just a little bit of movement, not a whole lot, otherwise she will look like she is sitting. When doing rebotadas and boleos, it is important to do them rhythmically, especially to D’Arienzo, Biagi, Rodriguez, etc.

Guillermo Merlo y Fernanda Ghi on Take It To The Next Level. This class was shockingly full, so rather than fight for space, I decided that Pablo and I would do better mentally at a less competitive spatial environment. After peeking in to several other classrooms, we decided to join Carolina and Donato’s Changes of Direction Class.

Carolina del Rivero y Donato Juarez on Changes of Direction. We began with molinete exercises for the Follower with the Leader doing open steps from side to side. Follower needed to step in a circle around the Leader, and not to get too close to him on her forward step, or too far away from him on her back step. She should collect her feet at every opportunity when they pass each other, and turn with her entire body. From the molinete, we did five different types of changes of direction: (1) open step to open step; (2) back cross step to back cross step; (3) front cross step to front cross step; (4) back cross step to front cross step; (5) front cross step to back cross step. Then we worked on the usual alteration where Follower does forward (front cross) step in the forward ocho to the open side of the embrace, Leader outsteps her, effectively blocking her, to step around her with his left foot diagonally forward, to pivot to face the other way and send her back on a back cross step in the other direction back to the close side of the embrace. Our homework is to work on the other side with this change of direction. We also were shown the Follower’s back cross with her left foot to front cross with right foot alternation.

Nito y Elba Garcia on Milonga Traspie. Maestros taught several fun little steps: The basic box turned diagonally so follower steps outside Leader’s right. The < step that they taught at Fandango de Tango 2007, and the three step side step with lift lead. It was an excellent class, as usual. What a treat and blessing to learn from them.

OVERALL THOUGHTS ON THE FESTIVAL

This was my third time to Fandango de Tango, it’s become my personal Thanksgiving tradition. Ricardo, the organizer, does a fantastic job of picking top-notch TEACHERS (not just fantastic performers [but possibly lousy teachers]) from the US and Buenos Aires. Having done a fair share of event production in the past, I can honestly say that this is likely one of the smoothest, most well-organized tango festivals. Luckily for the gals, the numbers are pretty well balanced (except perhaps at the Friday and Saturday night milongas). It is such a treat to be able to pick from 6 different workshops at any given time slot on certain days, taught by excellent teachers, one and all. Honestly, I cannot say enough good things about this particular Tango festival, and when I look at the schedules of other ones, I am not swayed enough to go to them (except for CITA perhaps), since this is the festival I compare them to. Amazingly, year after year, Ricardo finds ways to make it even better than the last.



The numbers look pretty good on an individual level, finance wise, and if you find a roommate (the Omni has rooms with two queen beds so it’s easy to share the space), they look even better. So it IS possible to do this festival somewhat “on the cheap”, by bringing your own Tupperware, or asking for a to-go box for your breakfast or lunch leftovers, or by dining via the hotel snack shop, which sells box meals of their salads and sandwiches for less than $10, and being totally on the wagon while you are here. If your budget is even tighter than that, there is a huge mega Wal-Mart a half mile away. Still, no one ever said learning to dance the Argentine Tango was going to be an inexpensive endeavor, cash or time wise…



My best experience at Fandango de Tango 2009 was receiving a complement from Nito that my molinetes are pretty good, and they enable me to do many things that others with not so good molinete technique can’t. I was tickled pink, since Nito routinely says during his lessons that we should all (Followers and Leaders alike) do molinetes around a chair for 5 minutes every single day to improve our tango dancing…



My most challenging dance was with Jorge Nel, of the famous shoes. He was inspired by D'Arienzo to drive fast and hard but smooth. It was loads of fun. His shoes are great, by the way, with excellent cushioning, and a very forgiving fit for those with wider feet, though of course all sizes/widths are available, as well as custom shoes. He has a very interesting new shoe where the entire sole is changeable to all leather, all suede, or all rubber a la dance sneakers. So check them out when you see him at your next festival.



During the Saturday masters show, Ricardo pointed out that the teacher ages ranged from teens to seventies, with no particular style receiving more emphasis than others (milonguero, nuevo, salon, milonga, vals, candombe). It was a very well-rounded, teaching staff (and did I mention excellent?). The lessons were more conceptual and technical in nature, rather than sequence oriented, which I appreciated.



Finally, my Fandango de Tango experience would never be complete without my daily dip in the hot tub after all the hard work at the lessons during the day. Ah, so relaxing!!! And exactly the downtime to get myself geared up to dance the night away at the milongas, until the wee hours of the morning.



I was happy to see so many tangueros from the SF Bay Area attend this year, but found it amusing that we all go so far away to Austin to dance with each other. ;o)


Monday, November 30, 2009

Orange Practica at the Beat with lesson by Homer and Cristina Ladas on Vals Turns and Musical Phrasing



Working in open and close embrace, the goal of this class was to make the molinete turn more dynamic, including working on the weak side (Leader’s right). The underlying theme of the class was for the dancers, but especially the Follower, to be really active in hearing the music and making a good effort of knowing the vals rhythm and cadence.



We began with an exercise of just walking by ourselves to the vals rhythm with two options:

(1) only on the boom (the strong beat, the 1)

(2) on the boom - chick - boom (the strong beat and a weak beat, in this case the 1-2-1), with the “chick” step a real step (not just a collection).



We built on this exercise, by then doing the grapevine pattern stepping only on the boom (stepping each step of forward, side, back, side, forward, on the strong beat, the 1, the boom), and then doing the grapevine pattern in the boom - chick - boom (1-2-1) rhythm. We first did this grapevine pattern to a slow vals, and then challenged ourselves more with a faster vals.



When the Follower feels the Leader accelerate the turn, he is probably looking for the rhythm. Since it’s integral, it’s important for the Follower to have control.



THE PADDLE AND THE KICKSTAND

Next, maestro introduced the Leader’s footwork of the Paddle and Kickstand. This is a Leader footwork technique during the Follower molinete turn. This Leader technique accomplishes two things:

(1) It maintains the Leader’s axis either tilted forward in the close embrace, or more vertically straight up and down in the open embrace. Note that in the close embrace, there is less room for the Follower’s hips to pivot, and that in the open embrace, there is more room for the Follower’s hips to pivot.

(2) It gives the Leader extra power for the turn to get around on the boom-chick-boom (1-2-1) syncopation.



Our goal is to fit the molinete turn to the music.



In the Paddle and the Kickstand footwork, the Leader lifts his heel off the ground and kicks his heel around to turn. The kickstand foot is where the Leader pivots on the ball of his foot with his supporting, standing leg. The Leader’s paddling foot should be in line or slightly behind his hips as he paddles around. We first began with the left foot as the kickstand, and the right foot as the paddle.



The Leader’s right foot or left foot can be the supporting, standing, kickstand leg, while the left foot or right foot can be the paddling leg, depending on the direction of the molinete turn, clockwise or counterclockwise.



We drilled to many different valses, first slow ones, and then faster ones, with Leader’s Paddle footwork with Follower molinete turn, both clockwise and counterclockwise, using the boom-chick-boom (1-2-1) rhythm.



The boom can be difficult to lead after the chick syncopation because you have to slow your partner down.



Follower should lock herself to the music to know where the boom - chick - chick syncopation is, and to pay attention to the music and the lead. The more the Follower’s body locks into the music, the more she will be with the vals cadence.



Leading the boom - chick - boom (1-2-1) rhythm is easiest on the back step of the molinete turn, and in the Leader’s paddle footwork, he is doing exactly what he is asking the Follower to do.



We also played with doing the boom - chick - boom (1-2-1) at different points of the Follower footwork, such as the side, forward, side, and in open and close embrace, clockwise and counterclockwise.



Follower should not fall on the boom (generally the side step), but be controlled, and not transfer the weight too fast, otherwise she will arrive too early. She needs to really lock her body onto the music for better control.



It was noted that in the close embrace, it is more difficult to get the Follower to go all slow (boom) steps. In the open embrace, it is easier for the Follower to go all slow, though slightly more difficult to lead the boom - chick - boom (1-2-1) syncopation. In the close embrace, the Follower’s back steps can be very short and quick, rather than with substantial hip pivot and drag around.




MUSICAL PHRASING

Next, we worked on vals musical phrasing in the context of doing turns. Our goal was that within a musical phrase, we were to be consistent, fall into a groove, and when it feels like it’s time to turn, to connect the turn to the music.



First we backed up with a little game of Vals - Chacarera, where in Chacarera formation of Leaders all in one line facing Followers all in one line, we took four steps forward and four steps back similar, similar to the Avanzado and Regreso initial steps of the Chacarera. The 4 forward steps were done in 4 beats, and the 4 back steps were done in 4 beats. During this game, maestro played a very regular vals so we could clearly hear the musical phrasing and sentence. He noted that the lyrics/song poetry falls directly on top of the sentence/musical structure of this particular vals, as is the case with many valses. Mastro demo’d this concept by dancing by himself, walking forward and back with the musical phrasing, showing that we could hear the sighs, and take a pause to start the next phrase (like a comma). At the comma or the end of a sentence (phrase) is where the Leader should start the turn in the other direction.



Next, we attempted to dance with trying to change the direction of the molinete turn at the macro phrasing points. It was noted that it often took two turns [(1) forward, side, back, side, (2) forward, side, back, side] in the same direction before the appropriate phrasing point arrived, and that most times in our dance we do not even do one complete molinete (we usually do half or three quarters of a molinete turn). The Paddle keeps the Leader in one place, so it’s a good technique.



In the open embrace, the Follower whips her hips around on the chick, really pivoting a lot to get them around quickly. She should use the embrace of the Leader to get herself around and add whip / energy in her hips.



It was noted that there was asymmetry of the close embrace turn where the Follower’s back step is almost just a snappy short back cross with no pivot in the hips in order to maintain the integrity of the embrace. This is quite different from the open embrace turn with a lot of Follower hip pivot for an overturned full back cross step.



Maestros demo’d to Canaro’s El Dia Que Te Fuiste, which you can see at www.tangostudent.blogspot.com.


Wednesday, December 2, 2009

CCSF Classes with Chelsea Eng. In Follower's Technique, we began with a clip from CITA 2009 of Sebastian Arce and Mariana Montes dancing milonga, the topic of the evening. Maestra pointed out that Montes has incredibly intentional footwork, with strength, articulation, and complete control. She also dances with confidence, spunkiness, and self assuredness. We went on to our floor exercises, but no barre exercises. Then we did a lot of walking exercises to work on catching the beat, focusing on quality of movement and having zesty, sharp, accented steps, being almost late, but not late, to spring at the last possible moment. The steps are more crisp staccato than sweeping. In Advanced, we vegan with a clip from CITA 2009 of Damian Rosenthal and Celine Ruiz on milonga. Then we worked on milonga footwork, simple steps forward and back, and changes of directions/turns. It was a good class. Maestra mentioned how much she enjoyed Fandango de Tango.

November 19-25

Saturday and Sunday, November 21 and 22, 2009
Carolina Del Rivero and Donato Juarez workshops @ Nirmala’s studio. This was my first time taking classes at Nirmala’s studio. The space is what is now a combined living room, dining room and open kitchen. It’s a nice space, with a divine floor. There is a mirror on half of one side of the room, across from the full-size kitchen. Street parking within a couple of blocks is OK on the weekend during the day.

I was hesitant about taking this series of workshops since it conflicted with those taught by Enriqueta Kleinman, who I like a lot. I’ve taken half a dozen or so classes with both Carolina Del Rivero (at Fandango de Tango and CITA 2008), and another half dozen with Donato Juarez (when he was here in January teaching with Cecilia Gonzalez, la famosa), but during those classes, they were both the supporting teacher, not “the star”, and not in my opinion “the equal”, and so had lesser voices during the lessons. When I saw them teach with their former partners, Carolina did not say much, usually deferring to her more vocal world-famous teacher counterpart. With Donato, since he is not fluent in English, he had to rely on his former teacher partner to translate (as was the case with Carolina). Since Donato’s former teacher partner was so famous, and was well qualified to teach the Leader and Follower parts, I felt he didn’t say as much back then as he did in this series of workshops. So it was Pablo’s job on the Friday prior to evaluate how they taught at Monte Cristo to see if he wanted to take this series of workshops, since I would have been just as happy with Enriqueta Kleinman.

Pablo’s verdict was that he thought they taught well at Monte Cristo (variations on the ocho cortado), “profoundly impressed” are the words he used. He also thought their performance was fantastic, one of the best he’s ever seen.

Workshop 1: Connection exercises.

Workshop 2: Barridas.

Workshop 3: Barrida and Volcada combinations.

Workshop 4: Wonderful Walking with Turns – Intermediate

Workshop 5: Back Sacadas – Int/Adv

Workshop 6: Colgada-Sacada Combinations – Int/Adv

All of the workshops included key exercises to get us to understand some fundamental tango concepts in our minds and in our bodies. Maestra’s point was that to first learn how to understand and do something physically, we need to know it in our brains, our heads first. Then after it is in our heads, it travels down and goes into our bodies as we do our homework. Sometimes this takes days, weeks, or months. She commanded us many times to “Pay attention!”

Their style of teaching was to show us a simple sequence three times, during which we were to really pay attention to what they were doing, and then to try to recreate it. Depending on how we did, they would stop us and then go over the fine points of technique of executing the step. They also asked us numerous times if we understood. When we looked particularly bad or like we weren’t getting it, they would back up the class back down to a more fundamental exercises to get our bodies to move in the correct ways.

I found these workshops to be challenging, and yet rewarding and positively reinforcing to our self esteem since Maestros taught us short, simple, easy to understand steps, and yet they were also difficult to execute, but not onerously so. They did not try to string into a long sequence the various things we already knew reasonably well to illustrate how much astoundingly creative they are in their dance.

They were also incredibly good sports, and both maestros danced with all the students, regardless of their skill levels. I’ve been to workshops in the past with some substantially lesser teachers refused to dance with their class students for fear of hurting themselves (and I totally understand that, many of them being the famous performers that they are), which just goes to show how humble and interested in their students’ development Carolina and Donato are. The classes were on the small side, so we got ample individual attention. I felt very cared for as a student, which often times I do not feel at all (especially in some of the larger classes).

The classes had many exercises, especially the back sacada one, where we first started with overturned back ocho exercises for the Follower, followed by regular ocho exercises for the Leader. The sequences taught included Follower back sacadas and Leader back sacadas.

In the colgada and volcada classes, we started at a very basic level, and just did a regular colgada (or volcada) going counterclockwise on the Follower’s right supporting standing leg. To this, we spent a lot of time on technique, and then added more circularity for increased dynamics. Then they strung this into a sequence (such as using a Leader’s back sacada directly into a Follower colgada).

I am glad Pablo decided that we should take these workshops. It was a very rewarding, happy experience. They will be teaching at Austin in Fandango de Tango, and my other motive for taking these workshops was so that it would free up our time there to take lessons of other maestros. However, now it seems we will have a problem, because those teachers at Fandango are all so darn good and now I want to take all of Carolina and Donato’s classes there. There are just some days when I wish I could clone myself so I could take all the workshops taught by all the fantastic maestros (visiting or residing here in SF or at festivals where they have 5 rooms going at the same time, four times a day, like at Fandango).


Monday, November 23, 2009

Orange Practica at the Beat with lesson beforehand by Homer and Cristina Ladas: “The Art of Surprise”
Surprises are little jokes, little surprises, to make things fun. They are easy, and the number is endless.

We began with games/warm-up exercises to get us in the mood.

Game 1: The D’Arienzo Surprise.
To D’Arienzo’s Nada Mas, we worked on the concept of surprise. Nada Mas is a song with lots of rhythmic accents, and every strong beat can be a moment of surprise. Everyone was to walk around the room, in all directions, and at the moments of the strong beats in the song, we were to touch someone (appropriately) with both our hands on the outside of their shoulders to surprise them on the strong beat.

Game 2: Flowing versus Freezing.
To develop the idea of Flowing versus Freezing, we were to dance. During the song, Maestro would periodically call out “stop”, at which point we were to freeze. Then he would call out “go”, and we would continue to dance. We were not to pause during the flowing parts of the music. We were to try to step on every strong beat.

After we did this, Maestra asked how it was. Some leaders found it disconcerting when someone commands you to stop. Was it manageable? Could you prepare yourself and your follower? The leaders said it takes half a beat. The goal is to be prepared. It helps if you know the music so you can anticipate when to freeze.

Exercise 1: The Statue.
This was an exercise to get us to be really connected to the floor and our own bodies. One person, the statue, stands with two feet on the floor, with arms up a bit. The other person, by touching or gently pushing (appropriately), tries to move parts of the statue, first one part in one direction, and then another part in a different or same direction. The body parts are random and could include shoulder, fingertip, thigh, forehead, back of head, elbow, etc. The goal of the Statue was to maintain a solid state, be balanced and attached to his whole body, to breathe normally and resist the push and be stiff like a statue, regardless of what body part was being pushed.

Level 2 of the Statue Exercise:
The statue stands on one foot and tries to remain stable and solid with no moving body parts while the other one touches/pushes on his body parts.

Chapter 1 of the lesson:
Freeze the Follower in the middle of the rock or side step. The Leader freezes the Follower after her reach, but not necessarily when her weight has transferred. The key point is for the Leader to know where the Follower is, so that he can play with the timing. Leader should not hold the Follower with tension. On the rock step, the Leader should not put all of his weight on the forward step. Instead, he should reach in his step, ground into the floor and bend his knee, exhale and be like a statue. For the exit, the Leader’s body goes up a little, his body loosens up a little, and the energy goes forward.

The Follower needs to match the Leader’s energy, whether it is a little soft energy or a lot of big or powerful energy (they can practice Tai Chi Tango arm and arm circular energy exercises for this). She also needs to match his qualities and feel the release to be able to move freely after the freeze. We attempted to dance with Freezes on the rock step or side step to D'Arienzo's Nada Mas.

Next exercise: We practiced dancing to a different, less rhythmic song, continuing to do our walking and freezing during the rock step or side step. Through this exercise we realized we could incorporate the concept of freezing into other movements, like the boleo. For the freeze, it is important for the Leader to present one voice of lead to the Follower, where all factors reinforce that there’s something different going on. So he needs to (1) find the moment and ground, (2) exhale and be like a statue, (3) compress the embrace.

Chapter 2: Leader tries to trap Follower’s foot in a quick sandwich without stepping on her foot. It is easier to trap the Follower’s right foot, by the Leader approaching with his right foot first, and then completing the quick sandwich with his left foot. For this, the Leader needs to be snappy to catch the surprise to stop the Follower in the middle of her weight so that she doesn’t collect. We also tried capturing the other foot, or capture the feet in different ways. This is a surprise for the Follower; it’s a sneak attack.

Next, maestros demonstrated some other surprises: The Jump, The Cross Jump (Follower’s right foot is easier than her left foot), and the Pitter Patter. For the Pitter Patter, the Leader should wait for the Follower’s right foot to go back, then he will wind up on her right foot as they finish. The Follower can also do surprises like at the end, by sneaking her foot in between the Leader’s feet as he attempts to collect.

Chapter 3: This final chapter is sophisticated, elegant, and can be a little dangerous. First maestros demo’d the Follower forward ochos with Leader paradas, both on the open and close side. The “surprise” was when the Leader stops the Follower as her leg goes up to pasada over his parada leg. To surprise the Follower, the Leader leads a series of (2 or 3) Follower ochos with Leader regular paradas with her regular pasada several times before he surprises her with his stop. He leads the surprise stop this by lifting his heel and bringing his knee/shin closer toward the Follower to catch her leg. The sweet spot of the Follower’s leg is at the shin/ankle/instep. For the exercise, the Follower needs to be honest and not anticipate the surprise.

Maestros concluded with a demo to Calo’s Al Compas Del Corazon. See the video at www.tangostudent.blogspot.com

Someone let the cat out of the bag that I had recently completed a trip around the sun, and so we celebrated at the Practica with a vals. I had a good time, but I found it very nerve-wracking to dance with a lot of leaders who I had never danced with before. It was fun though.

Wednesday, November 25, 2009
Workshops at Fandango de Tango in Austin.
Guillermo Merlo y Fernanda Ghi workshp on “Understanding the Axis and Its Dynamics”. We worked on the concept, and so began with exercises to focus on axis, and keeping it in the middle between the two dancers. The connection between the two is always there. Our goal was to feel the center. We began with simply doing Follower forward and back ochos while the Leader steps side to side. The goal was for both dancers to keep their torsos facing each other, and for the Follower go have good ocho technique (reach, transfer weight, pivot). Weight should be forward at the ball of the foot for balance, pivot, and good rotation. We did another exercise where the Leader uses lift to stop he Follower, to do a sacada of his left foot of Follower’s left foot, to walk around. We were to focus on shifting the balance. It was a challenging workshop.

Nito y Elba Garcia workshop on “Tango”. We began with a series of walking with embellishment exercises (with ochos, rulos, amagues, pivots, weight changes). Next, we applied these exercises to a sequence that included a right leg Leader rulo to back cross, immediately into a left leg Leader rulo to a back cross as Follower does a counterclockise molinete around him, into a change of direction, and various other interesting little steps. The class was on the small size, so it was like having a group private. It was an excellent class.

Carolina del Rivero and Donato Juarez workshop on “Paradas and Pasadas”. This was another excellent workshop where we they showed us a simple step three or four times, and we were to reproduce it. Depending on how well we did, we discussed and delved into the technique of it to make it as clean and natural as possible. Unfortunately, there was a Follower’s Technique workshop at the same time, so this class was unbalanced with too many Leaders.

The milonga was OK. Since it was the first night of the festival, it was not packed. However, it was fun as floor craft was generally pretty good and it wasn’t crowded. Interestingly, there is a pretty good representation from San Francisco, with Christy (of course), Chelsea, Debbie, John, Darrel, Amy, Jenkin, Pablo, and El Greco, with Junior Scout Extraodinaire expected Thursday.

November 12-18 (no notes, Studio TangoVida comments)

I haven't been dancing in the last week because I've had a cold and want to be 100% well before I dance.

In the meantime, I received an email announcing that Ney Melo and Jennifer Bratt's Studio TangoVida is moving to Miami Beach, Florida.

The annoucement filled me with sadness, and got me to thinking about my own very positive experience with Studio TangoVida:

It was a huge, tremendous blessing for the San Francisco Bay Area to have them while they were here.

I consider Jennifer Bratt to be one of the best Ladies’ Technique teachers in the country, heck the world! My assertion doesn't come from a lack of exposure (my Ladies’ Technique teachers include Graciela Gonzalez [my first!], Chelsea Eng, Cristina Ladas, Carolina Rozenstroch, Alicia Pons, Luz Castineiras, Negracha Lanau, Arona Primalani, Rosa Corsico, Alejandra Gutty, Gachi Fernandez, Maria Eugenia De La Latta, Patricia Gomez, with special mention of Laura Tate, who only taught me two pre-milonga group lessons with Orlando Paiva, Jr., but who in one sentence, gave me a huge, profound nugget of wisdom regarding Ladies’ Technique).

When Studio TangoVida first opened, I felt exceedingly lucky to have had the opportunity to learn from Jennifer Bratt, whose BewitchingBlackLotus YouTube videos I had been captivated by. When the studio opened, they offered three Ladies’ Technique classes every week, and were running a special of an 8-class pass for $100 per month. So I pounced on that, and went to as many of their Ladies’ Technique classes as I could possibly fit into my schedule (which was easy at the time since I was unemployed). When the studio first opened, the very first Ladies’ Technique classes were topically focused: one day walking, one day ochos, one day molinetes, etc. How we drilled, and drilled and drilled, and left lots of fingerprints on the mirror! But oh how much we learned! Jennifer taught us many Ladies’ Technique exercises and things we could do to improve at home (or anywhere) without any equipment or another person to help us or hang on to. I swear, learning and practicing to do molinetes on my own (first in low shoes and then in high heels), without a partner or column to hang onto, and without a chair to do it around, but absolutely on my own as Jennifer taught us to, was one of the toughest, and yet one of the most profoundly effective exercises for molinete balance and weight transfer I had ever experienced.



From a student perspective, those first Ladies’ Technique classes were small enough so we got lots of individual attention. From a business standpoint, I speculate that it was not sustaintable to have less than a dozen students at these classes, so eventually the schedule switched to fewer Ladies’ Technique classes and more group classes (vals, milonga, dramatic tango, rhthymic tango), which had greater attendance. As TangoVida adjusted its schedule, they renamed the class simply "Ladies’ Technique" with no specific topic of ochos, molinetes, etc., and cut it back to only twice a week. I still went to those classes as well.

Those classes had very regular structure, beginning with foot strengtening, posture, weight transfer and disassociation exercises, followed by much time spent on walking (sometimes the whole class), and a small amount of time working on other aspects of Ladies’ Technique (ochos, molinetes, embellishments, things that would relate to the subsequent tango partnered dancing class). Pablo couldn't understand why I went to TangoVida so often for Ladies’ Technique. I told him what we worked on, and it always sounded the same to him. He thought Ladies’ Technique was all about adornos, and he believed that I already knew how to walk pretty. Ha! I came to realize I actually knew very little about walking until Jennifer taught me about weight transfer and the subtle nuances and variations of how to walk well, and we had the chance to drill them over, and over, and over, day in and day out, several times a week.



Every time I went to a TangoVida Ladies’ Technique class, I got an additional or deeper insight into some aspect of Ladies’ Technique. And yes, some things Jennifer said, I had heard her say many times before. But maybe it wasn't until the 20th time she said it, that I actually understood it or could do it physically. Muscle memory often takes a while to develop...and intellectual understanding...well, sometimes that takes even longer.

It always surprised me that more people weren't at the TangoVida Ladies’ Technique classes in San Francisco. Maybe that's the thing about Ladies’ Technique... I believe you really have to go, every week (several times a week if you are lucky), and drill the same things over and over, build your body slowly but strongly and surely... To some dancers, that might seem boring or pointless. They dislike having to be told the same things over and over, or doing the same things over and over, and think that to improve their tango they need to have a “dance partner” to practice fancy, showy moves with. Some of these dancers continue to walk or dance in the same (unbalanced, unconnected, unimproved) way... Some dancers are in such a rush to learn all the pretty/fancy things they can do, but long before their bodies and minds understand that the beauty of tango is in the subtlety of movement... A lot of it boils down to how you walk, and how your limbs move (not only as they are embellishing) with grace, elegance and sensuality, which comes from balance, strength, understanding and control of your body to get the type of freeness, fluidity, precision, and expression that is aesthetically appealing.



Ney Melo is great, awesome, and wonderful as a teacher and as a person as well. Fantastic maestro of musicality, fun sense of humor, and excellent with conveying respect about milonga codigos and floor crafting.



Ney and Jennifer were incredibly generous toward the San Francisco tango community. When the economy turned horrendously sour, they offered a recession special, only $25 for unlimited classes for new students or unemployed people. This act of generosity not only brought a lot of new people into the community and improved their dancing (a good thing), but it also caused those who were unemployed to be less depressed and less isolated (a very good thing).



Anyway, sorry to ramble on...But I just feel so strongly about what a great Ladies’ Technique teacher Jennifer Bratt is, and what a tremendous blessing it was for the SF Bay Area to have her and Ney Melo and Studio TangoVida.



To South Beach Miami: You are SOOOOO lucky!!!!



To San Francisco: Condolences to us. :o(



To Jennifer Bratt & Ney Melo: Thank you SOOOOOO much! I hope I never forget all that you’ve taught me. Thank you for the generosity you showed me and the SF tango community. You have my sincere appreciation for all that you’ve done tangowise, and all that you are as human beings. Good luck with everything in South Beach Miami and beyond! XO


-------------------
Announcement email from Studio TangoVida:

We are pleased to announce that we are moving TangoVida to South Beach Miami!

As for farewell parties, there will be 2 parties, one on Sunday and
one on Tuesday:

1) We are teaching our last class at Cafe Cocomo on Sunday Nov. 29,
7:30pm - 9pm, followed by a milonga

2) Ney will be the DJ at El Valenciano on Tuesday Nov. 24th, 9pm - ????


All the info is on the website or you become a fan of our Facebook
page: www.facebook.com/studiotangovida

November 5-11

Friday, November 6, 2009

Monte Cristo Milonga with lesson before by Cecilia Gonzalez and Somer Surgit: Playing with the Cross. We began with shifting weight while the Follower is in the cross (8CB to 5). The goal here was for the Leader to be more sensitive to the Follower’s weight shift and how she responds. We were not to rush through the movement and just make her escape, we were to be slow and take our time to increase our sensitivity as both Leader and Follower. When we did this sufficiently, we could dance out to resolution. There are many ways to change the Follower’s weight. We can do this in parallel system or cross system (same or opposite feet), or with more rotation in the Leader’s chest/torso. Next, we worked on unwinding the cross, by getting the Follower’s left foot going ahead of the right foot toward the left side, while the Leader has a weight shift and rotation in his chest. This is a subtle move. Next, we did the cross “fake out” whereby the Follower has a front cross of the left foot, and then it comes immediately back out ahead of the right foot to the left, and then she steps back left. This is all one continuous move of going into the cross, and then back out. The key here is to not let the Follower change weight while the Leader takes two steps. In the cross, we were not to create distance, as these are all just weight shifts. The footwork for the Leader is right, back, change weight, forward step. The Leader arrives on the ball of his foot to make the step more responsive. If he arrives on his heel he will be to slow and sluggish. These we did all in cross system. We were not to be tense with our legs, but relax them so they go smoothly. We were to relax into the floor with our supporting leg. The idea is that the Leader makes the Follower do the fake out as if her leg were a piece of silk – light, fluid. This fake out is a little boleo, smooth and suspended (not sharp). To conclude our work on crosses, we were to dance doing all of these cross variations: with weight changes in normal and cross system, with the unwind, and with the fake out. Next, a small sequence: In the cross system, the Leader goes to the Follower’s left side. The Leader does front cross of his left leg to the right side, then rotates his torso to do a Leader’s enrosque. The Follower rotates on her right leg to change weight, and as the Leader rotates, she goes into a left leg ocho cortado front cross. Leader steps back with his right leg and Follower steps forward outside with her right foot. We were not to exaggerate the step, because nothing has changed. For the Follower, it is a complete weight change into the ocho cortado cross. It was a good lesson. I found the teaching to be much clearer than the last time (January 2009) I took a lesson with Cecilia Gonzalez (la famosa), perhaps because the maestro Somer was fluent in English. It seemed to me the teaching style was much more organized and methodical this time around. The milonga was fun, though I had to leave early and missed the performance.



Saturday, November 7, 2009

Cecilia Gonzales and Somer Surgit workshops:

1. Turns in Two Systems– Int

2. Changes of Direction – Int

3. Sacadas for Men & Women – Int/Adv



Turns: For this first workshop, we began with an exercise in parallel system. We began with the molinete counterclockwise to the Follower front cross step, to pivot to change direction, immediately into a clockwise molinete. For Follower’s technique, it should be a natural turning, to try to get into the energy of the turning, rather than just doing the step. There is twist in the upper body, so the release to the side step is natural. There should be no effort to make the pivot into the open step, it should just be a natural release. The back cross is a consequence of the front step and release of the side step. The Leader gives the direction, and the Follower needs to stay with him. The Leader should continue his chest rotation all the time. Follower should make the turn travel through her spine. For Leader’s technique, he needs to be clear from the beginning that after the side step, it is a forward step for the Follower. We attempted to do our molinetes on the strong beat, on beat (not double time), to practice this concept of the Leader making it more clear for the Follower and to rotate his torso and make the rotation continuous (there is no need to wait). The Follower should not feel any “cut” in the movement. For Follower’s technique, we were to adjust our body and embrace all the time, to take the shape that we need to be able to twist well and get around the Leader comfortably. Then we changed to doing the molinete in cross system, still using single time only (not double time). After that, we added the QQ double time Follower step on the back and subsequent side step, while Leader remains in double time. We did this counterclockwise and then immediately into clockwise. It was noted that here it changes system from cross system to normal system because the Follower takes an extra step in double time, while the Leader does not as he remains in single time as he is stepping on each beat. The Leader leads the Follower’s QQ double time step by stepping on her back step with his right foot, and then on her forward step with his left foot. Next, we did the cross system turn, starting with back ochos to molinete (B-S-F-S) while leader steps on his right foot on her back step, and on his left foot on her forward step. We did this doing counterclockwise molinete into clockwise molinete. Follower’s Technique: The back step of the molinete should be as close to the Leader as possible (it is an overturned back ocho step). To help her in this, she should try to get her leg to go to the opposite back shoulder blade. The idea is not in the hips, it’s in the whole spine, so she should open up that opposite shoulder blade as she does the back cross step. I thought this point was a huge nugget of wisdom. To lead the Follower step forward into the Leader after the molinete, he rotates his left shoulder back as he steps back with his right leg, so there is a lot of torsion and contra body rotation in his body. Then the Leader steps around her. Between the ochos, playing with one direction to the other, the Leader changes weight, moves his hips, the consequence is that he gets lots of power to turn her in the other direction without much effort on his part.



Changes of Directions (alterations): Working from the idea of the molinete, the Leader meets the Follower’s back step, blocks her from pivoting, and turns to the other side. Leader and Follower are on the same leg. The open side is more difficult. The Leader should lead so that the Follower doesn’t take too large a step on the Leader’s left side. On the closed side, the Leader should be sure his right arm doesn’t block her. He needs to get behind her and change the embrace. We practiced the changes of direction from the Follower back cross step to a Follower front cross step while the Leader does regular open steps to the side. Here, we noticed that we were on the same legs (Leader and Follower on left leg or Leader and Follower on right leg). Next, we worked in parallel system, so the Leader receives the Follower’s back cross step with a front cross step of his own (not a side step). He needs torsion in his chest for this to work. There is a change of size of steps as Leader does small, shorter steps or longer steps as needed. For the Follower, she generally takes a small, short back cross step, and a longer front cross forward step to get around and in front of Leader. Finally, we linked them all: back to front, front to back, in parallel system and cross system, using an extra side step for the Follower to link them. There was ample time to drill during class. Pablo and I had an easier time at this workshop since our foundational knowledge from Chelsea was solid.



Sacadas: We began with a sequence of a side step (Leader’s left, Follower’s right), to Leader’s right leg forward sacada of Follower’s left foot side step, Leader changes weight, Follower does left leg forward sacada of Leader’s left foot, weight change to the right, to Leader’s left leg forward sacada of Follower’s left leg. Follower’s technique: Follower collects at every step/opportunity. Leader needs to control the axis at the point of the sacada (so there should not be any tilt forward or back, he needs to be on balance on axis). The Follower should go underneath the Leader at the point of the sacada, not fall into him or her legs. The energy is like an L shape (\_>). Next, we changed that third sacada of the sequence into the Leader’s back sacada of his left foot of Follower’s left foot. Leader’s technique: The idea of the back sacada works the same as for the forward sacada. The Leader has to reach the same point near the Follower’s left foot, stepping in the same place. His leg should be relaxed. It should not shoot out quickly like a bullet from a pistol to contact her left foot with force or deeply. It should be a gentle, little step. The Leader needs to relax his heel, but don’t let it go out, keep it in. He should reach his axis and arrive with his foot placement first, and then step back to complete the sacada, arriving on his foot with his entire weight as for a regular step, with no lean forward since he needs to maintain his axis. There is a change of embrace on the close side so that it is easier for the Leader to get in the correct position. The Leader can stop the Follower when her weight his on her right leg before he does is sacada. Do not run. The Follower should try to collect as naturally as possible after the sacada, not be fast and forced, but she shouldn’t leg her leg flail out wildly either. Next, we worked on the Follower’s back sacada of her right leg to Leader’s right leg open step to the side. Next, we did the Follower’s forward sacada of her left leg to Leader’s left leg. How the Leader leads the Follower Back Sacada: It is the same idea as the first class. The Leader uses forward and side steps as he gets around the Follower. There is rotation in his chest. The Leader leads it because he controls it. The Follower has to pivot first completely before entering with her back sacada. She has to wait for the Leader to lead her to step back. The Leader keeps no weight on his right foot (the one that will receive the sacada). The Leader opens his arm/chest to make her step back. Next, we did the Follower’s back sacada into the Follower left leg forward sacada into the Leader’s left leg. This was linked by a change of direction. Next, we did a Follower left back sacada to the back of the Leader’s right leg. This one was very tricky, and it is important that both dancers are not too close to each other. There is also Leader hip rotation out and away to present his right leg for the sacada. He also cannot try to look at her the entire time because then his body won’t be in the correct position. He could look at her as he sets it up, but after that, he has to turn his head away, otherwise his chest will be in a weird position and this won’t work. This last one was very challenging, too challenging for me and Pablo, so we just worked on the other sacadas, forward and back, Leader and Follower.



Sunday, 11/8: Monte Cristo Club, SF



4. Refreshingly New Combinations – Int

5. Musicality & Combinations– Int/Adv

6. Volcadas in Combinations – Int/Adv



New Combinations: We began directly with a sequence of the Follower’s right leg gancho of the Leader’s outside left leg on the open side of the embrace. Here, we were to focus on becoming accustomed to the rebound energy. Next, we backed up a bit and just did the Follower’s forward ocho of the left leg, with no pivot to feel the freeness of movement of the Follower’s linear gancho. Then, the Leader turns his torso to lead the Follower to gancho her right leg to his outside left leg. The lead is with a little weight shift and a little rotation, but no push or pull. So the Follower does a forward ocho with her left foot, while the Leader steps to the side left with her. Leader moves closer and in front of her so she remains on axis as she ganchos his outside left leg with her right leg. Next, we worked on the Leader controlling the gancho, to unwind her. Leader should have soft hips. The question came up of sometimes the Follower kicking the Leader’s back of his right leg. This happens when the Leader brings his right leg too close to his left leg. The Leader should not change the position of his right leg. His weight is on his right leg to receive the gancho on his outside left leg. The Follower right leg gancho/rebound is led by the Leader being on his right leg, and having a little torso rotation. So it’s a shift, and come back movement. The Leader’s left foot does not have his heel down during her gancho. Follower should not fall into the Leader, as she should be remaining on her axis (and Leader should not pull or push her off axis either). Follower should let the leg be really free to understand the feeling. Next, we worked on trying to control the Follower’s right ganchoing leg, with the Leader keeping it, and then sending it out. Next, we built on that so that the gancho went directly into the Follower’s right leg front cross, into a left leg regular volcada. To get the Follower into the front cross, the Leader receives the gancho, and then he moves his left leg back and to the left side, out of the way of the Follower’s right leg, so that it automatically goes to a front cross as a consequence of the Leader moving a bit clockwise, and her leg being sent out and free. The Leader should remain close to the Follower’s axis. Next, we worked on challenging the Followers a bit by randomly alternating doing the gancho to the Leader’s outside left leg, or faking her out by going directly into a front cross to volcada (with no gancho before). Next, we worked on the gancho of the Follower’s right leg of the Leader’s right leg, while the dancers are more adjacent / parallel (but not quite) than facing each other. To this too, we added the Follower front cross into a volcada. Next combination: 8CB to 5, Leader does right foot forward unweighted step right next to the left foot of Follower’s crossed feet, to send Follower’s right leg out of the cross, and back into a Follower right leg gancho of the Leader’s right leg (his weight is on the back left leg). The tricky thing is for the Leader to get his right foot in forward next to the Follower’s crossed left foot WITHOUT weight. To unwind her cross, he sends both their weight forward. To get her right leg to gancho his right leg, he sends his weight back.



Musicality: We began with a simple sequence done to eight beats. We were to dance to a song (Di Sarli), trying to always start this sequence on the “1”. Then we were to do the sequence, alternating with our own improvisation on the next 8 beats, and then back to the sequence, always starting on “1”. The idea was to be able to recognize where the phrase starts and end. We also practiced this idea to a D’Arienzo song. Then we learned another simple 8-step sequence that included a Follower left foot back ocho to the open side and back boleo on the closed side. Again, we were to dance this phrase, always starting on the “1”. We did this to Di Sarli. Then we were to dance using the first sequence, the second sequence, and then improvise for the 3rd eight beats. Next, we danced to La Cumparsita, really trying to catch where the music stops and to make a pause there. Next, we worked on double time steps. We were to do only walking steps (forward, back, in place), but do it in double time when we heard it in the music.



Volcadas: We began with falling / trust exercises. The Follower shifts her weight slowly forward to the balls of her feet, and falls forward while maintaining good posture (core engagement, no breaking in back either forward or backward). The Leader catches her in the shoulders to sustain her, taking a step back, and returns her back to axis. The Follower keeps the same line as when she is standing. The Leader’s should not create a lot of distance and not lean back. The Leader uses his back foot to puss off to get Follower back to axis. Follower projects the spine up, and the sensation for the Follower is for her to go above and over Leader’s head. Next, we did the same exercise, only we used the frame in our arms. The Leader needs to receive the Follower with his torso, not his tummy. The contact is on the closed side, arms/ torso only, NO contact in the chest. Next, we went on to the Leader’s left leg sacada of Follower’s right leg to cause her right leg to do a back cross, to unwind her left foot into a front volcada. The Follower needs to let the leg go in the direction of where she is falling. The Leader takes a back step with his left leg, but keeps his body forward to lead the Follower’s left foot forward volcada. His goal is to make the movement round. Next, we added more turn/circularity to this same movement, which caused us to get the side volcada (or funny/armpit volcada). Here, after the Leader’s left leg sacada of the Follower’s right leg, the energy and circularity of movement causes the Follower’s right leg to do a fuller back cross step, and the Leader taking her off axis and his simultaneous rotation around her causes her to do the side (funny / armpit) volcada. The last thing we did was play with the free volcadaing leg of the Follower, with the Follower relaxing the leg and the Leader playing with it by faking it out, back and forth.



My overall impressions of the Cecilia Gonzalez (la famosa) y Somer Surgit workshops: I found the instruction to be very clear and organized. Like in January, I especially like Maestra’s communication energy – she is very calm, her voice melodic and soothing, with a very patient and encouraging cadence, sprinkled with humor. Maestro is very clear and extremely methodical in his delivery, so they make an excellent teaching team. Both provided ample individual feedback to the couples, and could see right away why something wasn’t working, and what the fix was. And FYI, Maestra Cecilia Gonzalez (la famosa) is encouraging of note taking. :o) And so is Gary Weinberg, for that matter. :o)



Just some Random Thoughts: I’ve taken many workshops from visiting maestros organized by Gary Weinberg and Nirmala or Deirdre, and I really like how these are structured. They are usually 6 workshops that build on each other, given over a weekend, with usually a partner/volume discount (so the price goes to $20 per person per workshop if you take all 12 instead of the full price of $25 per person per workshop if you take 1, which is still quite reasonable), which makes for more gender balanced classes. These workshop series are wonderful in that they give students time to really study quite deeply with a visiting maestro, in a very structured, organized manner. I get the impression that a lot of thought goes into the workshop topics, and sometimes we are blessed to have the same visiting maestros come twice in the same year, so they and we can tell if we’ve done our homework since the last time they visited. These workshop series are almost like mini tango festivals in and of themselves, and the teachers are always superb. And even when the maestros come twice in one year, the workshop topics are entirely different from each other, so it’s always fresh and challenging.





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Word on the madera is that the events not to be missed are the Blas Rivera musicality classes. They are supposed to be knock-your-socks-off fantastic: funny, witty, able to get your brain to a different place when it comes to musicality. “Like nothing you’ve ever seen before” “You don’t want to miss it” were some comments I heard.



Thursday November 12 EL VALENCIANO

8:00-9:30pm Comparing the great orchestras: (Di Sarli, D’arienzo, Pugliese and Piazzolla)

$20 Workshop



Friday November 13 MONTE CRISTO

8:00-9:00 pm class w/Blas Rivera

9:00pm-midnight milonga w/live music

$20 milonga and class



Sunday, November 15, STUDIO GRACIA

7:30 pm- 8:30pm Musicality and Rhythm: Learn to distinguish their different rhythm, beats and phrases.

8:30 pm- 1:00am Milonga.

$20 milonga and class



And there is still time to join in on the Thanksgiving Weekend fun: http://www.fandangodetango.com/1.html

This will be my third year; I absolutely love it. :o)



What else am I excited about?? Well, lots…



Enriqueta Kleinman coming to town. November 18-24



Santiago and Amy Walking Classes



Outdoor Free milongas at Lands End



Registration begins for CCSF classes. Because of the state budget cuts, no printed class schedules will be mailed. So you will have to take a peek at www.ccsf.edu for the dance class schedule http://www.ccsf.edu/Schedule/Spring/physical_education.shtml#Dance_-_452-5697

and registration info. Classes are $26 for all California residents. CCSF has a FANTASTIC dance program (including, ballroom Latin, swing, hip hop, modern, Afro-Haitian, ballet, etc., etc., etc., etc.). New to CCSF students need to apply NOW to be ready for the upcoming Spring 2010 registration period.