March 19-25

Saturday, March 21, 2009
Workshops with Adam Hoopengardner and Ciko Tanik from New York

(1) Sexy Syncopations.
We worked on pauses and catches, mostly working to diSarli's Don Juan. We began with a musicality exercise, much like Ney Melo's musicality exercise, only we analyzed each quarter beat in one whole beat, really trying to hear and emphasize in our clapping the 4-1. First we worked on hearing, then we worked on creating, and then we worked on leading. We walked. Then we added a rock step of Follower's forward step and Leader's back step -- like a rock corte, and we worked on how to lead this syncopation. The Leader takes a big dynamic step back, pushing with his left foot to arrive on the right foot. The lead is from his left leg, and there is a slight lift, inhaling, and then on the exhale a step back for the Leader and step forward for the Follower. Both dancers should always be on their respective axes. Follower needs to be dynamic in her forward lunge step. The idea is to dance, not just follow. We also worked on musicality and different ways of taking the step with respect to quality: (A) sumo style -- a drop, and then go, with big weights at the bottom of the foot, and a flat foot, or (B) molasses style -- slow and dense. We also worked on the embrace/communication, pausing in our dance to find it. We also worked on releasing the embrace, but maintaining connection with the eyes and attitude in Follower. We also worked on allowing time and space to exist in the dance; Follower should not rush out of the step because it feels uncomfortable to hold it, but wait for the Leader.

(2) The Flying Free Leg.
We began with foot exercises to strengthen our feet and free our legs -- forced arches and doing a football kick.
We did an exercise where our free leg was like a rebellious, crazy branch swaying wildly in the wind, but part of a very strong tree (strong standing leg pushing up, but connected to the floor).
Next game: A trust game. From two feet apart, we were to fall on each other, catching with our hands, and then go back.
Next we worked on forward ocho quality -- leaving the hip back so there is a delay of the trailing leg. We were to really engage the core so that the free leg can react. The Leader was to try to manipulate it out of the Follower bodily, not verbally. Follower was to push through her arch.
Next exercise: Focus on each other, not touching: Leader goes down - Follower goes down, Leader goes to the side - Follower goes to the side, or Leader goes up - Follower lifts up so that her free leg just goes up without collecting. This movement is like boleos, only instead of blocking, there is a lift.
Next exercise: From the Follower forward ocho, the Leader should block, and the Follower can back lead so that the Follower's outside right leg goes with a flying knee -- like a forward linear boleo.
Next exercise: Go from block to up lift her so that her right leg goes up.
The Follower sustains connection in her right hand in the Leader's left hand, then he can take that movement, sustain it, walk backward counterclockwise to pivot her, then set her down; legs go down but arms sustain her until he sets her down. The Follower uses the front muscle above her knee for the lift so that her calf and foot are free and dangling.
The Flying Free leg part is when he turns her counterclockwise fast, then sets her down, gently and slowly and not kerplunking. The Leader's right leg steps behind her and she comes back in front in the end to close up. Follower - keep your front with the Leader. Leader steps side and back diagonally with his left leg to set Follower down.

What they taught really wasn't exactly my cup of tea, but they were excellent teachers -- very clear communicators, and they went around to everyone giving individual instruction.

Tango Meets Jazz - Pablo Ziegler & Quartet with Nestor Torres on flute and dancing by Mariela Franganillo & Cesar Andres Coelho at the Herbst Theatre. The music was more modern/jazzy (Pablo Ziegler was the former pianist of Astor Piazzolla). The music was mostly Piazzolla and Ziegler's compositions/interpretations. Mariela and Cesar had 5 numbers, and all improvised, except the last number (the last number was choreographed for limited space [like when you share a stage with a band]). The dancing was excellent, with Mariela having fantastic speed and elegance, Cesar having amazing passion, and both of them having very interesting chemistry together.

Sunday, March 22, 2009
Workshops with Mariela Franganillo & Cesar Andres Coelho.
I had the amazing opportunity to drive maestros down to Mountain View from their hotel in San Francisco. Cesar just kicked back as I am sure he was tired from his performance. But maestra was happy to chat away with me. I asked about her dance development. She's been at it for 21 years; her first teacher was Gustavo Naveira. Right now, she does her Saturday 11 a.m. to 2 p.m. practica in NYC, where about 100 people show up. She also organizes the New York Tango Festival http://www.nytangofestival.com/ , so she talked about some of the challenges of organizing an event of that size and caliber. I asked her what the best way to learn tango was. She said that consistency was key, and that you can even learn from the not-so-good teachers. Basically, her opinion was that if a person really wants to learn tango, they will -- they will find a way, and they will keep at it. We spoke about how long she had been in the United States, and when she lived here in the Bay Area (in the mid 1990s). I got the impression that she really was very passionate about being a good teacher.

(1) Dynamic Movements with pauses… stop and flirt…We began with our forward ocho technique, moving by propelling ourselves forward with our back leg. We were to be on axis and do the move smoothly, and in terms of timing, starting before 1 to step on 1, and before 5 to step on 5, for a more elegant (not choppy) look. Follower should collect knees, and brush feet. The Leader proposes the quality of movement. The Follower should keep the same distance from the Leader. Both dancers should not be locked, but connected and completely free. The goal in this workshop was to be able to dance in every direction, and we can do this doing forward cross steps and back cross steps and side steps. The pause is the most strong thing in tango. Take your time; it's your own work. Nobody is rushing you. The actual step was a simple one: two back ochos, then two sides steps, for both Leader and Follower (while one dancer does the back ochos, the other dancer does the side steps). When the Leader does his back ochos, his back is to the line of dance and Follower takes side steps forward in the line of dance. This step was important so that we could manage the dance floor and dance in any direction in any way. The toes should face the same direction as our hips, not be outturned or pigeoned, according to maestro. Then we made this even more challenging by doing it with two forward ochos and two side steps for both Leader and Follower, to change the direction and orientation. The concept is the important part; the idea is to get exposed at the workshop, and then work on it some more on your own with respect to quality of movement, feeling of movement, value of movement (you do not want to have a large number of 5 cent movements, but a modest [slowly increasing] number of $1 movements) and the soul of tango.

(2) Balance, Boleos & Adornments, with musicality…We began with exercises to improve and manage our own axis, which related to weight changes and pivoting.
Next exercise: We took three steps forward, one leg in each track, then pivot, and then three steps forward in other direction, trying to do it with passion, intention, and control. We were to be calm and powerful, and relaxed but not weak.
Next exercise (an embellishment): Take 3 steps forward, on the 3rd step with the weight in the middle, pivot around, send leg weight forward so that the back leg is free, move it forward, then pivot around on the standing leg.
Next exercise (enrosque embellishment): Take 3 steps, one foot goes behind the other, 1/2 turn twisting, starting the movement from the upper body/rib cage first, twisting the hip to pivot, and then changing weight.
Next exercise (boleo embellishment): Ribcage torsion, collect at feet, air boleo, pivot, collect feet. We practiced this boleo of the Follower's left foot while she is standing on her right foot.
We practiced doing the Leader enrosque/lapice play while Follower does molinete.
Maestros spoke about the philosophy of embellishments: Maestro said (1) it is born between both of them when Leader gives her time to do it and Maestra said (2) Follower steals it and does them when she can fit them into the music even if Leader doesn't give her time to do them. Either way, the Follower must always be ready to embellish if Leader gives her the opportunity.
Next embellishment: Leader walks in a circle while Follower does boleo with her right leg, and beat back of left leg in front of her right leg. She can do the boleo/beat back combo continuously as he walks around her. Apparently, the Leaders had a hard time with this, so we backed it up and did exercises where he would just walk around her, and she would be on her right standing leg with her left leg collected next to her right leg, but not weighted at all. We did this so that Leader could get better at walking around her and understand what it was like to focus on walking around her axis.
The last thing, which maestros only showed and we did not attempt as students, was Leader's traspie footwork to his walk in the circle around Follower.

Maestros were both very talented teachers and excellent communicators. What was interesting about these workshops was that maestros each had different philosophies, but were respectful of each other and their ideas were complementary. They do not normally teach together; I believe this was their first time.

I stayed for the early part of the milonga, which was fun, and watched maestros' performance. Then it was time for me to drive maestra to SFO. She was excited to be going home since she had been on the road for a while, rehearsing in BsAs with Cesar, then in the Bay Area for the show. I asked about her stint with Forever Tango. She said she toured for a year, and then performed for a while on Broadway. She said it was very challenging mentally since the numbers are choreographed, and you do the same numbers week after week. I could see how difficult that would be for an artist and improvisational tango dancer. We talked about her life, and she said she has a lot of balance to it. I am glad. It made me smile. Maestra is a great gal, really passionate and caring about teaching. And of course her dancing is beautiful. She has this one truly wicked adorno which I am working on stealing -- super fast tiny air rulitos -- inserted in spots where I would have never thought (or had the instinct/inspiration) to do them.

Wednesday, March 25, 2009
CCSF classes with Chelsea Eng. Since Maestra was in BsAs for CITA, Luana taught us Dance Conditioning in Follower's Technique. It was mostly a yoga/pilates class which was fun and challenging, improving our flexibility and core and foot/leg strength. She worked us hard, using up most of the 2 hours. In Advanced, we had the treat of George Garcia teaching us volcadas and colgadas, as instructed by Maestra. He taught the volcada with contact from waist to sternum, and we began with the Leader practicing leading the Follower to invite her leg to go to the side. She was to keep her standing leg strong and her free leg flowing and loose. We practiced doing the volcada with no open side connection, just close side. There was much discussion on Leader technique, but not much on the Follower technique. Then we worked on colgadas, and did a really simple one where we went from 8CB to 5 (cross), to unwind her, then lead her to forward cross step clockwise, then he blocks her and sends her weight back to her right foot, pivots her body so that it faces counterclockwise, he plants his foot in the middle of the arch of her right foot, then he leads her out and away from him like a sliding door, and her left leg goes up, then he steps back with his left foot and she steps down with her left foot around and near him circularly. It was a good class and maestro was very efficient about the time. Annie Roake, our official CCSF substitute teacher for the class, was awesome as always.

Come Join Me!

Friday, March 27, 2009
Homer & Cristina Ladas Advanced Seminario on Volcadas

Saturday & Sunday, March 28 and 29, 2009
Ruben Harymbat & Enriqueta Kleinman workshops. I want to take any opportunity I can to learn from milongueros.

March 12-18

Monday, March 16, 2009
La Cumparsita Milonga with lesson by George Garcia. I always wondered what the hoopla was all about regarding this particular maestro, since I had never taken a lesson with him despite his visiting the Bay Area reasonably often. Now I figured it out. Yes, he is as good as everyone says he is, and it is easy to see why so many people like and admire him. In teaching, his choice of words is precise and efficient, and he has a wonderful tone and cadence in his delivery. He seems quite fun, funny and nice. During the milionga, he was a good sport in dancing with the local aspiring tanguera students, and invited visiting maestros Judy and Jon to do a demo as well, really building them up beforehand with kind words.

For the lesson, we began with the embrace -- a hug. Maestro noted that the Follower's torso should be forward, but that her spine should be vertical (not leaning) so that she remains on her axis. The dancers' faces might not touch. It is important to keep the posture very vertical and upright (not leaning). In the embrace, each dancers' palm should be on their partner's spine so that there is lots of energy and communication between the dancers' palms. This way, you have a more lush, robust connection. The Leader's hand on his partner's spine is an early warning system about where she is stepping.

Maestro discussed the verb esperar (to wait), which is related to the word esperanza (hope). So in our dancing, when we wait, we should not pause and be still like a statue, we should "hope" with our free dancing, embellishing leg (so there is movement, expectation conveyed in that free embellishing leg).

There are three flavors of walking: Strawberry (medium walk), Vanilla (regular walk) or Chocolate (big strong walk or like a period at the end of a sentence). Followers should follow aggressively to be even with the Leader. If she is not aggressive in her following, she will give the appearance of being pulled through the song by the Leader, and always a little late, behind, off the music. The Leader is both leader and follower: As he follows her into her point of axis, he tracks her.

The sequence was a simple one:
8CB to 5 (cross), the Leader steps right back to unwind her, then Follower steps forward clockwise to the left with her right foot while the Leader steps to the side with his left foot (and changes weight), Follower rotates to right foot, doing low boleo into forward volcada with her free left leg. The Leader steps forward diagonally with his right foot to send Follower's left foot back to forward cross in front of her right foot. Maestro noted that a volcada is a boleo that also opens to the side. For technique, the Follower should always try to have visual aim on the Leader's right cheek so that when he brings her around, her left leg will go out and around.

The next sequence was the same volcada, only doing it from a counterclockwise molinete, where Follower does left back, right side, left forward, to unwind, stepping forward with her right foot in clockwise direction in front of and near leader, to do volcada with her left foot. The Follower's tip of the day was to be like a kitty cat -- in doing the molinete, you want to be near the Leader, virtually rubbing his body with yours like a kitty cat would.

March 5-11

Saturday, March 7, 2009
Gustavo & Jesica Hornos workshop on Balance.
We began with a discussion of what balance means, what we need to attain it, and what compensations we need to make in our bodies to achieve it. It takes lots of work to be balanced. When we are not aligned, it is a serious issue when we move with a partner. We warmed up with rotating our upper body, keeping our lower body planted but knees bent a little, and letting our arms fly out free from our bodies like a windmill. Then we added our head. The torso has lots of possibilities to keep us aligned well and centered. We did some head and neck exercises, and became aware that our ears, neck, skin, reflexes, and many other things in our body help us find balance. On two feet, we slowly moved our body weight as forward as possible, as back as possible and to the left as possible and to the right as possible, moving our weight as far as it would go, but all without stepping, to feel the different muscle engagements as our weight shifted from one direction to another or one side to another.

Exercise 1: In partnership practice hold and slightly outside to each other, we lifted one knee simultaneously to be on one foot, with our outside legs touching each other as our knees lifted. Then let it down, shifted the weight to one side, then lifted the other knee/foot. And back and forth (L+L and R+R).
Exercise 2: We added a finger to finger touch of the same arm as the leg that is lifted.
Exercise 3: Then we added the finger to finger touch of the opposite arms, alternating stair step style, while we continued to lift our same knees to be on one foot.
Exercise 4: Palm to palm, we lifted our knee/leg forward and back, first one leg, then the other leg, with both partners doing the same leg at the same time (L+L, R+R).
Exercise 5: Palm to palm, we lifted our knee/leg forward extend, back extend with both partners doing the same leg at the same time, and then forward and back again using the different foot. We were not to lean, just connect in the palms, and move our leg without influencing or using the other person for balance.
Exercise 6: Same as prior, only with no touching and being 2 inches apart in our palms.
Exercise 7: Bend knees and try to find each other's foot and touch toe to toe or toe to sole: Leader's L with Follower's R, Leader's R with Follower's L. When we made connection we were to press a little to stay connected. Keep your head straight, eyes forward (do not look at your feet to do this).
Exercise 8: Same as 7, only do it with crossed feet (L+L, R+R), and increase the pressure and touch with the sole.
Exercise 9: Same as 7, only we connect with one hand crossed arm (Leader's and Follower's right, or Leader's and Follower's left), and also try to connect with sole/feet using the crossed leg (L+L, R+R). We were to try to connect with both sides.
Exercise 10: Palm to palm, and foot to foot using crossed feet (L+L, R+R), we were to take three steps forward, and then three steps back.
Exercise 11: In 3 person partnership, there is one person in the middle, while one person is in front of him and one person is behind him. The person behind pushes the middle person straight forward, the middle person takes a step, arriving and holding the weight on one foot, and then the person in front of pushes the middle person straight back, and he again arrives, holds the weight on one foot, and then the person behind pushes forward, etc. The goal is to really be aligned and stable on one foot.
Exercise 12: Same as 11, only with eyes closed.

Be calm, have a sense of alignment, breathe deeply and in the lower part of your stomach, and bend your standing foot. Try to always be aligned in the body. Think about what muscles are compensating when we are out of balance. This takes slow awareness and finding new ways of sustaining balance. Ideas apply to our dancing: Be aware of your core and your own axis. Be calm. Go very slowly to feel the movement. Our homework is to try to be very difficult to be out of the state of balance. Be aligned, grounded, centered. We have have lots of tools to return us to balance. We can practice good alignment in what we do every day: walking in the super market, sitting in a chair, driving our car.

Sunday, March 8, 2009
Facundo Posadas workshops and chat
(1) Milonga Traspie assisted by Christy Cote. Mastro taught us how to zig zag and do 180 degree turns (left and right). He also taught the side steps to the Leader's left (Follower's right), noting that it is a movement with short steps and on the ball of your feet. On the last side step, there is a slight lift (Leader has to have a strong arm) and the step is bigger to signal to the Follower that that is the last step.

Tango Chat translated by Adolfo Caszarry: Maestro commented that when you dance slow as they do in BsAs, you can see all the mistakes. So the preoccupation is to be perfect in their steps. One frustrated tanguera asked what is the best way to learn tango and who would he recommend as the one best teacher from whom she should learn in BsAs? Maestro answered: Know how you want to dance. Who do you want to dance like? It is very important to see the difference in styles. There are lots of tango teachers in BsAs; they are all good, the best in the world. Someone asked if there were any "internal rules" about how he dances that make him move so well. He said there are not. It's just the music that dictates what he does.


(2) Milonga Candombe assisted by Christy Cote. Maestro gave a little overview of what candombe is and where it came from. In old candombe, there is no embrace, it's open, a dance of the pelvis, a dance done while working in the fields, with your hand up to shield the sun from your eyes as you were looking out to see if the land owner was watching you from far away. We listed to the candombe music, being sensitive to its difference from milonga, and noting that the movement in candombe is different from how we dance milonga. We began with just walking to the candombe beat. The walking was similar to samba. Then we walked, but with a slight step back on the second step (also very samba-like). Next, we added the steps we learned in the prior class, only doing them to the camdombe beat and in close embrace. Maestro taught the rock step in a circle, with the Leader's right foot forward, and then using his left foot forward, and then alternating between the two feet doing only one turn step with each foot. We also did the touch step to the side, and touch step to the back in mirror image: Leader left side, right forward, and Follower right side, left back. Then we tried to disassociate the movement for the Leader: Leader does left side or right side or left forward or right forward, sometimes in between the Follower's feet, or connecting to the side of her feet. Maestro taught us the side step pivot beginning from the Americana position to Leader's left and Follower's right. Both need to keep their knees together, and be on the balls of their feet to pivot. The class concluded with a couple of swing dances and chacarera.


Wednesday, March 11, 2009
CCSF classes with Chelsea Eng. In Follower's Technique, Maestra shared an article: "Lunfardo Women in Tango" by Celia Merritt, which noted the various names for women in tango lyrics:
Chorra: a woman who steals
Grela: A woman works in the dance halls and lives a loose life
Jermu (from a mixed up spelling of "mujer")- a minor, a beautiful young woman
Milongita: A prostitute, named for the place she frequents
Mueble: Furniture, a woman who is moved place to place like a piece of furniture.
Pebta: A young woman, usually the object of affection
Percanta/Percantina: From the word percale. A young woman.
Piba: A young, pretty woman.

In both Follower's Technique and Advanced, since it was midterm review, we reviewed all that we learned so far: walking/rhythm exercises, floor exercises, barre exercises focusing on walking, ochos, molinetes, dancing with alterations/changes of direction.

February 25 - March 5

Wednesday, February 25, 2009
CCSF class on Turns. I already wrote about this class last week, but I neglected to include my detailed notes on the the video clip of Florencia Taccetti on Giros/Turns. Maestra brought in alfajores by Havana. In the video, Florencia showing us the turn: forward cross, side, back cross, side. In the forward cross, the Follower moves with her toes first, then moves weight forward, brings foot in, turns hip, and extends to the side step, changing weight. Then she turns her hips to find the back cross, turns hip and then extends the leg, then weight change. The hips should be in front of Leader directly into the side step. Then change weight. Follower should always be close to the Leader, extend the foot, change weight, collect feet, turn hips, and look for the side step. So it's hips, extend, change weight, extend, change weight, hips. We can practice this alone: change weight forward to side step, move hips and extend leg. Regarding the moment after the forward step, the movement of the hip makes you ready to take a side step. It is important to practice pivoting on the metatarsal. So, doing the side step of the right leg to the right, pivot on right supporting standing leg, to find the back cross of the left leg. Turn your hips well to make the step well, be relaxed, and let there be a rapid movement of hips.

Saturday, February 28, 2009
Late Shift Milonga @ Cheryl Burke Dance Center with lesson by Natalia Hills assisted by Jeff Schneider. The figure Maestra taught was a Leader parada of his left foot of Follower's right leg to pasada toward closed side of the embrace. The Follower pasada can have a fan embellishment before she steps over with her right foot. The figure was Follower steps side right, back left, back right to cross, then collect to clockwise molinete, with Follower stepping forward with her right foot, during which Leader sacadas with his right leg, Follower steps side left, during which Leader sacadas with his left leg, Follower steps back right, Leader "sacadas" or stops with his right leg of her left left leg into the Follower quick tucked cross embellishment out to resolution. Follower keeps her shoulders in front of the Leader, keeping her frame. For technique, Maestra recommends that the Follower's foot sweep, brush the floor. For the tuck, it is a fast, low-on-the-floor tuck cross, with a straight point from toe tip on floor. It is important for the Follower to be clean and precise in her foot work. For the Leader embellishment, he can do a lapice embellishment before his sacadas as he leads her molinete. This was all attempted in close embrace. They also did another sequence that involved sacadas, enrosques and simultaneous boleos of Follower's left leg and Leader's right leg in Americana position

Alicia Pons and Robert Hauk Workshops: Thanks to the enthusiastic support of Pablo, the following are my notes from the Alicia Pons & Robert Hauk workshops February 26-March 4, 2009. I decided to group them together since we covered a lot of similar and complimentary material. She is an awesome teacher, and I can see the influence of Graciela Gonzalez, tai chi and ballet. Robert Hauk is also world-renown as a teacher. Even though he had input, I wish he had a higher teaching profile in the workshops. Still, when you teach with Alicia Pons, I suppose that would be similar to sharing the stage with Madonna. They were both really wonderful, incredible teachers and super nice, warm, friendly people. Needless to say, I got a huge amount out of these workshops. What a blessing to the Bay Area that they came for a visit.

Thursday, February 26, 2009
La Pista Milonga with lesson: "What happened at the “Milongueando 2009 in Buenos Aires”. Tango secrets by Alicia Pons" Robert's flight was delayed, so it was Alicia only. Alica speaks English quite well, although sometimes she searches for more detailed and precise words of what she wants to convey. We began with a discussion of why we dance tango. The answers in no particular order: (1) because it's an expressive dance, (2) it's the dance of romance, (3) it's something to learn, you never stop learning in tango, each day you have many things to discover, (4) so I can hold her tight, (5) because it's fun, (6) the music is beautiful, (7) it's challenging -- 2 bodies, 4 legs, (8) it's one possibility to express something inside with the music and our partner. The lesson itself was on feeling; how we embrace, and how we express with our partner. Alicia's style is milonguero style, which is close since in BsAs there is not much room and just small space to dance, and the focus is on the embrace.

The Embrace:
We began with the embrace and how we connect. We put our fronts together, with Follower trying to have a short chest and long legs. The embrace was a warm, two-armed one, like saying "Hello" and being welcoming. The point is to envelop each other, and the embrace starts at the back in between the sides of both the backs of our shoulders. The Follower's left arm drapes over the Leader. Our first exercise was to try to dance without moving our feet (to Di Sarli). Here, we would focus on our breath and use our knees, bending them to make different levels like when we speak-- different tones, while trying to keep the flow and express what is happening inside of us. The goal is to feel another heart close to ours, and to talk with our bodies together, enjoying the feeling.

The Column:
Next, Maestra taught us the concept of the columns. We were to try to feel our bodies, and put our bodies on one leg, over one leg. She considers the human body having two columns, goes up one leg up one side of the body, and the other column in the other leg and other side of the body. Like columns, our legs should go into the floor to support the building (our bodies).

The Axes:
She also conveyed the concept of there being two axes -- the vertical one going straight up and down our bodies and the one across our hips horizontally, like a table top, and the axis being in the middle; uneven hips break the axis. Our goal was to always keep the torso over the table. She also discussed the concept of our legs being like trees -- very grounded to the floor, and like a bird -- absolutely free. For the Leader, his weight is always over his axis (so there is no forward intention in his chest). He projects his leg, then moves his body to arrives to his axis, and then steps on the leg.

The Water and slow, precise weight changes:
We practiced walking forward and back, trying to really be careful and precise with our weight changes. To help us with this, we were to envision water, and the column in our weighted standing leg being full, and transferring the water to our free, weightless leg. This needs to be done slowly, because if you do it abruptly, like when you try to pour a lot of water from one glass to another, you will splash. The movement was quite slow and very tai chi.

Projecting our leg without pushing with our chest:
Next we worked on projection. With a focus on the size, direction and energy (speed) of our movements. We attempted to walk with projecting our leg first before transferring weight. Here, for the Follower's back step, she recommends reaching with the toes, then bending them to really connect to the floor, and then rolling through as the weight transfers, rather than reaching with the heel (which makes the movement flat) or kerplunking down (which is like splashing the water). We were to be on our column so that our projecting leg is free and weightless, and to push off with our weighted leg. The Leader doesn't need to go off his axis or lean forward; his body should be over hips hips, and his shoulders should be over his hips. Always be over your column, and be gentle in his forward lead. The Follower should not resist, push, or lean; she should just have contact. Our next exercise was to play over our column, where we could move our shoulders, but not our hips (no tilt).

Friday, February 27, 2009
St. Aiden's milonga with lesson: "Walking Technique: Slow and Fast Walks. Variations. Runs. Toe Pointings and Bouncing". This lesson had many similar concepts to what was taught yesterday at La Pista. So we discussed starting with our bodies, putting them over to find the axis; the two axes (columns and table top). Next, we began with walking in an open circle, without going with our weight over the foot. We were to project first: movement first, then go and change the weight, so that the intention is before the action. We need to project the intention before the move. So we plan to go forward, or side, or back, and then we project the foot out, empty, without weight, and then transfer the weight after our foot has stepped and made contact with the floor. Again, she discussed the concept of pouring liquids, from a full vessel to an empty one. If you do this fast, you will splash and it will be impossible. So we tried to do it slowly and have more control. The visualization of water was so that we would understand the fluidity of movement, and not dance like we are cement.

Musicality:
To Canaro's Poema, we walked in circle, on (1) the beat, (2) the rhythm or pulse (which is faster and shorter than the beat, often having two steps inside one beat) and (3) the melody (which is longer and slower than the beat and is often accompanied by lyrics). So we walked to these three elements, sometimes fast, sometimes regular, and sometimes slow, but always trying not to lose the music. We did the same thing with Follower's hands on Leader's chest, with the plan to project the intention first, and then step. We were to try to find something different in our dance in dancing to these three elements of music (beat, rhythm, melody).

Embrace: We worked on the same concepts as at La Pista.

Milonga Etiquette: Respect the Line of Dance:
Dance with the same couple in front of you and behind you. If you have a lot of room in front of you, you must go. If you stop, you stop all couples behind you.

Sunday, March 1, 2009
1st workshop: "Body Language" We began with foot exercises. Then she discussed the column concept, and we practiced with weight changes front to back, with our free leg and with our full leg. Maestra discussed breath, and we stretched up in our torsos (but not our shoulders) when we inhaled, and went down when we exhaled (very tai chi + ballet). Our goal was to express sensation. Each step starts in our column, and there is spring our our building, our column. We were to be elegant, and express each step in our body. You can use your breath, inhaling when we need to express something in the music, and then go. This is one way we play with music in our bodies, and work with the slow possibilities. Our goal in dancing slow is to concentrate on our posture, expressing, being over our columns, maintaining balance, and slow weight transfers (moving water from one column to the other, like filling water from one full, weighted glass to an empty, weightless glass). In going slow, each step is one trip, and you should enjoy the trip, not just arrive.

We danced without contact, using visual connection only, no arms, with Follower concentrating on the Leader's sternum.

Then we danced with the Follower leading with visual only, no arms, with the goal of really trying to express what is being felt in the music.

Then we danced with our eyes closed and no legs or steps for the Leader, but with weight changes.

The Leader leads, but sometimes the Follower can take time to respond to his lead. She can have a louder voice and more participation in how they dance together, rather than just following. When she does slow things down, with her body she must say "Please" and "Thank you". She can do this by stretching her body to ask for her time, starting slow. When she relinquishes the lead, through her body she says thank you.

One exercise we did was dance with the Follower backleading the walk to Pugliese to convey to the Leader what she feels in the music and how she hears it.

We went to the cross, stopping in the middle before the cross over on 5, where Follower rises up on her right leg to have a voice to say "Stop" to him, doing a slow, expressive collection, to sensual spiral cross.

2nd workshop: "Between step and step, Tango happens…" Here we practiced stretching up when we inhale, and going down in exhaling.

Milonga Etiquette:
Don't embrace without the music. Don't invite someone to dance during the cortina because the dancers need to know what the music is to decide who they want to dance with. Many people prefer different partners to different music (vals, Pugliese, di Sarli, etc.). Take the time to use the music to adjust the embrace. Say "hello" with your embrace, don't just grab each other.

Roots of the Ocho:
We practiced walking in three tracks, with changing between parallel and cross systems and weight changes. The Leader walked on one side, then crossed over to other side in cross system to change the direction of walking, but never stopping. This related to the roots of the ocho. In cross system, walking on one side, then crossing over to the other side. The Leader changes the direction of walking when he crosses over. Follower has same torsion in her body, so in parallel system both bodies are contra lateral. In cross system, both bodies cannot be contralateral, so Leader has to change his body to put shape into the Follower's body. So in the cross system, the Leader's walk is weird, without contrabody movement: thus, his left shoulder forward when his right leg is forward, and his right shoulder is forward when his right leg is forward.

The Milonga Necklace:
Each couple is like a pearl in a necklace, and between each couple (pearl) there is a link. The pearl couple typically does a circular, rounded movement (like a series of back ochos), and in between those movements, during the link, is walking.

Next, we practiced with weight changes, trying to make a pearl. In BsAs, it is said that at the milonga it is more about rotation (swirl) than transportation (going forward).

3rd workshop: "Tools for Creativity in Tango - 1 The ocho cortado" We reviewed much of what we did in other classes: We first danced to the Ricardo Maleva orchestra: we walked to the three elements of tango music (beat, rhythm/pulse, melody), taking care before going into rhythm to put energy into our column by rising a little. The way maestra teaches the ocho cortado, she adds extra steps. So instead of 1-2-3, 1-2-3, its more 1-2-3, 1-2-3-4-5, or 1-2-3-4-5-6-7 with a full collections on the side step to the left, on the side step to the right before the spiral cross. She can do this because she can slow down the leader through her body language. It's important for the Follower not to make the side step too big, and always to keep the movement of the foot underneath you.

Monday, March 2, 2009.
Workshop @ Cubberley Auditorium in Palo Alto: "Movement". This was my first time in the Auditorium, though I've been to the Pavilion a bajillion times for ballroom parties. The Auditorium is about the same size, but was curtained off so that we danced in a smaller space (but there was still plenty of room), with overhead florescent lighting, and linoleum floor (just like BsAs). I got there early and caught the tail end of her beginners lesson, where the dancers worked on their floorcrafting, and maintaining the necklace, with no weaving in and out, being like a pearl and walking the links. Igor provides some fancy bottled water (fizzy from the California mountains and still named after a tropical island) and mints/candy.

Connection Exercises
For the workshop, we began with connection exercises, much like what we did in prior classes, with Follower beginning with her right forearm against the Leader's chest without pushing or resisting, but adjusting and feeling the Leader prepare her to walk and maintaining constant contact. If the weight/pressure changes, the Follower was supposed to stop him. This is because if the Leader pushes, the Follower will always step short and too soon, cutting the movement, since her weight will transfer. If he doesn't push, they will step at the same time. The goal was for the Leader to invite her, then move. As usual, the Follower needs to reach back with long legs and short chest.

Palm-to-Palm Circular Energy Exercises
Next, we danced with our hands, both Leader and Follower hands palm to palm. Here, our hands were to reflect the circular nature in the change in energy and weight as our leg projects and the column fills with water, mirroring the movement in our chest. The Leader drives energy without pushing and this energy is always circular, with the full glass going to empty glass during the weight transfers, like a slinky toy, really rolling through slowly. The Follower began the movement with full, front leg, to empty back leg. For walking technique, Maestra recommends that the weightless leg be really free, with no drag between the steps, to give this free leg the ability to be open to all of the possibilities of movement (even air embellishments). Then you have time to do things immediately (whereas if you drag the feet, you do not have that time). With dragged feet, the Follower loses connection to the leader, and loses time and hence possibilities.

Next, we tried the same palm-to-palm circular energy exercise adding the side steps (which would be a semicircle movement with our hands). Men and women switched off leading and following.

Next, we tried this same circular energy exercise using just chest connection and no hands and again switched off leading and following, and really attempting to communicate by stretching our columns up, like a fountain.

Tango is a dialog, not a monologue, so you can use your body as your voice saying "Hey, it's my moment" to dance, to express.

Timing Exercises
Next, in the embrace, we practiced walking really smoothly, walking in the cadence of the music, but very slowly using one beat to place the foot, and one beat to transfer the weight (basically dancing half time). Then we were to challenge ourselves to dance even slower, using 2 beats to place, 2 beats to transfer; then 4 beats to place, 4 beats to transfer. We were playing intentionally with the music, marking the beat.

Wednesday, March 4, 2009
Workshop @ Cubberley Auditorium in Palo Alto: "Tools for Creativity in Tango - 2 Stops & Suspension" Maestra taught this lesson by herself . Maestra began with asking what Followers want, and what Leaders want. We got together in a group and came up with the following Follower wants: (1) Smooth, clear lead with chest and passion; (2) Listen to us, and give us a chance/time to dance (embellish); do not rush us through a move -- pushing or pulling us through; (3) Don't keep us in his pocket (his right side underneath his arm pit on the closed side of the embrace), we want to be in front; (4) With respect to the embrace: Make us more comfortable with the body positioning before starting to dance (respect our build and respective body mechanics and adjust accordingly based on our differing heights and sizes); (5) Don't make us feel uncomfortable (incompetent) when we don't know how to do something (adapt to the level of our ability).

The following were Leader wants: (1) Followers, please do not anticipate. Have no assumptions and let the Leader lead; (2) Move in one direction that I ask of you, smoothly; keep your axis, and don't move to where I don't lead you to; (3) When the Leader pauses, the Follower should play with music and do something; (4) Follower be aware of your connection with the Leader; (5) relax and enjoy; (6) learn to wait for the Leader. Bottom line: be musical, don't anticipate, wait for the Leader, keep your axis.

Regarding the pulling or pushing through the move by the Leader, Maestra noted that as dancers we should step when we want to step, not when we need to. If we need to step, that means we are falling. We need to keep our axis, by making columns in our legwork, and to have intention without pushing the Follower.

To work on this concept, we did an exercise: Intention without forward intention in our chest. We did this with the Follower's hands on Leader's chest, just walking. We were to do this slowly and precisely, finishing each step by lifting up and leading each step with elegance. For the Leader, when he leads, every step is for the Follower, to place her and find her column each time. For the Follower, if she steps before the Leader arrives, you go shopping (instead of to the beach together).

Find Home
Next, we tried to go beyond walking, with going forward, side, and back, trying to go home (on our column) with each step. Follower should try to connect with a short chest and long legs, and the goal was to always find home (make columns and be strong in our supporting, standing leg, and really free and light like a bird with our weight less leg).

Leader Back Walk, Follower Forward Walk
Our next idea was to find home in the turn, changing the direction from walking backward to walking forward. Apparently, we didn't do so well, so we did more remedial exercises to this so that we could better execute the concept. Here, the Leader leads himself to walk backward and the Follower forward. Here, the Leader needs to really open the door for the Follower by maintaining connection with her and torquing his body with his left shoulder forward and sending his right leg (hip) back (diagonally cross) to give Follower room to step through. Maestra mentioned Robert's suggestion of thinking about having a light coming out from our chest, and trying to shine this light on the road in front of us, not straight down on the floor.

We attempted the Leader backstep in a circle, with three consecutive small runs. Maestra said that very good Leaders dance backwards. Followers should not be afraid of walking forward and not stop or tremble or resist when being led to walk forward.

Come join me!

Facundo Posadas is in town...be there or be square....

Really cool workshop at Gustavo & Jesica's in Sausalito on BALANCE (6:00 p.m.).