October 22-28

Saturday, October 24, 2009
Ben Bogart workshops on Musicality: Musicality for Dancers Parts I & II

Asymmetrical Rhythm, and Asymmetrical Drama:
This two-part workshop focus is on asymmetry in tango music. The First class looks at common asymmetric rhythmic structures, exploring their regularities and irregularities. The Second class explores a topic dancers seldom consider, the "fraseo". Tango melodies are uneven between the beats, what does that mean for us as dancers? What does it mean at all?

The topic of the workshops was to explore two opposing ideas:
(1) Differentiating things in our body
(2) Differentiating between the rhythmic and the legato (expressive/dramatic) aspect of tango.

We began with an exercise. We were to imagine that Di Sarli and his orchestra came back from the dead and had a gig in the San Francisco Bay Area. The current band’s name is the “Di Sarli Zombies”. Last night the band had a wonderful time at the local bars drinking Fernet Branca, but one unfortunate consequence was that the violinists didn’t show up for rehearsal today because they were too wasted. Since Di Sarli is now in a bind, he asked us to step up to the plate and rehearse with them. So, we whipped out our air violins (a la Guitar Hero 5) and improvised playing violin to Di Sarli’s Bahia Blanca, trying to get the size and expression of the music. So for the louder parts of the song, we were to play with our bows having long, full strokes, and for the quieter parts of the song, our bows would have smaller strokes, and for short notes, even smaller strokes. These same movements of long strokes or short strokes apply to the bandoneon.

The hope for orchestras is that dancers become part of the band, and have the sensation that the dancers are interacting in real time with the band. So, as dancers, at the beginning of the song, we were to have large, smoothly, flowy steps. As the tempo changes, we can have more dramatic, legato movement.

Di Sarli plays the same rhythm all the time. It is “dancer’s music”. With respect to the tempo, the size gets bigger, making it feel as if we are going faster.

We did an exercise of just walking alone, forward, walking small, or big, or staccato when the parts of the song were extremely rhythmic and small. We were not to do anything in double time or stop/pause.

Next song we explored the rhythmic, asymmetrical aspects of tango music, trying to find the asymmetrical parts. We were to make the rhythm more precise by stepping forward with the heel first (not the toe or ball of foot).

Next, to Piazzolla’s Michelangelo 70, we noted that there were two rhythms:
(1) The underlying bass rhythm.
(2) The S-S-S-S-Q-Q rhythm
To this song we attempted to walk on that second type of beat, really accenting it with our feet on the floor. Next, we danced it in partnership, trying to be calm and remove the momentum in our dance. This song should not feel fast.

Next, we discussed the irregularity of the Piazzolla rhythm, that the notes are not 50% of the note before or after it.

Earlier songs had this similar rhythm, only not as much of it. So you hear a lot of Q-Q-S, similar to the clave salsa rhythm. We attempted to clap out this rhythm, and then add our feet to it.

Next, we attempted to walk the rhythm.

Then we attempted to dance with or without stepping on those quick beats. We were not to feel obligated to step on every single quick beat, but were free to do so as the music dictated. We attempted this to only a partial song, where a piece that had many irregular Q beats was continuously looped so we could become familiar with that part of the song and so we had time to drill the Q movement in our dance in that particular moment of the song.

After we danced with accents in the looped piece of the song reasonably well, we attempted to dance to the complete, whole song (without the loop), trying to really catch the portion of the song where it deviates from its regular rhythm into this irregular rhythm with many Q’s and to accent them in our dance. For this particular song, this rhythm happens in other places, but it is displaced.

It is fine to hold the beat prior to be ready to really catch the Q beat. Holding or not stepping on the beat is OK. We practiced this concept to Di Sarli’s Milonguero Viejo and Organito de la Tarde.

Next, we switched to a new rhythm, the one that is the beginning part of Rodriguez’s Son Cosas del Bandoneon before the singing. Here, we danced to a loop of the beginning.

Next, we switched to a different rhythm, that of Biagi’s La Marca del Fuego.

This was the end of the first workshop, after which there was a 15-minute practica before the next workshop, during which the following songs were played:
Biagi’s Calla Corazon; Piazzolla’s Oblivion; Mederos’s El Flete; Pugliese’s Nochero Soy.

For the second workshop, we were to focus on the drama in tango music. We began with the question: What gives tango so much drama? It depends how each orchestra plays the notes, using volume and the time frame, basically all the resources musicians use to play legato.

We began with an exercise to a song where we attempted to ignore the base, the foundation of the rhythm, and just dance to the bandoneon. This we did in partnership dancing to Piazzolla’s Oblivion.

After dancing, we discussed the huge contrast in how the bandoneon is played during the song, with slow, airy parts, or fast, short parts, and everything in between. There is a huge, dynamic range, from quiet to loud, and with many points of suspension and release. At times in Oblivion, the bandoneon sounds like it is barreling down a hill, or moving slowly up a hill, or cresting at the peak of a hill.

From this comes the idea of the ball. Maestro took out a small, hard purple rubber ball, and dropped it. We noticed that the first bounces were large and the time between contact with the floor were slow, but as the ball kept bouncing, the bounces got shorter and faster, until they were very low to the ground and very fast. He also illustrated this same concept with a different ball, a larger pink squishy ball that bounced more softly and flatly than the sharp bounces of the hard purple ball.

To understand this concept, we were to walk with the tempo of the bouncing ball, staring slow and large, and then move toward faster and smaller steps as the ball bounced faster and shorter.

Next, to a song we attempted to walk in uneven rhythm, picking just three places to step (though there were many different options where it would be correct to step).

Next, we danced to a Pugliese song.

It was noted that other orchestras arranged the bouncing ball idea, but in smaller sections so the song still had the beat.

Maestro took out his bandoneon and started to play the beginning notes of El Flete.

Then we switched to Medero’s version of El Flete, doing a walking exercise of walking on the 1-2 for a minute of the song. Then we played the song again, with our goal of walking on the 1-3.

Then we did more walking exercises to different songs.

Maestro noted that dance bands needed to make things easy to get paid, so tango songs are generally very regular so that the dancers could dance to them easily and thus be happy with the band.

Our goal was to play with the spaces between the beats, where we could step on any note.

Next, we practiced just stepping only on the “2” in our walks.

Then, we danced with just stepping on “2” during a section of the song where that was possible. We drilled to several other different songs, one of which was Di Sarli’s Bahia Blanca.

Finally, we put everything together while we danced to Di Sarli’s Bahia Blanca:
(1) dancing to the bandoneon
(2) dancing with slow, airy movements, or faster, short movements
(3) using suspension and release
(4) dancing with steps that start big and with lots of time in between, but them stringing them sequentially with smaller shorter steps
(5) stepping on the 1-2 or the 1-3
(6) stepping on only the two and letting the other downbeats go by (not feeling obligated to step on every beat or down beat)

These were excellent workshops, with ample time to fine tune our listening skills, and incorporate these concepts into our body with lots of rhythmic drilling to different types/styles of songs.

Here is the play list of songs we used for the workshops:
Di Sarli – Organito de la Tarde
Piazzolla – Michelangelo 70
Pugliese – Derecho Viejo
Tanturi – Decile que Vuelva
Rodriguez – Son Cosas del Bandoneon
Biagi – La Marca del Fuego
Biagi – Calla Corazon
Piazzolla – Oblivion
Rodolfo Mederos – El Flete
Pugliese – Nochero Soy
Lomuto - Muñequita
Calo – Al Compas del Corazon
Pugliese – Mala Junta
Di Sarli – Bahia Blanca
Pugliese – Recuerdo
Laurenz – Arrabal
Di Sarli – Milonguero Viejo


Sunday, October 25, 2009
Facundo Posadas workshops on Milonga Candombe de Salon, assisted by Christy Cote. Cristy did a find job translating, the best I've ever seen.

The workshops were somewhat similar the ones he held in March 2009 when he last visited, so you can see that video at http://www.youtube.com/watch?v=E7qI4r5DKK0&feature=related

Sorry my notes are a little disjointed. The best parts of the workshops weren't actually the steps themselves, but the knowledge Facundo imparted about tango, milonga, Candombe, canyengue, Africa, Robert Thompson, etc., etc.

In the first workshop we worked on syncopas. The pattern taught was linear, there is a cross, but no weight change to the back leg. The contact is in the high part of the thighs as the point of the cross. If the contact is at the lower part of the leg, it will cause a pivot.

We did an exercise to get our footwork down: side step, collect, leader steps right foot forward, collect, left foot diagonal forward, collect. Leader’s right foot, touch. Follower’s right foot to front cross of left foot.

Leader steps with his right foot to sacada Follower’s right foot to front cross ahead of her left foot. The Leader does left foot back cross of his right foot, then right foot step forward to make Follower’s back left foot step back.

Leader rises to get Follower to unwind from her cross.

There is a very small pause after the cross. Don’t rush it. Arrive, then pivot with a little pause. This is all done in open embrace.

We worked this entire workshop to Canaro’s Milonga Sentimental.

Next, we worked on the barrida part of the figure. The Leader steps side step left (Follower side step right), Leader’s right foot contacts Follower’s right foot, and sweeps it back in the barrida. On the barrida, the Leader can contain the pause by putting pressure on her back with his right hand. The barrida goes directly into a Leader sandwich, and then directly to a clockwise pivot while he sandwiches. He can continually link these to his back step with his right foot, then side step, then barrida, so it looks like 1-2-3-barrida, 1-2-3-back step, etc. On the sandwich pivot, the Follower’s left foot stays off the floor as her right foot is sandwiched between the Leader’s feet, because the Leader lifts her so she can’t put her left foot down.

It is more elegant to uncross the Follower’s back crossed right foot by lifting her first before leading her to do a forward step with her right foot.

There are lots of little details to make things more elegant.

Finally, we practiced all the three steps we learned today. The problem came up of how to connect them, and to be musical when we danced them, really feeling the rhythm. What is important is to know how to begin each step. Then you can step when you want to do them.

Again, when the Leader touches low on the Leader sacada, he will initiate a Follower cross.

In Milonga, there is lots of variation. The tempo can be slow, as in lise, where everything is on the floor and very elegant (like for Di Sarli). Or it can be slow with lots of syncopas (like for Canaro), or faster and with lots of syncopas (like for D’Arienzo). There is lots of variation in spirit, even though they can be slow (or fast).

In Candombe, the African rhythm is clearly marked. We listened to how different it was from other milongas. For this second workshop, we worked the entire time to Azabache. The body can be very free to put movement that you can control. The same thing that we’ve done. You need to have freedom, but also control so that you don’t bump into people on the milonga dance floor.

In Candombe, the walk is very important. So we practiced walking, outside, in line, back to outside. Your feet should be like you are sneaking home into your partner’s bedroom and she is sleeping and you don’t want to wake her – i.e., silent, quiet, controlled and precise and direct in stepping).

We practiced the Leader’s back touch step (done three times, and on the forth touch it is a full step/weight change). We did this with the Leader’s back right foot, going a little counterclockwise through the movement, and Follower’s left foot going forward at the same time (no directional change, just straight forward into Leader).

We talked a bit about floor crafting:
There should be no passing/weaving.
There should be no Leader taking multiple back steps (otherwise you will crash into the couple behind you because you didn’t see them).
Always dance in the line of dance.
Respect the couples in front of and behind you.
Don’t dance too close to the couple in front of you.
Maintain an even distance with other couples so you will have room to dance.

What is Candombe? People understand the African Rhythm. It is natural. There are different rhythms for different parts of Africa. This rhythm is like the father of all of the dancing in Europe and the United States and North America (except ballet). All the dances have all bases of rhythm from Africa. The beat is born in Africa, has African Roots.

Robert Farris Thompson, a Yale Anthropologist, wrote the book Tango: The Art History of Love (http://search.barnesandnoble.com/Tango/Robert-Farris-Thompson/e/9781400095797). The first man in the world came from Africa. Those first men didn’t speak verbally, so they communicated using movement and rhythm. There in Africa began the rhythm of life, music. We copy this rhythm, without knowing the feeling and pulse in the heart. This rhythm is genetic in the world. Babies are exposed to this rhythm before they are born. They hear and listen when they are in their mother, as their mothers work and sing. Life in Africa is very concentrated in rhythm. Thus the genetic roots of African rhythm.
Maestro asserts that he learned more about Tango from Robert Farris Thompson than he did from the old milongueros in Buenos Aires.

There is a game in Africa played by children on the riverbanks. The game is they put their feet into the water, deeper and deeper, to see how far they can put their feet into the water before they fall into the river. If you fall into the river, you are out of the game. This game is called “Mazasay” (my phonetic spelling).

The rhythm of Candombe, when mixed with the Havana rhythm for Cuba, formed the basis of milonga music as we know it today. Tango in general is a mix of various cultures that were in Buenos Aires during the turn of the century , so there are elements of the melancholy feeling that the immigrants had, Italian elements, Portuguese elements, even Swedish elements (they have a 300 year old folk dance that has a boleo-like move in it), or ochos coming from somewhere else. All of these immigrant elements are a part of tango.

For the workshop, we played with the touch step derived from the Mazasay children’s game It is important for the Follower to understand the lead. There are three touch steps (can be small or micro), and the fourth touch step is an actual step with weight change. This touch step is always done after the cross. There is disassociation in the lead. You can also do the same feet to go in opposite directions when facing each other (Leader goes to his right foot while Follower also goes to her right foot).

From this, we worked it into Chelsea’s waggle step of Follower’s back left foot step straight back, and then the same back left foot steps back cross to the right, and then back open to the left, etc., while Leader does forward step with his right, cross then open, etc.

Second workshop. Leader back cross of right foot, touch step of right foot three times (pause), a little counterclockwise, with Follower left foot forward touch steps three times.

For this step, we need chest contact. This is very much like samba rhythm, but the samba step is outside partner.

So our sequence went something like:

Ocho cortado, Follower right foot back touch step 1-2-3, then on 4 there is a weight change, directly into the Follower’s left foot back waggle (Leader’s right foot forward waggle). Conclusion is after the waggle ends, on Follower’s left side open step to step forward with the left foot. We worked on this to Alberto Castillo’s Charol.

Next, we worked on playing with the Mazasay step, stepping four touch steps out to the right, and then back in four touch steps of the left. Note that there is no weight shift. For the Leader, he uses his left foot to go out left and then in to the right (keeping his weight on his right foot) , and for the Follower, she goes out to the right with her right foot, and then back in with her right foot (keeping her weight on her left foot). This can also be done on the opposite feet/sides.

Next, we did a disassociation exercise of Leader stepping forward with his right foot, to collect, to do a side step to his left, and then collect. Follower does mirror image of back left foot, collect, side right foot, collect. For the disassociation piece, the Follower does continuously the same footwork in a reverse 7 position, while the Leader changes his footwork to step in between her legs sometimes as she side steps (using either his left or right foot), or he can also match her side step by doing side steps to the same or opposite sides. This was to help the Leaders in their disassociation of movement. For him, it is the same chest lead so that the Follower does the same footwork, but the Leader can do his footwork with or without weight changes, doing L, or R, or LL, or RR, or LR, or RL.

We discussed Candombe music, and it was noted that it was difficult to find Candombe CDs. Usually, when you have a milonga CD, IF there is a Candombe on there, it is usually just one. So you can make your own compilation, but would have to get many milonga CDs to do it.

Next, we followed with a discussion of Canyengue. Canyengue was derived from an old form of walking, that the gauchos / men from outside of Buenos Aires did with an attitude, a swagger. They put this in the dance. Their toes were turned out. Dances used to dance low, but rose up as the music became more elegant in the late 1930’s/1940s. When people danced more upright, they did not have the balance in their feet as the old, down low, toes turned out type of walking, and that is how the two tracks developed. Prior to 1937/1938, there were no molinete turns, and not many crosses either, no fancy things. Tango was mostly just walking. Maestros demonstrated dancing tango to Canaro’s Poema, as dancers did originally when it first came out. It was all walking.

There were three big changes in tango:
Expression
Elegance
Dynamics (most important at current time)

Everything is for the current time (the era in which we live). Right now, things are fast. It’s natural. Changes: OK that’s great. No one says that when the changes are happening.

The people of the 1930’s asked “What is he doing?” Like how they ask now with Nuevo.

We change, and then go back.

Modern dancers don’t have the same soul/elegance of the people of the people of the 1930’s and 1940’s.

How do we see people dance now?
(1) Fast
(2) 1920’s style with just forward and back walk, ocho cortado, taps small, on floor, with soul.

Elegant walk.
You don’t need the steps.
Everything changes, but everything is fine.


Wednesday, October 28, 2009
CCSF Classes with Chelsea Eng. Our topic of the night was Women/Tango Culture and boloes (continued). Maestra had a handout of "Lunfardo Women in Tango" by Celia Merritt from B.A. Gotan newsletter, which was a handout of various lunfardo words for women. In Follower's Technique, after our usual essential walking, floor, and barre exercises to increase our strength, balance, disassociation, elegance, body control and freeness, we continued at the barres with boleos, this time focusing on front boleos (we did back boleos last week). We did front boleos on and off the floor, and some variations: the switch (with no boleo), and the flamingo where the leg goes up. In Advanced, we continued our work on boleos, focusing on contra boleos (we did with boleos last week). As usual, they were good classes, with ample time to drill so that the Leaders could get the timing right to lead boleos, and the Followers could practice their ocho technique, having a strong stable standing leg, and a truly free free boleoing leg (but slightly controlled to have a prettier shape).

October 8-21

Wednesday, October 14, 2009

CCSF Classes with Chelsea Eng. In Follower’s Technique, we began with our usual essential rhythm, walking, disassociation, and foot strengthening and articulation exercises, which Maestra changes up every week to make more challenging as our bodies improve. We continued our midterm review, focusing on walking, ochos, and turns. We concluded with a sensitivity/following exercise based on “ET”-like connection of just index finger to index finger. In Advanced, our midterm review focused on changes of direction. They were excellent classes, as usual. We celebrated Maestra’s completion of another trip around the sun with carrot cake and Vals.


Monday, October 19, 2009

Orange Practica at the Beat with lesson beforehand by Homer and Cristina Ladas: The Organic Gancho. We did both Leader and Follower’s organic ganchos.


When we first learn to do ganchos, we usually stop our partner first, and then lead her to do a gancho. The idea behind this class is to flow through it elegantly, using a different technique.


LEADER’S GANCHO

For the Leader’s gancho, we create circular movement with good timing. The Leader steps to the side, and then back to do a back cross step of his left foot behind his right (to lead the Follower to step forward); then his right foot crosses in front of his left foot tight so that his right hip faces the Follower’s right hip, and he changes weight to pivot counterclockwise. Here, there should be thigh contact with the Follower so that the Leader is able to feel where she is at all time, and so that both dancers have a sense of security and Leader knows what he is ganchoing.


For the Follower’s part, this step first begins with an alternation of a right foot forward step to the outside of the Leader on his right (her left), to a back cross step back on her left foot. As she does her left foot back cross step counterclockwise in the molinete, her right thigh is in contact with the Leader’s right thigh. This is where the Leader back ganchos the Follower’s unweighted right leg with his right leg (not just the bottom half below the knee). As she continues her counterclockwise molinete with a right foot side step, her right leg remains in contact with the Leader’s right thigh and sends it around out and forward against the opposite side of his body as she completes her side step and continues around in her counterclockwise molinete.


For Follower’s technique here, be close on the forward step of the alteration. Do not hesitate on this forward step, but take a good, generous step. For the back step, make it near the Leader, curving toward him, since good molinete technique must also be maintained (overturned back ocho step).


For Leader’s technique, the tight front cross of his right foot against his left foot causes his right hip to turn toward the Follower’s right hip in perfect position to enable his right thigh to have contact with Follower’s right thigh, and enables his leg to feel her leg as he comes out of the back gancho. As with all ganchos, the Leader needs to articulate with his whole leg (not just below the knee), as if for an in-line boleo.


More Leader’s Technique: Let go of your right hand so that you don’t push her to lead her around. IT IS VERY EASY FOR LEADERS TO OVERUSE THE RIGHT HAND IN CERTAIN SITUATIONS SUCH AS THIS. DO NOT DO THAT. Always keep your balance so that you do not fall before the gancho (or cause her to fall). Dancers need to really use their spines to remain upright.


Techniques for both Leader and Follower: There is a little hanging away from each other, not colgada energy, but a little more back energy so that the dancers balance each other.


Next, we next did an exercise to work on our gancho technique and articulating the whole leg.


THE PENDULUM EXERCISE:

The dancers stand side by side, thighs touching and one arm around the other’s back. One person swings his entire leg back and forth, as if it is a pendulum. The other person steps behind him to provide a leg for the pendulum person to back gancho. The dancers’ thighs are touching so that the other person can be sensitive by feel to work on timing and knowing when to step behind for the gancho. Everyone switched off (1) being the pendulum or (2) stepping behind in position to receive the gancho. The pendulum person needs to keep their hips even. The leg providing person should turn out his foot/leg that will be ganchoed.


LEADER’S GANCHO – THE OTHER SIDE (clockwise, left leg)

We went back to the Leader’s Gancho, attempting to do it on the other side with Leader doing a left leg gancho of Follower’s left leg on her back cross step of her right foot, as she does a molinete clockwise, which was a little more difficult to set up, but easier to execute. For this side, the Leader does not have to do a left foot cross in front of his right foot. Leader’s right arm MUST open up on this side.


FOLLOWER’S GANCHO

For the Follower’s gancho, as the Follower goes around the Leader in the molinete, the Leader comes in and provides a little bit of twist, leading her to gancho his leg. From the Follower’s back cross step of the molinete, after she completely changes her weight to her back foot, the Leader does a side step, stepping outside behind the Follower’s back foot/heel, which stops her completely and abruptly, and he then twists his chest so that she does a gancho with her non-weighted foot.


Leader’s Technique: The Leader lifts his heel when he offers his gancho leg so that he has more movement and flexibility. This gancho space providing leg is usually unweighted, or can be slight weighted (possibly up to 50%). The Leader leads the Follower back gancho with the twist of his body, with a moderate amount of twist on the easy side, and less twist on the hard side. The Leader’s upper body twist shapes the Follower’s gancho and gives her more energy. The Leader steps outside the Follower to lead her to stop abruptly, which lets her free leg flow to gancho.


The keys to these Ganchos is getting the correct position of the Leader’s foot behind the Follower’s back cross step foot, and to get the Follower to stop before leading her back gancho. Our goal was to work on setting it up for a gancho that is flowy.


KEY TAKEAWAYS:

Leaders: Let go of your right hand. Go with the Follower’s side step. Have contact in the thighs. Set up the Alternation well. Set up the gancho position well with thigh contact. Practice on the easy side and the hard side.


Followers: Have good molinete technique. Have whole leg articulation (not just below the knee). Use the mechanics of the turn. The Leader steps outside the Follower to lead her to stop abruptly, which lets her free leg flow to gancho.


Maestros concluded with a demo to Canaro’s Milonguita, showing many more possible Leader and Follower Organic Ganchos than the two taught during class. See the video at www.tangostudent.blogspot.com



Wednesday, October 21, 2009

CCSF Classes with Chelsea Eng. In Follower’s Technique, we began a video from CITA 2008 of Ariadna and Federico Naveira dancing to Rawson during the Theater Show on Side A of the DVD, trying to pay much attention to the beauty of her legs, especially when she did boleos, the topic of the night. Maestra noted Ariadna’s groundedness, fluidity of legs, and calmness in upper body. The ideas we were to take away regarding boleoes was to use our abs/center/core, use our feet and really spread the toes and be on the ball of the foot for the widest, most stable base, our bodies to be aligned over our feet, to have good balance, and to find the right combination of tone and tension in our boleoing legs. After our usual essential walking, floor, and barre exercises, we worked at the barres to “paint the floor” with our boleoing foot. Here, we were to let one leg be noodley and loose as we played with ochos and floor boleo movement, mimicking the look/movement of a paint brush or string mop, while our standing, supporting leg is stable and strong. From here, we were to add a little bit of shape, favoring the inside of the foot, without any tension or muscle to our legs. Next, we continued with doing back boleos on the floor, and then off the floor like striking a match. We concluded in a partnership exercise doing a side step, back boleo, and then pivot out to forward step, etc., across the floor. In Advanced, we continued our work on boleos, doing with and contra boleos on both the close and open sides. To this, we switched things up a bit and worked on a simple soltada, where the Leader steps to his right and then does a loop turn by raising his left arm with the Follower’s right hand in it. Her goal is to keep her left arm close and down across her stomach near her body, and then unfurl it to catch the Leader’s embrace as she returns to face him after the soltada. She is also to try to get all the way around on one foot as he turns her, but keep her standing, supporting right leg stable and strong, but with the knee soft and slightly bent. Next, we put these both together, with the soltada turning into a Follower left foot back boleo and then a front boleo as the embrace is maintained (i.e., after the soltada, the Leader holds on to her left hand and right hand in sweetheart embrace, and gives her enough circular energy so that her left leg goes back in a boleo after the soltada, and then immediately into a front boleo as he gives her energy the other way). They were very good classes.

October 1-7

October 2-4, 2009 Tomas Howlin Workshops, with Assistance by Shorey Myers.



Friday, October 2, 2009

Tango Teasers – Share Tango Temptations with Your Partner. The underlying theme of the workshops were to do the steps that we know, but give them a twist of unexpectedness or humor. In partnership, we began with side step (Leader’s right, Follower’s left), single beat or quick beat, and added a rebote for the Leader to lead her to his right (her left). She may or may not collect depending on what she feels. Leader can go somewhere else: as Follower goes to the Leader’s right, he can go to his left so dancers are going away from each other. Next, we worked on being funny or adding a twist. In the ocho cortado footwork for the Follower, where instead of the usual footwork into the cross, she does a left side step, then a right collect (weight change), to step forward cross with her left foot into front cross of her right foot. The Leader can also do a right leg parada of the Follower’s right foot at the open step before the cross as a form of play. Here, he can be even more playful by lifting his heel to stop the Follower, with his knee moving after his heel moves. The Follower keeps her feet on the floor before the cross (sweeping the floor with her toes). The Follower’s knees pass the Leader’s knees, then the Leader lifts up with ankle-to-ankle connection, then sets their feet down, and steps side right. During the lift, the Follower’s weight is on her right foot so that her left foot is completely free to be lifted; Leader should make sure they have connection before he attempts to lift. With this Leader parada with Leader and Follower ankle connection, he can do lots of things, like sweep to the other side to place her left foot to front cross of her right foot. It was an excellent workshop, very fun.



Saturday, October 3, 2009
1. Conscious Tango Connection (int) 1-2:30 pm Techniques necessary for all tango levels. We began with posture exercises, in partnership, with one person placing their hands on their partner’s small of back and lower top of spine, putting pressure on it to feel/help with the alignment so that everything sits on top of each other, stacked upright. We also did this on the front of our bodies, with the partner’s hands on the chest bone and stomach. We were not to lean forward, but just work on posture and equalizing, keeping our knees soft and springy.



Our connection exercises involved walking together with a filled balloon in between us, using intention, projection, and sending the attention through the other person (do not be scattered), and having impetus.



Our next exercise involved transferring weight fully one foot at a time.



Our next exercise/game was a sequencing one that involved a 8- or 12-sided dice that had words on each side: left leg, right leg, chest, head, right hand, left hand, full body, stomach, etc. One person rolled the dice three times, and the other three people in the group had to do those body movements in that same order (i.e., right hand, chest, left leg).



Next, we worked on a graciousness/sequencing exercise where the Leader danced 4 steps, then paused, then did 4 more steps, then the Follower does 4 steps, and then the Leader does 4 steps, etc. For the pause, the Follower can squeeze the Leader’s hand or change hand positions. The purpose was to release and make adjustments, be equalizing, and very sensual.



Next, we worked on Leader’s torsion with a very simple step of him stepping forward with his left on the outside, and the right on the inside with a side step in between, trying to make the whole thing as square as possible and not turn it in.



Next, we worked on the Leader playing with shifting her weight differently, sometimes doing a complete weight shift for a step, or for an extension only with no step, or sometimes half weight.



2. Viboritas (int) 2:45-4:15 pm Rattlesnake moves. We began with walking in partnership in a counterclockwise circle and then a clockwise circle. Then we tried to make these circles smaller by making the inside step shorter and the outside step longer. Then we did the clockwise circle with the Follower just walking forward, curving each step, especially the inside ones, while the Leader walks around backward with curved feet. The Follower has curved feet too, with her step in between his feet. My notes break down after this. :o(



3. Vertigo in Intimacy - (int/adv) 4:30-6 pm off-axis moves for close embrace. This was basically a close embrace colgada class. Follower: keep left hand engaged; always hang on, keep the spine straight up and down.



Sunday, October 4, 2009
4. Deconstructing Turns (int) 1-2:30 pm - precision for sacadas. We began with a discussion of what turns were, what we knew about them, and came up with questions that began with Who? What? Where? When? Why? How? Next, we practiced the Leader not stepping while the Follower steps (let the step pass by). This was a difficult exercise. For the turns, we played with doing them with all forward steps, or all back steps, and found that it all works. To add these two concepts together, in partnership with did a front cross, open step, back cross, open step, with each dancer going one step at a time and waiting for the other person to finish before stepping. Then we changed the Leader’s footwork so that he can either pivot or do front crosses (right foot, then left foot, then right foot) into Leader sacada. Follower should bend knee at pivot for more stability, and not go up but maintain the same level. There were other Leader footwork options: right foot front cross, left foot front cross, right side step, left leg sacada. Or, left foot back cross, right foot back cross, left foot back cross, right foot sacada. Or Left back cross, right back cross, left forward cross.



5. Ghost Sacadas (int/adv) 2:45-4:15 pm - shadow placement/positioning in sacadas. In this class, we did a lot of games to help us work on alternate timing (where one person steps and the other person waits for him to finish before she steps). This was a very hard concept so we spent a lot of time doing different games with respect to grounding, reaching, transferring weight, and collecting, all on alternate timing. For the sacada portion, we worked on stepping where the person leaves, or “chasing” their step. We also worked on the elasticity/changeability of the embrace with respect to sliding the arm/hand so you don’t pull or push each other. Here my notes break down too when we worked on ghost sacadas and overstepping the line of force.



6. Empujadas (adv) 4:30-6 pm - sacadas in vertigo, on-balance, off-axis. The word “Empujadas” comes from the verb “Empujar”: to push. We began with several exercises that involved pushing: Dancers are perpendicular to each other. One person in football stance watches as the other person steps back and forth in front of him. When the person passes in front with weight in the middle, the football stance person pushes the other person’s hips. This will send the person’s foot to cross in front of his body. We did more of these types of “pushing” exercises, and eventually incorporated them into our dance in sacadas. I did not particularly care for this class.



My overall impressions of these workshops:



At the beginning of class, we began by introducing ourselves to the rest of the other students, which was a really nice community builder. They all ended with some sort of group massage or relaxation stretch.



The workshops included many exercises and games necessary for good tango dancing: connection, posture, intention, sequencing, patience and alternate timing. The workshops were very conceptual in nature with more exercises and games (including props) and a lot of discussions and Socratic questioning to help us understand the intermediate/advanced concepts taught. One of the toughest concepts we learned and practiced was one person dancing moving while the other one is still, since in tango we are first taught to move near simultaneously. Humor and being funny and doing unexpected things were the underlying themes of all workshops.



The steps/sequences taught to illustrate the concepts learned were very simple, which is good because the concepts themselves were new to most people. I noted that most of the Leaders in these workshops were very good to excellent dancers, so it was a treat to be able to learn with them. There were also several local tango teachers taking the lessons right alongside the other students. The information seemed fresh and innovative and in my opinion, would help dancers "get to the next level."



Maestros gave us ample time to drill the concepts using slow music and rhythmic music, and gave each couple and dancer individual attention and feedback.



These were excellent workshops, and it was a tremendous blessing for the Bay Area tango community, and especially the Leaders, to be able to learn from such a strong, innovative Maestro. Maestra Shorey was also great with excellent teaching and feedback for Leaders and Followers.



Wednesday, October 7, 2009

CCSF Classes with Chelsea Eng. In Follower’s Technique, we began with a discussion on foot care. After our usual essential walking, floor and barre exercises to improve our posture, core and foot strength, timing, and disassociation, our barre work focused on forward ochos (including embellishments). Then in partnership we worked on our molinete technique, really slowing it down in the beginning to be on Maestra's timing. She taught us the beat back embellishment on the side step after the back step as feet cross each other. In Advanced / Production we did our Midterm Review Part 1, going through what we learned so far: Follower’s Torsion technique during ochos; regular volcada; volcada with pulse (fakeout to walk out); volcada with Leader’s back, side, forward footwork; going to the cross, pivoting, Follower takes forward step with her right foot, then Leader leads volcada while he does back, side, forward footwork; Follower ocho cortado into volcada using QQS timing. It was a good class, and we got our midterm papers back.

September 24-30

Friday, September 25, 2009
Homer & Cristina Ladas Advanced Seminario: "The Embrace + Variations" at the ODC, SF.

This was Maestros’ handout:

Homer & Cristina’s Advanced Seminario
“The Embrace + Variations”
September 25th, 2009
8:30pm to 10pm, ODC, SF

Class Mechanics:
This will be a fast paced 1.5 hr advanced seminar. We will present several patterns to illustrate specific concepts and encourage you to explore deeper ideas and variations. Less experienced dancers with the right attitude can take the class and hang in there. A partner is highly recommended. You may also choose to work in a small group of 3 or more to enhance the learning process. We will not rotate. After the seminar, we will be available for roughly the first hour of the practica to answer questions.

Class Overview:
We will begin the seminar by exploring transitions from various forward facing embrace concepts from close to open. Then we will explore changes of embrace to obtain other kinds of useful, fun, and/or interesting tango embraces. Finally, we will work on the technique of letting completely go of the embrace and reconnecting.

Basic Embrace Terminology:
Standard forward facing embraces can be either close or open. Close embrace assumes a body connection and communication point. It usually (but not always) requires a forward tilted axis. It can range from very close or Apilado embrace (apilado is the past participle of the Spanish verb ‘apilar’ meaning to pile) to a more or less vee’d embrace often associated with a close Salon style. The close embrace can often employ hinged, sliding, and rolling points of contact. Open embrace assumes no body connection and can range from an open Salon embrace to a very spacious and often elastic embrace. The axis can also vary from forward titled to centered to tilted away. There are various arm and hand positions associated with each embrace for both the leader and follower. Sometimes they add functionality to the connection. Other times they are just for stylistic reasons.

Advanced Embrace Concepts:
The embrace is used to develop partner balance and communication. Both the creation of space and use of energy are important lead/follow factors. Energy in either a push or pull fashion often times exists through various connection points (on the body, via the embrace, or both). Most experienced dancers understand and employ variations of the standard forward facing embrace from open to close. They allow for and use transitions to accomplish both functional and stylistic ideas. Some experienced dancers also explore changes of embrace as well as completely letting go of the embrace and reconnecting.

CLASS SYLLABUS (Note that all the material presented can be attempted on both the easy and hard sides of the embrace):

Close to Open Transitions
1. Follower’s forward ocho from leader’s rock-step, cross-behind.
2. Follower’s close to open back ocho to back sacada.

Sweetheart Embrace
3. Sweetheart wrap from back ocho.
4. Sweetheart colgada spin
5. Forward promenade into colgada, wrap, unwind, back sacada.

Reverse Sweetheart Embrace
6. With follower’s sacada
7. With elbow grab colgada

Behind the Back Embraces (Be careful & remember that usually one side is the primary lead/follow relationship!)
8. Hammer lock colgada, boleo, follower’s sacada
9. Drag-and-spin
10. Arm-pit volcada

Soltada (Spanish - A bout between fighting-Roosters; to release them for the fight.)
11. Jaimes Friedgen back sacada spin
12. Chicho line variations with back sacada

Funky Embrace Transition
13. Jean Sebastian Rampazzi trap and step thru parada/pasada

Additional Embrace Notes:
There are a several schools of thought when it comes to partner balance and communication!
- Creating space vs. energy flow for linear and circular movements and pivots?
- Push-pull energy and other concepts for pivots, ochos, boleos, and turns?
- Projection of body/floor energy thru embrace.
- Bottom Line: Good vs. bad use of arms and hands!

------------------------

These are my notes as a class student participant:

Close to Open Transitions

First, we worked on embrace transitions from close to open and back to close. We began with a simple figure, just rock step with the Leader back cross of his left foot, to lead Follower to do forward ocho, transitioning here to open embrace, to do a parada, back to close embrace as the Follower steps over and forward around the Leader with her left foot. Here, the Follower should take big steps, but keep her hips close to the Leader, even in the open embrace. The Leader tilts toward the Follower on her forward step to invite the Follower back into close embrace.

Our next transition was from close embrace back ochos to open embrace back ochos, with the Leader leading an overturned back ocho in the open embrace so that he can receive the Follower’s right leg back sacada of the Leader’s trailing left leg. Here, the embrace opens up at the point of the sacada to accommodate room for the Follower. We can do this on either side, and can also do back ochos to close embrace forward ochos.

Technical points:

(1) Follower’s overturned back ocho: she needs to have good posture and maintain her axis vertically.
(2) Leader: If you are leading an overturned ochos, be mindful of your left arm. Do not push her because it will mess up her axis.
(3) Follower: Use both sides of your embrace too to hang onto Leader, as there is a continuous turning energy.
(4) Leader: Your right hand can release because you are making a transition and the Follower is holding on to you with her left hand. If you put pressure on her back when she is trying to do an overturned back ocho, you will stop her from pivoting as much as she needs to. The Leader, through his chest lead and opening up his shoulder, will give her circular energy.

Next, we went from transitions of the embrace to actual changes of the embrace.

Sweetheart Embrace

From the open side of the embrace, Leader leads Follower into sweetheart hold by doing a loop turn (inside turn) of Follower with her right hand with his left hand. We attempted to do this from the forward ocho, but we could also do it from the walk. From this, we could add the leg wrap of the Follower’s left leg to the inside of the Leader’s “sacadaing” right leg as he is behind her. Here, timing and how to position the Follower is key. Follower needs to really stretch the side steps and step around the Leader. Both the Leader and Follower take big steps to accommodate/shadow each other so they don’t crowd each other. The Leader can orient the Follower’s hips, and when he accommodates her wrap, he needs to keep his knee flexed and heel off the ground.

In the same sweetheart hold, we attempted other figures, such as stepping forward together. Some students were inspired to try other figures al reves or doble frente like ochos.

Next, continuing with the sweetheart embrace, we did a small shared-axis colgada like spin to exit back out, both dancers facing forward. We did this from cross system walking forward so both dancers are on the same feet at the same time, and then Leader traps the Follower’s right foot at the center of her foot or toward the back of her heel to do a the shared-axis colgada, to step forward on the Follower’s left foot.

Next, we went on to:

Reverse Sweetheart Hold

The Reverse Sweetheart hold is where the Follower is on the outside right and behind the Leader (instead of the Leader being behind the Follower). To get into it, the Leader takes a side step left, then loop turns himself so that he faces the opposite direction from where he started. Here, we have to options of (1) the Leader stepping left to lead a Follower back sacada of her left leg to his right leg, or (2) the Leader stepping left to lead Follower right leg back sacada of Leader’s left leg.

There are many possibilities of things to do with the reverse sweetheart embrace, such as the Elbow Grab Colgada, which maestros demonstrated but the students did not attempt. In this figure, the Leader knocks the Follower off axis in a colgada, then sticks his elbows out and the Follower has to hang on (it’s her only choice, and it’s instinctive), out to step forward.

Behind the Back Embraces

We attempted the Hammerlock embrace. Maestros demonstrated but students did not attempt the Drag and Spin or the Armpit Volcada.

Soltadas

We also worked a bit on soltadas, where the Leader completely lets go and spins around. Here it’s important for the Leader to have good posture and balance and be able to pivot well. He also needs to KEEP HIS ELBOWS IN. The best place for the Leader to attempt to do the soltada is on the Follower’s counterclockwise molinete on the side step after her back step.

Our last Soltada was the Chicho line variation, where dancers let go of the embrace in a linear fashion. This can be done with beginning from the side step, the back step, or the forward step. In our class, we chose the easiest option, the side step. Leader and Follower start with side step (Leader left, Follower right), to forward steps (Leader right, Follower left) to give the Follower a sense of rhythm and direction, and then both dancers turn (Follower clockwise, Leader counterclockwise), to resolve into Leader’s left leg back sacada of Follower’s right leg. For this figure, there is lots of pivot and rotation.

Maestros concluded with a demo to Biagi’s Racing Club. See the video at www.tangostudent.blogspot.com

It was an extremely challenging class, and certainly was advanced, despite the deceptively simple name. Most people did OK up until Figures 5-6. After that, we attempted many figures, and got our appetites wet about the endless possibilities of how we could create material using the many different embraces (some of which are common in ballroom or Latin partnered dancing) and dancing al reves or doble frente beyond walking, doing things like ochos, sacadas, colgadas, and volcadas, or breaking the embrace and coming back together entirely with soltadas.

After all our hard work, people could not resist the delicious gourmet fare, catered by Cristina: fruit salad, cheese & crackers, zucchini patties, tzatziki (cucumber yogurt), heirloom tomato and yellow cucumber salad with mozzas (baby fresh mozzarella balls), and ginger and berry panna cotta, all of which was complemented by the fancy bubbly citrus flavored water.

The guided practica was good, with Maestros giving lots of individual attention to the students who chose to work on the material taught in class.

There was doubt whether or not this Advanced Seminario would go on, and it was initially cancelled because of the issues related to the Allegro space. Fortunately for all of us, Julian Miller Ramil stepped up to the plate and graciously offered the ODC space for use. Without Julian’s generosity, this Advanced Seminario would not have taken place (or at least not until 2010).



Saturday, September 26, 2009

Sausalito Milonga with lesson beforehand by Gustavo & Jesica Hornos. Sometimes dancers dancing Vals can look like they are dancing tango at milongas. We were to explore what is the right way to dance vals by examining the structure, movement, and feeling to make it look like we are dancing to Vals. First, we connect with the Vals music, which is 3x4 timing (versus tango 4x4, and milonga 2x4). We need to be able to flow and make our own interpretations of vals to show the difference of dancing to vals, by using a different way of pacing the dance with difference accents. We began by doing a plain forward walk at the Vals pace to Pugliese’s Desde El Alma. Next, Maestro demonstrated walking, showing that the body needs to reflect the feeling of the music. How we hold our bodies and joints to be ready to step on the next strong beat (1). We must try to be gracefully and flowy. At the strong beat (1), our whole body is on top of our foot, so there’s a delay. With respect to foot placement, we arrive with the ball of our foot so that we are on time (we do not step with heel first, and then transfer the weight through the ball of our foot, this foot action would make us too slow). Next walking exercise: we were to walk and collect with or without a weight shift, so that we don’t step forward on every strong beat, we can let some strong beats go by. But we need to step on time, and always be on top of our foot on the strong beat (1). For our bodies, we need to always be expressive and dancing even when we are just shifting our weight. We need to keep the energy going the whole time, not just when we are propelling forward. Next walking exercise: we were to extend the pace of walking to step only on 1, taking a long step forward. Here, we were to hold our body and everything we have to slow down and accelerate to be on time. We were to step on 1, and then drag our feet through on 2-3, using all of the music. We were not to stop the momentum at 2-3, but keep the energy continuous and our whole body moving. Next exercise: we walked in partnership, walking with just stepping on the 1. Next, we changed the song and attempted to blend the forward step with a weight shift, but keep dancing even though at the weight shift we are not moving forward. Followers need to really reach back to make our step on the strong beat (1) very pronounced. We worked on the musical concept of vals trying to make it flowy and grounded through a simple sequence: side step (Leader’s left, Follower’s right), to Follower walk back 4 steps to the cross, to one back step, to side (opposite forward steps for Leader). To a new song, we danced the simple sequence on the 1-2-3 beat of Vals, trying to make the steps by really listening to the music, not by chance, and try to really relate to the music. Common problems: (1) Close embrace so that there is no pushing/puling or bubbles/reverberation in the embrace so she can take 100% of the Leader’s momentum. (2) Do not go out of her body (keeping her too far to the Leader’s right); if you do, then you are not 100% connected. Dancers’ centers need to be connected. Also, do not slide your bodies across/against each other. (3) Leader still dances when the Follower is pausing (in the simple sequence, he has 10 steps while the Follower only has 9 steps). (4) The challenging time is when the Follower enters and exits the cross. The problem is when the Follower stops the Leader’s rhythm; and she does this if she stops following. Follower should not be choppy, but always be with the Leader: follow! Follower should be ready to change weight at the cross, so she is ready to step back with her right foot immediately. Leader: do not rush her. It’s a sensation of holding, and then going. Follower: be on balls of your feet on the floor to roll into the cross, then extend back. Also, keep your knees bent. We added to the simple sequence, where instead of stepping back after the cross, the Follower steps forward with her right foot, to ocho cortado, with Leader step back on his left foot so he can parada with his right foot of her right foot before her return to the cross, to rock step, to counterclockwise turn out to resolution. Our goal was not to learn a tricky complicated sequence. It was to work on the musicality, timing and how we hold our bodies. Thus, we worked on the same simple sequence to many speeds of Vals songs: a slow one to work it out, then a faster one to be on the rhythm. It was a good class.



The milonga itself was fun. It was Jesica’s birthday celebration milonga, and Gustavo put on a great humorous, tongue-in-cheek skit for it, sharing with us his personal tango research experience. He found that Beethoven wrote the first tango, but had trouble with his first attempt. And his second attempt. And his third and fourth attempts. But he got it right with his fifth attempt. Then Gustavo & Jesica tango danced to the 5th of Beethoven. Next, he said he found a JS Bach Milomba (not typo), and they danced to that. Then his research brought him up to current times, where Jessica did a solo to a modern pop song that had the word “tango” in it (I am not sure what that song was). Anyway, it was fun little skit, and it kept us in stitches and in awe of their musicality and technical skills. After this, there was the usual birthday Vals to Desde El Alma, which was played twice to accommodate all the tangueros who a spin with Jesica. There was chocolate cake in addition to their usual generous and yummy milonga food.



Sunday, September 27, 2009

Studio Gracia Milonga. I missed the milonga lesson by Negracha and Diego, but I am sure it was excellent. The milonga was OK. It was gender imbalanced in the beginning with two many followers, but it evened out later on. Floorcraft could and should have been better. The farewell performance by Negracha and Diego was great, with both dancers showing their extreme professionalism, dignity, and sense of humor by effortlessly recovering from a wardrobe malfunction. Negracha and Diego might be back in December, but for sure sometime in the future, which makes the Bay Area very blessed to have such talented teachers and warm, friendly people visit regularly.




Monday, September 28, 2009

Orange Practica at the Beat with lesson by Homer and Cristina Ladas: Transitions Through the Cross. The goal of this class was to work on the concept of transitioning from close embrace, to open embrace, back to close embrace, smoothly, naturally and elegantly. The goal is to go back and forth between open and close embrace 3, 4, or 5 times during every song we dance to.


We began with a simple sequence of a side step, into the Follower’s forward ocho, to Leader parada / Follower pasada, out to resolution. Here, we were to work on refinement and understand where our axis is. We practiced this to one or two songs.


Next, we did a connection / transition / mirror and matching exercise: The Human Magnet exercise. The Leader and Follower stand face to face, and Leader leans in and Follower leans in to match his lean. Follower needs to be on her whole foot the entire time (not just on balls of the feet), and she bends from the ankle. Then the Leader separates back from Follower, and Follower separates simultaneously from Leader. The Follower tries to match the energy/lean of the Leader. Then we switched with the Followers initiating the forward lean or pull away, and the Leader matching her.


Next, we worked on changing the embrace to open as we get to the cross. The Leader gives the Follower energy as she goes into the cross by letting go of his right hand a little, and coming back on his axis (staying back). The Follower senses before the cross that the Leader is taking his axis. This sensation is reinforced by the release of his right hand.


For the “Part A” sequence, we began with a side step (Leader’s left, Follower’s right) in open embrace. Then in close embrace, we walked to the cross, during which the embrace opens as noted in the prior paragraph. Then Follower steps forward with her right foot to the outside of the Leader’s right, to do forward ochos. Leader does right leg parada with Leader's and Follower’s hips close. Then the Leader opens up on his left for the Follower to step around and near him with her left foot, and they transition back into close embrace, by the Leader coming forward/ tilting toward the Follower in his upper body to meet her back in close embrace. The Follower should practice taking long steps around the Leader as she steps in front and around the Leader with her left foot in the pasada.


For the “Part B” sequence, which is more advanced, we continued our exploration of the transition, energy, and ochos. Again, we were to walk to the cross, during which the embrace opens as noted above. Then the Leader steps to his left slightly forward and around the Follower with his left foot, while also opening his right shoulder, to lead the Follower back sacada of her right foot, into a Follower clockwise molinete footwork of side, forward, at which point he paradas with his right foot, she pivots, and then steps over as usual for her pasada.


In the "Part B" sequence, for the Follower back sacada to work, she needs to maintain good molinete/ turns technique, especially as it relates to the back ocho and how she maintains her left hand hold on the Leader’s right bicep. We quickly refreshed this idea with the Follower holding onto the Leader in teapot hold (his right arm is behind his back, and only his left arm/hand is available to the Follower to hold on to). Followers need to get used to getting the information / lead from the Leader’s body (not his arms). Also, the Follower needs to hold on for her back sacada, especially with her left hand on the Leader’s right bicep, using the horizontal energy of pull/push to get lots of pivot in her hips to do the overturned ocho/back sacada. Also, for this to work, there is a Follower weight change at the cross to be completely on her left foot, so she can pivot completely on her left foot, with her right foot collected at the point of pivot, and then completely free to send out in the back sacada.


For the Leader’s technique in the Follower’s back sacada, the Leader needs to let go of his right hand, otherwise he will stop the Follower from turning. He needs to trust his left arm/side, and trust her left hand hold of his right bicep. When the Leader receives the Follower’s back sacada, his right hip opens up to receive it.


We also tried this on the other side, which was difficult to lead since it is uncommon for the Follower to cross with her right foot over her left foot. To lead this, the Leader needs to open up his chest, come up and lift her a little as he comes up, and twist his torso a little. The twist in his torso causes the Follower’s legs to cross. It is a combination of a mechanical lead with his body and arms.


Next, we talked about the actual lead for the back sacada. The lead for the Follower is a pivot first in the initiation of an overturned ocho, and then have continuous circular energy. The energy into the pivot is at the highest level.


Depending on the energy and how the Leader receives it, instead of leading the Follower back sacada, he can lead an overturned back ocho into a back linear gancho.


Maestros concluded with a demo to Canaro’s Hotel Victoria. See the video at www.tangostudent.blogspot.com




What am I excited about these days?


Going to Fandango De Tango over Thanksgiving. The Early Bird deadline has been extended to October 25. So please come join me! You will have a blast! The Thanksgiving Brunch buffet is super yummy! www.FandangoDeTango.com



Tomas Howlin workshops October 3-4

Alex & Luz workshops October 11

Ben Borgart workshops October 24-25

I’ll be around for Halloween, so will be going to milongas in costume. I hope you do, too!