What ought to be a simple step to lead and follow is in fact, very difficult (for me, at least) to lead. Say that you are facing the line of dance and want, for whatever silly reason, to be walking backwards in parallel system. In order to make this work, one needs to lead the follow into a short backstep rather than one of normal length, go into a sidestep with both of you; again with the lead taking a larger step, and pivoting sharply enough and back-stepping with a slightly radial step in order to get out in front. Many follows are not always attuned to the need to only step as far as they are led to, and as well do not spend much time walking forwards. So…yet one more thing to find lots of practica time for. Seems to work better in close rather than open.

A “media ocho” - a “half ocho” - interesting variant from Carina: Basically a side step led like an ocho after the follow has been pivoted either right or left but resolved by pivoting her back towards the line of dance rather than completing the other half of the ocho. In the examples we tried it was basically resolved like a basic 8, and started (for a media ocho to the lead’s right) with normal forward parallel walking, and to the left by walking in cross with the right foot forward first.

Remember when doing ochos that the lead can step in parallel with her on her back step as well as perpendicular to the direction of travel.

The follow going into a back ocho away from you to your left; perform an outside secada with your right foot as simultaneously: a) your intention sends her away b) your right hand on her shoulder blade pushes her down and twists to her left c) you also lower your height by flexing your knees into a split (but keeping posture) .. Her left should describe a large arc before you draw her up.

Variation: With a little closer embrace, step forward onto that foot doing the secada, pivot on it clockwise as your left goes back and you do something like a split seen in aerobics - performing the rest the same.

A private lesson with Angel Coria at Carina’s studio really busted my chops in the best way; I have had to reflect on it for a day or so.

Four main points to good dancing from him:

1. Posture, which gives us (2).
2. Lead
3. Musicality.
4. Improvisation, which comes out of a good comfort level with the first three.

In my possession also a hand-drawn diagram that helps illuminate my understanding of musicality for vals, tango, and milonga. I will try to decrypt my notes shortly.

A session with A. at Cococabana leaves me reeling; and I feel like a young child learning to walk as I see possible gancho permutations. It seems that what I have learned thus far is something like “gancho training wheels” the way that the basic eight count steps are “tango training wheels.”.

Here’s one thing to take away from this lesson, at least. Practice doing planeos in place like this: Right forward, rotate on both both feet so you are facing away from the line of dance, perform a quality planeo, and repeat. Then do this with a partner performing molinetas around you. Exquisite.

BACK SECADA: For the figure to the lead’s left, a forward enrosque to the left, stepping forward with the right (remember, this is a forward enrosque), and pivot on that right, with the left sliding back for the secada. Remember to slide.

With Jake at McGinty’s:

When doing rock stops within ochos for the purpose of turning, make sure with the back step to your left that you bring your left into a collecting position to give her space. To the right, make sure there is a strong lead with your right shoulder.

Successfully deploying gancho leads! … But I have a profound hurt in my left knee and toe; probably from practicing spins in my shoes at work, which are designed to hang on to the floor rather than slide. It is a sign of profound tango addiction or something that I consider the wisdom, or not, of having a pair of dance shoes at work. Which I don’t. Yet..

Drills: (Performing a glacis first) practice spins, enrosques, and planeos until you can do them on-axis with either left or right foot, a full 360 degrees; without using your arms or legs (only the hips) for inertia. Make sure you get your weight out there on the pivoting foot.

Use the planeo for performing a barrida to finish a molineta when you are feeling up to it.

Also some satisfying intro work with ganchoes.

Cococabanas.

Sometimes a guest instructor comes through — one of these types from BsAs with the energy of a salsero hyped up on lattes and the elegance of a maestro de tango out of some black and white film from the Golden Age past.. He’ll have you doing incredible stuff, which you will actually get, but the half-life of this knowledge, both for leads and follows, is about 2 hours or so.

Cococabanas.

At McGinty’s, the new venue for the Eastern Market crowd, I commiserated with a fellow struggler about how being in a foul mood (which I was not in) helps your best tango come out; perhaps it has to do with shutting off your rational side.

With Jake: Hesitation and rock steps within ochos, both “in the middle” and at the parabola. Something I can “get” if I basically ignore an understanding follow and concentrate on my move, but which I cannot otherwise do, is this: Imagine the lead twisting his frame into a left over right cruz as the follow is stepping forward across him left to right, inside leg forward; lead pivoting in place almost 3/4 of turn and coming out of the cross with a glacis. I can do the pivot, and the glacis, but I can’t make this work (yet….) consistently. The trick is to pivot together.

1) Practice a basic eight count with this twist: Perform a barrida with the right foot and rotate your frame such that the follow is perpendicular to the line of dance; causing her to have to step with her left over the sweeping foot and pivoting into a cross position. Walk out. Give her time to throw an adorno or two in. The initial back step on the second count should be small(ish).

2. Same deal, but with a salida de quarentes.

3. Fancier: Same as #2, but lead something like a steep back ocho counter-clockwise with a barrida with your right as you pivot on your left. If she isn’t reading the lead correctly you can pivot her in place for a moment to cause her to cross, and side step a bit radially so you are again facing the line of dance.

4. When you get tired of playing with these, do this: Lead a back ocho; as she moves to your right, a secada with you right to her left, and lean back in place (she will need to know beforehand your intention, perhaps) causing her to barrida your foot, and then step over. As she does this you will need to move yours to the right as you cause her to pivot, completing the ocho and again being moved to a cross position in front of you; walk out.

Devino’s.

In your arms there a moment, a space
of time, no longer than a beat, or song;
this peaceful sea. In no other place
is it quite the same. A place to belong;
of simple friendship for boys and girls
making merry, as we were meant to.
Simple steps and pauses, and twirls
in place. Each one cares, and should
for the place they put their feet. True
care as we guard our hearts, for we could
mis-step, but this risk is small, you see.
We find our posture, then, and step forward
’till we would find anew that tranquil sea.