Archive for March, 2010

Here I found someone attempting to classify diverse types of tangueros and tangueras. Enjoy.


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Tango Koan

Tango koan: There are no leader’s steps.

Class with S. dealing with three colgadas. I hope to revisit these next session.

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Bombero II

Something I neglected to mention from yesterday: In milonga while using the contra-lateral walk outside her and then stepping back to collected, one must side step a bit to the right. One can pivot here and contra-laterally step backward, and then collect again to start a new figure.

This evenings class is one of those with a blur of impressions and associations, but I will attempt to recall some key points:

Think of the “reverse C” the – ] – shape. Practice walking for triaspe should be side – middle – forward – side – middle.

Now, add to this: A back feint with the right past the midline and then back to a little past the normal position on the right, iterated with the music a few times.

Comfortable? Feint with that right forward of the left, and then bring it to the right, making a kind of “block.”

Ready for more? Ochos for the follow in milonga can be reduced to “swiveling.” — Lots of practice needed to transition smoothly and to keep time to changes in the music.

Still not satisfied? Practice doing front ochoes with back-and-side for the lead. When you’ve got that down, have the lead transition into molinetas around the follow while doing all this.

Eyes glazing yet? Practice walk forward **and backwards** with a step that crosses the midline (going forward with the left behind the and right going back and forth) (going backwards with the right behind and the left going back and forth). Incorporate this into your milonga routine with transitions between forward and backward.

I’m ready for a glass of wine.

Thanks again to class partner G. for her patience and contributions.

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Tango bombero, I

A superb milonga workshop with Juan and Sol. I am mentally fried from just three hours of class.

1) Triaspe steps. I need to practice-walk triaspe steps sideways, backwards, etc.
2) Contra-rotating walk, to something like a half-complete cross; again with milonga musicality.
3) A double-dip kind of milonga turn that is a kind of crab-walk for the second “dip”
4) A milonga turn with side step accomplished by means of a rock step with the lead’s left going back.
5) Walking outside the follow with a contra-rotating walk in a kind of oval pattern.
6) Walking outside the follow with a contra-rotating walk and then causing a boleo by using the edge of the parabola as a means to cause her to rotate on her axis into one.

Thanks to class partner G. again for her patience.

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A private session with S. this evening dealt with improving my close embrace ganchoes, and as well grafting ganchoes onto the sacada/barrida figure I picked up like a cold virus in my last Buenos Aires trip. By remembering to “lift” just a little (instead of instinctively hold the embrace “down”) on the forward and back ganchoes it improves greatly.

Also work on forward boleos — don’t be shy about moving into her space to hold the figure together nicely.

Some work on a figure I didn’t quite get: Out of any step that presents you with a normal back gancho, initially position your ganchoed foot close to the weight bearing leg; then step through — the timing is hard to get (your weight at this point is on your back, left; assuming the right is the one being ganchoed) and cause in her a kind of front boleo.

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Frog and Scorpion

I’m still meditating on this cautionary tale.

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