Feeds:
Posts
Comments

Archive for the ‘milonga’ Category

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.

Advertisements

Read Full Post »

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.

Read Full Post »

Day II

The potential practice partner I thought to be “Russian” based on an email misunderstanding turns out to be a Brazilian, albeit still with a communications barrier. However I have a tango companion at the guesthouse, a Russian who lives in the states. He is passing through on the way to a scientific endeavor in Misiones province; and we have enjoyed conversation about a variety of topics.

Session II

The “sash” exercise is repeated. The point is not so much to keep the sash the same length but that keeping the line between a and b taut along the same line.

In ochos.. make the micro-second pause, allow her to respond to the lead before coming along.

Exercises with sacadas: Boleo/sacada combinations, and boleo/sacada-sacada-step over. More work on this tomorrow. Work with sacadas to my right instead of just my left. Exercises and practice with a weight change-whole body rotation with secadas.

Postura: I have over-exaggerted an ocho lead in the states, even “helping” with the movement of my head; this is to be stopped.

Milonga: More practice with the corrida. Variants: In one, two, one-two-three tiempo, letting the first step outside; or alternatively the second, begin the corrida. A triaspe variant: (L) side step –> (r) with the right going “outside” into cross system before returning to collect. There are all kinds of varations possible, here; the trick is to go with the tiempo and mix it up. Keep that left hand “back” or even “down” rather than “forward.”

Read Full Post »

More milonga yet..

For slow milonga: Practice a left side x2, leading a back ocho on the second, stepping forward for a micro-sacada, backstepping to pivot the follow into a cross, and walking out. Also practice a left x 1 with a l – behind – r enrosque-type movement before a pair of sacadas on the back and side steps of a molineta.

Read Full Post »

A private session with C. today and G. (спaсибо!) dealt with close embrace posture and form. Sigh… It seems I am forever going back to these basics and “polishing the apple.” Yet proper form is the spring, or well, from which good dancing comes from.

As well, some work refining this step. The trick is to force an irregular cross by using your right leg to displace her right into this cross, and to not be shy about getting into her space.

Also I need to be mindful to “lift” my follow in close embrace at appropriate times (say, in a boleo) to make the move more organic and smooth for both.

As well: Pause. Pause. Pause.

Read Full Post »

la caída

“The fall” in Spanish, a new step introduced by Carina. There are several applications, but basically it involves the lead hooking his (r) behind his (left) when beginning a box step or other possible uses.

Also yet another milonga variant, similar to last week’s, but it involves side steps (with an “up” lead) in the place of the side-back-side molineta figure.

Read Full Post »

zig-zag

A most excellent milonga class with Carina, this evening. Practice walk doing a molineta figure in a straight line; both directions. Also practice a back-cross/front cross step in place.

For the dance, the lead takes her into a cross as he crosses himself from the back, backsteps into a cross figure, etc. for a few iterations while the follow mirrors these actions (I’m a little unclear as to how to consistently lead this for a follow who is not expecting it) ..then walk to the cross and complete as you walk out. It helps for the lead here to brush your (r) against her (r) so that she knows she is being led into these odd cross steps.

Also: A figure wherein the lead steps steeply across his left with his right (line of dance to his left) and then executes three side steps (milonga style) as the follow initially does the steps of a moineta figure (in a straight line) before being finally walked into the cross.

Loads of fun.

Read Full Post »

Older Posts »