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Oblivion“, a tango poem.

Mostly not; betimes we do. At times we fly above the norm,
and wake our souls from slumber with the music that we hear:
This is a way to find some peace in a calm above the storms.
To open heart and soul and mind, and give no thought to fear –
These dancing, ghostly, twisty shades of Plato’s Higher Forms!
To walk this stage with one another; and to dance without pretense;
strength for her, and comfort for him – here is found the very key
To show why it is food for us, though it needs not our defense.
Medicine, too, betimes; and thus to our souls this strong appeal:
This thing called tango: a chance to feel the truths that we all see
It takes us to the very heights, and to the deep depths we all feel.
I remember all those unsaid words, and her flashing eyes obsidian;
And I remember it’s but a special kind of act; but also – oh so real –
Embrace and strut and walk and heal, in that sweet dance oblivion.

copyright c. loukus 2015


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I contemplate the way to go; to steep my soul in bushido?

Leave the pattern of the dance; and give another part a chance?

To grow in this; I must do and need,  leave behind the tangeuro-

For some time, no backward glance, not knowing if I can advance.

To have the both would be ideal, feed both lover and warrior.

And be by this the better man, the one who does, because he can.

No one can make this choice for me;  of my own soul be the quarrier.

One wonders: From the pan into fire, or from fire to the pan?

Perhaps I’ll find a middle way; that gives both room for  fight and play.

And thus to find myself again;  a plan for life that works for good;

Be not consumed; yet be serious –  the best for me, but not halfway.

And find herein the fruit of this:   I will walk  and stand the way I should.

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Requiescat in pace

Tango legend “Tete” Pedro Rusconi has died. May he have found his way to the Master.

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Better volcadas

A session today dealt with ‘sliding volcadas” as well as covering technique for cleaner and better looking figures.

In simple volcadas, taking a diagonal back step after the side step in which you make her rotate helps refinforce good form. I need to remember to make a weight shift from from front to rear while in that diagonal, and that it is a “push” rather than a “pull” that makes the step happen cleanly.

Play with walking forward to a cross, bring her out into a volcada which does not resolve into a cross but rather simply sets up up for a second volcada. One way is to backstep with your left into a calista, reversing direction as you go from the first to the second volcada.

For the “sliding” volcada, out of a cross backstep with your left, right, left again leading side step, all along holding her such that her following instinct causes her to pivot after a ‘slide” during the side step which resolves into a cross; make this into the volcada.

As well, when practicing forward hook technique from a standstill, remember that you are rotating her about her axis vs. pulling her closer to you. It helps to be close to your follow and slightly to her left, and in a position to step radially around her as you turn her on her axis.

Here is a short 20 second clip good to watch – not from class, of course.

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In back ochos! Instead of backstepping with the follow’s forward step (out of a single boleo), do a pair of boleos (thus causing the backstep to travel in a path congruent to another back ocho). Awesome. Holding the frame is paramount, as is timing. Low cost glamour. When leading this embellishment out of the la cruz, do a small secada with your left forward into her trailing foot coming out of the cross, which positions you well for the counter-rotating of your body. Well done these are excellent for both style and focus.

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Can also be done coming out of la cruz!

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Lapis and glacis

More on that class yesterday …

I must remember to “complete the circle” – and to always keep that connection and abrazo together; to avoid losing the dance in the step. Remember the secada should find the trailing edge. When placing one leg behind the other for an enrosque type movement, one knee behind the other vs. one foot behind the other. Practice – lapis – glacis and lapis – lapis. With one foot alongside the other remember to keep the placement compact for these pivots.

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