A Barrida (a sweep, a drag) is the dragging of a partner’s free leg during a Caminata (walk) or Giro (turn). During this series, we will examine the proper technique for leading and following both external and internal Barridas in both open and close embrace. During the class we will also look at Paradas (stops) and Pasadas (passovers). Barridas are also known as, Arrastre (sweep, sweeping) and Llevada (carried, carrying).

4 Parts of a Step
Each step that we take in tango consists of 4 separate parts. Imagine that your supporting leg is your right leg, meaning that your weight is completely on your right leg:

1. We send our free leg (left) to find the floor where we are about to step
2. We begin to transfer our weight to our new supporting leg (left)
3. We finish transferring our weight to our new supporting leg (left)
4. We collect our new free leg (right) next to our supporting leg (left).

Practice finding and feeling all 4 parts of a step by taking slow, deliberate side steps. Feel every moment of the step.

Barrida Technique
Barridas are largely about positioning. While walking or turning the leader wants to stop his embrace while the follower is between her steps, so that she is mid-stride with her legs apart. He then positions himself over his new supporting leg, without shifting his embrace which might cause her to complete her step. He then uses his free leg to find the leg he wants to sweep. He leads her to transfer her weight to her new supporting leg and sweeps her free leg. Once he has completed the barrida he should lead her to settle her weight over her new supporting leg and to collect.

Tips:

• Triangles - We are often forming triangles when we do barridas. Notice in the video, if you look at the 12sec mark, when the the barrida is being initiated we could form a triangle by drawing a line from the mans left to the woman's left to the two left feet. Then when the barrida is executed the triangle would simply flip, seen at the 15sec mark.
• The leader wants to find the forward part (toe area) of her free foot with the forward part of his foot. He does not want to go in too deep. See Image 1 below.
• The leader starts with his free leg’s knee bent and straightens it during the barrida. His supporting leg should be bent slightly, so that he can be grounded and very well balanced during the barrida.
• Once the barrida has been initiated, the follower wants to apply just a tiny amount of pressure against his foot, so that she can easily stay with him. This would include going up into the air with the feet.
• Technically the barrida is usually an illusion. The leader is leading her to step and it only appears as if her foot is being dragged, but it is nice to have enough pressure so that the drag is felt.
• The leader should turn to get the hip of his free leg close to the hip of her free leg. This should result in his supporting foot being parallel to her supporting foot. See Image 2 below.

Image 1

Image 2

Figure 1: Simple Sacada

1. We start out this move with back crosses (ochos). When I lead her back cross to the open side of the embrace, I initiate a barrida with my right to her right.
2. I then lead her to take weight on her right. My weight is still on my left and I don't collect.
3. I lead her to take a forward cross step, passing over my right foot (pasada) as I take weight onto my right. We pivot to return to our neutral position.
4. We could do an arrepentida to return to line of dance.

Figure 1: His and Her Sacadas

1. We start out this move with back crosses (ochos). When I lead her back cross to the open side of the embrace, I initiate a barrida with my right to her right.
2. I then lead her to take weight on her right, while I collect my feet around her right foot (mordida / bite).
3. I leave her on her right while I switch weight to my left and then lead a back cross to the open side of the embrace (my left side and her right side) for both of us.
4. As we complete our back crosses, I lead her to execute a barrida to my left with her right and switch weight to her right. In the video, notice the triangle we create at 1:19. Also, leaders need to adjust their left foot at the end of this step to give her more room for the next step.
5. Now, I lead her to take a forward cross step over my left foot, as I pivot and take weight onto my left foot creating a sacada to her right foot.
6. We pivot to our neutral position as I switch weight to my right so that we end in parallel system with me on my right and her on her left.

Synopsis: This class focuses on a Turn to the Open Side of the Embrace starting from Cross System on the Close Side of the Embrace. As embellishments, we looked at a forward circular boleo for the woman and back cruzadas for the man when getting into and out of cross system.

Teachers: Clint Rauscher & Shelley Brooks

Video Demonstration:

Embellishments (Adornos) are small foot, leg or body movements that dancers work into their dance that are not functional, but rather embellish their steps. Since women do not dictate the steps, rhythm or direction of the dance, they use embellishments to express their personality within the dance. Men can also perform embellishments to add flavor to their movements.

Teachers: Clint Rauscher & Shelley Brooks

From Walking

In the video below, we show some basic embellishments which can be accomplished from just walking.

• El Lapiz (The Pencil)
• Playful Weight Changes
• Heel Taps (Taconeo)
• Tuck and Tap by Him

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