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The main focus of this class is the idea of having the follower change weight in order to enter into cross system rather than the leader. Then we added a short figure including a cruzada (cross), with a parada (stop) mordida (bite).
In this class, we looked at using back crosses in vale and tango.
In this class, we focused on Alterations (or Changes of Direction) to both sides of the embrace. The primary focus was on musicality. The first part of the step is very floaty and smooth, then the changes of direction are very rhythmic and the final part is smooth again. The changes of direction use the quick-quick-slow rhythm.
This is another step in our series on "Steps for the Social Dance Floor." These are steps that should work well on the social dance floor. They compliment the connection between the dancers, their connection with the music and with the other dancers on the dance floor. We originally thought of this step as being an intermediate figure, but later found it was more of an advanced figure, which requires a lot of precision and subtlety. It also includes a nice embellishment for the men after leading the cruzada.
Rhythmic Alterations with Cross Over Step and Cadencia
In this class, we start by walking with the leaders changing weight without leading the women to change weight. Then we walk and switch to cross system and perform small sacadas as we walk.
We started by looking at very compact variations on the ocho cortado, for small spaces.
This was our second week of looking at split weight moments. Most all split weight moments involve a parada since we are at least temporarily pausing at the moment in the exact middle of our step. At that moment we can shift weight to a new leg or back to the leg we just left.
In this class, we explore creative ideas for using the cruzada in milonga.