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.

Circular Cruzada from Split Weight (0.26 of Video)

In the first figure, we go to the close side of the embrace in cross system. Stop in the middle of our step and then continue around in spiral (counter-clockwise) until she crosses (cruzada). Then we continue turning counter-clockwise until we are back to the line of dance. We try to keep a steady flow to this move, the pause (parada) should be very momentary.

Turning Walk from Split Weight (0.39 of Video)

In this figure, we go the close side of the embrace in cross system. We freeze her in the middle oher step (split weight) and then step around her, stand back up straight and wait for her to collect and then the leader steps back leading her to a forward step to the close side.

Parada to the Close Side in Close Embrace (0:13 of Video)

In this figure, we looked at performing a basic parada figure while maintaining a close embrace. Often the couple breaks the close embrace and transitions to an open embrace to perform a parada. There is nothing wrong with this, but for the purposes of this class we are maintaining a solid connection in our torsos during the parada. To do this, when the leader initiates her for first back cross (ocho) he stops her with her weight split or even more towards the forward leg. This way both leader and follower can stay standing up straight without leaning or being pulled over. To accomplish this he must relax his embrace and she must pivot and roll her body across his chest instead of trying to stay glued flat to his chest.

Parada to the Close Side with Barrida in Close Embrace (0:49 of Video)

This figure is the same as above only we added a barrida. Since we have stopped her with her weight split to initiate the parada, when we step around the follower her weight is naturally shifted to her back leg. We do not have to do much to accomplish this, the mere fact of us going around her should naturally make this weight change happen. When the leader steps around her several problems can happen. If he steps too close then he will enter her space ad knock her off her axis and if he steps too far way he will pull her off her axis. So, he has to step just far enough away to to pull her off her axis but still leave enough room to sweep (barrida) her free foot between their feet.

Parada to the Open Side in Close Embrace (0:58 of Video)

This is a parada performed on the open side of the embrace. The concept is the same as above, only the leaders need to really relex the right arms and allow her to pivot/turn in the embrace. Both partners should still stay standing up straight and not lean forward or back.

Parada to the Open Side with Barrida in Close Embrace (1:08 of Video)

This figure is the same as the last one only we add a barrida after the parada. With this barrida (sweep) we are stepping into her path and then sweeping her foot to our foot before resolving the figure.

Video Demonstration:

In tango, each step has a beginning, middle, and end. There is a moment in the middle when our weight is evenly distributed between both legs. We can use that moment to create some very interesting possibilities.

We cover lots of information in our classes, but here are some of the major tips.

Tips:

• We started by practicing finding the moment where are weight is split during a step and rocking our weight back and forth between our feet.
• We explained that if the leaders stay slightly down and don't collect their feet themselves, then it will help the women stay down and not collect.
• Followers are following the upper body of the leaders, not their feet, so leaders need to be very clear and stop their upper body at the moment her weight is split.
• We also talked about our crucial pivoting is to tango and that followers should not "make" the leader pivot them, but rather when they feel his invitation to pivot they should pivot themselves. We also discussed that good pivots happen on the forward part of the foot and not with the whole foot on the floor.

Video Demonstration:

In this Tango lesson, we teach a figure called The Milonguero Dip, and is part of our Popular Steps for the Social Dance Floor series. This step is a very famous and popular move in the milongas of Buenos Aires, Argentina. Many, if not all, of the older milongueros perform this step.

The joy of this move is in the musicality and the swoosh feeling it gives the followers during the dips (changes of our vertical plane). Every time I teach this move, it always receives lots of positive feedback from the followers. They love it.

Breakdown of the steps:

• In this class, we started the move off from back ochos. When I lead a back ocho to the man's right, I begin by pivoting on my right foot counter-clockwise and crossing my left foot in front of my right, while leading her to take a back cross with her left around me. KEY MOMENT: My left foot should hit the floor at the same moment her left foot hits the floor. At this moment I also go down slightly in my left leg(dip).
• At this point, there should be lots of compression in the embrace, as I lead her to take a side step around me with her right foot as I pivot around on my left and switch weight to my right.
• I continue leading her around to a forward cross step with her left, as I step around her with my left. KEY MOMENT: As I step around her with my right, I need to make sure that I do not go too close to her (I might push her off her axis and that I don't go to far away (pulling her off of her axis).
• I sink down (dip) into my left leg as I lead her around to another forward cross with her right. As she takes that forward cross I step back diagonally with her.
• To finish I lead her to yet another back cross in front of me and I switch weight to return to parallel system and walk out.

Important Notes: This move requires a relaxed embrace, so that she can pivot inside my embrace (especially my right arm). If I hold her too tightly she will find it difficult to do the large pivots necessary for this move and it will be very uncomfortable.

Musicality Notes: In the first part of the demo, we danced to Carlos di Sarli's "Junto A Tu Corazon." This this we keep things rather calm and stretch the dips out as long as we can. Starting at 0.43 we dance this same way to Juan d'Arienzo's "Compadrón" to show how it works, but does not quite fit with the music. Then bumped the energy up just a little bit to fit with d'Arienzo. We shortened the steps and made them a little more staccato as opposed to the more legato of di Sarli. In both cases, we use a quick-quick-slow timing for her first back cross and side step.

Video Demonstration:

This series of classes focuses on popular steps for use on the social dance floor. We have compiled a list of popular moves that we have seen used by some of the very best Argentine Tango Dancers. If you travel to Argentina and visit some of the milongas, you will see these moves being used by the Milongueros. Here are some of the criteria we used for putting together these steps:

• They keep you moving in the line of dance without disrupting others.
• They are musical and express the rhythm of Argentine Tango.
• They are full of expression without being flashy or dangerous to others.
• They feel great to the leaders and the followers.

While these moves are great for tight spaces and crowded dance floors, they also require a high degree of skill, balance and communication between partners.

Elegant performance with wonderful enrosques and giros by Orlando Paiva and Cristina Benavidez

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.

Vals is one of the rhythms that we dance to at Milongas (Tango Dance Parties). This class will focus on understanding the rhythm of Vals, how to incorporate your existing steps into Vals and new steps that fit nicely into Vals.

Synopsis: This class focuses on using Cross Steps in the rhythm of Vals.

Teachers: Clint Rauscher & Shelley Brooks

Figures:

Dual Molinete or Giro
20 Second Mark of Video Demo
Description: All in Cross System, MBC & WBC + MOS & WOS + MFC & WFC + MOS & WOS
Tip 1: This move is usually repeated twice and works best with a quick quick (Double Time) on the MBC & WBC + MOS & MOS then slow slow on MFC & WFC + MOS & MOS.
Tip 2: After the Back Crosses and Forward Crosses both the Man and Woman collect their feet and Change Weight instead of taking real Side steps.
Tip 3: This is a very circular move, so the Man and Woman should very much step AROUND the other never stepping away from one another.
Tip 4: Do Not skimp on the Forward Crosses, take real forward steps around each other.. not tiny ones. The Man’s Forward Cross can also go deep to get a Sacada.

33 Second Mark of Video Demo
Description: MFC & WBC in Parallel System + MOS & WBC in Cross System: Man performs a MFC and the Woman a WBC and the Man collects and changes weight to his Left and pivots the Woman clockwise and perform a MOS & WBC in Cross System, The Man then collects and changes weight to his Left and REPEATS from beginning.
TIP 1: The Man always collects and changes weight to his Left on every step. He is always stepping with his Right.
TIP 2: The Man always steps with his Right on the downbeat and is double timing every step. The Woman is not changing weight with him, she is just stepping on every downbeat.

Drunken Ochos
12 Second Mark of Video Demo
Description: In all Cross System, MOS & WBC + MOS & WBC + MOS & WBC: From Back Ochos in Cross System, as the Man leads the Woman in a WBC to the Open Side of the Embrace, he takes a tiny step forward with his left turning counter clockwise 90 degrees. Then he takes a large Open Side Step (MOS) with his Right as he leads her to a WBC to the Close Side of the Embrace. REPEAT
Tip 1: This is all in Cross System and the Man and Woman are both stepping on the downbeat of the music.
Tip 2: The turn happens with the Man’s Left foot, his Right foot only goes side ways.
Tip 3: The Leader must lead ochos which require the Woman to pivot, not walking or non-pivoting ochos.

Video Demonstration:

Synopsis: This class focuses on a Simple Turn to the Open Side of the Embrace with Man's Sacada.

Teachers: Clint Rauscher & Shelley Brooks

Video Demonstration:

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:

A Barrida (a sweep, a drag) is the dragging of a partner’s free leg during a Caminata (walk) or Giro (turn).

Teachers: Clint Rauscher & Shelley Brooks

In this class, we looked at executing a barrida (Sweep) to a front cruzada (Cross) with different exists.

Step 1: Barrida to Cruzada with giro (turn) to the Open Side of the Embrace

1. We take a side open step to the open side of the embrace. As the man transfers his weight to his left leg, he initiates a barrida with is right foot. To initiate the barrida, he applies a little pressure to her left foot with his right foot and she returns that pressure which allows her to follow his foot past the collection point and to the other side of her foot creating the front cruzada.
2. Now he transfers his weight slightly to his right foot which leads her to put weight onto her left foot.
3. Then he transfers his weight slightly to his left and begins turning counter clockwish which leads her to begin a side step around him. As she begins her open side step around him, he performs a low forward sacada with his right leg.
4. As fully commits to his right and continues the counter clock wise turn which results in a basic giro for her (back side cross).

Step 2: Barrida to Cruzada with Foot Lift during Barrida and Exit in Cross System to Front Cruzada

1. During the Barrida, the woman's foot should be symbolically glued to the man's foot, so if he lifts his foot she should go with his foot.
2. After the Sacada, we are in cross system, so we simply exit to a basic cruzada in cross system.

Step 3: Barrida to Cruzada to Volcada with Gancho

This move seems so simply, but it actually includes many advanced ideas of Tango. It actually includes (in order): Barrida, Front Cruzada, Colgada,  Volcada, Gancho, Colgada, Back Cruzada, Volcada.

1. The first two steps are the same as above, a barrida to a front cruzada
2. But as I lead the front cruzada, I actually invade her space very slightly to send her into a very very slight colgada (Off-Axis Hang) as I bring her bring her around in a circular counter clockwise motion back forward into a Volcada. I keep the circular motion going until I get a gancho.
3. After the gancho, I reverse the circular motion to go clockwise and send her back past her axis to a very slight colgada. Again I keep the circular motion going and then bring her forward again to get a back cruzada.
4. I keep bringing her forward after the back cruzada into another slight volcada... just enough to free her left foot.

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