Home > Tango Resources > Tangology 101 Blog

Tag Name: molinete


Giro with Rulo to Enrosque to Sacada to Calesita

Steps for the Social Dance Floor: Giro with Rulo to Enrosque to Sacada to Calesita
Clint Rauscher and Shelley Brooks
10/22/2012
"Motivo Sentimental" by Carlos di Sarli with Alberto Podestá singing.

In this class, we started with exercises focusing on 3 parts of a step: Extend, Push, Resolve. We then practiced the molinete for the women and the rulo for the men. We discussed the difference between pivoting back crosses vs non-pivoting back crosses. This move works better if we relax the embrace during the back cross, thus letting the followers pivot to begin the molinete. We also focused on basic sacada technique. We looked at the step in both open and close embrace and made sure that we started in the line of dance and resolved the step back in the line of dance.

Molinete tip 1 for women: Don't fall into your steps, use the 3 parts of each step extend, push, resolve. Often, women send their free leg and their body at the same moment. Send the free leg from the hip (don't send the hip yet) then push off the supporting leg thus transfering your hips and upper body at the same time to the new supporting leg, and then resolve the step by brining your feet together. Your weight/balance should be 100% over your new supporting leg before you resolve the step.

Molinete tip 2 for women:
Since the man is on one leg for 3 steps of your molinete, he cannot support you or help you with your balance. You exercise excellent molinete technique by not moving away from him or into him thus disrupting his balance. Step "around" him and not away from him by extending your free leg under your elbow on each step.

Tip for the men - Don't Rush: During the rulo, the women are actually taking 3 steps and then 1 step while you do execute the enrosque, so don't rush it, you have plenty of time (4 whole steps) before getting to the sacada. Also, let your leg extend from your hip, don't send your hip with your leg. Your hip is joint, so your leg should be able to move freely without moving your hip.

Sacada tip for the men: Wait until she has transfered her weight 100% to her new supporting leg, the sacada should happen at the moment right before she begins to resolve her step. One helpful hint, is to wait until her hip is out of the way and step behind her hip.

Sacada tip 1 for the women: Don't resolve your steps until your weight is 100% to your new leg. In other words, don't bring your free leg with you (collecting) as you transfer your weight. If your free leg goes with your body, you remove the opportunity for a sacada.

Sacada tip 2 for the women: When the man executes the sacada to your left leg, don't lift it up and let it fly. That will throw you off balance. Let it circle around and then collect, so that you are ready for the next step.

We resolved the step with a back cross and then a calesita where the women were encouraged to embellish with their free leg during the calesita. If the couple opened the embrace for the giro, then this is a nice time to come back to a close embrace. As the woman takes her back cross, he can step in to get close for the calesita. At the end of the calesita, the men should relax their embrace allowing the woman to come back to neutral (in front). When the men relax their embrace, the women should pivot and return to neutral easily without making the men force them back to neutral.

Calesita tip for the men: Make a perfect circle around her without knocking her off her axis. If you do this then you do not need to lift her.

Calesita tip for the women: Don't go stiff during the calesita. Stiffness compromises balance. Don't collapse, stay tone, but don't go rigid.

Musicality Notes:
We discussed that often the back cross and side step in the molinete is done with a quick-quick rhythm. We also encouraged the leaders to pause for a moment after the calesita and to take a breath before continuing the dance, as a way to end the phrase.

Misc - Traspie to Ocho Cortado, Barridas to Paradas & Single Axis Turns

Clint Rauscher & Shelley Brooks class demo to "La Vida Es Corta" by Ricardo Tanturi canta Alberto Castillo, 1941.

In this class, we took requests from our students and worked on concepts that they wanted to work on. Each couple had their own things that they wanted to work on and this demo puts them all together.

Traspie to Ocho Cortado
At .07 of the video, we start with an arrepentida (rock step) to the open side of the embrace. We then begin a side step but interrupt it and return towards the close side of the embrace (traspie). We discussed with the guys that it is more of a point and pause than a change of weight at the moment of the traspie. The great thing about this move is is circularity and flow.

Barrida in Close Embrace
At .22 of the video, we perform a barrida while staying in a close embrace. To do this I relax my embrace and turn my upper body towards the close side of the embrace while taking weight on my left foot, freeing my right for the barrida. I perform the barrida with my right and then take weight on it leading her to collect and then cross over (pasada) my right foot.

Parada with Barrida to Single Axis Turn
At .29 of the video, we perform a parada and then a barrida in close embrace.
Tip: At the beginning of the parada, I stop her with her weight still on her left foot. As I step around her for the barrida, I shift her weight to her right foot before starting the barrida.

At the end of the parada, I take a small step back and instead of leading her over my left foot, I sweep (barrida) her right foot with my left in a circle around me (single axis turn).
Tip: At the moment of the single axis turn, I tighten my embrace just slightly and breath up for the single axis turn. Also, the men should simply turn around the woman and not sling themselves around her.  Don't overdo it.
Tip: The women should control their left (free) leg during the single axis turn and not allow it to sling out, thus compromising their balance.

His Barrida to Her Barrida to Pasada
At .40 sec of the video, I sweep Shelley's leg and then lead her to sweep my leg back.
Tip: During any Barrida, the women should keep a slight amount of pressure on the man's foot, this will allow him to go in any direction with the barrida.

Sacada Exit for Parada
At .50 of the video, we perform a basic parada sequence and then I tuck my left leg behind my right, change weight, and perform a sacada with my right to her forward cross.

Basic Alteration from her Forward Cross
At 1.16 of the video, I lead Shelley to a forward cross and then change the direction (alteration).

His Barrida to Her Barrida to Leg Wrap (1.32)

His Barrida to Her Barrida to Single Axis Turn (1.43)

Single Axis Turn from Side Step (1.53)

Embellishment for the Men at Parada (2.00)



 

Walking Sacadas to Giro and Enrosque

Clint Rauscher and Shelley Brooks
Song: "Hasta Siempre Amor" by Carlos di Sarli canta Horacio Casares

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.

Walking Sacada to Giro with Enrosque (:39 of video)
After the walking sacada to the open side of the embrace, the man takes a side step with his right and leads the woman to a forward cross with her right. Then the man sends his right leg behind his left while leading the woman to pivot and perform another forward cross. The man then pivots on both feet (enrosque, corkscrew) while leading the woman to a side and then back cross. At her back cross, he switches weight to his left eg and then exits to a cruzada for the woman in cross system.

Tip: When the man sends his left leg back, behind himself, it should hit at approximately the same time the woman's left leg hits the ground for her second forward cross.

Tip: After the enrosque, the man should switch weight to his left at about the same time as the woman's left leg hits the ground for her back cross.

Ganchos: Leg Wraps I

Leg wraps are ganchos which happen during a turn and resolve in the same direction as the turn. In other words, if we are making a clockwise turn (giro), lead a gancho and then continue turning clockwise then that is often referred to as a leg wrap. A leg wrap IS a gancho, the follower is hooking (gancho) her leg around his leg.

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

Tips:

  • Leg wraps are executed on her open/side step during a molinete in either direction. In order for a wrap to happen the woman has to take a real side step. Often women skip or shorten their side steps during the molinete and that is a mistake. In the demo below, starting at the .10 sec mark she takes a forward cross, then a side open (which is where we lead the leg wrap) and then a back cross.
  • The leader should aim to make contact with his upper thigh to her upper thigh. He should aim for the area in the middle of her open/side step. If he goes too low or too close to the leg she is leaving then he will probably get a sacada instead of a wrap. If he goes to close to her supporting leg then he will knock her off her axis/balance. He needs to step into the middle of her open side step, but with an open thigh to recieve the wrap and then she should continue around in the same direction.
  • During the gancho (hooking), the follower should feel his thigh and "hug" his leg with her free leg. She should aim for the wrap to happen above his knee. She should release the wrap as she feels his leg straightening.
  • After a leg wrap, woman should not let her free leg float out, especially on a crowded dance floor. After the wrap, she can take her free leg up, instead of out, to release the residual energy of the wrap. Also, if she lets her leg float out then she runs the risk of falling out of balance and falling into her next step. After the wrap, she should relax her leg and let her feet fall back together (collect) so that she is ready for the next step.
  • Leg wraps should be done very close. If you are dancing in an open embrace you should adjust to close embrace for the moment of the leg wrap. Nothing looks worse than a guy stretching trying to get a leg wrap instead of just moving in close.
  • Let wraps can be done on either side of the embrace, but wraps to the close side are much easier to accomplish.
  • As always, a very relaxed embrace which allows her to breath and pivot easily is necessary.

 

Video Demonstration:

 

The Milonguero Dip

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 popular step that I saw used in the milongas of Buenos Aires, Argentina. I have recently been informed that the step was named "milonguero dip" by Ney Melo and Jennifer Bratt.. and that they first saw it done by Javier Rodriguez and Geraldine Rojas and that Javier called it "ocho seco."

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:

 

 And a second video of us teaching this step:
 

Steps for the Social Dance Floor

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.

Intro to Barridas, Pasadas y Paradas

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.

 

Part II:

In this second part, we look at paradas which are stops and happen whenever we stop our movement for any length of time and pasadas which happen whenever one partner has to step over (pass over) the other partner's foot or leg.

Figure 1: Basic Parada Sequence
We started by looking at a very basic parada sequence.

  1. The sequence begins from back crosses (ochos). When the leader leads the woman to a back cross to his right side he stops her (parada) mid-step and extends his right foot to find her left foot. He wants to put the forward part of his right foot to the forward part of her left foot, not going in very deep, just right at the toes. 19 sec of video
  2. He then takes weight on his right and steps around with his left to face her. His feet collect around her left foot creating a mordida (bite). Again, his left should not go in deep and the contact should only be at the forward part of the foot. 40 sec of video
  3. He then switches weight to his left and steps back and around with his right bringing her forward onto her left. At this point she should have her feet surrounding his left foot (mordida). Notice in the video that when I step back Shelley just comes straight forward onto her axis but no further and the I don't lean back, but rather keep my upper body over my hips while I settle my weight onto my back leg (right). 52 sec of video
  4. At this point, she is facing me so if I were to lead her to take a forward step she would have to walk into me, so I pivot her counter-clockwise. She is still on her left foot. Then I lead her to take a forward cross step over my left (pasada) and around me with her right as I take weight on my left. 54 sec of video
  5. Then I lead her to pivot and to take another forward cross as I return to my right. We are back in parallel system and can walk out.

Figure 2: Basic Parada Sequence with Barrida
This figure is the same as the one above only we add a barrida (sweep) at step 3. To accomplish this, at step 1, we must make sure that we stop her (parada) with her weight all the way back onto her right leg, so that her left is free to sweep.  1.30 mark in video. Then we step around with the left and sweep her left with our right. 2.07 mark in video.

Tips:

  • Triangles - We are often forming triangles when we do barridas. Notice in the video, if you look at the 2.38 mark, when the the barrida is being initiated and when it is completed.
  • 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.
  • 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. She should also keep her foot on the floor and not to take it up into the air unless the leader takes his foot up in the air.
  • As the follower's foot is being swept, she should pivot on her supporting foot to keep her hips and upper body facing in the same direction as her foot that is being swept. 3.03 mark in video

Figure 3: Basic Parada to the Leader's Left with Barrida

This move uses a very similar technique as the other moves only we are starting with a parada to the leader's left (open side of the embrace). Then we are stepping more around her so that we can sweep her right foot to our right foot. 4.02 of video

 

Part III:

Figure 1:
Parada and Barrida from Follower's Forward Cross

Tips

  • At the 1.19 mark, the leader stays on his left foot while leading the follower to switch weight to her left at the cruzada.

Figure 2:
Forward Sacada to Forward Cross to Parada and Barrida

Tips

  • At the 1.47 mark, notice the proper barrida technique of finding the forward part of her foot with the forward part of your foot. Don't go too deep with the drag.
  • At the 1.54 mark, notice that as I rotate my chest that my left foot pivots with me to provide stability.

Figure 3:
Barrida to Colgada

This figure is for more advanced dancers who already know the proper technique for leading and following colgadas.

Sacadas I: Forward Sacadas

A Sacada (displacement) is when one dancer steps into the space that their partner just vacated. In this class, we will look at Internal and External Forward Sacadas for both men and women. We will also look at the difference between Low and High Sacadas.

4 Parts of a Step
Each step that we take in tango consists of 4 seperate 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 transfering 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.

8 Parts of a Step
Now let's imagine that for leaders there are actually 8 parts to every step. Why? Because leaders must also lead the follower in all 4 parts of her step, while he is executing his step. This concept comes into play with many moves such as sacadas.

Practice with your partner, leading her to take a side step around you without you taking a step. Then lead her to take a side step while you take a side step with her, but stop in the middle of your step and then practice leading her in one direction while you go in another direction.

3 Basic Forward Sacadas
In the video, you will see that we show three basic forward sacadas. We can perform a forward sacada with either the right or left feet to the follower's side open step, forward cross step or back cross step.

Basic Sacada Technique
A sacada is a displacement, meaning that we are taking the place of our partner. We are entering the space that our partner has just vacated. To accomplish this, the leader leads the follower to take a step and as she is taking weight onto her new supporting leg, he steps in to the space she is leaving. He should step just inside of her free leg just after the moment that it becomes 100% free of weight. To resolve the step, he should take weight on the leg he executed the sacada with and both partners should return to face one another.

Tips for Good Sacadas:

  • Respect her axis - Do not step in the middle of her step or towards her new supporting leg, as this will disrupt her vertical axis and cause her to loose balance.
  • Don't kick her - Step inside of her step but not on her toes and do not worry about making contact with her leg. There should be little to no contact between the leader's and follower's legs. You are not pushing her leg out of the way, you are taking the space as it is leaves.
  • Hips - The hips should go straight in the direction that you are stepping. The upper body should turn towards her but the hips should go straight and then pivot after the step is complete. Also, when executing a forward sacada to her forward cross or back cross, get your hips positioned behind her hips to give yourself room to step around her. See picture below.
  • Protect the toes - For the women, take a look at the picture below and see how Shelley has the toe of her right foot pointed. She does not leave it on the floor flat to be possibly stepped on. When watching the video, watch how she lifts her toe the moment her leg becomes free.
  • Complete the step - Leaders, finish your step by taking weight on the foot that you performed the sacada with. Don't just stick the foot out and then pull it back. Finish the step by taking the space that she just left.

Figure 1:
Simple Sacada

  1. We start out with the weight on the leader's right and follower's left. We take a side open step for him and a side open step for her. The leader double times this step and switches weight to his right as she completes her side step. Now we are in cross system.
  2. He steps forward with his left as she steps back with her left.
  3. He steps forward with his right inside partner as she takes a back open step with her right. He then leads an arrepentida by bouncing her off her right foot as he rocks back to his left and leads her to take a side open step to the open side of the embrace (leader’s left).
  4. He returns to his right creating the sacada to her open side step. He pivots on his right foot approximately 180 degrees to come back in front of her. He is on his right and she is on her right.
  5. Steps 5 - 8 use our basic turn (giro) to the left to get back to line of dance.

 

Part II:

Exercises:

We start with an exercise by leading the woman in forward crosses (ochos). We want to take our time and lead them very slowly and deliberately.

Exercise 1: As she steps forward with her left foot and takes weight on her left, we extend our left foot as we lead her to pivot on her left. We pause momentarily creating a parada (stop) and then repeat on the other side.

Exercise 2: This is the same as the first exercise, except as she commits to her left foot we extend our left foot into her stride towards her right foot and repeat on the other side. So, when she steps onto her left, we are extending our left towards her left (the foot she is leaving). We are not committing to this step, we are only extending our leg/foot to find the correct placement and timing for our sacadas. We must practice so that we can comfortably lead her to take forward crosses while we extend our legs and remain balanced. All the tips below are things to look out for in this exercise.

Tips for Good Sacadas:

  • Respect her axis - Do not step in the middle of her step or towards her new supporting leg, as this will disrupt her vertical axis and cause her to loose balance.
  • Don't kick her - Step inside of her step but not on her toes and do not worry about making contact with her leg. There should be little to no contact between the leader's and follower's legs. You are not pushing her leg out of the way, you are taking the space as it is leaves.
  • Hips - The hips should go straight in the direction that you are stepping. The upper body should turn towards her but the hips should go straight and then pivot after the step is complete. Also, when executing a forward sacada to her forward cross or back cross, get your hips positioned behind her hips to give yourself room to step around her. See picture below.
  • Protect the toes - For the women, take a look at the picture below and see how Shelley has the toe of her right foot pointed. She does not leave it on the floor flat to be possibly stepped on. When watching the video, watch how she lifts her toe the moment her leg becomes free.
  • Complete the step - Leaders, finish your step by taking weight on the foot that you performed the sacada with. Don't just stick the foot out and then pull it back. Finish the step by taking the space that she just left.

Figure 1:
Simple Turn to the Leader's Left with Sacadas

  1. We start this turn on the leader's right and the follower's left. We lead the follower to change weight to her right and pivot 90 degrees forward. The leader stays on his right putting us into cross system.
  2. As we lead her to take a forward cross with her left, we step forward with our left creating a sacada and pivot to face her. The leader must pivot very quickly here to be ready for the next step.
  3. We then lead her to a side open step while stepping in with our right creating another sacada and pivoting to face her again.
  4. We are still in cross system at this point so we can exit to the cross system basic or back crosses.

Figure 2:
Simple Turn to the Leader's Right with Two Sacadas

  1. We start this by going to the basic cross in parallel system and the leader crosses his right foot behind his left as the woman crosses her left in front of her right. We then lead her to pivot counter-clockwise on her left and to step forward with her right, as the leader steps forward with his left creating a sacada.
  2. We then lead her to a side open step with her left and we step forward with our right creating another sacada. We pivot on our right to return to line of dance.
  3. The leader then switches weight to his left without leading her to switch weight and leads a back cross.

Figure 3:
Simple Turn to the Leader's Right with Three Sacadas

  1. We start this by going to the basic cross in parallel system and the leader crosses his right foot behind his left as the woman crosses her left in front of her right. We then lead her to pivot counter-clockwise on her left and to step forward with her right, as the leader steps forward with his left creating a sacada.
  2. We then lead her to a side open step with her left and we step forward with our right creating another sacada. We pivot on our right to return to line of dance.
  3. The leader then switches weight to his left and leads the follower to a back cross while he steps forward with his right creating a sacada to her free leg (left).

High and Low Sacadas
We also discussed the differences between high and low sacadas. A high sacada is when we displace her free leg above the knee and a low sacada is when the displacement happen below the knee. We always want to make contact either above or below the knee to avoid injury. Also, the contact that is made is very very light and should not be thought of as a push or kick. In fact, often there is no contact at all in low sacadas and a little more contact in high sacadas.

 

Part III:

Figure 1:
Forward Sacadas for Leader and Follower

Tips

  • At the 16 sec mark, leaders tuck their left leg behind their right leg. Don't worry about tucking too deeply. Your left knee should be sitting gently behind your right knee. You should be able to bend your knees slightly while in this position and easily switch weight between your feet without having to displace either of your legs.
  • At the 20 sec mark, I switch weight to my left and do a lápiz (pencil) with my right foot. A lápiz is an embellishment which is done with the leader's free foot and is usually a circular movement which looks like he is drawing a circle on the floor with the inside part of his foot. Lápiz can vary in size from being very tiny to very large. Lápiz are also sometimes called Rulos or Dibujo (drawing).
  • At the 25 sec mark, women should notice how quickly Shelley gets her back toe up off the ground as soon as she completes her forward step. This creates a nice line for her legs and protects her toes from being stepped on.
  • At the 42 sec mark, women should not be afraid to step forward. Often women hesitate when asked to step forward, but they should trust that the man knows what he is asking for and to step straight.
Loading the player...

The Rhythm of Vals I

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

Video Demonstration:

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.

Arrepentida with a Cross Over Step. This is a very musical move and is very helpful for changing directions if you need to in order to avoid a collision with another couple.

Figures:

Figure 1: Arrepentida with a Cross Over Step
In Demo at :28 of Video Demo
In Slow motion at 2:36 of Video Demo

Step 1: The man takes a Side Step with his left and does a quick weight change to his right (double time). The woman takes a Side Step with her right. They are now in cross system.

Step 2: The man then takes a Forward Open Step with his left to the open side of the embrace and leads the woman to take a Back Cross Step with her left. His upper body is turned slightly clockwise to her.

Step 3: The man then takes a Forward Cross Step with his right to the open side of the embrace but does not complete that step, rather he rebounds off of his right as he steps back and counter-clockwise with his left. This results in a change of direction of about 180 degrees. Then he crosses his Right foot in front of his left. The woman takes a Back Open Step and then rebounds off of her right foot and takes an Open Side Step around the man with her right foot.

Step 4: The man changes weight to his right foot which is now crossed in front of his left. Both the man and woman collect.

Step 5: Repeat Step 2

Step 6: Repeat Step 3

Step 7: Repeat Step 4

Step 8: Repeat Step 2

Step 9: The man takes a Forward Cross Step with his Right and leads the woman to take a Back Open Step with her right and to perform a Forward Cruzada and to change weight to her left. The couple is back in Parallel System.

Tip: There are double times (quick-quick-slow) for the man on steps 1, 3 and 5. There is a double time for the woman at step 9.

Tip: On step 3, the man needs to contain the woman and give a lot of energy to the rebound and to bring her around in the change of direction. He does going slightly down in his right leg to get more energy from the floor for the rebound. He also makes sure not to collapse his embrace. he needs to keep his embrace solid so that she does not get behind him.

Tip: On step 3, the woman should feel the man lower in the rebound and that should be an indication of a large step coming. She will need to take a large side step around the man in order to stay in front of him.

Turn (Giro) to the Open Side of Embrace with Sacada

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:

Figures:

Description:

Step 1: The man takes a Forward Cross to the Open Side of the Embrace while leading the  woman to take a Back Cross (MFC & WBC) and Leads the Woman to collect.
Step 2: He then leads the woman to an Open Step (WOS) with her Right while staying on his Right.
Step 3: He then leads her to take a Forward Cross while he steps in with his Left for a Sacada (MFC & WFC).
Step 4: He then stays on his Left, leaving his Right floating behind, while pivoting 180 degress and leading her to take an Open Step (WOS).
Step 5: He then steps forward with his Right with a Forward Cross (MFC) to the open side of the Embrace while leading her to take a Back Cross (WBC).

Tip: The man takes 3 steps and the woman takes 5 steps.
Tip: Many women want to change weight at step 2 instead of taking an open step. Between steps 1 and 2, the women simply collect, no weight change.
Tip:
For the women, they want to stay in front of the man, so they user their default Giro/Turn (Molinete) technique to do so. This move uses their basic Giro technique... Their steps are Back, Open, Forward, Open, Back. They default to their basic Giro/Turn technique.
Tip: At step 1, the man does not collect his feet but rather shifts his weight over his Right foot which causes the woman to collect her feet. He waits until she has collected before he leads her to Step 2. He also stays with his upper body rotated towards the woman.
Tip: To begin step 2, the man rotates his body counter-clockwise staying on his Right foot. The follower wants to stay in front of him, so she defaults to her Giro Technique and takes an Open step.
Tip: The man will drops down slightly to ground himself when performing the sacada and should stay there for balance while pivoting 180 degrees to his left.
Tip 4: At the point of the Sacada, the man should start sending his upper body to his left away from the follower and then let his lower body catch up on step 5.