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:

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.

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.

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.

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:

Alternative Tanda of the Week 2012-05-14

Tanda of the Week 2012-05-14

Alternative Tanda of the Week 2012-05-08

Tanda of the Week 2012-05-07

Alternative Tanda of the Week 2012-05-02

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