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Tag Name: soltadas


Creative Boleos I

Teachers: Clint Rauscher and Shelley Brooks
5/13/2013

This video is from our class on creative and unexpected boleos. We do not cover all of the instruction given in the class in this video. This demo is for our students to remind them of the material covered in the class.

 

Soltadas Part 2: Compression, Impulse and Expansion

Date: 4/15/2013
Teachers: Clint Rauscher & Shelley Brooks
Song: Navegante (Vito Dumas) by Carlos Di Sarli with Roberto Rufino

This class was the second in our series on Soltadas. We focused on building compression within the embrace and using an impulse to create expansion. As always, this video does not cover everything we talked about in the class, but tries to cover some of the major concepts. We also discussed how these concepts can be applied to our more traditional tango.

Floorcraft
This is a more nuevo tango move and requires more space than we might have at a typical milonga. We stressed, to our students, the importance of respecting the space that we have. These are not moves that we would do at a typical, crowded milonga. This could be used, but only on a large dance floor when you have plenty of room. For example, we have an alternative hour after our usual milonga, often during this time there would be plenty of room for these steps.

Also, not all milongas are crowded or maybe towards the end of the evening the floor thins out. These moves do not move backwards, they progress forward. You need at least 2 to 3 steps in front of you, that is all. Just be respectful of the flow of the line of dance and the other dancers on the dance floor and you should be fine.

Soltadas from Back Cross: Part 1

Class Topic: Soltadas from Back Cross: Part 1
Teachers: Clint Rauscher and Shelley Brooks of Tango Evolution and Tangology101
Date: 4/9/13
Song: Pa' Bailar by Bajofondo Tango Club

Disclaimer: This is a class demo for our students to remember what we worked on. Even though we give some instruction at the beginning of the video, it is only a small fraction of what we discuss in class.

In this class we looked at Soltadas from the back cross. Soltadas are releases of the embrace. We break our embrace temporarily to perform a soltada. This does not mean that we must completely break our physical connection, although we could do that as well. One important note is that while soltadas may be very modern/nuevo, they really re-enforce our knowledge of molinete and giros. So, working with them can increase your sensitivity in your regular dance.

Tip: We encourage our students to keep a slight physical connection as we do a soltada. We discuss this at the beginning of the video, that I place her hand on my chest as I am releasing the embrace and she can trace her hand around my body to help keep us from going to far away from one another.

In order to get a successful soltada, we must be able to depend on the structure of the molinete. The molinete consists of 3 steps: back cross, side open, forward cross. Once the leader initiates the molinete he should be able to release the embrace and TRUST the follower to execute the molinete, until he re-engages the embrace. We discussed that he can re-engage the embrace on any of the 3 steps of the molinete.

We then added a barrida with a soltada from her back cross.

Variations in video:

3.13 We execute the soltada and re-engage the embrace on her forward cross and continue around her to lead her to another forward cross to exit.

3:30 - We execute the soltada and then lead a leg wrap/gancho after the final forward cross.

3:55 - We execute the soltada and I re-engage the embrace and perform a leg wrap on her side open step.

4:30 - We initiate a soltada with barrida from her back cross. In this one, we keep a connection with his left and her right hands. This also results in a pasada as she passes over my right foot.

5:10 - This is a crazy one.. here I lead the soltada but then step in front of her blocking the forward cross of her molinete. She wants to take the forward cross step but she can't because I am exactly where she needs to go. So she stops. Notice her hand on my right shoulder, so I use that compression in her right hand on my shoulder to reverse the direction and lead her back around me... basically "rewinding" the soltada.

5:40 - Another crazy one where after the final forward cross, I step behind her making thigh to thigh contact and lead a reverse gancho. Yes, there is a lead for the gancho. As with all ganchos, there is thigh to thigh contact first and then the lead which is a tiny twist.

  These also work very well in vals since they are circular in nature. Take a look at 2:05 of this video of Oscar and Ana Miguel performing a vals: