Milonga is one of the 3 basic rhythms that we dance to at tango dance parties, also referred to as milongas. Milonga is in 2/4 time and is one of the predecessors of Argentine Tango.

The Baldosa Box
A baldosa is a large tile. You are considered a great tango/milonga dancer if you can dance on a baldosa (i.e. in a small area). The baldosa box is a basic and very useful figure of tango, vals, and milonga which goes like this:

To see a clear demonstration of this step, watch .15 to .19 of the video below.

Variations

We then looked at many ways to alter the figure to add musicality. We started this class, by listening to several popular milonga and finding the 1 & 2 in the music. Milonga has two beats per measure. The 1 is usually the strongest and we encouraged the leaders to find the 1 and to step on it with their right feet. We also encouraged the women to be listening to the music (as always) and to want to step or change weight on each beat, unless the men specifically do something to prevent that.

1. If the floor is crowded, I often change weight in place instead of taking the forward step at number 4 above (.22 of video).
2. Turning the step - You can turn any of these steps, but I especially like to turn the side step (Step 5 above) 45 to 90 degrees and then turn back to the line of dance on the next back step or side step.
3. Rocking the side step - I also like to create a rocking feeling with the first side step (Step 2) (.39 of video). I begin taking the side step to my left, then rock back to my right, collect my left and change weight.
4. Hesitation steps (.11 of video) - I would also refer to these as traspie. Most people refer to traspie as meaning double timed steps, but the true meaning of traspie is "to stumble". Whatever you call it, I begin taking a small step back with my right leg and stop mid-way through my step. I put a tiny amount of weight back on my left and push off to take a slightly larger step. I want to resist rocking back and forth, so I don't go completely back to my left. It is more of a feeling of going back, slight pause and going back some more. We can use these hesitation steps on all of our steps forward, side, and back. (1.21 of video). I also like to do double hesitations on my side steps (4.01 of video).
5. Toe Points (.53 of video) - I love this one and women really seem to love it as well. There are a few hints for this one. I step outside partner to the open side of the embrace with my right foot, making contact with my upper right thigh to the her upper right thigh. Then I pivot slightly to the left and then back to the right (repeat as many times as I like) and then step back with my right. Another secret is that I try to stay as much on my left as I can, so that my right leg is free to move side to side, BUT I can't lean my upper body backwards. I want to stay upright and straight.
6. The walk around (1.51 of video). When I begin walking backwards, I keep turning clockwise with my right shoulder going away. I also take very small curved steps to try and create a very small circle. She is on the outside of the circle so she has to take much larger steps. I have to keep curving, until I want to exit. Once I get back to the line of dance, I straighten my body and she comes back in front of me. I usually do this when I step back with my left and then have her take a straight step back into my path with my back right.

Below you will find a video of these steps being demonstrated to two different milongas, one slower and one faster.

A back sacada (displacement) is when one dancer steps backwards into the space that their partner just vacated. This class video covers 3 weeks of back sacadas.

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:

• Slow and Low - Don't rush back performing or receiving back sacadas. Also, stay low to the ground when performing them and that will help with your balance and will cause your partner to take a nice long step giving you a larger window for the sacada.
• Keep the heel down - As you execute a back sacada, attempt to keep your heel as low as possible to avoid any inuries.
• Don't fall backwards - As you execute a back sacada, do not lean back. Extend your leg while bending the knee of your supporting leg. Once the free leg is extended, push off the supporting leg sending your hips and upper body together. Often, leaders send their upper bodies and then their hips and this creates a falling feeling. Also, keep your balance towards the forward part of your foot and don't fall back onto your heels, especially when completing your step. As you complete a step, stop just shy of putting weight onto your heels.
• Relax your embrace - If either partner has a stiff embrace, they can easily pull themselves or their partner off axis (balance). The embrace should be relaxed and should slide, adjust so that each person is only responsible for their own balance.
• Practice pivoting - Good pivoting and balance is essential for back sacadas. You should practice pivoting 180 degress with your legs together. Think about pushing your thighs together as you practice your pivots.
• 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. When performing a sacada step behind the other persons hips, if the hips touch then one of you will probably be knocked off their axis.
• 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.
• 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: Close Embrace Sacada (.11 of video)
In this first sacada, the leader performs a back sacada while maintaining a close embrace. After leading a cruzada, he steps outside partner to the open side of the embrace with his right leg while collapsing his right arm, allowing the follower to shift to his right side. This creates room for him to perform a back sacada with his left leg to her open step.

Figure 2: Her Back Sacada (.28 of video)
We start this sacada from back ochos. When leading her to a back ocho to the close side of the embrace, the leader sends an impulse around her, causing her to quickly pivot with her feet collected.  He leaves his left leg free to recieve the sacada which he leads by inviting her to step back. In this figure, after the leader receives the back sacada he keeps leading her around in the molinete while crossing his left leg behind his right and performing a forward sacada to her forward cross step.

Figure 3: His Back Sacada to her Open Step (.36 of video)
We start this step from an arrepentida (a repent). As the leader leads the follower to an open step, he pivots on his right foot and performs a sacada with his left to her open step. He could then continue leading the molinete and execute another back sacada to her back cross.

Figure 4: His Back Sacada to her Back Cross to a Calesita. (.45 of video)

Figure 5: His Double Back Sacada (1.03 of video)
In this step, the leader performs a back sacada to her back cross, but does not complete his step. He pauses there and then performs another (higher) sacada with his right leg.

Figure 6: His Back Sacadas to Both Sides of the Embrace (1.14 of video)

FIgure 7: Altering the Speed of the Back Sacada (1.22 of video)
We should constantly be adjusting our steps to the music. If the music slows down, then we can slow down and move almost in slow motion. If we are moving together then this can be a lot of fun.

Figure 8: Interrupted Cruzada to Back Sacada (1.59 of video)
The leader leads a cruzada but does not give her time to settle. As she is crossing, he pivots her and they both step forward and he then performs a back sacada to her forward cross.

Figure 9: Double Back Sacadas (4.13 of video)
Here the leader performs a back sacada to her forward cross and then leads her to collect and to then perform a back sacada to him.

Women's Musicality
This has nothing to do with sacadas, but watch the leg wrap at 1.47 and see how Shelley completes the wrap and flicks her foot right on the accent in the music. I CAN'T LEAD THAT. That is her paying attention to the music and trying to accent the step.

Video Demonstration:

This class covered twisty ganchos (hooks). We start with leading a regular gancho and then give a little extra twist at the moment of the gancho.

We started by discussing that a gancho is a hook and not a kick and that each gancho has several moments:

1. The Preparation or Initiation - This is when we position our bodies close to one another and the leader makes contact with his upper thigh to the followers upper thigh. The leader is creating an aperature (window) for her to hook through.
2. The Lead - Then the leader leads the gancho by leading the follower to take a step, but he has put his leg in the way, so she hooks around it. The follower extends her free leg until her upper thigh cannot go back any further and then she hooks her leg around the leaders.
3. The Resolution - The follower does not automatically exit the gancho. After she hooks around the leaders leg, she waits for him to resolve the gancho. If he were to freeze there, then she would freeze there. This allows for ganchos to be done very slowly or very quickly or with little energy or a lot of energy.
   
   The leader has two distinct ways of resolving the gancho. He can lead her to take a step or he can straighten the leg she is wrapped around.

FIgure 1: From Forward Circular Boleo to the Open Side (.15 and .25 of Video)
In this figure, we lead a forward circular boleo to the open side of the embrace. While the follower is finishing the boleo, the leader steps behind the follower's right foot with his right leg. At the same time, he is making contact with his right upper thigh to her right upper thigh.  He then leads her back around and she hooks around his right leg. This happens as he is changing weight to his right leg. He then shifts back to his left and straightens his right leg to resolve the gancho.

We also discussed that this gancho can be lead on or off axis. To lead this off axis (colgada) then the leader will extend his right arm during the gancho and twist.

Figure 2: From Forward Circular Boleo to the Close Side (.33 and .43 of Video)
This is essentially the same as above, but it is a bit more tight do to the embrace.

Figure 3: Rebound Gancho (1.08 of Video)
This is not so much a twisty gancho, but it came up during the class. The leader leads the follower to a forward step away from him while stepping behind her. He does this by extending his right arm and then brings her back straight into him. It is really a back inline boleo for her but since he is behind her it turns into a gancho.

FIgure 4: Reverse Gancho with Twist (2.44 of Video)
In this step, the leader leads the follower to a forward cross to the open side of the embrace. He stops her before she collects and steps behind her, makes thigh to thigh contact and then twists to get a gancho. I call this a reverse gancho since she is doing the gancho while moving forward rather than backwards.

Figure 5: Sacada to Twisty Gancho (2.20 and 2.31 of Video)
We did not get to this one during the class, but since we did it in the demo, I will comment on it. The leader leads the follower to a forward cross to the close side of the embrace. He performs a sacada, but instead of going to the leg she is leaving, he steps close to the leg she is going to (her new supporting leg). He then stops her in the middle of her side step as he does a big pivot on his right and steps behind her with his left.

Video Demonstration:

This video demo covers two classes.

The first was on finding the middle part of each step and being able to shift her weight back and forth between her legs without resolving the step, until we are ready.

We talked about the fact that each step has 4 parts.

1. We send our free leg

2. We transfer our weight 50/50 in the middle of our step

3. We completely transfer our weight to our new supporting leg (finding our balance)

4. We collect our new free leg.

Many times we skip these moments in our steps and just jump from 1 to 4, falling into steps rather than transferring our weight all the way through a step.

In the second class, we look at forward & back sacadas for the leaders and forward sacadas for the followers. At 2.30 of the video, we also looked at getting a back sacada while staying "primarily" in a close embrace.

Video Demonstration:

Here is a wonderful video by Sebastian Arce and Mariana Montes on the tango embrace.

Wonderful explanation of the tango embrace. Students of ours will recognize almost all of these explanations.. such as the idea that you don't take the embrace and then begin dancing, taking the embrace is part of the dance.

I just had someone ask me yesterday about when you take the embrace do you start with the open side or the close(d) side. First I respond to the woman. If she lifts her left arm and not her right, then I start with the close side (and vice versa). If she waits for me to initiate the embrace, then I will usually lift my left arm, so starting with the close side. Then, of course, I would expect her to lift her left arm so that we can take the embrace on the close side. Notice Sebastian do this at 6.33 of the video. BUT there are many nice ways to take the embrace at 6.22 he takes both sides of the embrace at the same time.

After a class with them in Baltimore a few years ago, I made significant changes to my embrace which have worked very well for me. The main one being not bringing my right shoulder forward in the embrace. I attempt to keep my chest very flat. Many leaders reach way around the follower with their right arm, bringing their right shoulder forward, and thus they end up leading with their right shoulder rather than with their center. As he says in the video, I bring my right hand around her and try to position my right hand in front of my spine. If we are leading from the center instead of from one side or the other then the lead will be very clear.

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 this class, we explore creative ideas for using the cruzada in milonga.

The Forced Cruzada
With this technique, we lead the followers to cross their right foot in front of their left feet. This can be a strange feeling for the followers until they practice. The women should resist the temptation to twist their hips and pivot. They should have a very relaxed leg and simply let the leg, not the hip, go in the direction of the move. The clearest way for the men to lead this is to mirror the women. If we are doing the same move, but in reverse, then we should be moving in the correct direction. Also, for the women, do not cross too deeply so that your weight change can be smooth.

For the leaders, don't get too caught up on the idea of forcing the cross. We do not even need to make contact with her for this step. It is more about direction and removing other possiblities such as walking straight back.

Back Cruzadas
If we think about the cross as a technique rather than as a step then we should be able to get them on any step going forward or backwards. Here we are stepping forward and then changing direction to move back diagonally. Again, the followers should simply take their free leg in the direction that we are moving. As with the previous move, if the leaders mirror the followers then we will be assured of moving in the correct direction.

In this class, we explore creative ideas for using the cruzada in the rhythm of vals.

The Double Cruzada
Here we look at combining the one step cross in parallel systme with the one step cross in cross system. So we get two crosses in a row. The leader is walking in regular time, stepping on the 1 with each step, while leading the follower to step in double time. The leader steps forward with his left while leading her to cross and change weight. Then he steps forward with his right while leading her to cross and change weight. This creates a nice rhythm which fits very well into vals.

The Forced Cruzada
With this technique, we lead the followers to cross their right foot in front of their left feet. This can be a strange feeling for the followers until they practice. The women should resist the temptation to twist their hips and pivot. They should have a very relaxed leg and simply let the leg, not the hip, go in the direction of the move. The clearest way for the men to lead this is to mirror the women. If we are doing the same move, but in reverse, then we should be moving in the correct direction. Also, for the women, do not cross too deeply so that your weight change can be smooth.

For the leaders, don't get too caught up on the idea of forcing the cross. We do not even need to make contact with her for this step. It is more about direction and removing other possiblities such as walking straight back.

Back Cruzadas
If we think about the cross as a technique rather than as a step then we should be able to get them on any step going forward or backwards. Here we are stepping forward and then changing direction to move back diagonally. Again, the followers should simply take their free leg in the direction that we are moving. As with the previous move, if the leaders mirror the followers then we will be assured of moving in the correct direction.

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 move is part of our Popular Steps for the Social Dance Floor series.

The interesting thing about this step is that while walking (caminata) the followers keep switching sides and switching systems (parallel vs cross) during the step. They start out on the leader's right side, switches to the left and then back to the right. So, this requires a flexibility or elasticity in the embrace to allow her to travel within my embrace.

The second thing is that we have the followers take two steps to our one step twice in the move. We like to call this “dancing the woman” or “the invisible lead,” when I ask her to take steps that I am not doing myself.

Step Breakdown (the numbers below correlate to the numbers in the slow-motion part of the video):

1. We start by leading her to a Salida Americana. The leaders take weight on their right leg and as she takes weight on her left leg she comes back to neutral in front of us. At this point we are in parallel system. Now the leader stays on his right leg, while leaving his left behind, and leads her to take a side step with her right leg. Now we are in cross system and she is on our left side. We must relax our embrace during this move to allow her to travel to our left side, if we hold her too tightly then she will either not go or will pull us off balance.
2. Now we step forward with our left and she steps back with her left. We stay on our left, leaving our right behind, as we lead her to take a back cross step across our path to our right side. We are back in parallel system.
3. We collect and step forward (outside partner) with our right. She steps back with her left.
4. We step back in front of her with our left as she steps back with her right and we are done.

At parts 1 and 2 above we take one step while leading her to take two steps. This takes us from parallel sytem, into cross system and then back into parallel system. We can maintain a close embrace during this whole step, but must relax the embrace enough to allow her to move slightly in the embrace.

Additons to the move:

• At 1.26 in the video, we look at an alternative entrance to the step. Instead of starting with a Salida Americana we simply started by walking outside partner and then leading her to a side step.
• At the beginning of step 2, when the leader steps forward with his left, he could perform a forward sacada to her left as she steps back with her right.
• Also, at step 2, we could lead her back cross with or without pivoting her first and then changes the feeling of the move.

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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