Special Out of Town Workshops
We love to travel and to share our love and knowledge of Argentine Tango. We will work with you to put together a great weekend of workshops, milongas and/or practicas. We love to teach in either close or open embraces (or both) depending on your community. Often, communities are small and there are people of varying levels in the classes, we can focus most of our classes to be multi-level.
I usually travel with either Shelley Brooks or Lena Hrybok for out of town workshops. We are always willing to work within any constraints that you may have, so if the following does not work for you then please contact me. We have two pricing options:
20/80 split of profits. Once all money is collected, we deduct your expenses and our expenses and then split what is left 20/80. We prefer to stay in a hotel near the venue, but are willing to stay in people’s homes to keep costs down.
Option 2 (minimum of 3 (4 out of South East) workshops + travel expenses):
$200 per 1 1/2 Workshop
$150 per 1 hour pre Milonga Workshop
$50 per Supervised Practica hour (DJing included)
$25 per hour DJing Milonga
Scheduling & Promoting Our Workshops & Milongas
Click here to see our ideas for scheduling & promoting our workshops in your town.
These classes are arranged into 1 1/2 hour classes. In addition to the class topic, we always focus on musicality and proper dance floor etiquette (floorcraft) as well as perfecting the embrace (un abrazo) and posture.
The Structure of Tango (Part I & II)
In this class, we take a very exhaustive look at the Forward Cross Step and Back Cross Step. We examine the 32 different combinations of steps that can be created using these steps in Parallel and Cross Systems. This is a special 2-part workshop (Two 1 1/2 hour classes).
Embellishments for both Leaders and Followers
Often, embellishment classes are taught just for women and without even men being present. We believe that men and women should learn embellishments together. Women have to learn how to work them into the actual dance and the men need to learn how to create moments for the women to perform embellishments and how to feel that the woman is doing an embellishment and to give her time to complete them. We also look at leader’s embellishments, of which, there are many.
Barridas: What a Drag
This looks at many different ways to perform barridas (sweeps) for both men and women. This would focus on both basic barridas and can advances into very Neuvo style moves.
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.
In normal Parallel, system, when Dancer A steps with their left leg, Dancer B steps with their right leg. In Cross System, when Dancer A steps with their left leg, Dancer B steps with their left leg. This is fairly unique to Tango and many movements in Tango are executed in Cross System.
Giros I: The Molinete & Alterations
Giros (turns) are circular movements where one dancer goes around the other dancer or they both go around a common axis. Typically, the Moliente (windmill) is a turn in which the woman goes around the man using this sequence of 4 steps: open side step, a forward cross, an open side step, and a back cross. Alterations are when we change the direction of our movement. Alterations are also called Cambio de Frente (change of front).
Paradas, Mordidas and Barridas
This class focuses on leading/following paradas (stops), mordidas (bites) and Barridas (sweeps). We examine the basic technique for these ideas and explore different ways of using these ideas in the dance. We also explore embellishments and musicality with these moves. Prerequisite: Leading and following back ochos.
100% Improvisation: Building Your Own Sequences
We do not teach sequences. Sequences are difficult to remember and lead to bad social dancing. We teach technique and improvisational skills so that our students can dance socially. In tango, practically any step can be followed by any other step. This class helps to build improvisational skills and teaches people how to string together what they know in combination. Some people think this class sounds easy and they are wrong. The class is challenging but a lot of fun and is a real eye opener for everyone who takes it. This is also a great class for women, because they become much more active in learning what the leaders re doing.
Vals (Waltz) 101
This class focuses on interpreting the rhythm of Tango Vals music. We look at a number of steps that fit very well in the Vals rhythm.
Milonga is one of the rhythms that we dance to at Milongas (Tango Dance Parties). This class will focus on understanding the rhythm of Milonga, how to incorporate your existing steps into Milonga and new steps that fit nicely into Milonga.
Musicality: Double Time Rhythm (Quick Quick Slow Slow)
The Double Time Rhythm is used extensively in Tango, Vals and Milonga to accentuate the dance. Understanding and being able to incorporate this rhythm into your dance is imperative to good Tango.
It’s All Over: Finding and Expressing the Ending of the Song
We start by looking at some simple ending positions and then we focus on finding the ending of the songs. We practice playing just the last 30 seconds or so of popular tangos to hear how they end. This is a multi-level class, so beginners can keep working on the beginning ideas while we focus the second part of the class on more advanced ending poses/moves/positions.
Colgadas 101 (hangs)
Colgadas are figures where the man leads the woman off of her axis to lean outward. The man can counter-balance the woman but also by moving his vertical axis outward. This class focuses on the basic Colgada technique and advances in difficulty based on the students experience level. We then look at performing colgadas to the open and close sides of the embrace. Often, the class begins with simple trust exercises and then moves to transitions between open and close embraces.
Split Weight Turns
This class focuses on a new idea in Tango which is stopping the woman in mid-step when her weight is evenly distributed between both feet and performing a turn. These moves feel great and look very dynamic.
Leg Wraps: Ganchos to Piernazos
This class focuses on a very beautiful move where the man or woman wraps their legs around the other usually during a turn. There are many places where these wraps can happen during a turn. We will start with simple wraps and then progress to double wraps if skill level permits.
Dynamic Turns (Giros)
This would focus on a series dynamic turns excellent for tight spaces. We usually teach this class in a close-embrace, but can also be taught open or both.
Shared-Axis Giros: Turns That Make Her Go WEEEE
In this class, you will learn the 3 different axis for turns with a focus on how to share an axis to create very dynamic turns and spins. These turns also usually involve a small colgada.
Pugliese 101: Slow, Smooth and BOOM
This class focuses on interpreting the music of Osvaldo Pugliese. This includes slow, smooth movements that suck every ounce out of every step. We also focus on the difference between Staccato and Legato walking and how to build tension in your dance.
D’Arienzo 101: Fast and Punchy
This class focuses on interpreting the music of Juan D’Arienzo. D’Arienzo’s music is famous for its fast, punchy delivery, but sometimes it is slower than you think. We look at different ways to express his music like taking short staccato steps, rhythmical walking and playful weight changes.
Dancing to Alternative Music
These workshops focus on ideas to help interpret alternative and electronic tango music. Often, this music is often slower or faster than regular tango music. We work with students on finding the rhythm in the music and stretching and suspending moves. We also look at using a dynamic embrace and soltadas (releasing the embrace). In classes II and III, we would look at complex leg wraps, split-weight turns and shared-axis turns.
Dancing to La Guardia Vieja and the Early Golden Age Music
This music is very playful and we teach lots of ideas for expressing this style of music. We play with lots of walking rhythms, embellishments and playful interaction between the dance partners. This would include the music of Early Canaro, Francisco Lomuto, Roberto Firpo, Julio De Caro, Edgardo Donato, Osvaldo Fresedo, Orquesta Tipica Victor.
Volcadas 101: Forward Volcadas
Volcadas are figures were the leader leads the follower off of her vertical axis to lean inwards while leaning on the leader. This class focuses on the basic Volcada technique and advances in difficulty based on the students experience level. Often, the class begins with simple trust exercises and then moves to transitions between open and close embraces.
Volcadas 102: Back Volcadas
Volcadas are figures where the leader leads the follower off of her vertical axis to lean inwards while leaning on the leader. This class focuses on the basic Volcada technique and advances in difficulty bases on the students experience level. Often, the class begins with simple trust exercises and then moves to transitions between open and close embraces.
The Invisible Lead: Dancing the Woman
This class focuses on leading so delicately that it appears as if the leader is doing nothing while the follower does a lot. This is especially good for dancing in tight spaces and helps develop a new level of communication between leaders and followers, and is very good for dancing with the music.
Milonga Con Traspie
This class focuses on dancing milongas with traspie (stumble) steps. A traspie is when the leader leads a step, but does not complete the weight change onto the new foot, but rather returns his weight to the originating foot. This type of step can be used in all of Tango not just Milonga and adds a lot of musicality.
An Enrosque (corkscrew) is when a man turns on one foot while the other foot is tucked in front of or behind his other foot. Generally he turns his chest, then his hips and then his legs and feet giving the appearance of a corkscrew turning.
Please call or email if you have any additional questions or comments,