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Note: I first heard "Cuore Sacro" in a performance video of Robin Thomas and Kayla Mares.
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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:
| Steps | Leader | Follower |
|---|---|---|
| 1 | Back open step with the right | Forward open step with the left |
| 2 | Side open step with the left | Side open step with the right |
| 3 | Forward cross step with the right to the open side of the embrace | Back cross step with the left to the open side of the embrace |
| 4 | Forward open step, back in front of the woman, with the left | Back open step with the right |
| 5 | Side open step with the right | Side open step with the left |
| 6 | Change weight, in place, to left / Often this step is done in double time | Change weight, in place, to right |
| Then repeat. Often steps 5 and 6 are double timed (quick quick). Also, sometimes I like to collect and change weight at 4 instead of stepping forward (.22 of video). | ||
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.
- If the floor is crowded, I often change weight in place instead of taking the forward step at number 4 above (.22 of video).
- 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.
- 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.
- 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).
- 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.
- 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.
Here is a collection of Ricardo Tanturi tandas. My favorite tandas are highlighted.
| Song | Orchestra | Cantor/Singer | Year | Type |
| Ricardo Tanturi con Alberto Castillo Tandas |
||||
| Listen to this tanda. I would normally drop either the first or the last song. | ||||
| Asi Se Baila el Tango | Ricardo Tanturi | Alberto Castillo | 1942 | Tango |
| Recuerdo Malevo | Ricardo Tanturi | Alberto Castillo | 1941 | Tango |
| Noches de Colon | Ricardo Tanturi | Alberto Castillo | 1941 | Tango |
| La Vida es Corta | Ricardo Tanturi | Alberto Castillo | 1941 | Tango |
| Pocas Polabras | Ricardo Tanturi | Alberto Castillo | 1941 | Tango |
| Comparsa Criolla | Ricardo Tanturi | 1941 | Tango | |
| Argañarez // Aquellas Farras | Ricardo Tanturi | 1940 | Tango | |
| La Vida es Corta | Ricardo Tanturi | Alberto Castillo | 1941 | Tango |
| Una Noche de Garufa | Ricardo Tanturi | 1941 | Tango | |
| Asi Se Baila el Tango | Ricardo Tanturi | Alberto Castillo | 1942 | Tango |
| Recuerdo Malevo | Ricardo Tanturi | Alberto Castillo | 1941 | Tango |
| Noches de Colon | Ricardo Tanturi | Alberto Castillo | 1941 | Tango |
| El Tango es el Tango | Ricardo Tanturi | Alberto Castillo | 1942 | Tango |
| Ese Sos Vos | Ricardo Tanturi | Alberto Castillo | 1942 | Tango |
| Al Compás de un Tango | Ricardo Tanturi | Alberto Castillo | 1943 | Tango |
| Decile Que Vuelva | Ricardo Tanturi | Alberto Castillo | 1943 | Tango |
| Me Llaman el Zorro | Ricardo Tanturi | Alberto Castillo | 1943 | Tango |
| Ricardo Tanturi con Enrique Campos Tandas |
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| Qué Será de Ti | Ricardo Tanturi | Enrique Campos | 1942 | Tango |
| Malvon | Ricardo Tanturi | Enrique Campos | 1943 | Tango |
| Qué Bien Te Queda | Ricardo Tanturi | Enrique Campos | 1943 | Tango |
| Que Vas Buscando Muneca | Ricardo Tanturi | Enrique Campos | 1943 | Tango |
| Palomita Mia | Ricardo Tanturi | Enrique Campos | 1943 | Tango |
| Oigo Tu Voz | Ricardo Tanturi | Enrique Campos | 1943 | Tango |
| Una Emotion | Ricardo Tanturi | Enrique Campos | 1943 | Tango |
| Corazon Me Decia | Ricardo Tanturi | Enrique Campos | 1944 | Tango |
| Igual Que Un Bandoneon | Ricardo Tanturi | Enrique Campos | 1944 | Tango |
| Que Nunca Me Falte | Ricardo Tanturi | Enrique Campos | 1943 | Tango |
| La Abondoné y No Sabía | Ricardo Tanturi | Enrique Campos | 1944 | Tango |
| Cuatro Lagrimas | Ricardo Tanturi | Enrique Campos | 1945 | Tango |
| Ivón | Ricardo Tanturi | Enrique Campos | 1945 | Tango |
| Prisionero | Ricardo Tanturi | Enrique Campos | 1944 | Tango |
| Cantor de Barrio | Ricardo Tanturi | Enrique Campos | 1945 | Tango |
| Discos de Gardel | Ricardo Tanturi | Enrique Campos | 1945 | Tango |
| Cuatro Lagrimas | Ricardo Tanturi | Enrique Campos | 1945 | Tango |
| Recién | Ricardo Tanturi | Enrique Campos | 1944 | Tango |
| De Seis a Siete | Ricardo Tanturi | Enrique Campos | 1945 | Tango |
| El Corazon Me Decia | Ricardo Tanturi | Enrique Campos | 1945 | Tango |
| Igual Que Un Sombra | Ricardo Tanturi | Enrique Campos | 1945 | Tango |
| En El Salón | Ricardo Tanturi | Enrique Campos | 1944 | Tango |
| La Uruguayita Lucía | Ricardo Tanturi | Enrique Campos | 1945 | Tango |
| Esta Noche Al Pasar | Ricardo Tanturi | Enrique Campos | 1945 | Tango |
| Ivón | Ricardo Tanturi | Enrique Campos | 1945 | Tango |
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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 version of "Libertango" is a remix by Hi Perspective and is nice because it has a bit slower and has more of a beat than other versions. The only negative to it is that it has a very fast fade out at the end of the song.
"Cite Tango" is so light and playful and then it becomes soft and romantic. It feels like being at an amusement park. You are having fun all day, but then it gets late and you start to get tired. You realize that the fun is over and that you must go home.
This version of "Tanguedia III" is from Tango Zero Hour, one of my favorite Piazzolla albums. This song is very aggressive, almost violent. You have to be bold and precise dancing to it. I also like to use lots of changes of directions (alterations). I have edited the song to remove the 22 second intro.
If you wanted to keep this tanda under 10 minutes, you could use Gotan Projects edit of "Cite Tango" which is 3.56 and then start Tanguedia III at the 1.34 mark.
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