Class Notes: September 2011

These are the class notes for September 2011 Tango classes in Berkhamsted.

4th September: The Embrace

Beginner class: Close and open embraces

We examined the close parallel embrace, and the open embrace, looking to impart the basics of each.

Improver class: Close embrace movements and embrace variations

Using the close embrace, we looked at applying this to the following basic movements:

  • Step variations (size and tempo)
  • Transfers of weight
  • Rocksteps

We briefly examined using musicality, using these simple steps and variations to dance to the music played.

Finally, we looked at the "V" embrace, and examined the possibilities for different movements within this embrace.

Key points

  • Close embrace dancing is all about variations of simple steps, not about complex movements
  • Both leader and follower need to agree on the type of embrace.
  • The type of embrace adopted varies depending on the type of music and the dancer's preference.

More information: see the LearningTango Syllabus topic on the embrace.

11th September: How to Stand

Beginner class: Posture and more posture

We separated out initially and worked on posture, using a number of exercises to straighten ourselves up and stand correctly.

We also worked on becoming "grounded" - more stable, basically. If we're grounded, it's easier for us to maintain our balance.

We then came back together and worked on our technique in this area when partnered-up.

Key points

  • Exercise: roll shoulders forward, then back up, around and down. Chest opened out, to feel a flat back between shoulder blades.
  • Engage the upper stomach muscles (the ones just under,the breast bone and between the ribs). They should stay closed when breathing in and out, this will help with the disassociation.

Improver class: Decorating the pauses

Now that we all have achieved perfect stability and groundedness (!), we can attempt to decorate our movements, without worrying too much about going off balance with these decorations.

We worked on:

  • Small, unled lapiz movements
  • "Pulse" movements, led, to the side or back.
  • Leader lapiz movements to enhance the impression of a large step when walking out of a pause
  • Leader foot taps to mark the beat.

Key points

  • Decorations are decorative; complementary. They're not the step itself, and should not interfere with the lead / follow.
  • Both leader and follower can and should develop decorations to their own styles.
  • Decorations allow interpretation of the music without actually taking a step.

For more information see the LearningTango Syllabus topic on How to Stand.

18th September: Lead and Follow

Beginner class: technique and exercises

We worked on "no hands" leading and following techniques, leading all manner of steps in various directions without any physical contact, including ochos.

The idea of this exercise is to ensure:

  • We're fully connected with our partners
  • Leaders can communicate the lead simply by moving their bodies in the correct way
  • Followers can move "under their own power" and can follow their leaders' movements.

Key points

  • If you can lead and follow without physical contact, it's much muuch easier with such contact.
  • Followers, remember to follow, not "mirror", your leader
  • Leaders, don't lead with the legs
  • Followers, keep on balance at all times

Improver class: Connection-based movements

We worked on a couple of movements which relied on a good connection to work. (Note: of course, all moves require this, but these two will go horribly wrong without it!)

We worked mostly within an open embrace for these movements.

Move 1: enrosques feminino (twistarounds) / espiral de cruz (spiral cross)

Basically, this is simply an enrosque movement for the followers:

  1. Lead the follower into a standard sandwich position (follower's left foot in front of right)
  2. Hold the follower in this position and walk around her clockwise
  3. Follower can effectively now do an enrosque movement, twisting to follow the partner's body
  4. Leaders can lead an "untwist" motion to finish, or followers can untwist when desired.

Move 2: Calesita variation

The Carousel ("Calesita") movement is almost a "reverse giro" movement - the woman stands in the centre, and the man walks around her.

There are some differences though; the woman stays on one foot throughout, and is rotated by the man, and the man simply walks in one direction (i.e. forwards or backwards, no fancy grapevine patterns).

We did a simple variation of the carousel, where the leader "lifts" the follower's free leg (followers lifting their knee up) as part of the rotation movement.

Key points:

  • Men have to walk in a circle. If you don't walk in a perfect circle, you'll pull the woman off balance.
  • Men, keep your chest facing the woman at all times.
  • Women, keep your weight on one foot - the other foot trailing behind.

Note: if you "lower" instead of "lift", you produce a "Glide, or "planeo"? - simply by the woman lowering herself a little and extending her trailing foot out, to a degree.

For more information see the LearningTango Syllabus topic on Lead and Follow.

25th September: Core Movements

For more information see the LearningTango Syllabus topic on Core Movements.

Beginner class: Embrace, connection and walking

We spent some time working on the close embrace, ensuring that we could establish a good, clear and close connection with our partner.

The main concept of this is to focus on the key point that the connection is the most fundamental aspect of the dance - and that the closeness of the embrace is not something to avoid, it's something to, well, embrace...

Key points

  • Leaders: provide a stable and secure embrace for your follower. Don't rush off too early
  • Followers: don't hold back, but wrap yourselves into the embrace
  • Both: don't "pull" your partner in to the embrace, but "push" against them

Improver class: movements

We spent some time working on the sidestep, the change of weight, and the rockstep.

We also looked at tempo changes, using double-time changes of weight and rocksteps in the music.

Finally, we introduced using rotating changes of weight to provide a rotating step, which allows faster rotation than a rockstep.

Key points

  • Think of the rockstep as being like a forwards / back change of weight, rather than a cut-down step.
  • Change of weight: lift and transfer. Sidestep: lower and side.
  • Don't lead changes in tempo with changes in energy - think "lift" and "lower" rather than "push harder / softer"