Song: Pobre Yo by Carlos Di Sarli Y Su Sexteto Tipico
Instructors: Homer & Cristina Ladas
http://theorganictangoschool.org
June 1, 2011, Cellspace, San Francisco
Homer and Cristina Ladas summarizing an intermediate tango lesson on
style and structure in tango.
0:23 - A little plug for http://theorganictangoschool.org/
0:39 - One important idea was the difference between style and
structure. Style can be something unique and personal, and alter the
appearance and the feel of the moves with the same structure.
0:48 - Another important idea was the importance of communication: any
application of style by the leader only works if the follower can
receive it properly. As an illustration, students were tossing little
objects to each other in groups, throwing with different levels of
creativity. At the end, there seemed to be a tentative tradeoff:
groups with extreme creativity caught the ball the least. Creativity
in tango works only if "the ball is caught".
1:06 - a pattern - leading the follower into a cross and then lead a wrap.
1:25 - the leader's structure - lead the follower into the cross while
keeping a straight line of walking, without height change, keep the
shoulders overturned while leading into the cross, extend the left
leg, touch the follower's thigh, and, while keeping the follower on
her axis, turn the spine and shoulders to lead a wrap.
1:48 - the follower's structure - keep with the leader at all times,
including the twisted position, keep own balance, and being able to
unwind into the wrap. Thigh contact is important.
2:22 - the style parameters - it is possible to alter many aspects of
the sequence without altering the structure - such as speed of the
wrap, the rhythm of going into the cross, height changes in different
places (including the wrap). Stylistic games are all fair, as long as
the partner "catches the ball" and the couple executes the cross and a
wrap as intended.
3:14 - four branches of tango awareness that Homer and Cristina try to
develop - awareness of self, partner, music, and surroundings.
4:22 - a little demo of the sequence with stylistic alterations by
Homer and Cristina.
As a kind of individual experiments, the students were also attempting
to lead multiple wraps after the cross.
Notes courtesy of Leo Landa
Saturday, September 24, 2011
Thursday, April 7, 2011
Rock Step - Concept and Variations
Song: Rawson by Juan D'Arienzo
Instructors: Homer & Cristina Ladas
http://www.freshlaundrytango.info
April 6, 2011, Cellspace, San Francisco
Our focus of class was the rock step, and how to execute it so that it feels good and so that we do it efficiently in tango or milonga.
We began with a warm-up 1/2-song dance doing as many rock steps as we can so that Maestros could asses where we were skillwise and tailor the class accordingly.
BASICS OF COMMUNICATING THE ROCK STEP
Beginning with the basics, Leader begins in Tea Kettle arm position, or what is now known after Maestros' visit to New Orleans as the Sugar Bowl hold, with Leader's hands at the small of his back, elbows out to the side. The Follower holds onto the Leader's arms at his triceps. In this embrace, the Leader and Follower were to communicate the Lead and Follow of the rock step. We were to make the movement as small as possible. The goal for the Leader is to communicate the rock step cleanly without using his hands. The goal for the Follower is to engage appropriately to read the Leader's communication correctly. We drilled this for a song.
ROCK STEP LEG WORK
Then we backed up a bit from here. With everyone working independently and separately, we were to do the rock steps on our on, keeping our upper inner thighs together as if holding on to a quarter. We tried this rock step with our left foot forward, then right foot change weight, to do left foot forward again in rock step.
We also did this with our right foot forward and left foot weight change, back to right foot rock step, etc.
We also tried turning clockwise and counterclockwise with our left foot forward rock steps and right foot forward rock steps.
We were to keep our back foot heels off the floor.
The knees are bent and soft.
The muscle memory goal was to make our rock step efficient by being tight, controlled, and quick. In doing it this way, we would make our partner feel more comfortable.
For the Leader, it is important that when he does the rock step, that he has enough room in between both his feet. Ideally, this should be 1-1.5 shoe lengths. Thus, at least one foot/shoe should fit in between the Leader's front and back feet. He should lock the top of his pelvis so that he is tight at the tops of his inner thighs.
For the Follower, it is important in her back foot rock steps that she reach back first, and then transfer the weight to catch the rock step. She should not just step back and automatically transfer the weight back fully. She should also not go too far back in her rock step.
KEEP BACK HEEL OFF FLOOR
It is important to not send the weight too far back on the weight change of the rock step, and not land on our back heel. If we do, then it takes the weight too far back. We need to keep our back heels off the floor. The rock step is not a huge range of motion. We should try to prevent ourselves from going too far back or too far forward. One way for us to practice this is to do one rock step, and then a forward step.
THE EMBRACE IN THE ROCK STEP
How does the Leader use the embrace?
The Leader's right hand is like a wall, but it should not be alike a Star Wars trash compactor where the Leader's arm moves independently. He should not telescope or move his arms, but keep them consistent. He should not force the Follower to do anything with his right hand.
The Follower also has to engage, but not anticipate the rock step.
HEIGHT CHANGE
In terms of height change, we go down a little when doing the rock step since we are on two feet. While doing the rock steps, we remain level at that slightly lower height. To get out of the rock step, we can also use the height change rise to fully communicate that we are getting out of it.
ROCK STEP VARIATIONS
PARALLEL POSITION ROCK STEPS are the normal ones we usually do.
Leader's left foot forward
Follower's right foot back.
CROSS POSITION ROCK STEPS
Both Leader and Follower begin with side steps (Leader left, Follower right).
Leader does a quick cheat weight change. Follower does not change weight.
Leader steps inside with his left foot, touching the Follower's right foot/thigh in the rock step.
Here, he can turn the rock step, clockwise.
As an exercise, we also tried to turn it counterclockwise.
Our homework was to practice our Leader's Snake Walk (slight forward ochos), as the Follower walks straight back. Here, it is important for the Leader's thighs to be together as if he has to pee.
ROCK STEPS TRAVELLING TO THE SIDE
Here, we do the parallel position rock steps, with travel to the side.
As an experiment, we also tried this in Cross Position, and though possible, we found it to be more difficult for the Follower to follow.
Adding the Snake Walk adds a lot more possibilities to how we get into doing the rock step.
WINDSHIELD WIPER ROCK STEP
Finally, we concluded with the most difficult type of rock step.
Here, the Leader puts a lot of energy into his middle (his belly area), but keeps his embrace steady and torso toward the Follower to maintain connection.
In the Windshield Wiper rock step, the Leader does his rock steps first in a forward slight front cross step, then a forward slight open step, like a windshield wiper, side to side. His back weight change step is generally in the same position.
The class concluded with a short quiz and Maestro doing a demo dance to D'Arienzo's Rawson.
Notes courtesy of Anne at http://scoutingtour.blogspot.com
Instructors: Homer & Cristina Ladas
http://www.freshlaundrytango.info
April 6, 2011, Cellspace, San Francisco
Our focus of class was the rock step, and how to execute it so that it feels good and so that we do it efficiently in tango or milonga.
We began with a warm-up 1/2-song dance doing as many rock steps as we can so that Maestros could asses where we were skillwise and tailor the class accordingly.
BASICS OF COMMUNICATING THE ROCK STEP
Beginning with the basics, Leader begins in Tea Kettle arm position, or what is now known after Maestros' visit to New Orleans as the Sugar Bowl hold, with Leader's hands at the small of his back, elbows out to the side. The Follower holds onto the Leader's arms at his triceps. In this embrace, the Leader and Follower were to communicate the Lead and Follow of the rock step. We were to make the movement as small as possible. The goal for the Leader is to communicate the rock step cleanly without using his hands. The goal for the Follower is to engage appropriately to read the Leader's communication correctly. We drilled this for a song.
ROCK STEP LEG WORK
Then we backed up a bit from here. With everyone working independently and separately, we were to do the rock steps on our on, keeping our upper inner thighs together as if holding on to a quarter. We tried this rock step with our left foot forward, then right foot change weight, to do left foot forward again in rock step.
We also did this with our right foot forward and left foot weight change, back to right foot rock step, etc.
We also tried turning clockwise and counterclockwise with our left foot forward rock steps and right foot forward rock steps.
We were to keep our back foot heels off the floor.
The knees are bent and soft.
The muscle memory goal was to make our rock step efficient by being tight, controlled, and quick. In doing it this way, we would make our partner feel more comfortable.
For the Leader, it is important that when he does the rock step, that he has enough room in between both his feet. Ideally, this should be 1-1.5 shoe lengths. Thus, at least one foot/shoe should fit in between the Leader's front and back feet. He should lock the top of his pelvis so that he is tight at the tops of his inner thighs.
For the Follower, it is important in her back foot rock steps that she reach back first, and then transfer the weight to catch the rock step. She should not just step back and automatically transfer the weight back fully. She should also not go too far back in her rock step.
KEEP BACK HEEL OFF FLOOR
It is important to not send the weight too far back on the weight change of the rock step, and not land on our back heel. If we do, then it takes the weight too far back. We need to keep our back heels off the floor. The rock step is not a huge range of motion. We should try to prevent ourselves from going too far back or too far forward. One way for us to practice this is to do one rock step, and then a forward step.
THE EMBRACE IN THE ROCK STEP
How does the Leader use the embrace?
The Leader's right hand is like a wall, but it should not be alike a Star Wars trash compactor where the Leader's arm moves independently. He should not telescope or move his arms, but keep them consistent. He should not force the Follower to do anything with his right hand.
The Follower also has to engage, but not anticipate the rock step.
HEIGHT CHANGE
In terms of height change, we go down a little when doing the rock step since we are on two feet. While doing the rock steps, we remain level at that slightly lower height. To get out of the rock step, we can also use the height change rise to fully communicate that we are getting out of it.
ROCK STEP VARIATIONS
PARALLEL POSITION ROCK STEPS are the normal ones we usually do.
Leader's left foot forward
Follower's right foot back.
CROSS POSITION ROCK STEPS
Both Leader and Follower begin with side steps (Leader left, Follower right).
Leader does a quick cheat weight change. Follower does not change weight.
Leader steps inside with his left foot, touching the Follower's right foot/thigh in the rock step.
Here, he can turn the rock step, clockwise.
As an exercise, we also tried to turn it counterclockwise.
Our homework was to practice our Leader's Snake Walk (slight forward ochos), as the Follower walks straight back. Here, it is important for the Leader's thighs to be together as if he has to pee.
ROCK STEPS TRAVELLING TO THE SIDE
Here, we do the parallel position rock steps, with travel to the side.
As an experiment, we also tried this in Cross Position, and though possible, we found it to be more difficult for the Follower to follow.
Adding the Snake Walk adds a lot more possibilities to how we get into doing the rock step.
WINDSHIELD WIPER ROCK STEP
Finally, we concluded with the most difficult type of rock step.
Here, the Leader puts a lot of energy into his middle (his belly area), but keeps his embrace steady and torso toward the Follower to maintain connection.
In the Windshield Wiper rock step, the Leader does his rock steps first in a forward slight front cross step, then a forward slight open step, like a windshield wiper, side to side. His back weight change step is generally in the same position.
The class concluded with a short quiz and Maestro doing a demo dance to D'Arienzo's Rawson.
Notes courtesy of Anne at http://scoutingtour.blogspot.com
Tuesday, April 5, 2011
Arizona State University Tango Performance
Song: Mil Pasos by Soha
Performers: Homer & Cristina Ladas
http://www.freshlaundrytango.info
April 1-3, 2011, Arizona State University Workshops, California
Performers: Homer & Cristina Ladas
http://www.freshlaundrytango.info
April 1-3, 2011, Arizona State University Workshops, California
Tuesday, March 29, 2011
A Guide to Focused Intention & Energy
Song: Milonga de Los Fortines by Orquesta Tipica Victor
Instructors: Homer & Cristina Ladas
http://www.freshlaundrytango.info
March 28, 2011, The Beat, Berkeley, CA
We would explore the topic of Focused Energy and Intention in the context of doing open embrace style ochos, with the Leader doing side steps and the Follower doing reaching and touching steps.
REVIEW OF BASIC OCHO TECHNIQUE
We began our work on the basic technique to lead and follow ochos well.
For the Leader, in teakettle hold (coming back from New Orleans, some students renamed this the “sugar bowl”), with both hands at the small of his back and elbows out to the side and his chest up, his goal was to have symmetry in his spinal rotation, aiming for about 30-45 degree rotation on both sides, so that the Follower pivots. He should also time the beginning of leading her pivot, which should happen as she arrives to axis.
For the Follower, as the Leader leads the ocho with his torso rotation, the Follower amplifies the energy down to her hips (her ocho factory). The Follower’s standing, supporting leg is the pivoting one. The Follower needs to be on her axis or slightly away from the Leader while she does her ochos. She should engage horizontally, and not press down on the Leader. She should have an elastic embrace, holding on with both her hands, and having tone in both arms, but also be flexible and elastic, like pasta “al dente”. She should have good, reaching steps, and amplify the Leader’s energy in her ocho response from her hips.
The Leader takes long side steps as he leads the Follower to do either forward or back ochos. We drilled this for a while, doing it slowly.
CHAPTER 1: FOCUSED INTENTION
Next, we took our work beyond ochos to work on Focused Intention. The goal here was to physically manifest intention by using our energy and connection with the floor.
In teakettle (sugar bowl) hold, the Leader leads the Follower to do an ocho, and then a little touch step. For the Follower, her footwork is a forward front cross step, and then a side touch step, or a back cross step and a back step. For the Leader to lead these various Follower steps, he makes either front cross steps, back cross steps, or side steps simultaneously with his torso rotations to lead the Follower ochos. The steps were the structure in which we were to figure out how and where to lead and follow the touch step.
With respect to intention, the two things to focus on are:
(1) Leader leads Follower to pivot with him. He needs strong intention in his chest/torso rotation.
(2) Whether the weight transfer is complete or slight/partial/in the middle so that the Follower just touches the floor.
We drilled, with the idea of experimenting by changing the speed, just touching in place, going back and forth, or transferring the weight completely. We did this with the Leader in teakettle position so that we focused on using the floor, and the Follower listening to how the Leader uses the floor, while she also uses the floor. The Leader uses the floor by using his whole body and the connection to the floor, up through his hips, through his back and through his shoulders. The Follower has to copy what the Leader does. She has to mirror his movements.
The two philosophical things we were to think about:
(1) The Leader has to know what he wants before he leads it. Thus, he needs to plan ahead.
(2) The Leader has to be completely in the moment too (which is contradictory to philosophical point no. 1)
CHAPTER 2: ADDING THE EMBRACE
Add the embrace. The lead still has to come from the Leader’s body and his connection to the floor.
We went back to our original exercise, only we added the embrace (some Leaders chose to use the teapot embrace of left hand as spout and right hand at the small of his back as the handle to prevent the use of his right hand to influence her ochos and pivoting range of motion), with the Leader doing side steps, and the Follower doing forward ochos (so these are “with” ochos). The Leader was to employ the technique of leading the Follower to do touch steps or full transfers of weight.
The Leader should direct energy from the floor into his body, so that he uses his right arm/hand less to lead the Follower to do ochos. This way, he will be able to do more with his core/body rotation/disassociation.
We drilled this for a while.
Timing is the most important thing. The Leader needs to plan ahead, as his weight transfer should be a little ahead of the Follower’s. The Follower is always a little behind the Leader. The Leader puts his weight half way, and then retracts it for the touch step. We drilled this doing it slow, in double time, with ochos, and without ochos.
The Leader should keep his chest up, be symmetrical in his torso rotation, plan ahead, be in the moment, and phrase the movement to the music. The Follower’s touch step does not have pressure into the floor, but it is OK to bounce or rebound off the floor. The Leader can put pressure into the floor, but not put the weight into the floor to have fast and responsive intention without changing weight. The idea is to put pressure into the floor to bounce back quickly, all the while engaging with his whole body.
Maestros concluded with a short class quiz followed by a demo to Orquesta Tipica Victor’s Milonga de Los Fortines.
Notes courtesy of Anne at http://scoutingtour.blogspot.com
Instructors: Homer & Cristina Ladas
http://www.freshlaundrytango.info
March 28, 2011, The Beat, Berkeley, CA
We would explore the topic of Focused Energy and Intention in the context of doing open embrace style ochos, with the Leader doing side steps and the Follower doing reaching and touching steps.
REVIEW OF BASIC OCHO TECHNIQUE
We began our work on the basic technique to lead and follow ochos well.
For the Leader, in teakettle hold (coming back from New Orleans, some students renamed this the “sugar bowl”), with both hands at the small of his back and elbows out to the side and his chest up, his goal was to have symmetry in his spinal rotation, aiming for about 30-45 degree rotation on both sides, so that the Follower pivots. He should also time the beginning of leading her pivot, which should happen as she arrives to axis.
For the Follower, as the Leader leads the ocho with his torso rotation, the Follower amplifies the energy down to her hips (her ocho factory). The Follower’s standing, supporting leg is the pivoting one. The Follower needs to be on her axis or slightly away from the Leader while she does her ochos. She should engage horizontally, and not press down on the Leader. She should have an elastic embrace, holding on with both her hands, and having tone in both arms, but also be flexible and elastic, like pasta “al dente”. She should have good, reaching steps, and amplify the Leader’s energy in her ocho response from her hips.
The Leader takes long side steps as he leads the Follower to do either forward or back ochos. We drilled this for a while, doing it slowly.
CHAPTER 1: FOCUSED INTENTION
Next, we took our work beyond ochos to work on Focused Intention. The goal here was to physically manifest intention by using our energy and connection with the floor.
In teakettle (sugar bowl) hold, the Leader leads the Follower to do an ocho, and then a little touch step. For the Follower, her footwork is a forward front cross step, and then a side touch step, or a back cross step and a back step. For the Leader to lead these various Follower steps, he makes either front cross steps, back cross steps, or side steps simultaneously with his torso rotations to lead the Follower ochos. The steps were the structure in which we were to figure out how and where to lead and follow the touch step.
With respect to intention, the two things to focus on are:
(1) Leader leads Follower to pivot with him. He needs strong intention in his chest/torso rotation.
(2) Whether the weight transfer is complete or slight/partial/in the middle so that the Follower just touches the floor.
We drilled, with the idea of experimenting by changing the speed, just touching in place, going back and forth, or transferring the weight completely. We did this with the Leader in teakettle position so that we focused on using the floor, and the Follower listening to how the Leader uses the floor, while she also uses the floor. The Leader uses the floor by using his whole body and the connection to the floor, up through his hips, through his back and through his shoulders. The Follower has to copy what the Leader does. She has to mirror his movements.
The two philosophical things we were to think about:
(1) The Leader has to know what he wants before he leads it. Thus, he needs to plan ahead.
(2) The Leader has to be completely in the moment too (which is contradictory to philosophical point no. 1)
CHAPTER 2: ADDING THE EMBRACE
Add the embrace. The lead still has to come from the Leader’s body and his connection to the floor.
We went back to our original exercise, only we added the embrace (some Leaders chose to use the teapot embrace of left hand as spout and right hand at the small of his back as the handle to prevent the use of his right hand to influence her ochos and pivoting range of motion), with the Leader doing side steps, and the Follower doing forward ochos (so these are “with” ochos). The Leader was to employ the technique of leading the Follower to do touch steps or full transfers of weight.
The Leader should direct energy from the floor into his body, so that he uses his right arm/hand less to lead the Follower to do ochos. This way, he will be able to do more with his core/body rotation/disassociation.
We drilled this for a while.
Timing is the most important thing. The Leader needs to plan ahead, as his weight transfer should be a little ahead of the Follower’s. The Follower is always a little behind the Leader. The Leader puts his weight half way, and then retracts it for the touch step. We drilled this doing it slow, in double time, with ochos, and without ochos.
The Leader should keep his chest up, be symmetrical in his torso rotation, plan ahead, be in the moment, and phrase the movement to the music. The Follower’s touch step does not have pressure into the floor, but it is OK to bounce or rebound off the floor. The Leader can put pressure into the floor, but not put the weight into the floor to have fast and responsive intention without changing weight. The idea is to put pressure into the floor to bounce back quickly, all the while engaging with his whole body.
Maestros concluded with a short class quiz followed by a demo to Orquesta Tipica Victor’s Milonga de Los Fortines.
Notes courtesy of Anne at http://scoutingtour.blogspot.com
Thursday, February 24, 2011
The Colgada/Volcada Connection with Mixed Music (adv)
Song: Querer from Cirque de Soleil’s Allegria
Instructors: Homer & Cristina Ladas
http://www.freshlaundrytango.info
February 19-20, 2011, Stanford Workshops, California
EXERCISE TO IMPROVE TIMING AND FEELING OF OPPOSITION
We began with an exercise where the Leader tries to send the Follower away and then bring her back. It was an exercise in hanging out and pushing in. The Follower’s feet remain in the same spot while the Leader steps in and steps out. This exercise was for the Leader to figure out timing and feeling of opposition.
With respect to posture, have the hips under, send the Follower out, and do not bend the knees. We were to use our backs, and use our strong back muscles and our strong core muscles.
THE VOLCADA/COLGADA HYBRID: THE COLLAPSABLE VOLCADA
This is more a fake volcada, where the Leader inserts his right foot between the Follower’s feet, sends the Follower’s hips out in Colgada, and then brings her back in in the volcada, so her left foot swings out and in to front cross in front of her right foot. To execute this correctly, the Leader needs to know where the Follower’s axis is, and he needs to step into it to get the Follower to do the “out” action.
COLGADA INTO A WRAP
The Leader sends the Follower back in colgada, and then brings her in and around into a wrap of her left leg of his right leg. The shape feels like an ellipse or a backward D. Note that Follower is on axis at the point of the wrap. The Leader’s contact with his thigh to the Follower’s leg is the invitation to wrap.
Our exploration involved doing no volcada in this exercise, with a bare minimum of effort (the Homer wrap), or with maximum energy (the Cristina wrap). You can do either the minimum or maximum energy wrap depending on how you are feeling in the moment and what the music is saying.
But if you do, the energy should be opposite each other:
Big Colgada, Small Volcada, OR
Small Colgada, Big Volcada
The Leader can start the Colgada with leading a few Follower shimmies before sending her back in Colgada.
During the wrap, the Leader should not go too far away from the Follower’s axis.
FOLLOWER WRAP STYLING OPTIONS
For the Follower wrap, there are two styling options:
(1) Raise the knee up and then back down to collect.
(2) Keep the feet low on the floor and collect.
Either styling you choose, the Follower should always have control of what her leg is doing. The music will tell us how much time we have to exit, and which styling option might be more suitable/expressive of what is going on in the music.
EXPLORATION: COLGADA TO NO-PIVOT WRAP
The no-pivot wrap works because of the Colgada. The Leader sends the Follower out to the side and then brings her in to axis.
Leader catches the Follower’s middle of her right foot on her forward (front cross) step in the clockwise turn/hiro/molinete with his right foot so that both feet are parallel. As the Follower transfers weight to her right foot, the Leader shifts the weight to that same foot, sending her out to the side in Colgada. He then brings her back in to wrap with her opposite leg (her left leg across her body to wrap the Leader’s right leg). We tried this in open embrace. He stops her when she returns to axis.
The Follower’s forward (front cross) step should be around and close to the Leader, so when he puts his foot next to hers, he doesn’t need to go too far.
We also tried this type of no-pivot wrap from the promenade walk.
Then we drilled just exploring on our own doing wraps from different colgadas and volcadas.
After a short question and answer class review, Maestros did a demo dance to Cirque de Soleil’s Querer (from Allegria).
Notes courtesy of Anne at http://scoutingtour.blogspot.com
Instructors: Homer & Cristina Ladas
http://www.freshlaundrytango.info
February 19-20, 2011, Stanford Workshops, California
EXERCISE TO IMPROVE TIMING AND FEELING OF OPPOSITION
We began with an exercise where the Leader tries to send the Follower away and then bring her back. It was an exercise in hanging out and pushing in. The Follower’s feet remain in the same spot while the Leader steps in and steps out. This exercise was for the Leader to figure out timing and feeling of opposition.
With respect to posture, have the hips under, send the Follower out, and do not bend the knees. We were to use our backs, and use our strong back muscles and our strong core muscles.
THE VOLCADA/COLGADA HYBRID: THE COLLAPSABLE VOLCADA
This is more a fake volcada, where the Leader inserts his right foot between the Follower’s feet, sends the Follower’s hips out in Colgada, and then brings her back in in the volcada, so her left foot swings out and in to front cross in front of her right foot. To execute this correctly, the Leader needs to know where the Follower’s axis is, and he needs to step into it to get the Follower to do the “out” action.
COLGADA INTO A WRAP
The Leader sends the Follower back in colgada, and then brings her in and around into a wrap of her left leg of his right leg. The shape feels like an ellipse or a backward D. Note that Follower is on axis at the point of the wrap. The Leader’s contact with his thigh to the Follower’s leg is the invitation to wrap.
Our exploration involved doing no volcada in this exercise, with a bare minimum of effort (the Homer wrap), or with maximum energy (the Cristina wrap). You can do either the minimum or maximum energy wrap depending on how you are feeling in the moment and what the music is saying.
But if you do, the energy should be opposite each other:
Big Colgada, Small Volcada, OR
Small Colgada, Big Volcada
The Leader can start the Colgada with leading a few Follower shimmies before sending her back in Colgada.
During the wrap, the Leader should not go too far away from the Follower’s axis.
FOLLOWER WRAP STYLING OPTIONS
For the Follower wrap, there are two styling options:
(1) Raise the knee up and then back down to collect.
(2) Keep the feet low on the floor and collect.
Either styling you choose, the Follower should always have control of what her leg is doing. The music will tell us how much time we have to exit, and which styling option might be more suitable/expressive of what is going on in the music.
EXPLORATION: COLGADA TO NO-PIVOT WRAP
The no-pivot wrap works because of the Colgada. The Leader sends the Follower out to the side and then brings her in to axis.
Leader catches the Follower’s middle of her right foot on her forward (front cross) step in the clockwise turn/hiro/molinete with his right foot so that both feet are parallel. As the Follower transfers weight to her right foot, the Leader shifts the weight to that same foot, sending her out to the side in Colgada. He then brings her back in to wrap with her opposite leg (her left leg across her body to wrap the Leader’s right leg). We tried this in open embrace. He stops her when she returns to axis.
The Follower’s forward (front cross) step should be around and close to the Leader, so when he puts his foot next to hers, he doesn’t need to go too far.
We also tried this type of no-pivot wrap from the promenade walk.
Then we drilled just exploring on our own doing wraps from different colgadas and volcadas.
After a short question and answer class review, Maestros did a demo dance to Cirque de Soleil’s Querer (from Allegria).
Notes courtesy of Anne at http://scoutingtour.blogspot.com
Melodic and Rhythmic Volcada Explorations with Enrique Rodriguez (int/adv)
Song: La Torcacita by Enrique Rodriguez
Instructors: Homer & Cristina Ladas
http://www.freshlaundrytango.info
February 19-20, 2011, Stanford Workshops, California
We began with reviewing the Volcada setup we learned in yesterday’s class because we will use this to explore doing rhythmic and melodic volcadas.
REVIEW OF VOLCADA SETUP
Leader left foot rock step forward, right foot back cross perpendicular behind left foot, left foot power step, right foot forward step to drive Follower into the Cross.
Follower right foot back step, left foot weight change, right foot forward (front cross) step, left foot swoops around to front cross in front of right foot as Leader drives it back into the cross.
The Leader’s chest needs to be tilted toward the Follower at all times to provide support to the Follower. As soon as his body gives and he goes back, she will take it all in her back and doing the volcada will potentially be painful.
The Leader needs to turn clockwise toward the Follower more, and his right foot needs to come toward the Follower’s axis as he drives her left foot to front cross.
The Follower’s parachute in case something goes wrong in the volcada is her step.
EXPLORATION 1: DIFFERENT POTENTIAL ENDINGS
There are two different potential endings:
(1) Rock step out
(2) Suspended, split weight two-foot pivot to uncross out.
We drilled both types of potential endings with different partners.
EXPLORATION 2: RHYTHMIC VERSUS MELODIC VOLCADAS
The difference between doing volcadas rhythmically versus melodically is one strong beat, with the rhythmic volcada taking one beat, and the melodic volcada taking two beats.
We drilled doing volcadas rhythmically and melodically with different partners.
EXPLORATION 3: FOLLOWER FOOTWORK OPTIONS: BALLET OR SASSY
For Follower’s volcadaing leg (in this case the left leg), she has two choices with her footwork:
(1) Ballet: where tip of foot or big toe remains on the floor throughout the movement.
(2) Sassy: Where the heel remains on the floor throughout the movement, so that she is really flexing the foot and extending the back of the leg, while still keeping both hips level.
Either footwork technique the Follower chooses, she should do it maximally: Either really point or really flex the foot, but don’t do it half way or half-heartedly/wimpily.
We drilled doing the different types of footwork with different partners.
EXPLORATION 4: WRAP VOLCADA ENDING
An optional ending we worked on was concluding the volcada with a wrap:
(1) Plain with just Follower left leg wrapping Leader’s right leg.
(2) Dual wrap with both Leader and Follower wrapping each other (Leader’s right leg wrapping Follower’s wrapping left leg).
We drilled doing the different wraps with different partners.
EXPLORATION 5: WINDSHIELD WIPER (LINKED SEQUENTIAL ALTERNATING VOLCADAS)
Our next exploration involved the Windshield Wiper, or linked sequential volcadas, whereby the Follower does alternating volcadas with her left leg/foot and right leg/foot. The Leader leads this by stepping forward with his right foot, changes weight to his left, and then steps forward with his right foot, alternating going inside and outside partner to get her to cross with alternating feet. The Leader should not step narrowly toward Follower, not far away from her, so that he can drive nice tight crosses (not big sloppy ones). The Leader does not drop his left foot, and uses energy on both of his forward steps. The Leader should not change his posture much. The Leader should not pull back with his left hand.
We drilled doing the windshield wiper with different partners.
After a question and answer class review, Maestros did a demo dance to Rodriguez’s La Torcacita.
Notes courtesy of Anne at http://scoutingtour.blogspot.com
Instructors: Homer & Cristina Ladas
http://www.freshlaundrytango.info
February 19-20, 2011, Stanford Workshops, California
We began with reviewing the Volcada setup we learned in yesterday’s class because we will use this to explore doing rhythmic and melodic volcadas.
REVIEW OF VOLCADA SETUP
Leader left foot rock step forward, right foot back cross perpendicular behind left foot, left foot power step, right foot forward step to drive Follower into the Cross.
Follower right foot back step, left foot weight change, right foot forward (front cross) step, left foot swoops around to front cross in front of right foot as Leader drives it back into the cross.
The Leader’s chest needs to be tilted toward the Follower at all times to provide support to the Follower. As soon as his body gives and he goes back, she will take it all in her back and doing the volcada will potentially be painful.
The Leader needs to turn clockwise toward the Follower more, and his right foot needs to come toward the Follower’s axis as he drives her left foot to front cross.
The Follower’s parachute in case something goes wrong in the volcada is her step.
EXPLORATION 1: DIFFERENT POTENTIAL ENDINGS
There are two different potential endings:
(1) Rock step out
(2) Suspended, split weight two-foot pivot to uncross out.
We drilled both types of potential endings with different partners.
EXPLORATION 2: RHYTHMIC VERSUS MELODIC VOLCADAS
The difference between doing volcadas rhythmically versus melodically is one strong beat, with the rhythmic volcada taking one beat, and the melodic volcada taking two beats.
We drilled doing volcadas rhythmically and melodically with different partners.
EXPLORATION 3: FOLLOWER FOOTWORK OPTIONS: BALLET OR SASSY
For Follower’s volcadaing leg (in this case the left leg), she has two choices with her footwork:
(1) Ballet: where tip of foot or big toe remains on the floor throughout the movement.
(2) Sassy: Where the heel remains on the floor throughout the movement, so that she is really flexing the foot and extending the back of the leg, while still keeping both hips level.
Either footwork technique the Follower chooses, she should do it maximally: Either really point or really flex the foot, but don’t do it half way or half-heartedly/wimpily.
We drilled doing the different types of footwork with different partners.
EXPLORATION 4: WRAP VOLCADA ENDING
An optional ending we worked on was concluding the volcada with a wrap:
(1) Plain with just Follower left leg wrapping Leader’s right leg.
(2) Dual wrap with both Leader and Follower wrapping each other (Leader’s right leg wrapping Follower’s wrapping left leg).
We drilled doing the different wraps with different partners.
EXPLORATION 5: WINDSHIELD WIPER (LINKED SEQUENTIAL ALTERNATING VOLCADAS)
Our next exploration involved the Windshield Wiper, or linked sequential volcadas, whereby the Follower does alternating volcadas with her left leg/foot and right leg/foot. The Leader leads this by stepping forward with his right foot, changes weight to his left, and then steps forward with his right foot, alternating going inside and outside partner to get her to cross with alternating feet. The Leader should not step narrowly toward Follower, not far away from her, so that he can drive nice tight crosses (not big sloppy ones). The Leader does not drop his left foot, and uses energy on both of his forward steps. The Leader should not change his posture much. The Leader should not pull back with his left hand.
We drilled doing the windshield wiper with different partners.
After a question and answer class review, Maestros did a demo dance to Rodriguez’s La Torcacita.
Notes courtesy of Anne at http://scoutingtour.blogspot.com
Stanford Workshop Performances
Song 1: Lo Que Vieron Tus Ojos by Francisco Lomuto
Song 2: Such Great Heights by Iron and Wine
Performers: Homer & Cristina Ladas
http://www.freshlaundrytango.info
February 19-20, 2011, Stanford Workshops, California
Song 2: Such Great Heights by Iron and Wine
Performers: Homer & Cristina Ladas
http://www.freshlaundrytango.info
February 19-20, 2011, Stanford Workshops, California
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