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Cruzada with Paradas, Boleo and Sacada

Teachers: Clint Rauscher & Shelley Brooks
This is another step in our series on "Steps for the Social Dance Floor." These are steps that should work well on the social dance floor. They compliment the connection between the dancers, their connection with the music and with the other dancers on the dance floor. We originally thought of this step as being an intermediate figure, but later found it was more of an advanced figure, which requires a lot of precision and subtlety.  It also includes a nice embellishment for the men after leading the cruzada.

For more classes: http://www.tangology101.com

Creative Boleos I

Teachers: Clint Rauscher and Shelley Brooks

This video is from our class on creative and unexpected boleos. We do not cover all of the instruction given in the class in this video. This demo is for our students to remind them of the material covered in the class.


Creative Ganchos I: Reverse Ganchos and Twisty Ganchos

Teachers: Clint Rauscher and Shelley Brooks
Date: 4/22/2013
Song: Los Vino by Otros Aires

In this class, we examine the basic technique for a gancho and then look at some creative ganchos such as reverse ganchos and twisty ganchos. We also combined the gancho with boleos and colgadas.

Soltadas Part 2: Compression, Impulse and Expansion

Date: 4/15/2013
Teachers: Clint Rauscher & Shelley Brooks
Song: Navegante (Vito Dumas) by Carlos Di Sarli with Roberto Rufino

This class was the second in our series on Soltadas. We focused on building compression within the embrace and using an impulse to create expansion. As always, this video does not cover everything we talked about in the class, but tries to cover some of the major concepts. We also discussed how these concepts can be applied to our more traditional tango.

This is a more nuevo tango move and requires more space than we might have at a typical milonga. We stressed, to our students, the importance of respecting the space that we have. These are not moves that we would do at a typical, crowded milonga. This could be used, but only on a large dance floor when you have plenty of room. For example, we have an alternative hour after our usual milonga, often during this time there would be plenty of room for these steps.

Also, not all milongas are crowded or maybe towards the end of the evening the floor thins out. These moves do not move backwards, they progress forward. You need at least 2 to 3 steps in front of you, that is all. Just be respectful of the flow of the line of dance and the other dancers on the dance floor and you should be fine.

Boleos - Circular and Linear

Music: "Felino" by Electrocutango
Instructors: Clint Rauscher and Shelley Brooks

In this class, we look at both circular and linear boleos (In-Line).

Circular Boleos
Boleos are moves that take a lot of time to do well and require relaxation in the embrace.

The leader should lead the boleo with a circular impulse around the follower's supporting leg making sure not to disturb her balance (axis), relax his embrace to allow her to pivot and complete the boleo, and then wait on her to return to neutral.

Women should pivot as much as they can before wrapping their free leg around their supporting leg. They should also not cut their boleos short, just when you think you have reached as far as you can, push to get just a little more out of it. The followers should let their free leg come back to collect next to their supporting leg by the time their upper bodies return to neutral.

Linear Boleos (In-Line Boleos)
Linear boleos require a linear impulse in the direction that we want the free leg to go. Once that impulse is sent, the leader should lean in the opposite direction creating a counter balance and opposition force to complete the linear boleo. For back linear boleos, this actually creates a very small colgada feeling. For forward linear boleos, it creates a small volcada (compression) feeling.

Of course, we discussed floor craft and techniques for doing them safely. Forward circular boleos should not be a problem on the social dance floor.

Back circular boleos should be done with a little more care. Usually, we recommend leading them either with very low energy so that the follower keeps her feet on the floor or so that her boleo happens in a corner or towards the tables. For example, I would never lead a big back boleo with the woman's back towards the center of the dance floor. We also mentioned that if the followers do not trust their leader, that they should do very tiny back boleos and keep their feet on the floor.

Back linear boleos are rarely done on the social dance floor and only when there is plenty of room, such as late in the evening when there are only a few dancers left on the floor.

Forward linear boleos can be done on the social floor depending on how they are executed, for example, we looked at one that started from forward ochos and then the woman pivots and does a forward inline boleo between the leaders legs (1:35 of video).

Turn (Giro) to the Open Side of the Embrace from Cross System

Synopsis: This class focuses on a Turn to the Open Side of the Embrace starting from Cross System on the Close Side of the Embrace. As embellishments, we looked at a forward circular boleo for the woman and back cruzadas for the man when getting into and out of cross system.

Teachers: Clint Rauscher & Shelley Brooks

Video Demonstration:



Figure 1: Turn to the open side of embrace from cross system on the close side of the embrace with back cruzadas for the man and a forward circular boleo for the woman
In Slow motion at 2:44 of Video Demo

Step 1: The man takes an open step to the side with his left leg and the woman takes an open step with her right leg. She collects while he crosses his right foot behind his left (cruzada) and changes weight. At this point, he is on his right and she is on her right so they are in cross system.

Step 2: He then takes a forward cross step to the close side of the embrace and she takes an open back step.

Step 3: He takes an open side step while she takes a back cross step. On this step, the leader relaxes the embrace and brings her perpendicular to him. The man's right shoulder and her left shoulder are connected but they do not have contact on the open side of the embrace and are at a 90 degree angle to one another. At this point, he can make slight contact with his upper right thigh to her upper right thigh and lead her to perform a boleo.

Step 4: He steps back with his left but keeps weight on both feet as he begins to turn his embrace counter-clockwise.

Step 5: As he pivots around counter-clockwise, the woman will feel slightly left behind at this point and so will take large steps around him to try to get back in front of him. To start she will take a long forward step around him with her left and he will end with his weight on his left foot.

Step 6: The woman will continue to try and get back in front of him by taking a large open side step with her right. The leader will bring his right foot behind his left and change weight.

Step 7: Same as Step 2 above.

Step 8: Same as step 3 above, but now he brings her back in front of him. They are still in cross sytem so he can exit in cross system or switch weight to return to parallel.

Tip: On step 2, the man should pivot his upper body slightly counter-clockwise to make room for stepping to the close-side of the embrace.
Tip: On step 3, the man needs to open the embrace and bring her to a 90 degree angle to him and contain her in front of him by blocking her with his right arm. He is not applying pressure with that arm but merely creating a stopping place for her so that she stays slightly in front of him.
On Step 4, he should stay very forward in his upper body and bring her around with his embrace. Since she wants to return to the embrace and get back in front of him she will take a nice large step around him. She will not step away from him. Look at how close her left foot is to his at 2:51 of the video.
Tip: On Step 5, at the beginning of step 5 she is still not 100% back in front of him so she continues to take a large open side step. MEN: If she takes small steps on 4 and 5 and is slightly to your right then you might want to stay on your left and exit to the open side of the embrace in parallel system.


At 23 second mark of Video
Figure 2: Same as Figure 1 only the leader does not perform the back cruzadas and they exit simply in parallel system.

Figure 3: Same as Figure 1 only the leader does not perform the back cruzadas, he simply changes weight.
At 16 second mark of Video