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Creative Weight Change Part 1 with Cruzada and Parada

Teachers: Clint Rauscher and Shelley Brooks
Song: Solamente Ella by Carlos di Sarli with Jorge Durán 1945
More at: Tangology101.com

The main focus of this class is the idea of having the follower change weight in order to enter into cross system rather than the leader and dancing slowly and elegantly with women taking an active role. Then we added a short figure including a cruzada (cross), with a parada (stop) mordida (bite).  

Stepping to the Close Side with Dynamic Pivots

Teachers: Clint Rauscher and Shelley Brooks
In this class, we show one of our favorite steps. I love the flow of this step, it really feels great to lead and follow. I often describe it as a wave that is flowing over and around rocks. We are constantly going around one another and changing directions.

Vals - Part 1 - Hesitation Steps and Change of Direction

Teachers: Clint Rauscher and Shelley Brooks

This is part 1 of a series in vals (waltz). In this class, we look at vals with a special emphasis on finding the 1 (the strong beat) and then using either the 2 or the 3 (the weak beats). We suggested that finding the 1 is the most important thing in vals, because we almost always step on the 1. We also put forward, that in our opinion, the most used rhythm in vals is stepping on the 1 and the 2 and skipping the 3... so most of the time we are going to be dancing using the following rhythmic pattern... 1,2,-,1,2-,1,2,-... instead of trying to step on all 3 beats. After you are comfortable using the 1 and 2 while skipping the 3, we recommend then working on using the 1 and 3 while skipping the 2.

We then looked using this rhythmic structure in hesitation steps and a dynamic ocho cortado with a change of direction.

Alterations to Both Sides of the Embrace in Tango and Vals

6/10/2013 - Clint Rauscher and Shelley Brooks
In this class, we focused on Alterations (or Changes of Direction) to both sides of the embrace. The primary focus was on musicality. The first part of the step is very floaty and smooth, then the changes of direction are very rhythmic and the final part is smooth again. The changes of direction use the quick-quick-slow rhythm.

In the video, we do two short demos to both a tango and a vals.

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.