Gato by Edgardo Donato with Horacio Lagos
This demo is provided as a reminder to our students about the material we covered in class. In the actual class, we discuss both women and men’s technique, musicality, and navigation.??
Milonguero Dip with Playful Rebotes (Rebounds)
The “Milonguero Dip” is an embellishment (adorno) to the woman’s forward cross. Whenever a woman is taking a forward cross with her left foot, the man dips down onto his left foot and leads her to a quick counter-clockwise pivot. He then steps back with his right and she steps forward into the close side of the embrace with her right. He then leads her to pivot again to take a forward cross in front of him and leads her playfully to rebotes back and forth. This step can be seen at the very beginning of the video at 0:06
Origins of this Step?
When I first went to Buenos Aires, I saw many of the older dancers doing this step and loved it. Years later, I took a class with Murat and Michelle Erdemesal and her the term “milonguero dip” for the first time. The term was originally coined by Jennifer Bratt and Ney Melo, two great tango dancers and teachers. On that same trip, I took several lessons with Osvaldo and Coca Cartery and picked up this cute rebound (rebote) step from them (below is a picture from that class).??
Tip for Men: Wait until her left foot has her weight, before you lead the dip and pivot. To lead the pivot, send an impulse through the embrace down and around her left hip. Imagine a big circle around your embrace around your arms and backs, then imagine a smaller circle inside the embrace around her hips. Just like with any other pivot or boleo we want to send our impulse around the inner circle or “inside the embrace” instead of the outer circle.
Tip for Women: At the moment of the Dip, the man lowers his vertical axis and the woman should match him. The couple should return to a normal height with the next step.
Tip for Women: As the woman dips and pivots, she should unhook her feet so that she is ready for the next step. Don’t leave your right foot hooked behind your left. During the dip and pivot, the woman should not try to stay glued to his chest, she should relax her embrace and role on his chest letting her right shoulder come closer to him than her left shoulder.
Tips for Rebotes: In the first one, the man is leading with his upper body while keeping his legs apart in an open side step. This is very important, the rebotes are not points. They should have some weight transfer and feel like real rebounds using the whole body not just the legs. To be even more specific, we begin to switch weight, but rebound before we get 100% to our new leg. So our shifts happen in the middle of our steps.
We looked at executing the step with a smooth, elegant musicality (DiSarli, Fresedo) and with a sharper, more staccato musicality (Donato, D’Arienzo). For the rebotes, women should always be listening to the music, but they really really have to for the rebounds to work. She needs to be hitting the beat with her feet going back and forth. She can also do embellishments to play with the music.
Milonguero Dip with simple exit (0:20)
Simple back and Forth Rebotes (0:38)
Rebotes in Salida Americana (0:40)
Milonguero Dip from Giro (1:32)
Milonguero Dip from Ocho Cortado (2:07)
Milonguero Dip examples from Sunderland Milonga in Buenos Aires. You can see the Milonguero dip at 4:20, 10:27, 13:50 and 16:44 (couple in background, green dress):