FRONT & BACK BOLEOS

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Boleo or Voleo, but not bolero

Boleo derives from the Spanish verb BOLEAR, to throw. It comes from the tool called LARIAT that gauchos used to capture the animals. It is a set of 3 various lengths ropes weighted at the free end and tied together. Thrown sideways it wraps around the target capturing it.

Since the pronunciation of B and V in Spanish is very similar sometimes you can see the name of the figure written as Voleo. Voleo comes from the Spanish verb VOLEAR to volley, punch, or strike, especially with a racquet, paddle, or open hand as in volleyball.

Directional and Contra Boloes

Boleo is activated by reversing a pivot causing the dancer’s leg to swing out and return, similar to whipping motion. Axis of the Follower is extremely important. Since one leg is flying, the standing one shall be firmly on the ground with no balance issues.

Depending on musical interpretation and specific effect we wish to achieve the accent of the boleo, its culmination, can come on the beat or off the beat. Each lead has its own characteristics - directional boleo or contra boleo.

STRUCTURE OF IMPROVISATION

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PLEASE NOTE that this class is held at
349 Washington St, Malden, MA 02148

Understanding Improvisation

The success of improvisation lies in a true understanding of what’s happening so you can respond accordingly and use it to your advantage. Repeating the combination in only one specific way is not enough to truly improvise tango. You need to really understand how the combination is structured, how the lead is executed from step to step, and then being able to re-create it on both sides and also reverse it. With this kind of mastery over every single step, we can now start, break, split or finish the combination at any given moment.

Infinite repertoire

We can execute half of the sequence, and insert some other combination or part of it in the middle of the initial combination. We can also change the overall path and change the linear combination into a circular one or vice versa. That allows for the creation of an almost infinite repertoire that can then be further modified through timing, direction, and cadencia. This creates a dance that never feels repetitive.

BACK SACADAS

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PLEASE NOTE that this class is held at
349 Washington St, Malden, MA 02148

Sacada means displacement

Back sacadas require all the tango technique normally necessary to perform regular displacement plus a good understanding of torsions, pivots, timing, and movement delay.

Torsions, pivots, over-pivoting

We will work on torsions, pivots, over pivoting (without disturbing your partner axis and losing connection and balance), ability to walk while in overturned position, plus other necessary elements so the back sacada can be freely introduced during the improvised dance.

CADENAS

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PLEASE NOTE that this class is held at
349 Washington St, Malden, MA 02148

Gordian knot of Cadena

In translation, Cadena means a chain. And just like rings in a chain loop into each other, the name Cadena is assigned to any step that can be repeated by looping and not by finite beginnings and ends as the regular sequence does.

Sometimes Cadenas are confused with alteration and sometimes with a change of fronts. We will explain why.

Spatial awerness

Cadenas will let you fly around the floor, get you out of the tight situation in the crowded Milonga or present yourself on the not-so-crowded dance floor when there are not that many couples, and there is space to shine.

Cadenas are relatively tricky to understand, but once you understand the concept and master the technique, they are really handy to use.

CADENCIA

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PLEASE NOTE that this class is held at
349 Washington St, Malden, MA 02148

Cadencia - the way you walk

The term ‘Cadencia’ is often simplified and flatten by assigning it as the name of one of the steps, specifically rock step. Cadencia tough has a much broader meaning. In essence, cadencia is a fancy word to describe the way of walking, interpreting, and acting through specific music capturing its spirit through rhythm, pause, posture, and style but also in a more "metaphysical" sense - letting yourself go and flow, connecting with your inner self to improvise and create.

You know already, even if you might not be able to execute it perfectly, that Tango, Milonga, and Vals vary in their cadencias. In Tango we strive to arrive on the beat, In Vals, the beat falls on the transition period when the weight is split, In Milonga we are starting our movement from the beat. We still keep out rhythm and timing, but the accentuation of the beat is different.

Each orchestra requires different cadencia to capture the essence of their music.

Within Tango itself different orchestras are famous for their specific way of interpreting the music. There is a reason why D’Arienzo is called King of the rhythm, Di Sarli is being associated with more melodic approach, Pugliese is known for passionate music that we love to see in performances. And Biagi messes everyone up by playing strong and weak beats equally. Each orchestra requires different cadencia to capture the essence of their music.

BARRIDA & ARRASTRE

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Barrida versus Arrastre

The Barrida happens when the Leader drags, sweeps, or pushes the Follower's foot. Arrastre is when the Follower's foot is being magically pulled or magnetized by the leader to make it look like she is sweeping him.

So how does the Follower know to leave her foot so you can sweep it? How to let her know? How to lead the sweeping action to your partner and let her sweep you? It’s all in the lead! However - the Follower can also play footsie and propose the arrastre, in which case she is actually doing the barrida to the Leader at her own command. Proposing the movement - that’s the higher level of following. More about that in the class.

Parada equals stop

The answers, as usual, are hidden in connection, lead/follow but also in the secret of PARADA (=stop). The stopping action can be executed at any time, with or without blocking the foot.

In fact, the foot acts more like a visual prop to make it look like a stop sign. Follower needs to know that the stop is happening without seeing your feet!

The important detail of any stop is placement and recognition of the axis. In order to execute the barrida, the foot you are planning to drag has to be free, or about to become free.

VOLCADAS

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PLEASE NOTE that this class is held at
349 Washington St, Malden, MA 02148

Volcada is not just one step!

Volcada is the new and mutual agreement on the interpretation of the shared axis of a couple.

In Volcada the Leader takes the Follower off her regular axis by creating Carpa (tent). During the execution of Volcada, Leader supports the follower's weight by leveraging his own weight and not necessarily through his superhero muscles. The follower needs to keep her spine extended, with the free leg kept loose and relaxed so it can be lead to draw the shapes on the floor.

Volcadas can travel!

Volcadas come in different shapes based on Leader’s creativity (and ability). V-shaped wedge, a big sweeping C usually ending with the cross, circle (caused by rotation of the couple with Follower’s being its center), and more.

Volcadas can travel! Either by transferring the weight from leg to leg leading from Volcada into the next one. Or by short drag.

If practiced - pretty much any step can be translated and executed into the volcada.