ALTERATIONS

To cleverly break the rules, you first need to know them really well

The subject of alterations by its nature is as infinite as Tango. To alter means to modify, to change, or cause to change in character or composition, typically in a comparatively small but significant way.

Typical alterations begin with understanding changes of direction, which usually occur by reversing forward and back crosses through repetition. The alteration allows you to change direction directly from forward to back and back to forward, influencing not only the movement of the follower but also the direction of the whole couple.

Alterations show you truly understand the structure of Tango

Alterations give you the ability to smoothly transition between patterns and create your own ones while smoothly floating around the floor. If you have a problem improvising, Alteration will help you understand how to start, freeing you from the eternal prison of Tango steps.

COLGADAS

Colgada - shared axis

In literal translation, COLGADA, coming from colgar, means to hang. But it’s not just any hanging. We are not hanging on to our partners, nor are we being hung by them. We (both of us) are hanging off of a shared axis, be it position or movement.

The shared axes are created by both – Follower and Leader – sharing the one point of a dance floor as though it were the only available piece of earth that you can be standing on. By using leverage and mechanics of movement, we hang outwards, sharing the axis through proper distribution of weight.

Mystery of shared axes

The leader is using the leverage of his body weight to be able to hold the weight of the Follower and sustain the common axes for the duration of the chosen step. Colgadas can be used during the turn or in a linear position, facing each other or in a shadow position, in parallel or perpendicular body alignment, in open, and (yes!) in close embrace.

FORWARD SACADAS

Sacada is an illusion of displacement

Besides the visual effect of displacement, sacadas allow the axis to travel during giros and utilize spaces normally unavailable for use as they are taken by one of the partners. Sacadas open up completely new possibilities.

What is the difference between entrada, sacada, and gancho? Every time you hear this question, it catches you by surprise, and you think you should know that, but why does this question even include these three elements together? It’s like comparing apples with oranges.

Entrada, sacada or gancho?

In truth, though, they have a lot in common. Gancho goes towards the standing leg so the free leg can hook around. Both entrada and sacada aim toward the free leg so it can be displaced. Entrada and sacada differ only by how deeply the free leg enters the partner’s space. In other words, an entrada can be called a shallow sacada.

Sometimes, both terms are used interchangeably. Entrada, however, doesn’t really disturb the path of the free leg. It’s almost like Leader’s leg takes over the Followers’ free leg position that she just left. It can be done Leader to Follower or Follower to Leader.

STRUCTURE OF IMPROVISATION

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 and how the lead is executed from step to step. Then, you should be 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.

GANCHOS & ENGANCHOS

Gancho means a hook

In literal translation, gancho means a hook. In tango, the gancho is an element executed by flexing and swinging the free leg around … an obstacle. The leg ‘bends itself’ as it meets the obstacle during its original trajectory of movement.

Traditional gancho can be executed either to the inside or outside of the partner's supporting leg, though modern tango technique also allows us to perform the gancho in the center between the partner's legs.

Engancho means a wrap

It is an exciting Tango element as it can be added and danced in almost any situation – both stage and social, in crowded and very open spaces, and they always look good.

In a wrap, the follower's leg usually wraps around the leader's leg. The most obvious wraps are executed from the back ocho / low boleo sensation. Then we proceed into more wrapping/unwrapping possibilities.

The wrap is an enjoyable step as it requires neither visual nor actual impulse. It happens by torsions, correct leg placement, and timely weight transfer. All this ‘nothing’ creates an amazingly sensual experience that emphasizes the music and mood of the dance.

ENROSQUE, LAPIZ, PLANEO, CALECITA

Lapiz equals pencil

Lapiz is a circular motion of the free leg, done with the toe or inside edge. Lapiz can be both a small adornment that takes only one or two counts and is meant to accent the music, fill the gap in dancing, and show off your speed, coordination, and precision, or it can be an actual tango figure. If that's the case, the movement will take more time, and the arch created by the free foot will be larger, with a sweeping motion. This kind of lapiz is mainly performed by a Leader, and it literally looks like the Leader is sweeping the floor right before the lady's foot. Lapiz comes in a few different versions under different names. We can do a rulo (curl) or dibujo (drawing) - circular, or other small shapes that are drawn on the floor with the free foot. The point is - the free leg is active and ‘doing’ the lapiz.

Planeo

Either the Leader or the Follower can execute Planeo. The moves are different, though. In the Follower case, she is being pivoted by the Leader and so needs first to be stopped mid-stride with a slight downward lead and free leg extended. Then the pivoting action happens - quite passively, though she has to actively engage in keeping the position. You can imagine a figurine of a ballerina being spun around.

For a Leader to move effortlessly, a lot of practice and small muscle engagement are involved. The leader usually steps forward, leaving the free leg behind to trail as he pivots and leads the Follower into the molinete around him. Tango multitasking…

Enrosque, from enroscar - to coil

Enrosque, from enroscar - to coil coil or twist, goes even further in the difficultly level. The man is leading the Follower around him but he suspends his pivot for 2-3 steps of the Follower, so his lead torques him into a corkscrew position, which he then releases to generate very sharp 'un-torquing action. The leader's free foot is not extended but instead hooked or coiled behind or in front of the standing/supporting leg.

Calecita means carousel

Calecita happens when one partner, who becomes the center of the turn, is pivoted by the other one, walking around her in a forward, backward, sideways, or grapevine or molinete pattern. It is a relatively simple step, but it requires a good understanding of the spatial relationship between the Leader and the Follower.

If the Leader is managing the plane and the Follower is walking around, then the step becomes extremely difficult. On top of correctly judging the distance, the leader needs to keep his balance on one foot, all while continuously transmitting his intention and leading the Follower into a chosen pattern around him.