Vocabulary - Take 2 - Followers - Boleo
- Artist Name:
- Juan D'Arienzo
- Song Title:
- 9 de Julio
- Album Title:
- RCA Victor 100 Años - Juan D'Arienzo
Known as "El Rey del Compás" (King of the Beat), his music is played often at milongas. The instrumentals are the classic rhythmic tangos with a strong staccato dance rhythm.
- So we wanted to talk a little more about some details
about how to make boleos beautiful.
- And one of the things that women do often when they do boleos is…
- ..they try to get higher by giving this way.
So they’ll do that.
- And I can’t even get high that way.
- But you don’t get to give in your back.
- You only get to go however high you can go
without giving in your back.
- Shall we show?
- So it’s that and not - I’ll do the ‘not’.
- I’ll do the ‘not’ it’ll show more.
- Yes you have more flexibility than I do.
You’ll probably do a good 'not'.
- Not that, you probably made it look good too though.
- I probably did it too big.
- So fundamentally - okay what usually
they do is this.
- Yes, that’s the good ‘not’. That's the good bad.
D. Where it's a throw.
- But another thing that I tell our students often,
when you’re starting boleos…
- ..if you’re boleoing with your left foot,
aim behind your right shoulder.
- Because we want to keep the thighs tight,
as you go back.
- Show the open.
- I’m a cowboy, doing a boleo.
Nothing wrong with cowboys.
- And nothing wrong with that as a dance movement,
but it’s not exactly tango.
- But then you know there’s this huge space.
- So, if you aim for your opposite shoulder,
then that usually takes care of that.
- Who’s boleoing?
- Here you can boleo.
- I’ll boleo.
- Do you see that her thighs are very tight.
- Now another thing is that you want to have the foot pointed.
- Oh yes, people boleo with these flexed feet.
- So instead of doing this, you want to do this.
And you see the foot has the point.
- Then there are lots of things that are boleo.
- So in the first time we taught boleo,
we taught the basic basic boleo.
- But boleo is really about a snap in the hips,
doing something with your body.
- So these are all boleos.
That’s a boleo.
- That’s a boleo.
- That’s a boleo.
- Whoops, that’s a boleo with an embellishment
because I got carried away.
- Do the linear boleo.
- Linear boleo, oh right.
- So sometimes you'll send someone straight back,
so there'll be no pivot.
- So they'll just send you back.
- D: And then that’s a boleo too.
N: That’s a boleo too.
- But except for that one mostly they’re about the hips.
That’s the point.
- The turn in the hips, bang.
- Bang, it has to come with sound effects.
- Now there is one more thing,
probably the most important thing.
- N: I know what he’d going to say.
D: Yes, yes.
- You’re in these, four inched steel tipped shoes
and here you are and there’s Sam over there.
- Oh sorry Sam. Right? So be careful of hitting Sam.
- And so normally we talk about the sense that
the leader leads the woman and the follower just “follows.”
- And for the followers, that’s only half true.
- But especially if you’re doing something that may be dangerous...
- ..I don’t care if he led you to boleo with Sam,...
- ..you also should be responsible for knowing
where you’re going to kick.
- So David says you only kick the people
you mean to kick.
- Right, if you’re going to kick someone
do it on purpose.
- So, if he leads you in a boleo
and somebody is in the way...
- ...then keep it on the floor like that.
- And that’s still a boleo and he’ll feel like
you really did what he wanted.
- And it will still be safe.