Intermediate Elements - Boleo
- Artist Name:
- Aníbal Troilo
- Song Title:
- A Fuego Lento
- Album Title:
- A Fuego Lento
- Artist Website:
(From Wikipedia): Anibal Troilo was a bandoneon player, composer, arranger and bandleader in Argentina. His orquesta típica was among the most popular with social dancers during the golden age of tango (1940-1955), but he changed to a concert sound by the late 1950s. Troilo's orchestra is best known for its instrumentals and also recorded with many vocalists.
- So in this chapter we’re going to do boleo
which is a kick of the legs...
- ..but this time not through the guy’s legs.
- And you might say,
“David all we do is kicks."
- "Tango is all about kicking.”
And it’s not really true.
- But there’s some truth to it,
in the sense that, the embrace doesn’t change, right?
- I’m holding here here the whole song.
- And the next song and the next song,
until all of our fire comes through our legs.
- And so that’s where we sort of show the dance.
- So the legs have, I’m going to say,
the dance and the arms are to hold.
- So on that note: Boleo.
- To break it down,
for the leaders when you do this...
- ..you’re going to step side and throw.
- So I go side and I give some momentum...
- ..and then I rotate her in my upper chest,
- Pivot her back,
turn a little bit to my left...
- ..so she steps and take her to the ball of that foot
and turn her to face me.
- One more time.
- I’ve got side, throw, give her momentum
and then stop her.
- Turn her to face me.
- For the followers as you do this,
you have side, you are thrown...
- ..and notice that, I find the center of the ball of my right foot
and then he throws me, bang,
- And as I do that, I extend from my thigh first
and then my knee.
- D: So I don’t want this.
N: Don't do 'Bang'!
- Yes, you accent the top, right.
- So it’s not like you’re a horse whinnying.
- Instead, you have it; thigh, hip.
It’s a whip, rather than a horse.
- Okay, now two things
I want you to think about.
- For the leaders, there’s this horrible horrible instinct
to take the follower too far back.
- This is not fun.
- So we’ll get her there, we’ll pivot her
and now we’ll throw her back.
- Right so what you want to do is
you want to anticipate where you're taking her.
- Anticipate the ball of her foot is there,
I give her momentum...
- ..and I stop her when she’s balanced
over the ball of that foot.
- So it starts early that momentum
and stops early.
- So you noticed that I stopped her,
while she’s balanced on one foot.
- And if I backed away,
she really doesn’t need me to stand up.
- Now for the followers, as you do this,
here’s the wrong.
- Oh I can't - what wrong do you want?
Oh I know what wrong, okay.
- You can do a better wrong.
I don’t have a lot of flexibility in my back.
- D: So here’s the better wrong.
N: He has a good wrong.
- There we go.
- Right, so I want the torso to be still.
- Keep the torso still and
you’re right here towards the leader...
- ..and the legs have that fire.
- But it doesn’t cause your body to rickochet.
- That was a good wrong.
I knew you could do a good wrong.
- Last time.
- And then I pivot her, take her forward,
we turn to face