Intermediate Elements - Boleo
We were tempted to say "don't kick Susie, she doesn't deserve it" but that's a little bit too hard edged.
For Both Leaders and Followers: We want you all to be aware of your surroundings (don't break the studio mirror, for example).
For Leaders: Sometimes you lead something and it doesn't go well. It doesn't feel satisfying. And it may be that the follower doesn't get it, it may be that you don't know how to lead it, it may be between the 2 of you. However, regardless of the cause, know when to pick your battles. Don't lead that step more than once or twice with this follower. Just move on.
For Followers: The question is what should you do if you're led to something you have no idea what it is. The first time, you can ask what the leader expected. For the second time, you can hold on tight. If you don't get it, it may be something you just don't know, but it may also be because it was led badly and, if that is the case, we do have some videos about compensating for your partner.
- 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