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Milonguero Style Close Embrace - Double Time Separate And Together

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When dancing rhythmically, it's almost like a different world (vs. long extended slow steps or flashy combination type things). We think one of the things that makes the rhythmic feel natural and easy is the way that the body can pull in. Even when you're opening away, and especially when you're not, there's this sense that there's a magnet between your thighs and your calves and even the sides of your body which is pulling in almost like you're squishing yourself into a thin line with your musculature. You have a soft but concept pull in.

Artist Name:
Orchestra Del Mar
Song Title:
Album Title:
Milonga De Hoy
Artist Website:

From cd baby: Beautiful adult voices, leading accordion and a warm strings trio are supported by a modern jazz rhythm section on Piazzolla, Gismonti and others south american highlights

And the end was only to turn. But, the combination is really about having triplets that alternate.
So, I think it's interesting when I'm going one amount and he's going a different amount.
So I take two steps for every three steps, in the beginning, that he takes.
D: So, if we break that down,
N: It takes very good leading.
D: In slow, slow motion. I'm starting, one - me. Two...
N: Us. And then, again.
D: One - me. Us.
N: One - him. Us. And then, two triples, that we do together.
So, one more time. Let's do this to the camera.
Or, away from the camera. Either way, here. We'll go away from the camera. You can watch the footwork.
So, I'm going one, two, three. One, two, three. And on the twos, I'm changing. And then on the one and three, we're both stepping.
You'll notice that I'm weaving from the one side to the other as we do this.
So it's straight at her. Shift. Step. Shift, change, step. And then, we have two triples.
I think it's really interesting when we have different timing like that.
So, you've got adum, him, boom. Arum, him, boom. Awap , them. Yap, them.
Other direction. I think we're just barely fitting in a camera. It really travels.
In the lead, for the leaders, really focus on keeping her still when you do that change. So, as I'm going to do the change, I'm going...
One. Hold her in place as I shift. So, watch as my upper, I say, "Hold". And I'm rotating, so she stays in the same spot as I shift.
And then, we both step.
I imagine, that's quite a hard lead. When David does it, it's really clear to me.
But, why don't you show them, for the camera, again. But, even in the close-up camera what you do with your arms.
In the upper body, if you're my follower and, you know, and I'm holding up. You're a very tall follower.
I'll go one, two, three. And then, I shift myself. One, two, three.
So you see how my body shifts to the right, and then, to the left. My right, my left.
You can also see, in the place where the follower's not moving, how his arms stay in the same spot as his body moves.
N: Let's do one more time.
D: One last time.
So, it goes... And, really, starting near the edge of the camera. So, it travels,
And then, the triplets together. Which you've seen in other chapters.