You know a lot which means there are a lot of different ways you can go. Creating a playlist is no longer straightforward. We're going to give you a varied sampling. The playlist below assumes you know basic beginning and intermediate tango steps. You may well know a great deal more than that. Included here are some more advanced combinations, some videos that discuss the essence of basic steps, and some combinations in each of milonga and vals. If you want to explore any of this further, there is lots more available.
Leader's Embellishments and Molinette - Adv - Molinette With Kicks
Some movements have a great many techniques that need to be mastered in order for the movement to be beautiful. There is a method we use that enables us to do this.
- Do the movement concentrating on only 1 of the techniques, not worrying about anything else. Repeat as many times as is necessary until that particular technique will flow out of your body without too much thought.
- Repeat the movement concentrating on a 2nd technique, again repeating as necessary
- Keep practicing individual techniques until you have layered them all into your body and you'll find that the movement becomes natural and beautiful
This takes some time and dedication but is not mentally painful as many find trying to hold their mind around a zillion details at once.
- Artist Name:
- Song Title:
- La Cumparsita
- Album Title:
From cd baby writeup: Zigatango reworks Argentinean tango and traditional Gypsy music with a rare youthful flair exposing a burning intensity of emotion, often combined with a wild, almost demonic energy.
- This is one of the harder combinations.
- N: Unlike the last one we just videoed.
D: Well, the whole series.
- An what I want you to think about, especially since we're going to be kicking between the legs, is the simultaneity.
- The way I connect the rotation of my leg with the rotation of my body. So that there's no damage done.
- After a while, we'll show those couple of steps separately, so that you can practice it to get the simultaneity.
- So, it starts like a normal molinette. Our entrance's going to be side and side. Rotates through, kicks, turns. Kicks, back ocho.
- So, I'll do that a little slower now.
- Let's scoot over more.
- Pivot around me. I shift forward as she turns... Now, right here, as she takes a step back, I take my foot around back.
- And, as she shifts side, I kick.
- And that's related to my pivot, right? So, as I'm pivoting her here, I'm kicking forward.
- When we teach that in class, we do just that. I stand like this. And he goes back, and then, forward.
- And we just do it, over and over again.
- Like that.
- Now, after that, I'm going to whip around, after this kick. I pivot my hip around. Whip around, boleo.
- And that's going to be her forward step after that. And, as I pivot so she steps side, bang, there's another kick.
- Let's do same angle.
- Back; fit. Here's that whip around, for that other kick.
- Now, I'm going to collect in, pivot her for back ocho, and then, go into back ocho.
- N: Could we show it, just once, showing it?
- Like that. Woman's part. What she's got to remember?
- Follower's part. Oops, excuse me, any men, who are following. Follower's part.
- On that note. Now, so if I'm the follower: side; inside leg here. Make sure you shift.
- And that you pivot. And face, as you go, so it's squarely around the man.
- In, tight; back. So, there's a big pivot, as always in molinette. In, tight.
- And, you really want to think that you're very aware of the way your feet are related to the movement of your body.
- Because that's what he's going to control your legs, by how much he pivots you.
- And so, if you're going too fast with your foot, or too slow, then he'll kick you. Let's show the wrong.
- OK. We do have a video on molinette, about molinette. And almost all of the techniques for that, hold for this.
- N: What's the wrong you want?
D: If you step too fast with your foot, when you're going side.
- So, right here... Let's scoot a little more. Right? You have to go to your foot, before your body. Yes.
- N: That was what you want?
- D: So, if you're going your foot before your body, he goes, "Bang", he kicks the foot,
- D: Because he doesn't expect it to be there. Your body hasn't moved at all.
N: That makes sense.
- D: Showing from another angle.
N: The wrong, or the right?
D: The wrong.
- D: That wasn't bad. She's really good at the wrong.
N: I'm eager to get through the wrong is the truth.
D: So, right here...
- OK, I'm lucky, but you see how I could have hit her foot. Because her body hadn't move that far.
- D: So, if we're showing the right now...
N: Ha! There we go.
- We're showing the right now. You'll see her body goes with the foot, so I know exactly where the foot is.
- It's, actually, easier to do it moving my whole body than just moving my foot out of the way.
- D: Show one last time?