Advanced Salon Tango Volume 1, Mingo and Esther Pugliese

0:22 Dance to Pugliese

4:26 Posture, embrace, leading

Invisible line from the center of the head to the ball of the foot. This is a position that is going forward, and that he will never modify in the course of the dance. Since he is dancing behind her, he should never make his steps larger than hers. He is right behind her.

We begin with our bodies together. At the cross, the man’s foot lands slightly later than hers, to allow time for the cross.

8:50 various kinds of salida

  • Turning to the right

  • Turning to the left

  • In cross system

  • Man crosses behind L after 3, cross in cross system, steps L beyond follow to lead a front ocho, side R for return ocho, walk out.

  • 10:51

  • 11:24 double salida, 5 to 2.

13:30 Turns

15:50 Turn to the left in 8 steps

The womans arm is immobile, and the man’s arm changes depending on which side he wants to be on. Turning to the left, the leader must be to the right of the follow, and this requires changing the embrace. This is why few people turn to the left.

The parallel foot placement has about half the feet overlapping. The T is close to 90 degrees, and toe to toe.

  • Leader side L, outstepping the follow

  • 1 Leader front R, outside follow, crossing behind and changing weight.

  • 2 Follow side R (with leader weight change)

  • 3 Follow front L, leader sacada R in a T, actually toe to toe.

  • 4 Follow pivot and side R, leader sacada L with feet parallel.

  • 5 Follow pivot and back L, leader parada R inside follow’s R, parallel. Leader has changed sides, from follows L side to R side.

  • Follow side R

  • 6 Follow front L: leader L toe touches middle of follows R foot.

  • 7 Follow pivot and side R: leader big pivot and sacada L, parallel.

  • 8 Follow back L: leader parada L inside follow’s R, parallel. The leader is very twisted, and feet are about 45 deg, waist 60 deg, chest 80 deg. The leaders back foot has pivoted about 30 deg on weight transfer.

  • Follow side R

  • Follow front L, leader’s R toe touches middle of follows R foot. Or, leader side R parallel (opposite direction) to follows front L.

  • Follow front ocho, front R

  • Follow front L

  • Follow side R, close.

26:53 Exits from the left turn

One giro followed by a walking turn to the left

With a traspie (double step) on 6

28:48 Combining Turns

Right turn becoming left turn

30:16 Left turn to right turn

30:53 Demonstration (Pugliese, Mala Junta)

near 31:58 right turn

33:23 Boleos

In a giro, the woman’s movements are repetitive, front-side-back-side…​

34:52 Boleos in a turn

The woman can do a boleo instead of any back step, after the side step. The boleo converts the expected back step to a front step. The man can prevent or allow this.

  • Side step (woman R)

  • Without closing, pivot back and bring knees together, with calf horizontal

  • Pivot forward, step forward.

Despite the use of the word "pivot", the standing foot remains firm on the ground without pivoting: note this links a side and front step, so no overal pivot is needed. Pivoting the foot can hurt your back, especially as the leader can over-lead the boleo. There isn’t much force in a proper boleo.

The man should be very close to the body of the woman.

Man collects before leading the boleo, changes feet, and then side steps with the front step.

To the right, woman’s back step L, back boleo R with a foot pivot, and step forward R.

It is important to be close to the woman in order to keep the movements organized.

41:16 Boleo while walking backward.

43:10 Boleo in right turn, in detail

43:40 Boleo in left turn

44:19 boleo in step 6 of right and left turns

45:12 different kinds of boleos

  • Double boleo (both back boleos)

  • Double back—​front boleo

  • Double back, front

  • Back—​front—​back

  • Front only

Boleos are always led with the right hand, leaving the left hand stable.

49:16 Boleo con amague

51:10 From step 3 of basic, I can go anywhere.

52:00 Succession of boleos

52:51 Demonstration with Music Pugliese

54:43 Arrastres

  • Arrastre on back-side of left and right turns.

    • I think this is with both right and left feet

  • Continuously, R and R, diagonal with feet touching, then move standing legs.

To lead the woman to do an arrastre, press down slightly and softly on her back, so that she doesn’t immediately step over.

1:04:55 Arrastre in giro replacing side-back with side-front.

1:06:17 The finish after an arrastre

  • go on

  • boleo

  • gancho and boleo

1:08:27 Demonstration with Music Pugliese

1:10:43 Ganchos

1:11:09 Well-known ganchos

  • Parallel system, leader foot next to follow’s back foot, feet are lined up precisely. This comes out of position 6 of the turn.

  • Connext two of these, on opposite foot, with a front boleo, unwinde, step back.

  • Cross system, with e.g. leader’s R foot crossed over in front of follow’s L foot. Mingo does not like this because the bodies are far apart.

1:14:58 Less common ganchos

  • Cross system, with the leaders weight on the ganchod leg.

  • 1:16:52 gancho during a turn. Steps 3 and 5, enter deeply and next to the arriving leg, rather than a sacada. Possible to do a leader gancho on 8 (close).

  • 1:18:25 Turns with ganchos. The starts in a turn to the left: the second turn has a lapiz and enrosque, followed by a big pivot, gancho, leader front boleo, then rebounding to a second leader gancho. Switch between left and right turns by leading front ochos while crossing behind.

  • Arrastre to gancho: back-side arrastre (on 3) going into a follow gancho.

  • 1:20:42 Boleos with ganchos. Arrastre on 3, back boleo, gancho on otside of leg, step back, front boleo, gancho on inside of leg, back boleo, gancho on outside of leg, back boleo, front boleo, gancho on inside of leg, step forward to exit.

1:21:14 Demonstration with music

1:21 49 Dance