Advanced Salon Tango Volume 2, Mingo and Esther Pugliese
0:3:57 Amagues (Fakes)
0:14:48 Changes of feet and enrosques
The man replaces his own feet, during a turn
-
Salida to cross, man crosses behind R
-
Man switches feet behind, sacadas with R on 4.
Similarly turning to L
0:16:55 Switching feet changes how we are counting the turn
The slow-speed demo has him "faking" the sacadas by placing his foot but not changing weight, then coming back and changing feet. The up-to-speed version simply changes feet behind on each step 4-5-6, which is finally taken.
0:18:38 In the left turn
This involves several lapizes and enrosques as well as the change of feet at the end. The lapiz/enrosque is simply a way to keep lined up with the woman.
Or, 4-5-6 can just be crossing behind, taking step 6.
0:19:24 Enrosques in the turn
These can occur on any number/step of the turn but it is convenient to begin with step 4.
Changing feet on every step of the turn gives you all odd numbered or all even numbered steps.
0:24:13 Combined with another movement
Contra-enrosque: cross behind, and pivot on the rear foot. The demonstration ends with leader back-front boleo. The feet are slightly separated, and the front foot is lifted as he turns.
0:28:03 Rarely seen step, simultaneous enrosques
On step 4, using heel/achilles tendon, man forces a cross behind, steps a few inches away, and both enrosque.
0:29:56 Placement of feet in enrosques
Imagine turning a screw. Spinning a nail, it will fall over, but spinning a top will not, because the top has body. Don’t lift yourself up in the air because it makes the embrace tremble. Bend your knee, don’t go up, this is not ballet where we are by ourselves.
0:32:38 Enrosques on each step
Several steps lack the impulse to turn, 3, 5, 6. Since you have to supply the impulse, you end up lifting your partner.
0:38:16 Men’s boleos
During a turn, boleos may be made by the man. They have to occupy the same (musical) spaces as when we did the turn in 8. The boleos have to fit with the woman’s steps. Name the boleos by the womans steps.
0:40:37 the steps
-
Man side L, both cross behind.
-
Man L sacada woman’s L on her back R step. Woman front L boleo, pivot.
-
During her pivot, man back boleo L and kicks between womans leg on her back L step. (position 4)
-
Man back boleo L as woman side R.
-
Man front boleo L as woman front L, pivot.
-
Man kicks L as woman side R.
-
Man small back boleo on woman’s pivot, then kick on woman’s back L.
-
Don’t kick on next side step, as woman’s close and front step would collide with man’s kick.
0:41:33 To the right.
During the kick into the side step, the woman can gancho if she is fast.
Exit on step 4 with a sacada.
In order for the man to do his movements has has to have very clear in his head where her feet are.
0:42:33 Examples of a woman doing a "front boleo" kick between the mans side step, and he does a gancho.
0:44:30 Turn with 8 moments boleando
-
Walk to cross, man crosses behind
-
(1) Man sacada L woman’s front R.
-
(2) Man front boleo R woman’s side L.
-
(3) Man back boleo woman’s back R.
-
(4) Man front boleo woman’s side L.
-
(5) Man sacada R woman’s front R.
-
(6) Man big pivot on R for woman’s side L.
-
(7) Man back boleo L woman’s back R.
-
(8) Man front boleo L woman’s side L.
-
Man side L woman’s front R, pivot.
-
Man together woman’s front L.
0:45:10 doing 2 sequences in order
This appears to mean man steps L next to womans front R at the end, effectiviely going from 8 to 1. He does not start this with an actual sacada.
One can also stop at (4).
0:45:52 Combining a giro with boleos with a giro with an enrosque.
-
To step (4) with boleos
-
Man sacada R woman’s front R, enrosque for front R, side L, back R
-
Man steps in back R for woman’s side L
-
Man steps in back L for woman’s front R
-
Man sacada R for woman’s side L
-
Man parada L for woman’s back R
-
Walk to cross.
Theory:
-
side step, the leg moves opposite from the woman’s step
-
front or back step, the leg moves in the same direction as the woman’s step.
This appears to be true only for the "boleando on every step" right turn. I believe the linear boleo/kicks he demonstrates first do not follow this. It may still be worth practicing first.
0:47:27 Vai-Ven
There are cambio de frente (changes of direction), which should not be confused with vaivens.
Normally vaivens are done to the right, but it is possible to do them to the left.
-
Man front L
-
Man side R, turning 1/4 turn
-
Man back L, finishing turn, or a little more.
-
Man together.
The man brings the woman with him. Mingo demonstrates with his hands on Esther’s hips.
Portalea used this a lot, but it is otherwise not seen much. This move fits very nicely into the music of Di Sarli.
0:52:12 For slow music.
tiny pivots
-
Walk to cross
-
Man parada L woman’s R and pivots her about 1/4 turn back and forth a few times
-
She steps forward L, he steps side L.
-
She crosses behind, he pivots her twice 1/4 turn
-
She unhooks and steps forward R, they walk out.
0:53:21 Ornamented sandwich
-
Man side L, change feet, pivot woman back
-
Man parada R, sandwich, step back R
-
Woman planeo L foot to leaders back foot, planeo back, planeo forward anding at leaders front foot, small lapices, step over, front boleo, walk out.