tango lecture by Karen Hilton

http://www.youtube.com/watch?v=xD4qh0p3eY0

Notes:
1. Tango must be a very accurate dance. The placement of foot, the arm needs to be accurate. 

2. posture/hold in the tango: In swing dances, man's right cuff is at the junction of the ladie's arm and the body. In Tango, it is the fore arm (one cuff up) that is at the junction of the ladie's arm and body. Consequently, the man's right arm and hand is placed in center of the lady's back, common mistake is too low. Lady's left arm is parallel to the floor.  The pressure from the right hand, left hand, and the diaphragm are all the same (say 7 out of 10), a common mistake is having 30 on the hands and 5 at the diaphragm (32:45).


3. Tango Stance: two flat feet, knees slightly inside the feet. This is tango stance. Move the two knees in unisance. Put the hands inside the thighs and feel the thighs working against each other.
Put hands on the outside of the thighs, then pick up the forearm and hands to extend to the front. Push elbows into the side of the body. make very short and very sharp turns. This is the feeling of turns in tango, it should be compact, and internal. (eg. tango telespin)

4. Body speed: the turns in tango is on the same level as there is no rise and fall. It's only left and right.  is coordinated from the knees to the center of the body (belly button, Qi area), (like a triangle) then up to the elbows, (like reverse triangle).

5. Foot speed: kicking cigarite box exercise.

6. Close Promenade step. Timing:, from the PP, the foot striket the floor at 1 (16:55 ask the question, 17:28 is the answer.). on the close step, lady is on the inside edge of the right foot, inside edge of whole foot.

7.  turning 5 step:  2 different timing variation: traditional timing(QQS&S), and a different one: QQQQS(21:51)
8. Spanish drag (27:12): the man's right knee is toward the inside of the foot, (in and under to give the girl a marvalous shape)

9. Quarter beat(29:41): Timing: Q&Q&S. Foot speed.

10. Fallaway reverse Slip pivot (35:15). Accuracy of the body line. Pay attention to the direction of the center. The center turns left, left for the first two steps, then turn right on the third step. Then left again to change positions with the lady.  Common mistake is to turn left the whole way through.

fallaway whisk

Just a collection of videos on tango Fall away whisk.

Hiltons' teaching video
http://www.youtube.com/watch?v=A_Hpf1slOXw
He said the man should put the left foot under the right shoulder but it seems that the later people (Luca, GP are not doing that any more).

Pino's demonstration. 1:36
http://www.youtube.com/watch?v=q-FEJAJkzVA,

GG's version, with Anna,


GG's version, with Anastasia, 00:57
www.youtube.com/watch?v=PlQ2RPWozSU

Luca and Loraine, 00:38
http://www.youtube.com/watch?v=ZqQtn10G4ns

standard lesson with Ikaika on 6/16/2012

Tango:

1. link. how did the guy indicate the direction and how much turn to have in the link: shift body weight over the foot.  Lady needs to pay attention to open right side around the left side, not open right side around the spine (which will turn the left side forward, and ruin the hold). In other words, my body should be like a normal door, with the hinge on the left side, not like a revolving door with the hinge in the center.
He demonstrated to me with Pilate ball on the rotation of the body. The body rotates because the force was applied to the side of the body (rather then the center of the body), this allows the body to rotate, right side going back in this case. but I still need to keep the movement of the whole body going back, it's not rotation in place, and the rotation should have left side as the axis, not the spine as axis.

See the Peter Eagleton video of tango on youtube (http://youtu.be/rJ3cWxpRji8). Notice how Brenda did the link with a precise foot placement, and at the end the foot are not really far apart.

2. close promenade: In the forward steps, I need to make sure to keep my left front pushed toward the man's left side. then roll on it to get back to close position. I need to step on the inside edge of the right foot on the closing step. This relates to the point of placing the foot, not swiveling the foot.

3. Fall away whisk: How did the guy indicate the amount of turn early:Before the whisk step, there is a pivoting link step after getting into close position. This is the same step as in the natural pivot turn. Need to do this pivoting action correctly, then a lot of the turns is already done here.

4. No swivels on the foot, place the foot with the turned in position on the right foot already when going backward.  Example, in reverse turn.
5. Remember to stack up the blocks in the reverse turn, especially in the outside partner step, don't shift the hip to the left and the upper ribcage to the right, keep it stacked up vertical, (almost feel like toward left). I have a tendency to shift the upper ribcage part of the vertical stack toward the right, getting it into the guy's space, and loose balance on the next step.   Also on the outside partner step, it's not the femma went outside partner, it's only the part below the knee goes outside partner.

6. on the walks back, need to place foot, and receive on the back foot, keep a pressure toward the partner in the upper body, don't leave from there.  don't change the tilt of the upper body to move back.  The movement in tango are place foot, receive with leg, place foot, receive by bending back leg, not by using upper body.

7. On the second half of the telespin step, I also need to try to place the right foot, not swivel it.



8. Questions: for some reason, I couldn't close completely in the close step.

standard lesson with Ikaika on 6/15/2012

Foxtrot:
1. I need to use the front foot to push back, not just throw the upper body back. Especially in  reverse turn, when I'm getting onto the heel turn, use the front foot for as long as possible till the heel to propel myself back, don't jump back using body weight, just let it happen as I push using the front foot.

2. On the reverse turn, the focus is not to get on the heel and stay on the heel, I need to keep in mind that I still need to keep the center of the partnership moving forward, so after I turned toward down line of dance, I need to shift weight from the heel of right foot toward the ball of the left foot, instead of pausing on the the heel of the right foot.

3. The lady can be active without disturbing the three aspects that should be controlled by the guy: a direction. b. timing, c. position. So can be active in the upper ribcage to head, can be active to respond to the shaping. But can not leave without keeping the frontal projection.

Tango:
1. when we have Try to keep the Achilles long, not the front shin part long. In tango, walking forward, the foot work is heel flat, not heel toe, so we never release the back foot to the toe, we pick up the foot when only ball of foot is still touch the ground. This keeps us from having a tendency to swing and rise.

2. Link: every walking step in tango is supposed to turn 1/16th of a turn. The last step of the link (i.e. the step I put down the left foot) should turn no more than 1/4 of a turn, so if link turns more more than that (like 180 degree in my example), the majority of the turn should be done in the back step on the right foot. Basically the guy should give me a signal on the amount of turn we need to have on the first step, then I need to make sure to read and finish the majority of the turn when I'm placing my right foot, when the turn is bigger, I need to do almost a contra check step.

3. Fall away whisk: read the turn from early on, so that the left forward step is already getting the turn.

First Lesson with Giampiero (Tango) 10/29/2011

Time: 9-10:30am 10/29/2011
Location: Starlite, Nutley, NJ.
Attendee: Sharron and Denis

This is the first lesson we are having with Giampiero. We worked on clarify the routine. Then dicussed quite a few technique points.

1. Poise in tango (and apply to other dances as well).  Lady: let the collar bone hang on the vertical line above the foot. Actually I feel the center of gravity of the collar bone shift quite a bit back comparing with what I was used to. This is quite consistent with what Danny and Bill Davis both have mentioned to leave the top back  more.

Once finding that vertical line, remember to relax it, don't hold it up. It's the arm that is up, not the shoulder/shoulder blade. The upper body is relaxed as we dance, it's the lower body, the legs and feet that is moving us around.

This change enables the body to

2. There is no sideway for the lady, always forward and backward: in fall away whisk,  after stepping forward on the left foot, swivel the foot to turn direction, so that the next step can be a backward step.

3. fall away whisk: bend the knee, sit down more. ??? Need to try this a bit and  ask about this part again. 

4. On the reverse pivots/turns, don't open the legs. Keep the legs together, and make the turn on the foot.

5. Prominade:
 a. from reverse turns. eg a five step goes into a PP.  leader turns only the upper body, not the base
 b. from natural turns. leader turns only the lower body, not the top. Like outside change?
 c. from standing position: half half.
 d. The lady should never try to open the hip.
 e. Stepping out of the promenade, lady should step forward as where the foot is pointing. (the foot should be pointing toward the partner). This is similar to what Danny saids that dance forward, means dancing spine toward the partner, because the forward direction is the direction toward the partner.

A couple other tips
2.  Don't follow. Must know the timing, direction, routine myself.
3.  Don't think while dancing. Do the thinking (visualize) ahead of time before starting, once started, just do it, do not think, there is no time, and looks less committed when thinking. 
4. Ignore the partner, don't let him disturb my posture.

Question for next lesson:

1. Clarify a couple places in the last part of the tango routine. finish the rest of the routine.
2. How to do big top and the step before the big top.
3. How to do the link? At times, I feel Denis' link is too regressive, instead of progressive. How is the link done in the routine, is it different from the basic progressive link?
4.

Tango Routine

Totally 5 phrases and 40 bars.with 31-33 bar per minute, it takes 72-77 seconds to finish the routine then repeat.
Start from PP toward DW at the beginning of short wall.

Phrase I: (Fallaway whisk from PP, chase,  progressive link to PP, skater lock, fallaway slip pivot, V cross, telespin, reverse pivot)
1. Natrual promenade turn: (1234, SQQ) (PP toward DW)
2. fall away whisk  (2234) (QQQQ)
3. hesitation 32 (S)
4. chase(&34), (&QQ)
5. chasse to right (4&2) (Q&Q)
6. Progressive link to PP (34) (QQ) (starting long wall)
7. Skater lock (5234&) (SQQ)8. fall away slip pivot (6234) (QQQQ) (going toward DC, not LOD)
9. half V cross (72&) (QQ&) (Question: direction down LOD now?)
10. half telespin? (34&) (QQ&)
11. reverse pivot (8234)
Phrase II: (Spanish Drag, same foot lounge, 5 steps, kick ball change, chase)
12. Spanish Drag, (1234, start to rise on 34) (SS)
13. same foot lounge (2234, continue to rise on 22, change to same foot lounge on 34) (SS)
14. 5 step ending PP (&3234&42) (&QQS&S) Question: check the timing in 14 and 15.   alternative timing? do we need to do &3234, or 3&234 (Note on 5/3/2012: This was changed to &32&34, i.e. &S&QQ, at the end of 4, two feet closed, in close position, weight on left foot, 42 is open to PP)
16.  slowly move from PP position to whisk (34) (S)
17. & kick ball change, & PP (&5&2&34): first & --  (&: weight on left foot, 5&2: kick ball change: &: weight on left foot)  (&Q&Q&S)
18. two walks from PP (6234)(SS)
19. chase, then chasse to right (&723&4)(&QQQ&Q)
20. back rock, close, same foot lounge, (8234) (QQS)
Phrase III: (Swivel, reverse turn)
21 swivel on left foot, swivel on right foot (1234)
22. kick flick left foot. (22)
23. go around (&34) (&QQ)
24. reverse turn. (3234)(QQS)
25. three more walks forward, close to right foot (&4234)(&QQS): close on risen foot, weight on left foot., shape left, hold the slow 
26. turn to PP, small step (R) step(L), point(R), place(R), step(L), step(R). (&52&34) (&QQ&Q)
27. outside spin: two small? forward step, close left foot to right and turn on right foot, change weight to left, step out right foot(6234) (QQQQ)
28. lounge roll, (72) (QQ)
29. stop lock, hold (3&482)
30. Recovery(&) V cross (34&)
Phrase IV: 
31. fall away slip pivot (1234)
32. Reverse outside swivels, (timing? QQS? 2234?  not clear
33. big top. (32&?) not clear on timing,
34. V cross32 (QQ& 34&)
35. Left whisk34 (QQS, 4234)
36. Run around in freckles 5&2&34, (Rudolph?) rounde on the 62.
(as in http://www.youtube.com/watch?v=KMbWnfX89TM, 00:15)
37. Developed right foot, 34
38. rounde  72, Check right foot, 34
39. Step close, small shape. 82
40. Tick Open to pp 34
Phrase V
31. Two walk from pp 1234 ss
32. Close slowly, 2234
33. Two back walk, 3234, ss
34. Reverse turn, 4234,qqs&, &is in wing position
35. Two back walk in wing position, ss
36. Right foot close to left, left foot point out,
37. Step on left foot, swivel, with rounde on right foot
38. Outside swivel,
39. Step on left foot, rounde forward right foot,
40. Close.
41. From pp, walk close, sqq,
42. Reverse turn, qqs,
43. Walk, step side on right , shape my right,
44. Step side, shape my left.
45. Step side, oversway,
 

Standard Lesson with Anna 7/1/2011 II

In this second lesson we mostly worked on Tango.

1. Position: In tango, the shoulders are at an an angle. instead of parallel as in the other dances. This results in a strong connection.
2. How to get into position: Girl walk up and get into the position described above. Stand on the right foot.
3. In tango, foot and leg moves before the body, in all directions. Especially need to practice this on close promenade step. Try to practice it slowly.
4. Close Promenade: Close to the guy. When closing the foot, both toes are turned in (very much). This is one of the steps that is an aquired taste. As time goes, you will start to appreciate it.
5. Fall away reverse slip pivot:, V cross, Spanish drag:
a. fall away: just step backwards for 3 steps.
b. then the slip pivot step: don't think about turn, just follow the amount of the turn lead by the guy, then the forward step also, just find the step size and space to fit in. Basically this is a passive step here.
c. V cross: start with an upperbody underturned position. (Remember that this steps follows a reverse turn)
d. V cross: steps side back with a wide base, on the right foot.
e. Anna talked to Charles a little bit about the different choice of shaping here.
6. Promenade position:
a. still need to maintain vertical. Do not exaggeratedly held head way out back there behind the foot.
b. roll around partner's hip.
7. On all the reverse turns, due to centrafrical force, the internal twist in the body is felt more exaggerated than it actually is. In other words, try to exaggerate the internal twist, (i.e. shoulder keeps a left side lead shape, but turn the leg for the turn), you will end up with the right look.

Standard Lesson with Ikaika 7/27/2009

Location: Dance Spectrum

Time: 10:45am

Attendee: Sharron, Daniel,

Today we revisited tango. Really good lesson today, need to practice to drill the points in.

1 Rock Turn:

a). Shaping in rock step: The indicator of shaping from the leader is just an indicator, an inch, not a mile.

b). Sharron needs to remember to give the left shoulder up toward the partner before the shaping, and

c). Tick in the corte: right and then left, like a shiver. We can not really be fast, we can just stop fast to create the sharp image.

2. Reverse turn: (QQSQQ)

a) remember left turning figure needs to keep left side forward.This means, only left upper body, parts above the hip, not including the hip,

b) Sharron needs to remember to feel heavy on the lower body, feel the weight on the the standing leg connected to the floor, and stretch/grow the upper body,

c) Leader steps back on SQ, not curving too much.

3. Natural Twist turn.(SQQSQQ)

a) both person needs to remember to stay down,(Screw down).

b) right turning figure should have right side forward.

c) after the first Q, the man needs to power toward a slight turn to the right, and then step across on the next Q.

d) Man: right knee hook behind left knee. toe of right foot only slightly behind left foot. turn on right toe, left heel.

6 Natural prominent turn.

standard lesson with Ikaika 6/29/2009

Today we did tango again. We started working on tango last week.
Location: Dance Spectrum
Time: 12:00pm
Attendee: Daniel, Sharron

1. established the routine
a walk walk, link to prominent
b. close prominent.
b. quarte
c. reverse turn
d. rock
e. link to prominent.
f. Nature pivot turn
g.
...
reverse turn
progressive side step.

2. link. (QQ)
a. put the weight on the right foot COMPLETELY on the first quick.
b. monitor the size of the second Quick.
c. turn toe of inside foot toward the direction of travel.
d. Keep upper body facing each other. hips can form V shape.
3. close of prominent.
a. starting position: lady is behind the guy.
b. movement: try to move the inside leg forward only slightly, then start moving forward the knee of the right side leg to shift the weight of the whole upper body forward, feels like falling, but then inside leg catch up. Moving outside knee forward is key! otherwise there won't be enough space to move the inside legs.
4. reverse turn
a. timing: 1(Q), 2(Q), 3(&), 4(S). Prep on 3 to by moving knee forward, arrive on the foot on the second count of the slow (i.e. 4).
b. monitor where to put 2, it needs to end up facing the partner, therefore usually curved and small. This is the key to not to end up side by side by end of 2. and the right position to be preparing the next step. The correct placement of the foot requires awareness.
c.
d. Gentleman needs to keep the upper body forward while stepping back.


Key points
1. core strength
a. keep the rib in.
b. go to Pilate class!!!
2. awareness
a. use the common center as reference point. the poll in between the two person. Both person always stays on the left and the relative posture to the center poll remains the same.
b. Follower needs to read the connection to feel where/how big the steps are.
c. push to move, weight change indicate the size of the step?
3. Posture
a. Leader's right arm needs to pick up without shoulder up.
b. Follower's left arm/shoulder/lat muscle? needs to stretch upward.