Guide On Demand

Both roles. Individual and duo practice. Duration: between 40′ and 1:05′. About TRAININGS. Here<<<

#23 — TORSO AND SHOULDER GIRDLE | Is the leading from the torso or from the hands?? Here<<<

We differentiate between the TORso and the SHOULDER GIRDLE, and the lead from both areas, aiming for a blend of both, depending on when and for what purpose.

#11 — CAMINATA – WALKING | Straight leg or bent leg? Here<<<

The walk, the cadence. Available knees vs. locked knees.

#66 — Pivots, ochos, pasos and sacadas | How to find ‘neutrality’? Here<<<

We study the vertical axis, spirals, how to create space, and how to find ‘neutrality.’ We practice in pairs with a sacada in forward steps, going in different directions with over-rotated pivots.

#2 — BODILY AWARENESS | Ideas about the embrace. Here<<<

We work on muscle tone and range. We study the journey from the first impulse to the arrival. We use a beautiful and challenging sacada sequence as an example, with over-rotated pivots in both roles.

#18 — THE BETWEEN | Respond vs react. Here<<<

We worked on spirals: dissociating and twisting. We put these concepts into practice with a short sequence of a parada. We traced the leg that comes FROM BEHIND, spiraled and expansive.

#87 — SPIRALS | Pivots and Voleos. Here<<<

We studied the positioning of the torsos in relation to the other person. We practiced forward and backward voleo, and finished with a dynamic, loose pivot exercise combined with a ‘line turn’ sequence, with both roles ‘voleoing smoothly at the same time’.

#15 — THE 3 EMBRACES | How Do We Modify the Embrace? Here<<<

How, when, and in what way. We studied details of ‘3 types’ of embraces. We worked on this with a sequence involving a cross lead and a big stop at the cross, modifying the embrace with precise and sensitive cues.

#70 — THE WALK | Experimenting with the journey of the step. Here<<<

Gradually stretch/flex the legs without changing the floating level. Use the flexion to go out and come back: once we know where we’re going, the question is when and how. Half-turn sequence, with lots of pivoting and effects from different dynamics.

#30 — The PIVOT | Connection, Coordination, and Stops/limits. Here<<<

Spirals and pivots as a stop. We worked on expansive dancing through coordination and synchronicity. We practiced a ‘linear giro’ sequence: forward, side, back, with a stop at the forward cross to change direction.

#99 — THE EMBRACE | Distance and Connection. Here<<<

The back as a place of power, and the chest as a place to embrace. The connection and distance between bodies in tango dance. A sequence of back ochos with sanguchito and parada, constantly modifying the distance and moving through the 3 embraces we explored in class #15.

🎾 PELOTITAS Pack X4 —4 classes = 4 videos with 10% OFF. Both roles. Solo and duo practice. Unlimited access for 2 months. Here<<<

#51 Pelotita 1— CAMINATA | Pushes, landings and rotation. Here<<<

We studied the contact of the feet with the floor, after activating sensorimotor awareness and “texturizing” with the ball. Small, medium, or long step? With or without rotation? We used the tile as a “sequence” to train each moment of the step with full awareness.

#43 Pelotita 2 — GRADUALITY | Star exercise. Here<<<

What does it mean to HAVE WEIGHT?
Stability, awareness, balance, and weight. The weight on both legs: the supporting one and the free one. The journey of the step. Twisting energy: releases and pushes. The sequence is a deep salida in a back step.

#37 Pelotita 3 — PIRIFORMIS | Navigating the Journey of the Step. Here<<<

Using the ball, we release the piriformis to free the groin, hips, pelvis, and lower back. We explore the hip’s pathway through the step using the foot–sit bone formula, and work on a deep sacada sequence that flows into a strong, sweeping planeo.

#93 Pelotita 4 — PIVOTS | Pushes, spirals, and voleos. Here<<<

We studied the sensation of pushing, flexion, and release through the ball to integrate it with pivots. We practiced pivots individually, and as a result, volleys emerged with ‘soft strength’: a lot of rebound, internal spiral, and verticality in the axis.