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The Milonguero Turn

The Milonguero Turn

The Milonguero Turn is a very useful piece of tango vocabulary and yet it is almost never taught anymore, sadly. It has been supplanted by its sexier kissin’ cousin, the Follower’s Molinete. Put simply when you really stop and think about the Milonguero Turn, is nothing more than a back cross, a side step, and a forward cross (from the Follower’s perspective). This isn’t Rocket Science, it’s Argentine Tango. And as such there’s not a whole lot of complexity to this particular well worn and exceedingly useful but highly under rated Tango vocabulary. The fact is that this was the predominant turn for almost 70 years, before Gustavo Naveira came along and changed everything with the sexier Follower’s Molinete, so the story goes.

What is A Milonguero Turn ? First let’s define the words there, as they require a bit of clarity. ‘Milonguero’ is yet another made up word used for marketing purposes that is a bastardization of the true meaning of the word itself. A ‘Milonguero’ is someone who was raised in the milongas, they would pick up discarded tickets to get into the milongas to then watch how people danced and then emulate that, so that they could then dance with the pretty girls. This all happened in a 25 year time period from about 1930 to about 1955. If you were born in that time period and ran with this crowd of dancers, then you could rightfully (and distastefully, because it was a term of disparagement in those days) be called a ‘Milonguero’. There are very few of these men left in the world. Very few.

These men didn’t take classes. They didn’t go to a special Tango schools. No. They didn’t have the money. They learned on the floor, while watching other people dance, and deconstructed what they saw. They then tried to one up each other, trying to outdo each other with tricks and what not. While the game was certainly about getting the girl, it was also about showing off. In a lot of ways the Milongueros of yesteryear bears a striking resemblance to the forerunners of modern hip hop, minus the gang mentality. This is a ‘Milonguero’.

The term, so the story goes, was developed as a marketing tool, as a way to describe what one specific teacher saw in the clubs and milongas of Buenos Aires. This was called ‘Milonguero Style’ dancing.

A Milonguero Turn on the other hand is representative of the type of turn that existed prior to Gustavo Naveira (re)discovering the Follower’s Molinete. Again, so the story goes.

In it’s simplest form, the Milonguero Turn is one of the easiest of turns to accomplish with regards to Argentine Tango. It allows of the couple to stay with each other, and allows for an easeful experience vs. the Follower’s Molinete that is the default turn today. And last but not least, it allows for the partnership to stay facing each other, while at the same time not expending a great deal of energy to ‘turn’ whereas the Follower’s Molinete does precisely that. While the Milonguero Turn is not sexy, it’s easy to see why it was abandoned in favor of it’s sexier cousin. That said, don't discard it simply because it's not sexy, use it because it is insanely functional!

Difficulty Rating:  2.5 Stars2.5 / 5

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Check Please! The video above is small snippet of a full HD video (total runtime: 7m:10s). You can purchase The Milonguero Turn for just $24.99 not including your level discount. However, you can get a $7.00 discount by registering as a free user and then coming back here!

From A Following Perspective the Milonguero Turn is insanely easy for you. There’s just a bit of technique going forward but for the most part, comparing this to the Follower’s Molinete, the Milonguero turn is a snap! So let’s first discuss what this is for you. A ‘clean’ back cross, a large-ish side step (which is important for a reason, and then a ‘forward’ cross which resembles the last step of the Linear Ocho Cortado. Simple. Clean. Clear. No ?

There are a few ‘tricks’ which aren’t discussed in the video, one of which is that by default, this turn does not in any way, shape, or form will your hips ‘rotate’. There is absolutely zero disassociation here, and no applied disassociation. None. Zero. Zip. Zilch. Nada. Not. Got it ? However there is a tiny, bodily rotation (not a pivot) about 20 degrees that happens directly after the opening back cross. However for the most part this turn is really simple stuff for you. It’s not really all that complex.

Cleanliness! The fact is that a good portion of Followers that start to play with this stuff, end up employing ‘DirtyCrosses (forward or back), which is not desirable from a visual perspective. We desire to employ ‘clean’ crosses everywhere. This is not a L/lead thing but actually all on you as the Follower and how you invoke your Technique. This is one of those places where you must really strive to create these cleaner structures in your dance, so that when you’re asked to do X, Y, and Z (in this case a Milonguero Turn), you generate ‘clean’ crosses by default without having to think about it. Because if you have to think about it, it’s too late!

The Gargantuan Side Step. The reality is that there is a trade off with the Milonguero Turn to the Follower’s Molinete. And the trade off in ease of use and execution is that you end up having to take a slightly (ok, bigger than usual) large side step. In the Molinete, your forward steps, and your back steps take up space going around your lead, thereby covering distance. Those steps have been removed and replaced with crossing elements. So you have to be very judicious in how big of a side step and that little bit of rotation (20 degrees) discussed above. This is covered in the video!

When ? The question that comes up for a lot of Followers is when do you actually use this turn in place of or instead of your Molinete ? The simplest answer is this, and it’s a qualified one. Mostly everywhere. The fact of the matter is that 98% of your L/leads do not ask for or employ disassociation which ends up as applied disassociation in you, and thereby you just ‘give’ your lead what they implied but not actually what was led! Why ? Because you’ve done it so often and you more than likely had to infer what was being led in the first place as “oh we’re turning and that means I have to do my molinete thingy…”. So the Tango Topics Rule is this: if you don’t feel any disassociation coming from your lead pre-turn, then you know what ? You do not disassociate and then apply that disassociation, thereby invoking a Milonguero Turn instead!

From a Leading Perspective the Milonguero Turn is definitely a challenge for you to learn to lead. Mostly because you’ll be fighting the Follower’s default behavior to want to engage the Follower’s Molinete in response to your Giro! One of the ways that we can set this up, because it really is all about set up, is by invoking a series of “Lazy” or Milonguero Ochos into the Milonguero Turn (this is known as an Ocho Transition, there are 4 common ones) it sets up a natural progression of events. The Milonguero Ochos are a natural complement to the idea of the Milonguero Turn, it’s almost organic in nature and execution. 😉 And that’s because they’re natural outgrowths of each other.

Fortunately for you, you have video on this stuff, not just the Milonguero Turn, but the Ocho Transition itself. So go click the link, read, watch the video, and then come back here. That said, let’s press on to the really important parts:

The 3 Gotchas! There are, as always, some areas of concern with certain pieces of vocabulary that we must be aware of, so that nasty things don’t occur. These are 3 of the more common ones that come up. There are more, which are listed in the videos listed. Please reference those videos and articles for their specific “gotchas”:

One: Leading the Follower’s Back Cross. Truth be told, this is the single hardest part of the vocabulary to lead which is covered in section 2 of the video. So unless you employ the Ocho Transition mentioned above, then you’re going to have to use the Milonguero Turn Trick to fix what is a very unnatural turning idea for the Follower to invoke the backcross you're looking for. Why ? Because it's not natural for someone to cross their feet, this is a trained, learned idea that becomes default behavior over time. So you really do need to understand how and why this stuff works the way that it does. That said, here's a small hint for you: Leading the Follower's Back Cross is not about force, but implication. Meaning ? That you set up the cross, and imply its motion! If you force the cross, nasty things tend to happen. 🙁 

Two: Not Rotating Far Enough. The fact is that while the Milonguero Turn does rotate a fair amount, it just doesn’t go far enough, so unless you fix this little tiny problem, you’re going to constantly have to either walk out of the turn, or be entirely frustrated. By the way, the video does go over this important point.

Three: Armpit Leading. This comes up a lot for most Leads, and they don’t see it or realize that they’re doing it. However, in this instance the Milonguero Turn wants the Follower to be ‘buttons-to-buttons’ with you. If they’re not directly in front of you, the turn becomes slightly unwieldy and the Follower will have to compensate in the moment in their side step, which is already huge enough.

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About The Video. This video comes in at 07m:10s in length in 7 Sections. Both lead and follower technique is combined and integrated in the video.

Section 1 - Introduction - 00:00:25
Section 2 - Lead The Backcross - 00:02:41
Section 3 - Follower Technique - 00:00:55
Section 4 - Lead Details - 00:00:38
Section 5 - Follower’s Big Side Step - 00:00:40
Section 6 - Lead Footwork - 00:00:30
Section 7 -Example/End - 00:00:47

It can be purchased for $17.99 or downloaded as part of your subscription with a discount.

From a Dancing Perspective as has been indicated, is not used all that often, sadly. However, when it’s done, it can be a very elegant and useful turn to start to employ especially on crowded social dance floors where you don’t have oodles of space to deploy the Follower’s Molinete. And most especially where in say Buenos Aires you have about 3 or 4 millimeters of space between yourself and the next couple to your left, back, and front. Truth be told, this turn takes a bit of practice to get used to doing, but once you start using it, you’ll find it is a very efficient and useful turn and will become your default turn on multiple levels. From a musical perspective it is also easily slipped into hitting the on beat turns where you need to hit each note, whereas the Molinete can and frequently uses “quick-quick-slow” methodology, that isn’t present here at all. So you can really think about, note/cross - note/sidestep - note/cross, over and over again! It’s insanely musical in it’s application! Now to the downside of this. Are you going to use it ? No. Why because it’s not sexy and it’s not what you were taught. The reality is that it’s not the sexiest thing on the planet. It’s not However, what it lacks in sexiness or wow-factor it more than makes up for that ‘wow’ in terms of ease of use, ease of execution, musical interpretation, and simplicity which all leads to one inescapable item: Elegance! So if for no other reason you want look and be elegant in your dance, start using this turn today.

The Milonga Component! The Milonga Component refers to an aspect of the Milonguero Turn as to where to use this turn specifically. While the Milonguero Turn works equally well in Tango and Vals, it works amazingly well in milonga! Why ? Several reasons: 1.) It takes up far less space, it's also a much tighter turn than it's kissin' cousin - The Follower's Molinete. 2.) The execution time can be muuuuch faster than The Follower's Molinete. and 3.) It is insanely musical!

Whereas most of you reading this, when dancing Milonga, will erroneously employ/use The Follower's Molinete to turn. It is a waste of time that you rightfully do not have in Milonga.

Stop and think about something for a moment: Think of ministrations that must happen in order for a 'good' molinete to occur. Specifically the disassociation and the applied disassociations that must occur on the Follower's forward and back steps. Good in this case refers to the proper execution under ideal conditions. Where there is no pushing, pulling, tension, resistance, or force. Where the Follower isn't using the Lead's left arm as a hitching post on the back step, or stepping away from their leads because there isn't space which the lead has forgotten to account for....and a host of other molinete issues that come. Now imagine a 'bad' one and you can easily see how much work that is! And this is just in your head without music! 

Now we add a musical component in say, Tango for instance ? Tango is 4/4 time (4 beats per measure) at usually 62 to 68 beats per minute. And that is seemingly fast! And even under those conditions, The Follower's Molinete falls apart unless it's been drilled into you 10,000 times. And even then it probably hasn't. Now try the same thing in Vals! Vals, by the way, is written as 3/4 time but typically played in 6/8 time (sharper and faster) and is anywhere between 70 to 85 bpm. As a result of this much faster, and sharper tempo of the music, The Follower's Molinete has to be shortened in order to function, typically the side step is shortened to one quarter of its normal size in order to account for the 'speed' or tempo of Vals. Now imagine trying to do this same turn in Milonga which is 2/4 time or about double the tempo of a Tango (typically anywhere between 90 and 110 bpm)! And it's easy to see just from the mapping laid out here that the Follower's Molinete will not work! You're wasting too much time on the disassociations! The only way The Follower's Molinete can work in Milonga is if it's sped up. And typically doing so it (The Follower's Molinete) becomes poorly executed and unwieldy at best. And yet because the Follower's Molinete is the default turn for so many people they scratch their heads and wonder why Milonga doesn't work for them. This is ONE reason why, it's not the only reason but it's a pretty good one! The reason is simple: It's because they're employing/using the wrong damned turn! Remember that Milonga developed in a simpler environment, Milonga Porteña did, and at that point in time the Milonguero Turn was the predominant turn, so Milonga as a whole functioned much better than it does today because of this very simple way of moving. It wasn't sexy, but it worked! So here's a helpful piece of advice, learn how to execute a Milonguero Turn, properly. Don't just watch the video above, and think that you've got it because you don't. Learn how to properly execute this turn and then start playing with Milonga and see if your Milongas don't become 10 times more enjoyable as a result. 

The Missing Information.  There's a free tip (for registered free users) that's not here because you're not logged in. If you were logged in, you'd see a free tip, but because you're not, you're not seeing it. So ? If you want the free tip, then go register as a free user and login. 🙂 However, if you want the toys, and to see the 07m:10s HD quality video on how to properly lead & follow a Milonguero Turn and all the toys that go with it. Then you have 2 options. 1.) You can get a $7.00 discount if you register as a free user, and then buy it with the discount code! or 2.) You can subscribe!

 Watch It On Youtube ? Why should you pay for this video, or subscribe to this website when stuff like this is available on Youtube ? Because what you'll find on Youtube doesn't explain and walk you through the how a Milonguero Turn works! That’s why! 

So, please, go right ahead, go watch all the presentation videos on youtube all you want. Because that's what they are 'Presentation' videos. The couple's that you're used to seeing are performing for the 15th row for a room full of people, they're not social dancing. Whereas this website is all about 'Social Dancing'. So please, go spend your time, trying to infer, and figure out how things may work in that situation. Bend your body this way or that, twist and force this position or that. Place your foot here or there and figure it out.  Which can be a lot of fun, but more than likely it won't help you, because you're missing something: The explanation from an experienced teacher! (ahem) ME!  The goal of youtube videos is to entice you to go study with those teachers in person. The goal of these videos is allow you to work at your own pace, in the comfort of your own space, so that you can play them over and over again to improve your understanding of the vocabulary or technique being described to therefore better your dancing experience. The goal of classes and workshops is to get you to come back over and over and over again, thereby spending more money with that teacher. This website and the videos under it are here to act as a resource for you to help you to improve your dance. Pay once and be done with it. 😉

Eventually, one way or another you’re going to pay for this lesson, either here and now, or with them. TANSTAAFL! The difference between that lesson and this ? Is that you get to play this lesson over and over and over again. Further still, there are supporting materials (other videos) that help to explain the language and the underlying technique.

In an hour long class, with the blind leading the blind through rotation of partners (uuuggggh!), you may glean a piece of the information you need and not get the whole thing, and you’ll miss important pieces that you’ll end up having to take a private lesson for to get the finer points. This way, you can watch over and over again, and get all the supplementary materials, and if you want you can still go take the class, only you’ll be better prepared to do so!

The Last Word. Tango Topics is little reminders and snippets of information that your teachers would have told you about but didn’t have time to or didn’t care to remind you for the umpteenth millionth time. Do you need videos like these ? Yes. Why ? Simple…you need as many reminders as possible in as many forms as you can get. In today’s Tango world it does take a village to raise a dancer. And that means having as many voices, reminders, ideas, concepts, perspectives as possible. This video and the rest of the ones that are sitting behind the Tango Topics paywall are that. While what you’re seeing above is only the smallest hint of what’s contained in the actual video. It should be enough for you to make a reasoned and intelligent choice that perhaps there’s something of value in this site and the videos that are here. Considering becoming a Gold, Gold Plus, or Diamond level subscriber today.

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Social Colgadas

Social Colgadas

The Social Colgada is in many ways very similar to the Single Axis Turn. That’s because they’re from the same family of vocabulary. So theoretically, if you know one, ha ha ha, you should be able to execute the other. Not true actually, there are stark differences between the two.  One primary difference from the Single Axis Turn is that the Social Colgada is done with the partnership in a perpendicular position to each other rotating around a singular axis vs. the Single Axis turn where the partnership is facing each other. Still another is the Single Axis Turn rotates the couple 180 degrees without invoking a second step around, typically. Whereas the Social Colgada is typically a 270 to 360 degree turn! 

The Colgada Rap! Before we go any further, truthfully Colgadas are typically manhandling events that most Follower’s want to avoid like the plague. The reason is a.) that they’re poorly executed. b.) they're usually arm pushing and pulling experiences, and c.) someone (read that as the Follower) invariably gets hurt because their back has been wrenched this way or that. Most of this occurs because the Lead in question has not learned how to properly generate a Colgada. Where Colgadas get a bad rap is because of these 3 aspects which turns off a lot of people, obviously. However a Social Colgada on the other hand, while it has all the potential for these things to happen, is much smaller, and exists within solely within Close Embrace. When executed properly it can be one of Tango’s more elegant specialty pieces of spice or accent vocabulary.

What is a Social Colgada ? A ‘Social’ Colgada means that the Colgada itself takes up very little space, that it fits within the line & lane of dance, while the couple is in Close Embrace, and instead of executing the Follower’s Molinete to turn the couple, we invoke a Social Colgada. As to a Colgada aspect ? The word “Colgada” comes from the root Spanish verb “Colgar” which translates to English as “Hang”. The word ‘Colgada’ is the past participle version of the verb which adds an ‘ed’ ending to the word. Which when translated to English is ‘Hanged’ or rightfully ‘Hung’. So ? A ‘Social’ Colgada is a move where the Follower (specifically) is in a hanging state off their Lead, deliberately. More specifically, they’re being placed in a position where they’re going to hang. And that’s where we talk about a shared axis, and more importantly balance.

Ideally the Colgada itself is not about taking the Follower off axis, as you may have been told, but rather about creating a state of shared balance & equilibrium along the shared axis between the partnership. As there is always a shared axis between the dancing couple. Truthfully there are actually 6, not one. There’s the lead’s central longitudinal axis, the follower’s central longitudinal axis, and the shared central one between the two dancers which is created by their relationship to each other. It’s the last one that we’re interested in because it generates the space for a Colgada to exist. 

Difficulty Rating: 4.0 Stars4.0 / 5 Let's be absolutely clear about something. This is not an easy move to perform. A lot of manhandling can occur if it is not executed properly. Use with caution and under the supervision of an experienced teacher. 

Check Please! The video above is small snippet of a full HD video (total runtime: 29m:09s). You can purchase Social Colgadas for just 17.99 not including your level discount.

 

Tango Pre-Requisites: Let’s get this out of the way immediately before another thing is said – Social Colgadas should not be led on or led by the beginner dancer! And if this page is being honest, really not even someone that's been dancing for about at about the 2 to 3 year mark (assuming the following things are true). There's a reason for this limitation on learning to execute one of these things. The limitation is that the dancer's form must not contain: Hanging, pulling, pushing, compression or micro compressions as default behaviors. The Social Colgada requires that you have mastered your walk and in specific your extensions and collections. And/or are on your way to make that stuff as clean and clear as is humanly possible. Secondarily that you have mastered your stability, as a lead and/or as a follow! Meaning that you don't need to hold on to anyone or anything while walking forward AND/OR backwards while engaging and employing forward intention. Factually speaking – the beginner dancer has no idea about any of this stuff just yet, most of it is gobbly-gook, and they're just not ready to wrap their minds around this stuff just yet. They only see the 'flashy' move, and not what has to occur in them before they attempt it. Truthfully they're just figuring this stuff out, and throwing a Social Colgada at them immediately will freak the bejeebers out of them and possibly create injury for either role. 

Check Please! The video above is small snippet of a full HD video (total runtime: 29m:09s). You can purchase Social Colgadas for just 17.99 not including your level discount.

 

From A Following Perspective let’s get this right out of the way immediately: You’re going to fall, backwards or in this case, to the side away from your lead. That's the whole point of a Colgada in the first place, the falling part. There's nothing you can do about it, except to engage the Follower's Kickstand (see above in the video). However understand something that the “fall” is a controlled hang more than anything else, and the control comes from two important aspects 1.) the elasticity of the couple’s embrace, and 2.) body position, placement, and balance between the couple. 🙂

If there is rigidity in the embrace from either partner, nasty things are going to happen. “Elasticity” in this instance is a somewhat relative term, as there does have to be some firmness there, but not to the point where you’re holding on for dear life! That’s not what a Colgada is about. 😉 So yes, dear Follower, you’re going to fall to the side, and quite rightfully it’s going to be a little scary for obvious reasons. No one, absolutely no one wants to fall. However in this instance we actually do want to fall, a bit. Not a lot, just a bit. And that’s where the controlled part comes in. It’s a very controlled ‘hang’ through technique, and more importantly through a shared balance point between the partnership.

Planking: Before we go any further we have to talk about when you “fall”, your desire is to stiffen your body, and then ‘Plank’ it to save it from impacting the floor. But before we get there, we’ll engage the Kickstand Mechanism to prevent that from happening. However, even before the “fall” happens our body stiffens, as Followers, and we ’plank’. What is that ? It means that you’re going to straighten out your body as if it were an elongated piece of wood, falling backwards, hence the term ‘plank’, which refers to a plank of wood. 😉 “Planking” is an error as there is something else we want to do.

Planking is an error when engaging a Colgada. It is however a perfectly natural response to do this. So don’t freak out. However, planking is not what we’re after. We’re actually after something else. This is why we learn the proper position for a Colgada to exist. What’s the more desirable position for us ? For that, you’ll have to see the video. However the descriptive for it is very simple, it’s almost as if you’re sitting, you’re going to send your hips away from your lead, while keeping your torso with them. Or in the case of the Social Colgada, you’re going to be perpendicular to your lead so you want your hips to go away while the side of your torso faces your Lead.

The Controlled Hang: Another aspect of the Colgada is that we want our arms, and hands to a certain degree, to be able to slide almost as if you’re arms were a collapsible telescoping bar. ‘Telescoping’ in the adjective form, meaning that one part slides into another. We do not want rigidity in our arms and/or hands. We also don’t want to hold on for dear life with our hands, like you're grabbing the lead’s bicep with your spiny fingers. Not. Less than desirable. Instead we want arms and hands to be able to slide within the Lead’s embrace - hence the ‘telescoping’ part. 🙂

The Kickstand Mechanism: There is a safety mechanism that is built into each and every Colgada, and it’s called The Follower’s Kickstand. What’s that ? It’s where the Follower’s free leg extends backwards as if they were going to step backwards but there’s no weight on it. The Kickstand in this case occurs under ONE condition. If and only if there is no counterbalance (or counter send) from their lead. If there is counterbalance then the Follower should not release from their invited Mordida (see video above).

From a Leading Perspective the Social Colgada is all about balance. It's the Lead's job, function, to create physiological balance, a state of equilibrium, within the couple. Mistakenly this is done with your arms, but instead we want to employ counterbalance with the Follower with our mass, not our arms. Our arms are there to 'guide' our intention, but the real toy here is counterbalance. Truth be told the Lead (the person not the action) is more than likely going to have more mass than their Followers will posses. And as such the counterbalance point will be slight, while at the same time, the proper ‘sitting’ position of the Colgada will be almost, but not quite planking. So, in other words, the break at the waist, will be slight. 🙂

The Used Mordida: A good portion of Leads, overuse the Mordida usually mistakenly in the Salida Step of the dance. What’s a Mordida ? It’s a ‘foot’ sandwich. Where the lead, traps one of the Follower’s feet and sandwiches it between the Lead’s feet. Far too often once a Lead learns how to create a Mordida they use it everywhere. As a place to stop, as a place to reset the couple, as a place to end the dance. This is know on Tango Topics as The Unused Mordida. It’s ‘Unused’ because the Mordida is an indicator to the Follower that something is about to change, usually entering either a Volcada, a Barrida, a Parada, or in this case, a Colgada. However in this case we actually use it and rightfully need it to set up the Colgada, because without our feet are going to slide every which way, and we obviously don’t want that to happen.

The Arm-y Pushme-Pullyou Colgada: Typically most leads use their arms to generate a Colgada, as has been said, however one aspect of this is that once the Colgada starts the Lead will pull the Follower towards them with their arms instead of directing their intention with their mass. One of these is desirable (mass direction), and one these is not (pulling). This type of error makes almost any Colgada very undesirable. So it’s a good idea to learn how to direct that mass, without pulling or pushing so that the experience is a pleasant one and not one of dread for the Follower! Just a hint, this video shows you how to do that, properly. 

A Turning Social Colgada ? The Colgada gets a really bad rap most of the time. It’s poo-poo’d because most people think of it as ‘Nuevo’ vocabulary or open embrace vocabulary. Frequently this type of vocabulary is poorly executed, thereby making it visually unappealing, not to mention wholly uncomfortable. However, this particular version of the Colgada is far from the unsightly ‘nuevo’ aspects that you're used to seeing, and that's because of its ‘whoosh’ factor. The ‘whoosh’ is a rush of energy that happens because the couple is rotating to one side or the other! Most colgadas are done in linear fashion. This Colgada series is done on the circular, and then to exit the Colgada, the Follower steps, over and (here’s the important part) around their lead!  While this can be done in Open Embrace, and there’s nothing wrong with that, doing so tends to take up way too much space, so instead we want to do this in Close Embrace taking up no more space than a single forward step. Put succinctly, a Social Colgada, when properly executed (hence the video), can be a way to turn the couple down the line of dance! This aspect of the Social Colgada makes it a very useful and powerful turning tool for the lead to use in 2 ways: 1.) Navigationally. and 2.) The Spice Factor (see below).

The 'Flashy' Aspect! Yes this vocabulary is 'flashy'. It has all the earmarks of being 'cool'. However it also has the potential for being very showy. Especially if the hang aspect goes to wide, if it takes up too much space, if there's too much distance between the partnership, etc. Under those conditions, a Single Axis Turn can look very flashy. However, it's not meant to be flashy, It's meant to be sweet, elegant, and a surprise. 😉 

The Single Axis Turn Check. A question that comes up for some people, is when to lead this ? Sparingly. See below for more on that. In the meanwhile, this piece of the topic does require a bit of setup before you actually lead this on a Follower. And while the setup is not covered in the video (for obvious reasons), is of some importance. The setup is more a precursor check to see if your partner is up to the task of a Social Colgada. The setup ? Assuming that said Follower is NOT a beginner dancer, you want to lead a Single Axis Turn somewhere else prior to the Social Colgada (preferably not one right after the other, and not in the same song). The Single Axis Turn will tell you everything you need to know . Like for instance, if your partner completes the Mordida, if they understand send/counter-send, if they have issues of stability in the 'whoosh' phase of the Single Axis Turn. If everything checks out in the Single Axis Turn you're good to go later on. However if it doesn't go smoothly, just don't go there. Just don't. More than likely your Follower will freak right out and you'll end up hurting them and/or possibly yourself. 🙁 

dancing in a small space ? try these articles!

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About The VideoThis video is 29m:09s in length in 12 sections. Both lead and follower technique is combined and integrated in the video.

Introduction - 00:01:04
The Mordida - 00:02:28
Balance & Planking - 00:03:06
The Kickstand - 00:01:41
The 3 Linear Cologadas - 00:03:08
The Circular Colgada - 00:01:40
The Colgada Embrace - 00:02:15
The Step Over Colgada - 00:02:56
The 'Social' Colgada - 00:03:03
In The Line Of Dance - 00:03:44
The 'Whoosh' Factor - 00:01:39
A Primary Lead Error/End - 00:01:39

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From a Dancing Perspective the Social Colgada can be a very beautiful, elegant, and useful tool. But let’s be absolutely clear about something, the Social Colgada is spice. It is Accent Vocabulary. Meaning ? This is not something that you whip out every ten seconds in the line of dance. It should be used sparingly, like as in once or twice in a night as a surprise, and nothing more than that. The vocabulary itself should be used solely as variance, not as the goto turn. Never that. One of the reasons we use this stuff is solely to add a little variety to our dance, nothing more than that. It is important to practice it, to smooth out the rough spots of it, to keep yourself current with leading and following one when they happen, however it should be reinforced in your head that this is accent or spice vocabulary! Which means that you use it once and then let it go! Do not repeat this 17 million times in the space of one tanda, nor every variation of this, but once and let it go. Got it ? 🙂

It should be noted that some people will find this piece of vocabulary somewhat Tango offensive for a variety of reasons, most notably is that it breaks certain long held beliefs or conventions about the dance. Such as, once you're in Close Embrace you stay in close embrace (mind you it doesn't break that rule but the possibility for it exists). Still another is that the Follower's feet leave the floor (they do, but only for an instant). And others. Let's be clear about something, the Social Colgada can be poorly executed, and/or it's possible that the dancer can create flashy aspects in the execution of the vocabulary. In either case, there is a belief that one shouldn't execute a Social Colgada. And that belief has some validity to it. It's a good practice to execute this vocabulary with a partner that you have danced with previously, this is not something that should be whipped out and danced simply because you've watched a 29m:09s video on topic. No. This stuff requires patience, practice, and then more practice, practice, practice, practice, practice. And when you're done practicing this stuff ? Practice some more. And then about 6 or 8 months from now, when you're dancing with your favorite partner, it's near the end of the milonga, and you have lots of space to move around in, you pull this out once, and then you let it go. YMMV. 

The Missing Information.  There's a free tip (for registered free users) that's not here because you're not logged in. If you were logged in, you'd see a free tip, but because you're not, you're not seeing it. So ? If you want the free tip, then go register as a free user and login. 🙂 However, if you want the toys, and to see the 22:14 HD quality video on how to properly lead & follow a Social Colgada and all the toys that go with it. Then you have 2 options. 1.) You can buy it. or 2.) You can subscribe!

 Watch It On Youtube ? Why should you pay for this video, or subscribe to this website when stuff like this is available on Youtube ? Because what you'll find on Youtube doesn't explain and walk you through the how a Social Colgada works! That’s why! 

So, please, go right ahead, go watch all the presentation videos on youtube all you want. Because that's what they are 'Presentation' videos. The couple's that you're used to seeing are performing for the 15th row for a room full of people, they're not social dancing. Whereas this website is all about 'Social Dancing'. So please, go spend your time, trying to infer, and figure out how things may work in that situation. Bend your body this way or that, twist and force this position or that. Place your foot here or there and figure it out.  Which can be a lot of fun, but more than likely it won't help you, because you're missing something: The explanation from an experienced teacher! (ahem) ME!  The goal of youtube videos is to entice you to go study with those teachers in person. The goal of these videos is allow you to work at your own pace, in the comfort of your own space, so that you can play them over and over again to improve your understanding of the vocabulary or technique being described to therefore better your dancing experience. The goal of classes and workshops is to get you to come back over and over and over again, thereby spending more money with that teacher. This website and the videos under it are here to act as a resource for you to help you to improve your dance. Pay once and be done with it. 😉

Eventually, one way or another you’re going to pay for this lesson, either here and now, or with them. TANSTAAFL! The difference between that lesson and this ? Is that you get to play this lesson over and over and over again. Further still, there are supporting materials (other videos) that help to explain the language and the underlying technique.

In an hour long class, with the blind leading the blind through rotation of partners (uuuggggh!), you may glean a piece of the information you need and not get the whole thing, and you’ll miss important pieces that you’ll end up having to take a private lesson for to get the finer points. This way, you can watch over and over again, and get all the supplementary materials, and if you want you can still go take the class, only you’ll be better prepared to do so!

The Last Word. Tango Topics is little reminders and snippets of information that your teachers would have told you about but didn’t have time to or didn’t care to remind you for the umpteenth millionth time. Do you need videos like these ? Yes. Why ? Simple…you need as many reminders as possible in as many forms as you can get. In today’s Tango world it does take a village to raise a dancer. And that means having as many voices, reminders, ideas, concepts, perspectives as possible. This video and the rest of the ones that are sitting behind the Tango Topics paywall are that. While what you’re seeing above is only the smallest hint of what’s contained in the actual video. It should be enough for you to make a reasoned and intelligent choice that perhaps there’s something of value in this site and the videos that are here. Considering becoming a Gold, Gold Plus, or Diamond level subscriber today.