Leader's Gancho from Left to Left Parada
The man's right leg only
brushes the floor prior to
his gancho. His weight
remains on his back leg.
The contact is thigh to thigh
In the course of his
gancho-boleo sequence, the
leader must lead the lady
to remain still
DT: This page focuses on the leader's gancho and boleo, but first let me digress a little and ask you what you are doing at the beginning with your left leg before you go to the left parada. Would you call that an embellishment?
Andrew: That's an embellishment and it's also myself syncopating to pick up the left to left parada. It's a nice thing to do, that check to the side, as we are putting the follower into the back ochos.
DT: For your gancho and boleo, do you want the follower to be as still as a post?
Andrew: Exactly, the follower should be firmly planted, weight evenly distributed on both legs, no infringement of her body on ours...
DT: Is it a challenge for the leader to both move himself so much and keep the follower from moving?
Andrew: I don't feel so, no. You come to a point in tango where your frame, upper body, connect and disconnect with your legs as they need to. In this particular figure I am holding the follower still with my frame as I do the gancho and boleo. My legs are moving independently of my frame
DT: If the lady is standing there still, though the occasion may be rare that would call for it, would the leader have an option to do more than one boleo.
Andrew: (laughs) Yes, I actually do that. Depending on music, and how playful the evening is, I may do 3 or 4 boleo-gancho combinations in a row. It may be unorthodox but I believe leaders do not do enough ganchos and boleos.
DT: You realize that you won't be able to show your face in certain places now (both laugh). The more common complaint is that boleos and ganchos are used like too much sugar in the coffee.
Kana, you appear to be looking at his chest, you are slightly taller than chest high on Andrew, but are you fixing on his chest?
Kana: I am probably looking somewhere between his eyes to tie area, no lower than the shoulder or chest or very top of the chest.
DT: So at least peripherally, you can see his chest.
DT: We have touched on this before, but do you find that followers get bored with figures where they are doing basic steps to accomodate the leader's flourish? And vice versa?
Kana: I think of it this way. Musician never stop practicing scales and dancers should never stop practicing walking and turning, so I don't think any molinete or any turning or grapevine can be done too much for ladies. Try to keep your technique in your mind.
DT: Andrew, if there were a workshop on this figure, the lady's role would not be that exciting for them, would you think?
Andrew: No it may be that exciting for the followers, but I agree with Kana, it is a good point for everyone, leaders and followers, to practice staying still, having their own balance, on their own axis, walking etc., sometimes with either the leader or follower doing much leg movement.
DT: And I suppose it is helpful for the followers to tell the leaders, if they don't already feel it, whether they are pulling the followers off balance during the gancho.
Kana: Yes, and other way around in other figures.
DT: It's a team effort.
The Keys:The lady needs to have her weight evenly distributed on both legs during the man's gancho, and the man must lead her to do this. So here is an example where the man is leading the lady to be still while he himself is moving.
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