Below is a sample page from the Argentine Tango Level 3. Tango 3 is DanceTutor's first attempt at presenting the text in an interview format. The persons giving the instruction are the dancers, Andrew Conway (Philadelphia, Pa.) and Kana Kubota (New York, NY).
Turning Mutual Boleos (Cadena or Chain)
DanceTutor (DT): I find it interesting that both of your are kicking at the same time as you are rotating on the non- kicking foot.
She will next put the
foot down (not shown) and...
...lead the leader to...
Andrew: That's true. As we're doing the boleos, I force her boleo and as I turn into her, she does the boleo. I am forcing it and I am turning and then as Kana walks into me, she is forcing me into the boleo. Kana has really nice boleos, her knees are together. I should be doing the same thing. Everyone when they boleo should have their knee on top of the other knee as their leg comes across the front. One thing the followers may hesitate about is that as they give us the boleo, they're walking into us and turning also. It is great to do this with a follower that can come at us and give us that forced boleo.
Kana: I call it cadena or chain. You might have seen it without boleo. Sometimes you just keep walking around each other. The lady does back ocho and gentleman does sacada, so that brings my leg up and then when I do sacada, his leg goes up. This can be done without the boleo, just all feet on the floor, which is graceful and elegant, or boleo, or even gancho. In the performance level you could do gancho as well. Socially I would be keeping my foot on the floor, but this is probably more towards performance.
DT: Andrew, in every kind of dance, students say, "I can do that move, but I don't look like so-and-so doing it." If it were to be broken down, is there a way that you could take a move such as this one and refine ANY student into looking great doing it?
Andrew: I believe so. And so far it's been challenging, some people are more concerned about how they look than others.
DT: It's patience too, isn't it?
Andrew: It's a lot of patience.
Kana: I think very fortunate to have lots of patient students really devoted. But I think people who have that patience stay with tango, cause tango is infinite effort.
DT: You teach other dance forms as well, Kana, so you're a good person to ask whether tango students are more perservering than students in other dances?
Kana: In tango, for life. (Laughs). You can't come to the end, always find more. I wish many more people will take more time to learn technique , not such much in a hurry to learn many different moves. Sometimes you get student who study six months and learn so many moves without correct body frame. It so much harder to re-program than start from scratch with good technique.
Andrew: Well, I agree with you that a lot of people take workshops , learn interesting figures like this and then donít use them. There are things that just fall to the back.
DT: Andrew, I asked Kana about Argentine tango in Japan. You recently gave Argentine tango workshops in Ireland this year (2002). How is tango taking in Ireland?
Andrew:: The tango community in Dublin is small but dedicated. The number I was given was about 150 people actively dancing Argentine tango. Recently in Cork County there is an Argentine tango community developing.
DT: Among other great things, Ireland is a land of soccer and step dancing. Did you notice that they were any more adept at ganchos?
Andrew: No, but they do a lot of dancing there.
The Keys:The couple is continuously and steadily turning to the music as they "walk into" each other. Knees should be together, one on top of the other, during the boleo. The lady may be unaccustomed to walking into the gentleman. This cadena (chain) may be performed with ganchos, boleos or neither.
Previous Page Table of Contents Next Page
Home Page Suggestion or Observation Email.
If referring to a particular video,
please indicate the number
4x's larger video
Copyright @ 2002 by
Dance Tutor, Ltd.