PARTICIPANTS: Tango Caminito and Milonga
De Pure Sepa; Amanda - Solo for Tango Caminito
(Choreography by Marina Shershen); Elena and
JuliAnn - Russian/ Polish Tango (1936) - Tired Sun;
Helen and Tylor - Tango on Caminito music;
Musical Director -Dr. Victor. Producer,
choreographer - Elena Pankey
De Pure Sepa; Amanda - Solo for Tango Caminito
(Choreography by Marina Shershen); Elena and
JuliAnn - Russian/ Polish Tango (1936) - Tired Sun;
Helen and Tylor - Tango on Caminito music;
Musical Director -Dr. Victor. Producer,
choreographer - Elena Pankey
Thank you Elena, for the wonderful and
joyful opportunity you gave me in dancing.
Also, I want to thank you for the wonderful
show you produced at El Mundo del Tango
in 2008. I hope one day I can dance as
beautifully as you, and make you more
proud of me. Your are My Teacher! You
are a gift! Your student, ElenaDrefg
joyful opportunity you gave me in dancing.
Also, I want to thank you for the wonderful
show you produced at El Mundo del Tango
in 2008. I hope one day I can dance as
beautifully as you, and make you more
proud of me. Your are My Teacher! You
are a gift! Your student, ElenaDrefg
| Love your new web page. It is very well done. Congratulations! Juliann |
| OFFICIAL RULES of TANGO DANCE. SALON TANGO WORLD CHAMPIONSHIP: Once a couple is formed, the partners shall not separate as long as the music is playing. This means that they cannot break the embrace, which is considered the tango dance position. 2. For the position to be considered correct, the partners must constantly hold each other by means of the embrace. During certain figures this may be flexible, but deviating from the embrace should be not continuing throughout the entire piece. 3. All movements shall be performed within the space allowed by the couple’s embrace. 4. The jury will give special relevance to the couple’s musicality, elegance, and walking style. 5. Within these guidelines, participants may perform any figure commonly used, including barridas, sacadas close to the floor, and enresques. 6. Ganchos, leaps, trepadas (climbs), and any other typical stage-tango moves are completely excluded. 7. Couples, as in a real dance hall, shall constantly move counterclockwise and avoid remaining in the same place for more than two musical measures. 8. No contestant may raise his or her legs above the knee line. FROM THE BOOK: Gotta Tango. Argentine Tango Anywhere, Any Time,- by Alberto Paz and Valorie Hart |
Show by students of Tango Caminito Dance School
Frame is a space where you control all movements. LEFT ARM: Watch your left arm and
elbow. For most of all movements, it does two bodies. It should be in the front of your left
side (not behind), making an equal side triangle with your left side and the floor. It goes a
little down for a smaller women or it goes a little bit up for a taller women.
elbow. For most of all movements, it does two bodies. It should be in the front of your left
side (not behind), making an equal side triangle with your left side and the floor. It goes a
little down for a smaller women or it goes a little bit up for a taller women.
Turn YOUR TORSO, upper part of your body to the right side where your partner is located
almost at all movements. Turn your HIPS to any direction you want to move, keeping your
torso with your woman. Keep your SHOULDERS down in a relaxed position. Watch your left
shoulder to be down. While keeping your right shoulder down, keep your right arm from the
shoulder to the elbow far away from your side, in a diagonal position. Never bring your right
arm close to your right side. It never touches your right side.
Dance each movement. Tango is not a destination. You don’t run forward all the time, but
dance around your partner and for her! You goal is not a destination, and not to navigate faster
to get to the end of the music. You dance the music: every 4 bits you change the variety of
steps, never go to the box or walk. Tango is a dance for a comfort and pleasure of a partner.
Every second of it devoted to your partner comfort, balance, and support. You dance her and
show her off.
almost at all movements. Turn your HIPS to any direction you want to move, keeping your
torso with your woman. Keep your SHOULDERS down in a relaxed position. Watch your left
shoulder to be down. While keeping your right shoulder down, keep your right arm from the
shoulder to the elbow far away from your side, in a diagonal position. Never bring your right
arm close to your right side. It never touches your right side.
Dance each movement. Tango is not a destination. You don’t run forward all the time, but
dance around your partner and for her! You goal is not a destination, and not to navigate faster
to get to the end of the music. You dance the music: every 4 bits you change the variety of
steps, never go to the box or walk. Tango is a dance for a comfort and pleasure of a partner.
Every second of it devoted to your partner comfort, balance, and support. You dance her and
show her off.
Keep your fingers in a contact with her back, as well as your palm. Use your hand for some
movements helping with the lead, when you press your fingers stronger or you press the
hill of your palm stronger, slightly bending your whist.
Your Right arm moves parallel to the dance floor closer to women right side and holding
her under her armpit (close position). It is good and necessary for some movements, like a
promenade start, leans, volcadas and so on. For others, you move your right arm to the left
side of a woman (open position). Your right arm elbow has to be bending all the time, with
some pressure of your right fingers on her back, providing and keeping the specific space
for women where you could control all movements. You want to limit women freedom
while dancing, never letting her do her own way of movements for more than 2 seconds.
Your goal in this dance is to be more in a control, and lead precisely. This is why you keep
her in a closed embrace. In tango, you do not dance often in an open position. It has more
dis advanges for a man lead. It is weak position.
movements helping with the lead, when you press your fingers stronger or you press the
hill of your palm stronger, slightly bending your whist.
Your Right arm moves parallel to the dance floor closer to women right side and holding
her under her armpit (close position). It is good and necessary for some movements, like a
promenade start, leans, volcadas and so on. For others, you move your right arm to the left
side of a woman (open position). Your right arm elbow has to be bending all the time, with
some pressure of your right fingers on her back, providing and keeping the specific space
for women where you could control all movements. You want to limit women freedom
while dancing, never letting her do her own way of movements for more than 2 seconds.
Your goal in this dance is to be more in a control, and lead precisely. This is why you keep
her in a closed embrace. In tango, you do not dance often in an open position. It has more
dis advanges for a man lead. It is weak position.
Whatever you do, keep woman space under your control, and NEVER stretch your right
elbow straight.
Your TALE BONE is down for all movements. Your LEFT LEG, while moving forward, is
always stretching forward (completely) with the knees stretched. You never step or move
forward (for example, in a “salida” ), with your left knees bend. Stretch your left knees
stronger for an extension between movements, almost locking it, and relaxing right before
next movement. Keep your RIB CAGE up forward, please focus on it, and don’t collapse
on it. You might use it to lead women, by pushing it forward (like it is in walks forward).
Lead with your HEARD turning it to the left for her left Mulinette, or turning it to the right
for her right Mulinette.
elbow straight.
Your TALE BONE is down for all movements. Your LEFT LEG, while moving forward, is
always stretching forward (completely) with the knees stretched. You never step or move
forward (for example, in a “salida” ), with your left knees bend. Stretch your left knees
stronger for an extension between movements, almost locking it, and relaxing right before
next movement. Keep your RIB CAGE up forward, please focus on it, and don’t collapse
on it. You might use it to lead women, by pushing it forward (like it is in walks forward).
Lead with your HEARD turning it to the left for her left Mulinette, or turning it to the right
for her right Mulinette.
Watch your left arm would not go close to your heart either.
RIGHT ARM: position of your hand and of your right arm to the elbow is on the bra line of
women. It might change position slightly depends on her heights. However, that position is
always parallel to the dance floor (but not diagonal).
RIGHT ARM: position of your hand and of your right arm to the elbow is on the bra line of
women. It might change position slightly depends on her heights. However, that position is
always parallel to the dance floor (but not diagonal).
| CONTACT TO GET COMPLETE ARTICLES ON TANGO TECHNIQUE FROM THIS LIST |
| FOUR TANGO STARTS. ENTRADA. FOUR POSES. DOUBLE SENTADA. BARRIDA. PLANEO. OCHO Y BESOS. RULE CON GANCHO. GIRO CON CASTIGADA. OCHO-CORTADO (Milanguero). GANCHO ABIERTO. GANCHO CERRADO. SACADAS. CORTE. LA PARADA. BACK OCHO (ADELANTE or REVERSE OCHO). DOBLE OCHO. FRONT OCHO. VOLCADA. WALKS. LOS CAMINOS. El PASO FELINO. THE CAT WALK. El LANZAMIENTO. El LATIGAZO. LA DERECHA. LA IZQUIERDA. LEAN. MOLINETTE. |
| MAIN TANGO STEPS $12 is for nonmembers AND $10 - for members CONTACT US WITH THE NAME OF THE MOVEMENTS YOU WANT |
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