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Milonga: The Baldosa Box with Variations

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Published on Apr 30, 2012

Milonga is one of the 3 basic rhythms that we dance to at tango dance parties, also referred to as milongas. Milonga is in 2/4 time and is one of the predecessors of Argentine Tango.

The Baldosa Box
A baldosa is a large tile. You are considered a great tango/milonga dancer if you can dance on a baldosa (i.e. in a small area). The baldosa box is a basic and very useful figure of tango, vals, and milonga.

Go here to view detailed class notes: http://www.tangology101.com/main.cfm/...

To see a clear demonstration of this step, watch .15 to .19 of the video below.
Variations

We then looked at many ways to alter the figure to add musicality. We started this class, by listening to several popular milonga and finding the 1 & 2 in the music. Milonga has two beats per measure. The 1 is usually the strongest and we encouraged the leaders to find the 1 and to step on it with their right feet. We also encouraged the women to be listening to the music (as always) and to want to step or change weight on each beat, unless the men specifically do something to prevent that. If the floor is crowded, I often change weight in place instead of taking the forward step at number 4 above (.22 of video). Turning the step - You can turn any of these steps, but I especially like to turn the side step (Step 5 above) 45 to 90 degrees and then turn back to the line of dance on the next back step or side step. Rocking the side step - I also like to create a rocking feeling with the first side step (Step 2) (.39 of video). I begin taking the side step to my left, then rock back to my right, collect my left and change weight. Hesitation steps (.11 of video) - I would also refer to these as traspie. Most people refer to traspie as meaning double timed steps, but the true meaning of traspie is "to stumble". Whatever you call it, I begin taking a small step back with my right leg and stop mid-way through my step. I put a tiny amount of weight back on my left and push off to take a slightly larger step. I want to resist rocking back and forth, so I don't go completely back to my left. It is more of a feeling of going back, slight pause and going back some more. We can use these hesitation steps on all of our steps forward, side, and back. (1.21 of video). I also like to do double hesitations on my side steps (4.01 of video). Toe Points (.53 of video) - I love this one and women really seem to love it as well. There are a few hints for this one. I step outside partner to the open side of the embrace with my right foot, making contact with my upper right thigh to the her upper right thigh. Then I pivot slightly to the left and then back to the right (repeat as many times as I like) and then step back with my right. Another secret is that I try to stay as much on my left as I can, so that my right leg is free to move side to side, BUT I can't lean my upper body backwards. I want to stay upright and straight. The walk around (1.51 of video). When I begin walking backwards, I keep turning clockwise with my right shoulder going away. I also take very small curved steps to try and create a very small circle. She is on the outside of the circle so she has to take much larger steps. I have to keep curving, until I want to exit. Once I get back to the line of dance, I straighten my body and she comes back in front of me. I usually do this when I step back with my left and then have her take a straight step back into my path with my back right.

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Please watch: "Out and Around: Class Instruction (Week 1)"
https://www.youtube.com/watch?v=yVCOB...
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