Modern Tango World #8 (Moscow)

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<strong>Tango</strong> Moves Raymond Lauzzana Boleos (Voleos) — Any number of leg whipping actions. Some of them are led[ others are unled. When led. they are usually caused by a sudden change in direction. The lady’s free leg either awings behind or crossward. in frony. For medium height boleos, the lfollower keeps knees together, while swiveling on the supporting leg, throwing or whipping the free leg. Boleos may be low or high; linear or circular. Iy is sometimes called a Latigazo or Golpe Fuerte when led by the leader briskly reversing directions, causing the follower to kick a boleo. In all cases, it is important for the follower to keep the free leg as limp as possible, allowing the leader to flick or move it. Circular Forward Boleo (Voleo Adelante) This is probably the most common form of boleo. It occurs when the follower’s forward circluar motion is interrupted or suspended, typically from a forward ocho. The follower’s forward leg lifts foot from the floor and flies to the side, wrapping around the standing leg in front of the knee to form a cuatro. or figure four. Circular Back Boleo (Voleo Atrás) This occurs when the follower’s backward circluar motion interrupted or suspended. Typically, this is during a back ocho. when the follower is stepping backward. When the follower’s movement is interrupted, or reversed the follower’s Linear Back Boleo (Voleo en Linea) When walking in a normal caminando, the leader may abruptly reverse directions and stop or walk backwards. This will interrupt the follower’s backward movement, causing the follower’s free leg to lift into the air behind. If done with great gusto, this may produce a voleo alto or high boleo. In a high boleo, the follower’s leg is raised to bring the thigh parallel with the floor. High boleos are banned from many dance floors because of the possibility of kicking other dancers. Linear Forward Boleo (Voleo en Linea Adelante) This occurs when the leader stops the follower’s forward linear movement, causing in the follower’s leg to lift into the air in front. Since the leader rarely walks backward, this is a rather unusual move. It is usually combined with other movement, such as the beginning of calesita with a gancho or a follwer’s frontal golpe before a sacada. Low Boleo (Voleo Bajo) Almost any boleo may be kept low by the follower. The concept is to restrain the effect of the boleo. In this case, the follower’s leg is raised only slightly above to the ankle. Figure Four (Cuatro) A follower’s adornment that crosses and raises the free leg in front of the other leg, so that the shin is parallel to the floor and the toe pointing downward to form a figure four. The free leg may then waved back and forth, before returning to the floor. Unfolding (Developé) Sometimes, during a parada, the follower steps cross behind with the foot. She then swivels 90°, then draws the leg slowly up so that the thigh is parallel to the floor. May follow other moves, such as a calesita, before recovering. — 44 — TO SUBSCRIBE, CLICK HERE
Mutual Boleos (Voleo Mutuo) In a giro combined with a colgada or volcada, the dancers share a mutual axis, as they rotate. During this rotation, the dancers alternate boleos while they spin. This is not an easy move, and requires practice together to get timing and balance correct. Kicks (Golpes) Any sudden exerted action that lifts the dancer’s foot off the dance floor. There is a huge variety of golpes that followers may employ as an adornment. Usually, these are performed during the interlude portion of the song when the leader pauses to allow the follower to express their interpretation of the song. High Kick (Golpe Arriba) While softening the supporting knee, the follower kicks the free leg as high as possible, in any direction, straightening it and pointing the toe. Kick Ball (Bola Golpe) Forward flick of the foot after touching the ball of the foot, to the floor and before changing weight. — 45 — TO SUBSCRIBE, CLICK HERE
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Modern Tango World #8 (Moscow)

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