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Modern Tango World #9 (Rome, Italy)

Rome Special Features Symbolic Roman Tango Places Mario Abbati 03 Milongas in Rome Enrico Colagrossi 08 Roman Tango, 1980 to Present Emanuela (Mela) Molinari 13 Roman Road to NeoTango Elio Astor 16 Guide to Tango in Rome 20 Endless Tango William Hudson Temples 26 Interview with Mariano Mattone (Tangothic) Raymond Lauzzana 30 Visual dancing Andreas Lange 33 From León to Patagonia and Back Eduardo Delgado Hernández 36 New Tango Music Arndt Büssing 40 Tango Moves: Ochos (Figure Eights) Raymond Lauzzana 44

Rome Special Features
Symbolic Roman Tango Places Mario Abbati 03
Milongas in Rome Enrico Colagrossi 08
Roman Tango, 1980 to Present Emanuela (Mela) Molinari 13
Roman Road to NeoTango Elio Astor 16

Guide to Tango in Rome 20

Endless Tango William Hudson Temples 26
Interview with Mariano Mattone (Tangothic) Raymond Lauzzana 30
Visual dancing Andreas Lange 33
From León to Patagonia and Back Eduardo Delgado Hernández 36
New Tango Music Arndt Büssing 40
Tango Moves: Ochos (Figure Eights) Raymond Lauzzana 44

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Spicey Ochos (Ochos Picante) The follower’s ochos<br />

are normal, except that there is noticeable hip<br />

movement and adornments. The follower knees<br />

are kept together while swiveling and the follower<br />

may click their heels when changing weight.<br />

Swivel Walk (Caminando Giratario) Walking every<br />

step with a swivel. May be backward or forward,<br />

in the cross system or or in parallel. It is<br />

not actually ochos. It is a walk by followers that<br />

exaggerates hip movement..<br />

Ochos Start (Salida en Ochos) At the beginning<br />

of the dance, if the leader is facing the outside of<br />

the dance floor, a 90° counter clockwise rotation<br />

will be required to enter the line of dance.<br />

To acpmplish this, the leader steps forward diagonal with the<br />

left foot, swivelling on on that foot 90°, and then steps forward<br />

with the right foot into the line of dance. As a result, the follower<br />

is brought into very large back ochos.<br />

Stationary Ochos<br />

Double Ochos (Ocho Dobles) While the follower does ochos,<br />

normally, either forward or backward. the leader mirrors the<br />

follower’s movement. As follower is about to swivel. they need<br />

to maintain their face-to-face posture with shoulders parallel<br />

and offset to the new direction. Of course, if follower is doing<br />

back ochos, the leader must do forward ochos and vice versa.<br />

The follower must not be on automatic. She must face her<br />

leader, and wait for his lead to the next step.<br />

Triple Ochos (Tres Ochos) Similar to ocho dobles, except that<br />

instead of dancing in mirror reflection, the dance in opposite<br />

synchrony. As the follower dances back ochos normally, the<br />

leader steps into the space that the follower vacates.. The leader<br />

must gently lead the follower to the next step by looking in<br />

that direction, rotating his torso, or pointing his foot. The leader<br />

performs forward ochos to followers’s backward ones. It is<br />

important the follower wait for leader’s indication and that the<br />

leader follow behind follower.<br />

— 47 —<br />

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