Tango Argentino > Media Luna (Half Moon)

Discussion in 'Tango Argentino' started by Clive, Sep 3, 2010.

  1. v22TTC

    v22TTC New Member

    Clive: I, for one, hope that you don't mooch off in disappointment - I enjoyed reading your posts....

    TA has a lot of depth and emotion (and vulnerability), so it's easy for folks to be a bit prickly about it sometimes... I know I can be... especially when its entire terminolgy seems to have been set up for maximal divisiveness - someone says 'antelope', meaning 'giraffe', and the other person thinks 'elephant'... and folks are so protective of their definitions (since they are part of their own, very personal, precious Tango experience)....

    Whatever you decide, good luck!

    PS: Though yeah, it does seem to be getting very Brighton (and Hove, actually) in here at the moment:p....
  2. bordertangoman

    bordertangoman Well-Known Member

    hah do i detect South coast rivalry? Brighton toffs vs Solent Bellbottoms vs Totness hippies?
  3. v22TTC

    v22TTC New Member

    No toffs in Brighton, surely: they're way too right-on and egalitarian for that sort of thing!:roll:

    Maybe it's got worse since I left (Up North... where, by god, it is grim), though that would obviously be totally against the trajectory that most things are currently following... they keep telling me....

    Seriously though, though I pretty much hated Brighton, I've not had a life even remotely as good since I left... so if any of you guys 'down there' are ever over that way, I'd appreciate it if you could give the sea a little wave for me... (obviously, whilst waving off the seagulls trying to eat your face, with the other hand).

    Another topic, I suppose, but I'd also love to know how a Tango scene functions there, given the incredible amount of gender/sexual politics in the place.... But I'm interested in that kind of thing... and am certainly a way better follower than I am a 'leader'.... Maybe someone could pm me?...:)
  4. ant

    ant Member

    David the IDTA is primarily a Ballroom/Latin organisation and so their AT thinking is based on this. They do however offer a separate diploma for AT. This allows you to teach AT under the IDTA umbrella for AT only and you do not have to go through the hoops that the Ballroom/Latin teachers have to go through. One advantage of this means you can go directly for the Diploma without having to go through the various medal stages for instance.

    To do this you will need to find a IDTA qualified teacher in AT that can teach AT based upon the IDTA syllabus and who can organise periodic IDTA assessors to award the Diploma. It will not be easy to find a IDTA AT teacher as there are not to many of them around (maybe 2-3 within an hours drive of where you live and that includes the whole of London).

    But the real rub is that the AT that you will be trained to teach will not be what you want to teach. (thats probabally why there are not to many IDTA AT teachers around).

    We have touched upon this topic in previous threads and IMO the most practical qualification is the UKA (if you can find someone to shadow) or do what you are already doing and learn as you go along and not obtain a qualification. It was unforunate that this year's teachers week at El Corte was the follow up year for people that went the previous year but that means in 2011 the cycle will start again and I suggest that you go on that course (it is normally scheduled for the last week in August), I will let you know once it has been timetabled.

  5. ant

    ant Member

    Last edited by a moderator: Jan 25, 2017
  6. Dave Bailey

    Dave Bailey New Member

    Got a link? I couldn't see one on the site. But then the site is rubbish...

    Well, yes, but how can you get to be an IDTA qualified teacher in AT without a ITDA teacher training programme in the first place?

    I'm not bothered about doing their AT syllabus in terms of dancing. But I'd be interested in learning what teacher training they provide.

    Yeah, you may be right.

    It's a date :)
  7. bordertangoman

    bordertangoman Well-Known Member

    lets hope the exchange rate improves.....
  8. Steve Pastor

    Steve Pastor Moderator Staff Member

    and the media luna courtesy of the Castles

    This step is practically a double Cortez. The man steps forward with his right foot, holding it two counts The left slides forward one count, and the fight takes the weight for one count; thus four counts have been occupied. The man then steps back with his left, holding it two counts; the right slides back one count, and the left takes the weight for one count. The complete step itself occupies eight counts, but to get the effect the dancers must keep in mind that it must be done smoothly and easily. The position is the same as in the Cortez. The lady's step is, of course, just the opposite. She steps back left, holding it two counts, and then slides the fight back one count; the left takes the weight for one count, repeating the step forward with the right.


    (my apologies if this is already in the tread. just exploring and sharing)
  9. bordertangoman

    bordertangoman Well-Known Member

    followed by knight to QB5, mate.
  10. opendoor

    opendoor Well-Known Member

  11. salthepal

    salthepal New Member

    I was taught that an enrosque was when you pivoted with both feet on the ground, transferring the weight from one foot to the other. So yeah, you can lead a turn (or giro or molinete)with an enrosque, but I can't see how you'd do an enrosque with turning :)
  12. dchester

    dchester Moderator Staff Member

    Yes, the type with weight on both feet are the ones that I can actually do.

    There's another variation on it where the weight is only on one foot at any moment in time. It's much more difficult (meaning I suck at them).


    This video has them in a couple places (2:10 & 3:00, possibly others too). The 2:10 enrosque is during a mollinette, while the 3:00 ones are done to embellish front ochos (at least I think they are enrosques).

    Last edited by a moderator: Jan 25, 2017
  13. salthepal

    salthepal New Member

    I would say those sweeping moves he does at 3:00 are planeos or lapices (I've heard the same thing being called different things by different Argentinean teachers). As for 2:10, I would say he steps on his right foot (positioning himself to pivot on that right foot) followed by an enrosque (as he pivots, transferring his weight from the right foot to the left foot, thus freeing that right leg) then a lapiz with the right leg as he continues to lead her turn. Does that make sense at all? Basically you are doing an enrosque whenever you are pivoting without stepping.

    P.S> We might be falling into the terminology hole, but I justify it by reminding myself that was falling down a hole that led Alice to Wonderland!
  14. Subliminal

    Subliminal Well-Known Member

    A pivot without the twist is just a pivot. An enrosque is when the leader's free leg is allowed to twist around his standing leg during a turn. This energy can then be released after a weight change in a lapis or planeo to create the fancy embellishment. Enrosque is just the wrapping/crossing part.

    I've also heard of the cheaty way you talked about dchester, where weight is on both legs. I use that one too, it's a lot easier. ;)
  15. dchester

    dchester Moderator Staff Member

    I agree that the sweeping moves are planeos or lapices (sp), but I think there also are enrosques (one often follows the other). Some people also call it the cork screw step.

    This definition I found (below) states that they only happen with the molinette (which I'm questioning), but other than that, I agree with this definition.

    Enrosque — From enroscar - to coil or twist: While the lady dances a molinete, the man pivots on his supporting foot, hooking or coiling the working leg behind or around in front of the supporting leg.
  16. salthepal

    salthepal New Member

  17. newbie

    newbie Well-Known Member

    I'd never consider doing this, though I remember being shown this twist with the weight on both feet, by no less than Carlos Perez. Yet there is still some difficulty the way Carlos does it, so it is not completely cheating.

    Feet together
    Heels up
    Heels down

    The feet stay joined all the time.
  18. LadyLeader

    LadyLeader Active Member

    That was a great video; his enrosques were smooth and with variety!

    His closed enrosques (my expression) is crossed from back (2.10) and from front (3.48 ) The last one is a true beauty when he finds his way around her fot!

    When creating open enrosques you start turning when legs are separated collecting and crossing your feet just at the end. I think you could do the both above also as open.

    However the strongest enrosque flavor for me has the ones at 2.45. He is using pointed fot when turning around. Great jobb!
  19. LadyLeader

    LadyLeader Active Member

    I think there's a difference of the turning schema for pivot and enrosque. For pivot all the turning movements are to the same direction (can't came up with anything else...) and the twist is created by the delay. If shoulders are leading then the hips are late.

    For enrosques the shoulders are turning regularly giving the lead. Hips are moving freely, isolated from the shoulder movements. Twisting is more intensive than for a pivot and hips often move against the shoulder direction.
  20. Angel HI

    Angel HI Well-Known Member

    I can't believe the lengthy discussion on this.

    Guys, an enrosque is a spiral (where one leg wraps, or coils, around the other) regardless of which technique one uses to get there (and, there are several). Now, if the question is; How to do each style or variation?, OK.

Share This Page