what is this move called?

desinel said:
Hello again...

Could anyone kindly tell me what the official name of this move is... the lady is almost embrasing his right leg with her left leg lifting it high up... sort of... it comes on 00.54 seconds of the clip...

And what is a lady meant to fill to do a kick backwards (not a boleo... just a kick...) on 1.02 minutes...

http://www.youtube.com/watch?v=E4uW3Si484k&mode=related&search=

Many thanks,

Alyona
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The first thing (at .54) is a leg wrap, which he then unwraps very quickly.

For the second thing... What I've always felt is a very strong intention to move backwards, led both with the body and the arms, which is then not followed by a change of weight but instead it gets stopped short by the leader's arms. Hard to describe.
 
It looks like a little enganche. A hook, like Peaches said.

The second move appears to be a back boleo. It is hard to tell from the camera angle whether it was led or taken, but with that move, basically the follow is stepping backwards, only to have the lead shift the direction of her center forwards before she commits her weight, and you get that sort of rebound movement of the leg. (Not recommended in social settings for obvious reasons!)
 
Interesting, for the first one it doesn't look like she actually wraps her leg around his, it seems to be at the side of his leg the whole time. Is it still a leg wrap?

The second one I would call a back linear boleo, led as described above. Just keep your legs relaxed and you can't miss it! ;)
 
It looks like it does wrap ever so slightly, but it is gone pretty quick. Perhaps a Momentary Leg Wrap? :) Actually it looks like a leg lift as much as a wrap.
 
Yes, I was thinking it could be seen as a decoration. He does a sacada, and she could choose to keep her foot close to the ground rather than lifting the leg.

Well, not so important maybe :)
 
Teh first one you saw (at :53) is a little leg wrap (enganche) which is technically an adornment in this case (IMO). If she left her leg loose and swinging free she'd probably have done a ronde'. But to keep the movement compact, it's usually controlled by the follower as a little leg lift and wrap for tight spaces.

The other I kept seeing that is nearest to what you are describing are back linear boleos. The first one she did at the 1:00 mark coming out of the crusada may not have been a linear boleo, but an adornment. I did see some others in there that looked led though later on.
 
Thanks to you all!

Could anyone kindly recommend a clip (or two) where such decorations (as the number one) are more obvious, the way out and how one arrives to them... as I am sure there are many interesting ways...


Re the second... I didnt realise it would be put into the category of boleos as I thought a boleo is meant to have a sort of sicular movement too... not just a kick... unless it is a sentada (?), which is a forward boleo (?)... I havent come across a 'linear boleo' terminology... interesting...

Are all ladies adornments done with her toe being pointed?

thank you,

Alyona
 
Linear boleos come about from the same principle as a circular boleo- change of direction of movement for the follower. In the case of the linear boleo, the direction is forward, back (or also side) instead of a round motion out of an ocho (circular boleos). I beleive a sentada is a "sit" position though I've never officially learned them so please someone correct me if I am wrong about that.

One thing about that leg wrap. Some people find it a little intimate and don't like them. ( Maybe people here are a little bit reserved. I think they are fun and sexy but I'm known to be a little quirky. ;-P )I don't think I've actually had more than 3 people lead a deep enough sacada with the rotation necessary to do the enganche and make it a natural consequence of the rotation out of the sacada. I definitely don't do them with just anyone because I feel like it (usually with just my SO). It definitely has a "feeling" of when it should occur rather than just being thrown in because the guy has done a little sacada and is rotating you around him. If the sacada's not deep enough, I just let the leg collect around in a tiny little circle because it won't feel right to do anything else.
 
bastet said:
Linear boleos come about from the same principle as a circular boleo- change of direction of movement for the follower. In the case of the linear boleo, the direction is forward, back (or also side) instead of a round motion out of an ocho (circular boleos). I beleive a sentada is a "sit" position though I've never officially learned them so please someone correct me if I am wrong about that.

One thing about that leg wrap. Some people find it a little intimate and don't like them. ( Maybe people here are a little bit reserved. I think they are fun and sexy but I'm known to be a little quirky. ;-P )I don't think I've actually had more than 3 people lead a deep enough sacada with the rotation necessary to do the enganche and make it a natural consequence of the rotation out of the sacada. I definitely don't do them with just anyone because I feel like it (usually with just my SO). It definitely has a "feeling" of when it should occur rather than just being thrown in because the guy has done a little sacada and is rotating you around him. If the sacada's not deep enough, I just let the leg collect around in a tiny little circle because it won't feel right to do anything else.
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You're not the only one who likes them. I l.o.v.e. a good leg wrap. Soooo sexy.

I'm not sure I agree with the idea of a leg wrap being a type of adornment, not much different than a sacada. For me, the leads for the two things feel very distinctly different. The sacada is a more aggressive feeling (even if done slowly and gently) displacement action, the wrap feels like more of a scooping action. I don't know how else to describe it.
 
well... as far as I remember (I can double check, but I am quite sure) Federico, (who I believe teaches Tango in London, and whose DVDs I consulted when I was trying to learn some figures) used the term 'sentada' for the forward voleos, and the terms 'voleo', for backward ones... perhaps it varies from one teacher to another...

I also find leg wraps incredibly beautiful and would like to master them all... but i would feel very uncomfortable doing them in front of my husband... as I also feel they are quite intimate and my husband may translate them differently....

We had a lesson which was almost all devoted to this particular type of wrap... that was with Eduardo.. I just didnt get the original name for it as I often have difficulties undertsanding Eduardo...

I think we arrived at this particular leg wrap in a much simplier way than shown in the clip... I think i was just stepping with my L straight and then L right, he was doing a sacada slightly bending his knee (i think)... and this is how I ended up doing the wrap...

I wish there was a special workshop organised here for women only and for various wraps and adornments and decorations to simply go through them all and polish them... I wonder whether there is anyone in UK who does such workshops...
 
Peaches said:
You're not the only one who likes them. I l.o.v.e. a good leg wrap. Soooo sexy.

I'm not sure I agree with the idea of a leg wrap being a type of adornment, not much different than a sacada. For me, the leads for the two things feel very distinctly different. The sacada is a more aggressive feeling (even if done slowly and gently) displacement action, the wrap feels like more of a scooping action. I don't know how else to describe it.
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The lift seems to be an adornment (for the one done in this video at least) in the sense that the follower *could* leave her leg down and because the sacada is very deep before the leader rotates she'd get a pretty good size ronde' out of it, so in that sense the leg wrap is an optional lift done by the follow to conserve space. But, like I said, if it's a very shallow sacada before the rotation happens, I generally don't feel the need or desire to lift anything, I just get a little sort of mini-arc before I collect. I'd have to talk to my other half about the "scoopiness" of said action as it's always seemed to me that it had more to do with depth of sacada and amount of rotation around the leader than anything else, but that's just what I feel rather than what may actually be happening. It would seem to me that if the leader's leg hasn't truly invaded the follow's space, then scoop or no scoop, there's not much chance of a lift looking nice when he rotates her. I'll have to double check on this afterwhile.

My comments about the leg wrap being an adornment only refer to this particular wrap in the video, not any of the others that may be lurking out there in Tango land. Since the one that is done in this video is one I am very familar with, I know the ladies leg can be done more than one way, up or down. (Down just takes up lots of space in this particular case- not a problem as they are on stage- big problem in a crowded room).
 
"Could anyone kindly recommend a clip (or two) where such decorations (as the number one) are more obvious, the way out and how one arrives to them... as I am sure there are many interesting ways..."

Peaches wrote, "I'm not sure I agree with the idea of a leg wrap being a type of adornment, not much different than a sacada".

Legs wraps, boleos, and ganchos are not adornments.
from http://www.close-embrace.com/tangoembellishments.html

"Embellishments are little flourishes that the follower does to decorate the steps that the leader gives her. (emphsis added by me) In tango followers are always standing on one leg or the other, never both. The leg that the follower is standing on belongs to the leader. He put her there and it is her job to stay on it for as long as he wants her there. However, the free leg belongs to the follower and she can do whatever she wants with it as long as she is ready to step again when the leader proposes."

"Boleo - From bolear - To throw: A boleo may be executed either high or low. Keeping the knees together, with one leg back, swivel and return on the supporting leg with a whipping action of the working leg. Sometimes spelled Voleo. - See Latigazo. According to the official dictionary of the RAE (Spanish Language Academy), "boleo" is simply the act of "bolear" and that means to throw "boleadoras" to trip an animal and make it fall."

It is the "whipping action" of the woman's free leg that gives the linear boleo its name.

Boleos and ganchos are taught as movement initiated by the leader. The outcome is the result of simultaneous motion being arrested or reversed by the leader. With the correct posture and technique, the woman allows the momentum to move into her her leg to create the motion.
It is usually pretty obvious when the woman does them on her own. Some call them fake boleos and fake ganchos.
 
Steve Pastor said:
"Legs wraps, boleos, and ganchos are not adornments.
from http://www.close-embrace.com/tangoembellishments.html

"Embellishments are little flourishes that the follower does to decorate the steps that the leader gives her. (emphsis added by me) In tango followers are always standing on one leg or the other, never both. The leg that the follower is standing on belongs to the leader. He put her there and it is her job to stay on it for as long as he wants her there. However, the free leg belongs to the follower and she can do whatever she wants with it as long as she is ready to step again when the leader proposes."
Click to expand...

Again, if you look at the video clip, this particular wrap didn't *need* to happen. She *could* have left her leg down and let it swing. The leg was free (and belonged to the follower) and from what I could tell, he didn't reverse any move he made to actually cause a wrap so it seemed like a voluntary action on the follows part in this instance. I am familiar with other outside wraps that are led, but just can't agree that this particular one is necessarily that sort.

I do believe I also mentioned that this particular wrap also has a "feel" to it and I don't make indiscriminate leg wraps to leaders just becasuse I feel like doing a wrap. But the lifting of the leg on this wrap is something I generally do becasue I've trained myself to it for space considerations, and that is how I was taught it. Perhaps there is a downward motion to it as well, that may differentitate it from a sacada which initiates a large ronde', but like I said earlier, I'd have to ask the person who usually leads these to me first, as I am not sure.
 
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