Twisted Body by Enrico Massetti

Preface It is an approach to formalization of dance of Argentine Tango with the goal of automatic dance generation. A hypothesis of human movements origin from "climbing" and "running" functions and their implication on dance design. Dance poses and energy for movements are defined by twists in torso and hypothetical twists in pelvis. Through this the detailed description of all basic tango dance elements is given. Three types of tango walk is considered. A hypothesis of origin of dance rhythms leads to understanding of dance structure. Dance elements form a mathematical group of human movements. A number of generators of subgroups of this group serve as mechanisms for dance design. The text of the book is not formal and accessible to dancers. Author is trying to show interrelation between major "coordinates" of an improvisational dance: movement, energy, structure, music rhythm, interaction and space. Disclaimer: The author does not take any responsibility for any actions and the result of the exercises given. Keywords: dance theory, artificial intelligence, dance patterns, tango, group, subgroup, generator, kinesiology, dance notation, "twisted body".

Introduction This book establishes fundamental concepts and terms for the formalization of Argentine Tango dance. It is has dual goal: to establish a set of axioms and rules for artificial, computerized dance creation and to serve as a foundation for understanding and teaching the Argentine Tango itself. How well this goal is accomplished, future developments may show. The author has the background in Argentine tango, but believes that it is possible that the proposed concepts can serve as a basis for formalization of other dances and movement activities. For dancers who are reading it, I must say that this is not an instruction booklet. The concepts introduced are abstract and difficult from the very beginning. The logic of building a workable theory requires that. In my research I was guided and will continue guiding myself with he following: • • • • • • • • • • •

"In Tango everything is led"; "Tango is a dance of African origin"; "Tango can be danced in a very confined spot"; Tango can be danced on stage with large, attractive movements, poses and gestures; Tango is an improvisational dance. Ability to improvise to unknown music, to lead an unusual, to be with a partner is the most valuable. It means one has to be perfectly understood and one has to be able to follow anything right in the moment. A successful dance theory must answer the question how. A successful dance theory must explain origins of movements, source of energy for movements; A Tango theory must explain equally well all styles of the dance, every element without exception, specifically including the "vintage" ones, and invisible ones, those which are not performed on stage for the luck of visibility; A successful tango dance theory must help in explanation not just tango but equally well any dance and human movements in general: ballet, modern, ballroom, salsa, flamenco, martial arts, other dances and sports, etc. A successful dance theory must explain how to express in dancing the most complex rhythms and music; A successful dance theory must help in learning, explaining, and documenting the dance;

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A successful dance theory must help in choreography, provide ways to expand dancing vocabulary, to improvise on spot; A successful dance formalization allows automatic generation of dances.

To understand principles of dance, we should find sources of energy for movements, dance engines. There are three of them. It is torso, pelvis and "legs below the knee". The most important ones are torso and pelvis. They define the structure of the dance figures, look, feel, and lead-and-follow principles. A body moves harmoniously as a single entity, but the main source of energy defines dancing styles. In Argentine Tango, movements mostly originating from Torso form a dance style I will arbitrarily call "Salon". Movements originating mostly from Pelvis form a dance style I will arbitrarily call "Orillero". I'd like to stress the word "mostly". In the most advanced dance the distinction between styles disappear allowing free movement of the body and free transition of energy between its parts. A dance theory must decompose human movements, actions into smallest meaningful elements and provide ways to assemble them back into figures. As a mechanism of that I have chosen a notion of mathematical group. A dance is a mathematical group of movements. As the smallest element of dance construction I propose a "pattern generator" which is a certain generator of human dance movements group. Argentine Tango has an advantage over other dances in formalization process, since it is a relatively simple dance. It practically does not have jumps, lifts, spins, aerials. The body does not bend. It is very clear. It is a "walking dance" by the fact that it mostly is done and can be done with the feet on the floor. Spatially, it essentially utilizes two dimensions of the floor. At the same time, this dance is very reach, including all important human movements, turns, pivots, complex syncopated rhythms. With its improvisational nature as a couple dance, when each dancer in a couple can be represented by a separate computer program, it is very attractive and suitable for modeling in Artificial Intelligence research. My use of Argentine Tango terms is arbitrary. They are not necessarily convey the same meaning as it is accustomed in the tango communities. The reason for that is that there are no unambiguous definitions of these terms. Prominent tango teachers put various meaning in them. While in the theory I have to find exact meaning and make it complete, covering every issue and style. I used the words from tango language to help associate this theory terms with familiar figures and concepts. I have introduced many new terms. Officially, the terms I use are reflecting only the meaning I give them in this book, and this is not a history book. This book is the work in progress. It is only an introduction to Argentine Tango dance theory. I hope to provide more articles with broader analysis and descriptions.

Several general abbreviations. "Left" will be abbreviated as L, "right" as R. This a symbol of a woman. If X is a foot or a leg, then ~X is another foot or a leg.

is a symbol of a man, and this

A name of the theory presented here is "Twisted Body" Dance Theory of Argentine Tango.

Table of Contents • • • •

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Abstract Introduction Table of Contents Origins of Movements in Torso o Twist of Head in Relation to Upper Torso o Torque o Abbreviation for Torque o Several Notes, Disclaimer Origins of Movement in Pelvis Region Abdomen Area as a Direction Stabilizer. Extra Twist to a Dance Arms as an Amplifier of Torso Positions Pose Defining Parts Altogether Arms Dance o Side Position Arm Twists o Lead with Arms Twists Introduction to Embrace Legs Twist and Feet Positions Torso Twist and Rotation of Torso Center o Three Ways to Move Center: Torso Twist, Spine Shift, and Spine Bend Origins of Poses: "Monkey" Model Origin of Poses: "Horse" Model. Three Kinds of Tango Walk o Toe-First Short-Step Tango Walk o Body-First Tango Walk o Rhythmic Opposition of Toe-First and Body-First Steps o "Knee-Lock", "Hip-Bump", and "Hip-Push" o Tango step and Latin step o Toe-First Long-Step Tango Walk o Running Fundamental Poses o Algebra of Poses. "Glued Feet" Pattern Generator o Symbolic Abbreviations of Poses o Going with Torso o Going with Pelvis o Going with Torso and Pelvis o The Diagram Summarizing the Stages, Transitions. Graphical Abbreviation of Poses o The Symbolic State and Transition Diagram of the "Glued Feet" o Going with Legs and Feet o Transitions of "Glued Feet". "Two Feet" o Pivoting in "Glued Feet" o Other Transitions Parada o Parada Pose: Body, Legs, Feet o Feet Positions: Forward, Zig-zag, and Promenade Concept: Changing Pose While Moving from Leg to Leg o "Liberty" Pose o First Tango Figure: Cunita o Pelvis Action During Cunita o A Rule of Changes During Any Cunita Complementarity of Poses. Dancing with a Partner. Main Principle of Tango o Cunita with a Partner o Rolling

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o "Cunita" Pattern Generator Lead-and-Follow o Adaptation Principle o Leading and Following Principle o What is Leading and What is Following o Exchange of Lead and Follow o The Difference between Adaptation and Following Concept: A Move o Side Step Left From Cunita o Definition of the Move o Side Step Right From Cunita. Other Simple Figures o Side Cunitas A Pivot While Pushing From the Leg to Change the Couple Orientation Concept: Mutual Direction of Partners Origins of Dance Rhythm and Its Implication on Structure of a Dance Figure A Saw. Feet Together Positions Barrida o "Barrida Star" Pattern Generator o Combined "Barrida-Cunita" Pattern Generator o Zig-Zag Walk o Center Movement in Zig-Zag Walk Side Step Left From Cunita with Barrida Inside o Building the Dance Tsuki Boleo o Boleo and Tsuki o The Difference between Boleo and Barrida o Leading Boleo and Pivots o Foot in Boleos o More about Boleos o Boleo in Front, Really Big Boleo o Boleo Pattern Generators Closer Look at Steps Algebra and Performance o Toe-First Step Forward Formula is o Body-First Step Forward Formula is o Toe-First Long Step Formula is Pivoting from Side to Side Positions What is a Pattern Generator Repositioning to the Right and to the Left. "X" Pattern Generator. o "X" Pattern Generator Chart o Side-Parada Two-Steps Move o Figures Generated by "X" Pattern Generator o A Leg in Front Instead of Leg Behind. Overlapping of Pattern Generators o Three-Ray-Star Pattern Generator with Body-First Steps o Mutual Location of Partners: on the Left or on the Right. Side Position Directions o Mutual Location of Partners on Frontal Walks o Slowing Down. Inserting Elements Inside Arrepentida from Cunita o Pelvis Charge by Pushing from the Floor o Arrepentida and Torso Charge o Exchange of Signals Between Dancers Performing Arrepentida Together Traspie, "Arrepentida of Traspie" Introduction Syncopa Tango Rhythm o Phrasing A Movement Exercise to Syncopa

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"Arrepentida of Traspie" o Traspie Forward o Rebound Corte y Quebrada Corte y Quebrada Rhythm Corte y Quebrada on "X"-Pattern Generator o Suspension: Pause on 4 in the Middle o Asymmetry of Superposition of Dance Figure Movement Rhythm and Musical Rhythm of Syncopa Origins of Spatial Directions in Dance Corte y Quebrada: Third Way with a Leg Wrap "H" Pattern Generator o Combination of "X" and "H" Pattern Generators Energy Wave of Moves o Three-Steps-One-Move o The Three-Steps Turning o Milonga Box o A Short Summary Foot Change o A Foot Change on Toe-First Step o A Foot Change of Body-First Step o "Square Box" Pattern Generator Pattern Generators: Concatenation and Modulation Pattern Generators: Following and Transformation Third Dimension o Colgada, Leverage o Apilado Case Study: 8-Count Basic o 8-Count Basic, the First Way, Salon  Salida  Transition to prepare for 3-Step-to-Cross done with Boleo Turning 90° Left  How to Lead Boleo to the Left  Transition to Prepare for the 3-Step-to-Cross in a "Regular Way"  What is Cross  Going to Cross from Side-Position on the Same Leg  3-Step-to-Cross  Transition from Cross preparing for Resolution  Resolution  "8-Body-Twists" Basic  Step Diagram of the 8-Count Basic done with Boleo Turning 90° Left  Step Diagram for the 8-Count Basic with the Preparation for 3-Step-to-Cross done in the "Regular Way"  Step Diagram of the 8-Count Basic done in a Rectangular Way  Step Diagram of the 8-Count Basic Done in a Most Unusual Way  Timing and Rhythmic Feel and Variations  Common and not so Common Improvisations  Apilado Notes  Obtaining the Stage 4 Pose with Glued Feet Pattern Generator o 8-Count Basic with the Circular 3-Step-to-Cross o 8-Count Basic with a Foot Change done simply. "Cross Basic" o 8-Count Basic, the Second Way, Orillero  "Open Body to Cross Body" vs. "Side, Foot Change to Cross Body"  "Opposite Barrida to Cross and to Liberty" vs. "Opposite Barrida to Parada"  "Side, Foot Change, and to Parada" vs. "Side, Foot Change, and to Liberty" o Inserting Cross into Milonga Box. The Third Way of 8-Count o Unwinding 8-Count Basic in a Line  Milonga Box Resolution in Line

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 Boleo with the Redirection to Left Going Around the Woman  Man's Opposite Parada in Promenade Pose o Making 8-Count Basic with Turning to the Left Twice o How to Lead Her to Forward Step Instead of Cross. Continuation of the Circular 3-Step-to-Cross into the Second Half-Turn ending with Boleo with the Redirection to Left What is not in the Book Artificial Intelligence and Dancing Epilogue Literature o General o Tango o Tango Videos o Articles o The Author is Dancing Tango

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Attention ! Dangerous !!! The author does not take any responsibility for any actions and the result of the exercises described in and resulting from this text. It is recommended that you exercise under guidance of an experienced trainer after thorough warm up. The power generated by your body may greatly surpass any imagination and be harmful. Beware !

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Running Existence of 2 major types of walk correlates with well known notion of two types of running. May be what I describe is a key to understanding their differences and advantages.

Fundamental Poses In the theory presented in here, a fundamental pose or just a "pose" is a combination of torso and pelvis twists. Let us shortly review the elements of a fundamental pose. There are 5 positions of torso: Neutral, Twisted L and R, Overtwisted L or R. There are 5 positions of pelvis: Crossed L and R, Open L and R, Side. Combined, these 25 positions of torso and pelvis will define a pose. We will omit the position of the "nose" (where a dancer is facing). We will assume that the waist area serves the purpose of adjustment to a certain direction, but is not a pose defining element. We will take the twist in the arms as supporting for torso twists and omit the "dance of arms" for now. We will assume that positions of legs, their direction and twist are defined by the pose and serve to the best interest of adjustment to a partner at the current moment. In other words, a pose is a way a body is charged with energy. This charge of energy defines possible changes of poses accompanied with movements and positions of head, arms, and legs. Perhaps not surprisingly, these poses form a palette of poses used in Argentine Tango. Let us get acquainted with the algebra of poses.

Algebra of Poses. "Glued Feet" Pattern Generator Pattern Generator is a structure to prescribe and limit possible movements and, therefore defines patterns built with these movements. I will present several pattern generators in this article. In our case, pattern generators will be shown graphically. At first I need a pattern generator which helps to go through most of all poses, 14 of them on one leg. - A very small diagram of this pattern generator. A dot means a pose on one leg, a line means a leg extended. The idea is this. Standing on one leg, another one extended, from a pose to go to another pose by changing twist in the torso (emphasized by arms) to an opposite twist trying to go through all pelvis positions keeping feet at the same place, "glued to the floor". To enable it, facilitate it, and make it easier, turning left or right 90 degrees with each change will be done while possible. Pivots are allowed. Let us introduce a coordinate system for the exercise. Assume you are standing on the L leg and the R leg is stretched to the side. It is shown with the dark "grounded" dot in the center and a line with or without white arrow extended right. Some other arrows are "noses". Assume you are facing "north" (N). The torso twist is with L arm up and R arm side, "twisted to the right". This is a starting pose, an initial position. You are gong to pivot on both leg keeping both of them at the same spot where they are keeping feet flat to the ground. The center should be kept over the standing leg 100% or as much as you can. The sequence of pose transitions is - initial position is on L facing N; - pivot -90° to L facing west (W); - from there pivot -90° to L facing south (S), -180° from N; - from there "pivot" -90° to L facing east (E), -270° from N. During this change there is no actual pivoting in the foot, only repositioning of the "nose" due to overtwisting of torso. It is not a direction of a standing foot which goes through a directions, but a direction of the "nose" and therefore, upper torso; - return to initial position going in reverse; - pivot 90° to R facing E; - from there pivot 90° to R facing S, 180° from N; - from there pivot 90° to R facing W, 270° from N; - return to initial position going in reverse; - in place, change torso twist to opposite: standing on L leg, R is stretched to the side, the torso twist is with R arm up and L arm side, "twisted to the left"; - go through all other poses like before. Do not forget to change arms with every pivot: one arm is up and another is side. I am using the N, S, W, E directions as a simple reference mechanism. Also pivoting helps to keep abdomen area twist absent. All pose changes are produced by twists in torso and pelvis, and twisting of legs and pivoting of feet. I describe these transitions with torso, pelvis and legs separately and then altogether. They will be described first than summarized in a table. Another, main reason "why pivoting" is that in this construction pivoting is a static process. It is produced solely by tensions in muscles and requires significant energy. Therefore, it helps in understanding what is going on. Going through poses in "Glued Feet" is a very difficult exercise, it is far from a beginner's figure, but it is a simple, logical way to memorize poses.

Symbolic Abbreviations of Poses

In search for symbolic abbreviation of poses, I offer this way: "L<>SS". The name contains 5 symbols, from left to right:: 1. 2. 3. 4. 5.

L or R is a standing leg; < or > is a direction of the upper torso twist, L or R. It can be "n" or "=" for neutral; < or > is a direction of the lower torso twist, L or R. It can be "n"or "=" for neutral; S, L, R is a pelvis twist: side, to the left or to the right; By default, the pelvis is always "crossed pelvis". N may stay for neutral; S, F, B is a direction of the free leg: side, forward, or backward. N may stay for "feet together".

Each pattern generator may put additional properties on poses. In "Glued Feet" its the direction of the nose. It will be specified with N,S,W,E symbols like this: L<>S-N. The dash is used to separate the pose properties from generator specific properties. Neutral position, if needed will be abbreviated like this: L==XY. X and Y stands for a variable, for example, X can be L or R, Y can be S, F, B. In this theory S as X should be avoided, see later. In many cases the position of pelvis and the free leg are irrelevant, so the neutral position can be expressed as L== or R==. ~X means "another leg than X. "xy" can be used as variables for torso parts. Then ~(xy) will mean the opposite twist. For example if xy="<>" then ~(xy)="><". This method makes the pose abbreviation clear what part is turned where: <>, but there is an ambiguity. For example L<> is a pose which is equivalent to R><, not to R<> which is an opposite pose. I do not know yet how to solve it conveniently. Sometimes I will use L(Parada), or R(Parada) when it provides clarification. May be this way is better.

Going with Torso Let us go with torso first. The initial position is Twisted Right. It means L arm up, R arm side. With each pivot the torso twist will change to opposite, It means arms positions will change to opposite too. Use muscles of torso as the source of energy for changing positions. Stretch arms as much as you can. Observe directions precisely. Keep the body as vertical as you can over the same foot. Go left to the end then right to the end and back several times slowly. Find energy for pivots inside the torso, charge it more ! Now take the initial position and change it to Twisted Left. It means R arm up, L arm side. And go through all other 6 positions.

Going with Pelvis The initial position is Side. After the first pivot left it becomes open ( and the free R leg is back). After the second pivot left it becomes crossed and stay crossed for the third. Going right, after the first pivot, it becomes open, but the free R leg is forward. After the second pivot right it becomes crossed and stay crossed. Use muscles of pelvis as the source of energy for changing positions. Pay attention, that the first pivot left must be done by moving R hip very much back. It is like opening legs wider, not opposite. You can go by twisting from Side to Crossed instead of Open. Twisting from the Side position to Open or to Twisted is not the same. Opposite muscles are involved. Therefore it is important to practice. Crossed pelvis positions are common in Tango, Open pelvis positions are frequent in Latin dance.

Going with Torso and Pelvis Now you can combine Torso and Pelvis parts.

The Diagram Summarizing the Stages, Transitions. Graphical Abbreviation of Poses This diagram shown below has 7 rows and 2 columns. Columns are abbreviated L and R, rows: -3,-2,-1,0,1,2,3 from top to bottom. I will abbreviate each cell like 0L or 3R, or -3L. All poses are on the L leg. Each position is represented by two small drawings of a body structure and "feet-and-nose" position. The main row is the 0-row, the middle one which corresponds to the two charged side positions. For two poses at the 0-row, "feet-and-nose" diagrams are the same. It is convenient to take these poses as starting poses, nose is North. Left column from top to bottom show poses after changing pose pivoting contra-clockwise ( and correspondingly from bottom to top - clockwise). Right column from top to bottom shows poses after changing pivoting clockwise. Rows -3 and 3 are the extremes. At the bottom of 0L there is a small symbol of rotating left with a foot and nose changing. At the right of 0L there is a small symbol of torso twist change only. This diagram on a printed page may be divided into two. It is quite difficult to align it all in mind as it is written. Practice actual movements.

All 14 most important poses on one leg (left one) are presented here. I have found that the"Glued Feet" is a good, memorable way to study poses and transition between them. It is possible, of course, to go with one change of torso and/or pelvis through several spatial positions "in one twist" as well as to change torso twist staying in the place. A number of patterns generated can be very large. As you can see all the transition between poses in this construction form a mathematical group. Transition between torso positions and pelvis positions done separately are the subgroups. These groups are the basic groups of the dance. Other groups formed by other pattern generators producing patterns, "dance figures" like the one here are formed by combination of these groups, certain constraints and other things which we will study. As we will find more later, all other pattern generators, structures, figures, katas present ways to study poses and transitions. And they are combinations of poses and transitions.

The Symbolic State and Transition Diagram of the "Glued Feet" On the Left leg -3 L<<RF-W L>>LB-E -2 L><RF-S L<>LB-S -1 L<>LF-E L><RB-W 0 L><SS-N <-1X-> L<>SS-N 1 L<>RB-W L><LF-E 2 L><LB-S L<>RF-S 3 L<<LB-E L>>RF-W

[this part of the tabel is omitted]

The table contains 14 poses. Overall, there are 36 combinations of the four properties like "<<RF". Twenty two poses are omitted: <<SF, <<SB, <<SS, >>SF, >>SB, >>SS, <>RS, <>LS, ><RS, ><LS,... all poses related to the side position of pelvis or a free leg except L<>SS, or L><SS. These two represent a nice, clean side poses with L or R arms up.

A transition from top to bottom between rows may be abbreviated like -1PL90X-> or "pivot "P" left "L" 90 degrees on the same "1" foot with changing torso "X" ". A number can be omitted. Symbols '-' and '>' or '<' forming an arrow, represent the direction the transition, from what pose to what pose. A transition from bottom to top between rows can be abbreviated like -1PRX-> or "pivot right on one foot with changing torso. Note that in the transitions between rows 2 and 3 and -2 and -3, there is no actual pivot, only torso is changing. A transition at row 0 is <-1X-> or "changing torso staying on the same leg". It is possible in both directions. I want specifically mention several transitions with larger angle than 90 degrees done in "one twist": L><SS-N -1PL180X-> L<>LB-S and back which is <-1PR180X-

It is done with Note that the poses are from different columns; It might be 180 degrees rotation. more intuitive to write: L<>LB-S <-1PL180X- L><SS-N, since it is turning left. L<>LB-S -1PR360X-> L><RF-S It is done with and back 360 degrees rotation L<>RB-W -1PR180X-> L><LF-E It is done with and back 180 degrees rotation; It is interesting to try to change the torso twist to opposite, like from <> to ><, and perform the same transitions going with pelvis. In the mentioned direction torso release of torque helps pivoting, in the opposite one - not. Pelvis energy is transmitted into torso charging it, which can be released to another pose transition. With some experimenting, it seems to me, is possible to find other muscles in torso which create opposite torque with the same twist. This requires further research.

Going with Legs and Feet Go through the poses using twisting and pivoting energy of legs alone. See 2) in Legs twist chapter. You will find that this greatly facilitates pelvis twist and adds a lot of energy. Both legs twist to the left for the left column changes, and the right for the right column changes. This is not a hint, but a way to produce a dancing style equal in importance to "main energy comes from twist with torso", and "main energy comes from pelvis", namely, the "main energy comes from legs and feet" style. It should be thoroughly studied.

Transitions of "Glued Feet". "Two Feet" So far we have met 2 types of transition between poses: -1X-> and -1PX->. If "moving from leg to leg" transitions are added, with changing pose or without, and all transitions are done with different rhythms, we may have a huge number of combinations. "A Glued Feet with moving from leg to leg" pattern generator graphical abbreviation is in on the left. It can be called "Two Feet". It coincides with Cunita (see later). For now I do not have a better abbreviation, so which one is used will be explicitly specified. By default it is Cunita. "Two Feet" contains two "Glued Feet" on opposite legs. Let me summarize available transitions in a table. -1X->

A transition of torso pose staying on one leg without a pivot

-1PX->

A transition of a pose with pivot.

-2->

A transition moving from leg to leg without changing pose of the body and without pivot. 2 symbolizes two points of contact with the floor. One step - two points.

-2X->

A transition moving from leg to leg without pivot with changing torso pose (Cunita, see later)

-2PX->

A transition moving from leg to leg with pivot with changing pose.

All these transition are possible on any pose with different rhythms, taking energy from legs, pelvis and/or torso. With some exceptions like -2-> is done only by energy of legs. A complete table should be developed. If needed, pivoting can coincide with the movement from leg to leg. Here I mean pivoting when both feet are "glued" to the floor.

Pivoting in "Glued Feet" I will explain details of various methods of pivoting in a separate article. There are many of them, around 20. Now I say that it is possible to pivot on a standing leg using energy of torso and pelvis from a static position in such a way that after the pivot, the free leg comes around the standing leg to exactly the same point on the floor. As a result, the free leg changed its direction, for example, from back to front. This pivot may be considered as a part of "Glued Feet". This pivot may be a combination of boleo and barrida (see later) and will be abbreviated like them. There is a peculiar execution of transition -2X-> if one of the poses is neutral. There is nothing illogical here, and a new abbreviation does not have to be made. Here is an example:: X== -2X-> ~X(Pose) If Hip-Push has to be emphasized, a symbol H is put on the arrow -2XH->

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Case Study: 8-Count Basic Regular "8-Count Basic" consists of 3 parts: "Salida", "3-Step-to-Cross", and "Resolution" (Resoluci贸n) . "Salida" and "Resolution" are common names, they are little step combinations usually used "to frame" a figure between them, even though, for example, Juan Bruno used the word "Salida" as a synonym to "a figure". 8-Count Basic is a figure which is far from simple, but it usually is used as the first one to learn in Argentine Tango. At least this way was in the recent past. Every prominent teacher has his own basic figures, but this one is considered to be a must to know for any tango dancer, no matter of style. Why 8-Count is so important? There should be good reasons for that. May be one of them is that it is a model for the whole dance. Its three parts present three important parts of an artistic creation: beginning (Salida), dramatic development (3-Step-to-Cross), and grand finale (Resolution). This three parts symbolize the time life of any system: birth, life, and death. In this presentation, I will describe how this figure can be done in grand ways, not as it is usually presented for beginners. The explanation is condensed. To understand it, one has to work with the book diligently trying to execute what is described. Unless your body is able to do it, you will not be able to understand the depth of what I am talking about. The three parts are connected. The first and second part transition, I call it "Transition to prepare for 3-Step-to-Cross", can be done in different ways. The second and third part transition is always the same. Not paying attention to these transitions produces hectic, unmusical feelingless dancing which only makes sense in an occasional fast performance when the whole 8-Count is danced in 2 measures. Usually "8-Count Basic" is not danced to 8 beats. It is slower.

8-Count Basic, the First Way, Salon Salida Stage 1.

Initial pose, dancers are facing each other. The weight is on a man's L. Note that his torso center is on L too.

L><SN

R<>SN

R leg Saw to the Liberty pose for the man, and the Parada for the woman. Note that during this the torso center moves from L to R (for the man).

L<>LB

R><LF

L><SS

R<>SS

"Side Step Left From Cunita" two-step-one-move is done, exactly as it is described in the book above. The center comes to L. The final pose is.. This two-step can be done with a pivot to R or even to L as it is described in the "A Pivot While Pushing From the Leg to Change the Couple Orientation". Note that during Salida the body twists twice.

Transition to prepare for 3-Step-to-Cross done with Boleo Turning 90掳 Left Changing direction of the couple as happens here is very useful, but not the most common, "regular" way. To understand what is the most common way done grand, we have to consider this first.

Stage Prerequisite

During the previous side step, a man did not step farther than the woman.

From this position, a man leads her a boleo to R (in one direction). See the Boleo chapter and the explanation below. Body twists once but a lot.

Ready for the next part,"3-Step-to-Cross" posing for the right starting moment.

L<>RF

R><RB on the right of the man

How to Lead Boleo to the Left To find how body works during a boleo see the chapter "Boleo". A man leads a boleo with his torso the same way as if he makes a boleo himself. And it is the best way to learn how to lead a boleo: to do it himself. It is shown on the picture 1) here. Man's change is L><SS -1Boleo-> L<>LB. Woman's change is R<>SS -1Boleo-> R><RB. In one direction only. Starting to change the torso twist in the opposite direction leads the boleo in reverse direction with the characteristic "leg through", if you wish to do so. But not now. During this Boleo it is important to pivot a little in the direction of the boleo which makes the foot directed away from the partner. Free foot of the boleoing leg should be directed toward the partner. (The partner position after the dual boleos is essentially a promenade position). During the stage 4 of the 8-Count Basic done with the "Boleo Turning 90째 Left", as shown on 2), a man leads the boleo with his torso which moves just like explained, but he does not do boleo with his own leg. His own R leg stays in place, but his body as the whole turns L about 45 degrees pivoting slightly on L. He looks at her. She is looking at him too, her "nose" will be 45 degrees left from the direction shown on 1). His final position is L<>RB. The woman's standing R foot must be directed toward the man's center. It assures her pelvis twist R. She should stay on her "axis" very well extending her torso forward "around the man" very much. After or during her finishing her boleo, he moves his leg forward doing Barrida making a transition L<>RB -1Barrida-> L<>RF as shown on picture 3). Among all, this charges his pelvis for the next step. He is in the Parada pose, she is in Liberty pose now. She is on his right, i.e. the mutual direction for man "on the left" of his partner, for a woman her partner is on her right, see the "Origins of Spatial Directions in Dance" chapter. While going to Parada his torso center moves toward the back leg even more allowing her to come closer to him moving her torso center even more forward. The whole pose is majestic! Other people may name it "a pose after step 2 of the basic before step 3".

Transition to Prepare for the 3-Step-to-Cross in a "Regular Way" Some teachers teach this transition with feet together, others with the boleo, some without it, some even in the "second way" (explained later). The "Regular Way" is a design when the side step is done side and the next step is done forward outside of the partner in the direction 90째 to the side step, a specific tango element. This is an important moment. What is done at it is the "Boleo in the Body", a very compact and difficult element.

Stage Prerequisite 4.

During the previous side step, a man does step farther than the woman. Even though a man's upper torso is twisted left, he

L<>RF

R><RB

obtains his pose by turning his body very much to the right, opening very much the the right. She obtains her pose by facing him and by moving her left side of the torso forward, very much forward, to the extreme. She literally twists into him with her torso twist.

on the right of the man

While doing it with boleo in the way explained previously, the boleo is big, the body is twisted a lot, but since the leg is also moving a great distance, it does not feel that much. Now, the body moves much more than in a regular, big boleo as if it makes the boleo "inside the body", body moves more to compensate for less of the leg movement. Her leg does not move much, only 90째. Standing feet pivot toward a partner's torso. That is in the opposite direction when doing it with Boleo! Man's free foot make a Barrida-like movement forward around her. 5.

The obtained poses are the same. Ready for the next part: "3-Step-to-Cross".

What is Cross Cross on L leg is when the pelvis is twisted L and the free R leg is positioned behind the standing L leg in such a way that its knee is behind the standing leg knee. Feet do not have to be together. The most common way for a torso is to be neutral, "arms side". But it is possible for body to be twisted <>, which is pretty usual, and even >< , in so called opposite cross, a very rare element. Cross can be obtained with many transition from many other poses and steps: after back step, side step, boleos, forward step. It is essentially a modified Liberty pose obtained in execution of a forwardstep-like movement turing left usually around the man.

Going to Cross from Side-Position on the Same Leg Assume that a dancer is in a side position on R, see a). B) shows the next step and the obtained pose which is Cross. Movement to the cross is mechanically and rhythmically a "Body-First" step. It is done turing to the left 90째. Pivot on the standing, R leg is essential. The step is very short. Pelvis is charging twisting right and that propels the dancer. Body which is twisted in the side position, untwists and that gives more energy for the movement to cross. It feels like pelvis and torso drag the free L leg to its new position. After the step, the free R leg just stays where it is. Nothing prevents a dancer to step at b) as far as possible. But if it is done during 3-Step-toCross, it is done following. It means that during execution, the dancer tracks the partner so that in the final position her torso is in front of him and the standing foot is directed precisely toward his torso center. Picture c) combines a) and b). Practice this, than you will understand.

3-Step-to-Cross The picture on the left marked 3SC shows the parts of the 3-Step-to-Cross with body drawings and body diagrams. Above is the woman's part, below is the man's part. On the drawing below it is the foot diagram.

In the explanation below, numbers 1), 2), 3) will mean pictures on the 2SC diagram, and numbers 1.,2.,3.,4., will mean feet on the feet diagram. On the foot diagram, man's 4 does not have to be near 3. It is convenient to have it slightly behind. Some dancers put the R foot crossing behind the 3. These two alternative locations are marked with â&#x20AC;˘ on the foot diagram.

Stage 6.

3-Step-to-Cross starts with the pose obtained on the Stage 5. It is 1). Man and woman stand on the foot 1.

L<>RF

R><RB on the right of the man

Transition from 1) to 2) is a two-step-one-move over B) point. A woman from a Liberty pose comes to Side pose. It is not quite side, since she is staying on his side maintaining the direction of her nose to him. It is a side step done in backward direction. For a man, he goes from Parada into the side step going forward in the direction of her back leg. The general direction of his body is about 45째 to R, toward her. Since it is the side step, his torso center does move to L in relation to the man's torso which is a signal for her to go the way she goes. Note that overall his center moves exactly in the direction of the first two steps line.

L><SS, or even L><BS

R<>SS,or even R<>RS

L==RBorL===N(feet together)

L==LBCross.

Look at the feet. Position 3. of man's L foot is very important. It is not toward her, but Forward, in the general direction. A man consciously positions the foot this way. It allows easy performance of the next stage. The length of his step should be smaller leaving her the room for the next stage of moving to cross. Body propels much, the energy of the step is large, it is a "Milonguero Step". But the step itself is quite small keeping the knee under the center. She propels her R leg into position 3 far behind the foot 2, so that all feet 1., 2., 3., are on the same line. Her pelvis may even turn R overcharging for the next stage of going into cross. She consciously puts the leg far behind herself. It feels with the stretch of the right hip back. Pleasant ! 1) to 2) can be reversed and done in reverse 2)-1). Essentially all twosteps of 8-count can be reversed. Final positions are.. 8

Transition from 2) to 3) is "Going to Cross from Side-Position on the Same Leg" which was explained above. The man initiates the movement by turing his upper body to the left. Note that since in the previous Side position, his lower torso is already twisted to the left, and his L foot is already directed correctly, he only turns his upper torso. It is can be done slow after a pose on stage 7, but usually it is done faster, so the man's lead of the Stage 8 starts even before he arrives on the L leg. That helps to accommodate to a woman. The right man's leg must stay behind while she is moving to cross. It helps make the execution cleaner and maintain the posture. Man may bring it closer to the standing leg and move the torso center on it when the woman completes going to her cross. With experience, this "bringing of the leg" as a preparation for the next stage is done together with the woman's move, but it is "following" her. Final positions are.. Note that her pelvis during the whole 3-step makes the full twist from R to L like in a tango turn! 3-Step-to-Cross is a tango turn unwinded into

a line. A location on the floor where he is going to put R foot and move his weight to does not have to be near the L foot. Depending on the situation, how woman behaves. I have found it useful to be slightly behind. Or even very much behind ! It can also be done as an Arrepentida. When a man transfers his weight on R, especially during Arrepentida, his center moves to R over the neutral position. Next stage, Stage 9, starts smoothly, immediately from that. It produces a seductive, wavelike motion in torso. This is like in Zig-Zag walk. Note that during 3-Step-to-Cross the body twists twice. The second time is to the neutral.

Transition from Cross preparing for Resolution Stage 9.

When at this moment dancers are in the neutral torso position, preparation for the next step can be done in two correct ways. The first way is to go out "Toe-First" (see the three chapters about "Toe-First" steps). Another way is "Body-First".

R><LF

L<>LB

10.

And then they go into "two-step-one-move" stepping (for the man) L than Side. This is element is well explained in the book. The final position is a side position. This two-step can R<>SS be done in reverse.

L><SS

11.

A Saw to "feet together". This can be done slow. It can be a foot change. Or not. If dancers make the foot change they appear at the beginning, at stage 1 ready to perform the majestic 8-Count Basic again. May be in a different way. So, coming back to the initial poses..

R<>SN

On stage 9, the dancers prepare for the step staying in place. From neutral positions they obtain the Parada pose for the man, and Liberty for the woman. During this, man's free foot goes directly to her foot under her torso center, his L touches the floor on the left of her R foot very close.

Resolution Stage

L><SN

Note, during the Resolution, if a charge on Stage 9 is taken in account (from neutral) the body twists 3 times !

"8-Body-Twists" Basic During 8-Count Basic, the body twists 8 times. 2 during Salida, 1 at the boleo-like transition, 2 at the 3-Step-to-Cross, and 3 at the Resolution. This figure is indeed "8-Body-Twists Basic".

Step Diagram of the 8-Count Basic done with Boleo Turning 90째 Left Here are step diagrams of the 8-Count-Basic. They are identical. On the top diagram, the numbering reflects Stages described in this book. On the bottom diagram, for your convenience, the numbering reflects "steps" as it is usually counted at other tango classes. Stages 8-10 show only man's part, since woman's part is identical (but opposite leg). This diagram shows approximate direction of the steps in space. If it is done as described, the final position is 180째 from the initial one. Making 8-Count twice should bring dancers to the same spot on the floor.

Step Diagram for the 8-Count Basic with the Preparation for 3-Step-to-Cross done in the "Regular Way" It is exactly the same diagram with the 90° angle. For the explanation how to do it see above. This figure is a "figure turning left" since the final position 90° left from the initial one.

Step Diagram of the 8-Count Basic done in a Rectangular Way

This is what is mostly taught moves are done in a condens the Leg to Change the Coupl

In social circumstances, the f of dance.