[Tango-L] Leading with the leg

[Sergio Vandekier]

By placing the leg in a certain position at the right moment or by touching 
the leg of the woman with my thigh or my leg or by actually lightly pushing 
her leg I will induce the woman to do certain moves that she otherwise would 
not do.

High boleos (back flicks) from front ochos:

I lead the woman in an front ocho to my left. After she pivots on her left 
foot, she steps forward into  the second part of her ocho with rt, I hook 
her left foot with my left one and lift it.

This causes her to bend her knee and bring the foot I hooked up like during 
a regular boleo.
I could then put my lt.foot together with my rt. and when she pivots on her 
rt. to cross front for another ocho I go "in a mirror" (parallel) with my 
rt..

When she pivots on her lt. for another front cross I repeat the hooking of 
her trailing foot to induce another high boleo from front ochos.

Low or high amagues (front boleos or front flicks) from back ochos:

I lead the woman to do a back ocho to my left, as she crosses her lt. foot 
back I place my rt, leg between her legs (her rt. is directly in front of 
her lt. one) this induces her to cross her rt. in front for a low or high 
amague depending on the energy I place on my leg.

Empujada (pushing of the leg):

I lead the woman to do a back ocho to my left (she crosses her lt. foot 
back) I cross my rt back as well (like if i was to do a "half moon").

She would normally cross her rt. back to complete her back ocho and then 
probably step with lt. backwards.  When she crosses her rt. back I have my 
weight on my lt. crossed back and push forward my rt. to push her lt. that 
depending on the nature of my push will do an amague or will lock in front 
of the other foot and put wt. on it.

Empujada in a turn:

During a Rt. molinete I take her to the cross, I lead the woman in an front 
ocho to my left. After she pivots on her left foot, she steps forward into a 
molinete on her right . I do my first sacada on her trailing foot, then my 
second sacada  on her side step now she executes the third step of that turn 
lt. backwards after that step I over rotate her a little and with my left 
leg I touch her lt. so that she locks it in front of her rt. one putting 
weight on it.

I may repeat this last motion to lead her into pushing away from her lt. the 
rt. back so that I push again her lt. to lock in front and put weight on it. 
I could repeat this as I wish and then turn and do the same on the other 
leg.

There are multiple examples but these few one should suffice.  As to other 
moves such as hooks and leg wraps for instance. Those moves (IMO) are the 
result of a complex lead where the torso the arms, the hands and the legs 
are involved.  It is obvious that the hook would not be produced if I did 
not place my leg in the right place at the right moment; it does not matter 
if I complete my lead using other elements of my body.  This , by the way 
would be an example of the use of a complex lead that utilizes different 
elements of the body.

These observations are not only mine they are the result of my discussing 
them with great dancers of tango such as Osvaldo Zotto, Nito Garcia and 
Diego to mention only a few.

In another note I will attempt to discus the role of the hands and arms in 
leading.

Have a good day , Sergio.

_________________________________________________________________
Express yourself instantly with MSN Messenger! Download today - it's FREE! 
http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/