| Followers should wait for the lead (not anticipate). | | | | | |
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| Vals. | | | | | |
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| Navigation. | | | | | |
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| Etiquette. | | | | | |
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| Pauses. | | | | | |
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| Milonga (the dance). | | | | | |
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| Open Embrace. | | | | | |
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| Close Embrace (V-Shape). | | | | | |
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| Improvisation. | | | | | |
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| Close Embrace (Apilado). | | | | | |
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| Disassociation in rotation between shoulders and hips. | | | | | |
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| Technique for walking forward. | | | | | |
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| Techniques for Following. | | | | | |
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| Balance. | | | | | |
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| Timing and rhythm. | | | | | |
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| Maintaining line of dance. | | | | | |
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| Leaders should wait for the follow to complete her step before leading another. | | | | | |
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| Technique for walking backward. | | | | | |
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| Maintaining one's axis. | | | | | |
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| Overcoming the emotional hurdle of close embrace. | | | | | |
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| Musicality. | | | | | |
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| Embellishments. | | | | | |
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| Contra body motion. | | | | | |
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| Posture. | | | | | |
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| History of Tango. | | | | | |
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| Techniques for Leading. | | | | | |
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| Collecting the feet. | | | | | |
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