5 Biomechanical Tools

The Biomechanics Solo workout video (sent to you before the workshop): Fierce Balance.

Biomechanics 1: Projection


The Anatomy Tour


(visit the Exercise Center for videos)

The Mark communicates Intention for a direction

There are only three directions:

The Revel is responsible for connection: with blade/of palm and fingerpads, with BOTH HANDS

The Revel Projects

Impro 1: Cross to Voleo and Gancho

The Transfer of Weight

Solo walking finding demi point and point in the sending leg in front and side steps and in the receiving leg in back steps.

“2nd projection” is the Revel’s old base leg that has just finally been de-weighted and is now projecting toward it’s old position. This is the key to perceiving crosses!

Marking Crosses

From Cross to Pro Circular Voleo

Solo exercise: co-contraction on a circle on the perimeter of a circle defined by your arms

Together, from cross to circular voleo.

Revel’s technique for circular voleo:

Finding Ganchos from Cross

See TangoForge on YouTube: Elements of Tango: Gancho for all the variations.


Biomechanics 2: Arch of Connection

Axis is not useful for tango because it doesn’t manage lateral force, and it tells us nothing about connection.

The tango connection is based on an arch, made by each dancer creating and constantly repositioning their body’s arc.

The arc goes from base leg’s heel, to ass, to rib cage.

Solo practice: Base leg’s rib cage over the knuckle of base leg’s big toe + 1cm hip flexion (pull your tailbone back NOT UP)


(visit the Exercise Center for videos)

Yoga as a tool for getting these muscles working: stretching happens because of hardworking muscles…

Up-stretch, use heels to pull away from fingernails, feel slight hip flexion.

Knuckles on the wall, shoulders in external rotation, triceps contracting. (Change feet, build your arc from the heel up through the rib cage.

Balance is mutual!

Open embrace double gancho, find the arch!

Back sacada into mutual balance

Vio’s first jewel for applying tango beyond the contraints of the embrace: find mutual balance with ANY point of contact. Mark doesn’t try to hold or support the revel’s spine. The Revel takes support where she wants and Mark uses body to support her there.


Link from Impro 1: Using the arch to direct the Revel’s 2nd projection into crosses and change of foot while walking…

Impro 2: Sacadas to Ganchos


Dancing with Revel’s projection only

Vio’s second jewel: Tango touch means that the Revel will project (stabilize the base and extend free leg in direction of mark’s intention) with ANY contact. (Mark has to feel to figure out which projections are possible.)

Sacadas are only possible if the Mark can create Revel’s projection without moving his own body yet toward a step

Sacada Game

No embrace. One person receives steps, the other enters. Then change roles.


See TangoForge on YouTube: Elements of Tango: Sacada for all the variations.

Sacada Technique

(Now we are in the embrace, marking the sacadas.)

It’s perfectly fine to dance a whole dance of only sacadas

Sacada to Parada

You can stop any sacada at any time, by stopping the process of transferring weight.

Sacada-Parada to Gancho

After decelerating a sacada to a stop, the Revel is standing on two feet. This gives the Mark every possibility for ganchos and Time to Think! He can close the embrace, walk around her, set up the geometry to make a voleo into a hole or around his body (piernazo).

For this and more, see our two-session Ganchos class:

password: cocontractionstation