his left. This is more difficult and it is sometimes called
walking on the darkside. Part of the difficulty arises from
the embrace, In the conventional closed embrace, the
leader’s arm must be extended across the front of the
follower. Unless the walk is very tight, close side by side,
this can become uncomfortable.
Three Tracks Inside
Walking in three tracks is undoubtedly a more difficult walk.
The walk is always in the cross
system. When walking inside,
the embrace is slightly offset
to the left, so that the leader’s
right foot is directly in front of
the the follower’s right foot. As
the leader steps forward with
his left foot, the follower steps back with her left.They step
together in unison. Sometimes, it appears as if the leader is
pushing the follower’s foot.
Three Tracks Outside
One of the more difficult
walks, walking in three three
tracks on the darkside. The
embrace is slightly offset to
the right, with the leader’s
left foot is directly in front of
the the follower’s left . As the
leader steps forward with his
right foot, the follower steps back with her right. They
step together in unison with their left feet, almost as if
they are linked together.
One Track (Una Pista)
An unusual walk, most appropriate for milongas.
The follower walks backward in linear back ochos,
always stepping directly behind her foot. The leader walks in linear forward ochos, always stepping
firectly in front of the previous foot. This can be a
very elegant way to walk. But, it is almost always
done in open embrace.
One Track Trip (Una Pista con Transpie)
The follower walks backward in linear back ochos,
always stepping directly behind her foot. The leader
crosses his foot behind, and kicks the front foot
forward.Then, he draws the rear foot in front of the
other in a cross and repeats.
side-by-side in promenades, paseos. Each of these
has many variations and deserve substantial treatment on their own. But instead, we will turn our
attention to the styles of walking.
Walking Styles (Estilos Caminando)
Different music and different embraces suggest different styles of walking, and individual dancers develop styles of walking that are best suted to their
own bodies and temperment. But, most importantantly, the style of walk should suit the music and
its sensibility. Most of the styles of walking are very
difficult to illustrate in photos or videos. They must
be experienced to be understood.
Classical Walk (Caminando Clásico)
The leader walks erect with pointed toe. The heel is
lowered just before of the toe touches, with the toe
pointing slightly outward. As the heel touches, weight
is transferred forward with a slight develope, the rear
leg is then brought forward in the same manner.
Run (Corrida)
A short sequence of very fast steps, usually less than
eight steps taken inside partner, with the leader on
the follower’s right.
Tiny Steps (Sequidillas)
Very, very short, very quick steps, possibly stepping
to every beat. This can be done by either the leader
or the follower, or both.
Slink (Escabulla)
A style of walking that takes low long steps, zancada,
close to the ground, sneaky and stealthy, like a cat.
Walking Flat (Piso Plano)
Walking without rise or fall, low to the floor, as if
carrying a platter on your head.
Up & Down Walk (Subé y Bajo)
The opposite of Piso Plano. This is a walk in which
the partners go up and down together. Sometimes
in close embrace, their hips may be in contact.
Stalking Walk (Pie de Piso)
A halting, stalking walk that tends to drift towards
the center of the dance floor. The leader is facing
about 30° towards the outside. The leader steps
diagonal forward on his left, hold for at least one
Alternative Tracks
measure, then cross steps in front with his right foot,
The description of walking in terms of tracks is halts for a measure again, and repeats.
perhaps an over-simplification. It only describes
those walks in which the dancers’ feet are in par- Tail Walk (Rabona)
allel with the line of dance.There are several walks The leader is walks in cross steps, in one track, rein which the dancers’ feet are turned to a right gardless of what the follower does. He alternates
angle to the line of dance, such as Ocho Doble. left crosses with right crosses. The walk can be forThere are also walks in which the dancers are ward or backward.
— 45 —
To Subscribe, Click here