Tangodurians

Cascabelito Entre la loca alegria volvamos a darnos cita misteriosa mascarita de aquel loco carnaval. Donde estas Cascabelito, mascarita pizpireta, tan bonita y tan coqueta con tu risa de cristal. Let's have us a rendezvous amid the mad festivity, my little mask of mystery and carnival craziness. Where did you go, little jing-a-ling. my cutie-pie maskette, my pretty, my sweet, my coquette, with your crystal little laugh. Cascabel, Cascabelito; rie, rie y no llores que tu risa juvenil tenga perfumes de tus amores. Cascabel, Cascabelito; rie, no tengas cuidado que aunque no estoy a tu lado te llevo en mi corazón. Little bell, my little jing-a-ling. giggle away and don't cry; your laughter's youthful ring has the fragrance of your loves... Little bell, my little jing-a-ling, keep laughing without a care; you might not have me there, but I've got you in my heart. Mascarita misteriosa, por tener mi alma suspensa me ofreciste en rec

Ruben y Sabrina -Separate the body into three parts, shoulder, hip and leg -Elasticated points at the hips to the knees and knees to the feet. Be grounded, use the floor, if you are too light overall then you are floating like a butterfly, as a result the guy has no clue where you are. Lightness in the sense comes from the top half and not the legs -Think of yourself as dancing in a cylinder, always circular, always containing the energy, dance along the wall in this sense Martin y Maurizio -To balance yourself within the giro, keep the structure of your top half, collect your ribs inward, like a corset sucking in -When following the chest lead in the motion, think of it as your right rib cage always seeking theirs (when rotating to the left) -Moving back into the sacada, foot should be placed big toe first, rather than little toe Virginia Pandolfi -When preparing for the embrace, hips should be above the heel and your chest above your toes -The bend in the back does