May 11
18
Gustavo Naveira and Giselle Anne
PDF This is not new footage. They, are not new dancers. This is from CITA 2001. They are considered to be the best teachers of the teachers on the planet, and – they are an amazing dance couple!
httpv://www.youtube.com/watch?v=eHNz3vEnhUM
Watching this historical footage is part of the reason that I wanted to be good at tango. This couple amongst others inspired me!
La Cumparsita – the most famous tango! One of the most heavily choreographed as it’s often used as the finale at Stage Shows.
Something to know about the G and G couple – they know the music, they know the phrasing, and they know every accent that they want you to notice. Sometimes, it’s subtle. Often it’s sublime. But always, it’s with the music and for the music.
This is now 10 years old (at the time of writing this). Their style has changed in my view. Here, they were smoother, softer, more catlike with slightly more pause, never looking rushed for anything! They always had time up their sleeve. Before you all jump on me, that does not meant that they are not smooth et al now, I just love how this performance looks, feels and presents!
Smooth, connected, syncopated. First syncopation with Gustavo’s feet at 0:11 with Giselle’s boleo (old school style). Love it! Simple, clear, timed to perfection.
Then, I really want you to watch the pivot beginning at 0:17. This is all on axis with Gustavo moving around Giselle and changing weight as he goes. Giselle beautifully adorns this with the high foot boleo where they both take time, share breath and have a great line for the audience. The reversal of the pivot is just as important (especially if you have been following the phasing) with Giselle’s step through. Notice how her leg gets to parallel with the floor – this is what gives it such a great look!
Gustavo not changing his support leg, but keeping a block movement for the next step (0:25) gives the great line for leading Giselle around him with the 2 for 1 lead, tuck (0:27) for timing, looks and balance (to the accent guys – not without reason) and then continuation of the giro for the next great line.
Giselle makes this look stunning as she pivots (0:29) ‘in place’ giving a swivel effect before the open point (0:31) and drag. Then, mirroring the original position at the other end (0:33) also gives a great effect by Gustavo.
Moving out, Giselle hits the accent perfectly with her tuck at 0:35 right before the pivot to over-rotated ocho at 0:37. Notice ladies when asked to come forward that Giselle uses a golpecito behind, in the collect, then passes over Gustavo’s foot. Excellent swivels in before the back cross and to one of my favourite parts – Gustavo’s adornments in the tuck, the pivot and back cross tuck – all again, as you expect – to the music! Of course, not to me overlooked is the great pause right before taking off again at 0:43.
Another great old school move that is not often used anymore, and that is unfortunate, the calesita from 0:47.
Now, even though they do a closeup of the feet here and I really prefer to see the whole body – look at whether weight is transferred or not? Note the position of the free leg – straight, the knee is next to the other knee and the feet are both turned out, away from each other. This is primarily for balance, but it’s also looks much more elegant!
The split weight pivot (0:52) by Gustavo and return to the left allows the simple sacada (0:52) but more importantly, the small steps to the music in the giro to the pause!
I love the gorgeous parallel change of direction at 0:56 to the parada (0:58), the enganche (0:58) with Gustavo chasing Giselle’s leg around, then, the simultaneous split weigh pivots with a minor alteration in Giselle’s feet before leading her deep inside the open step (deep sacada) to the exit with the parallel lapiz! SENSATIONAL! Do I need to mention, it was to the music?
Oh, look, a gorgeous pause, and line at 1:03 for the music, and connecting to the audience! Taking their time, they now highlight a series of accents up to 1:24 with small changes of sides, rebote’s and simple paradas. This is extremely effective as it both contrasting to the previous section of movement and it’s to the music…
From 1:26, we get serious now – barrida’s 
Important to note dancers, that neither are actually forcing the foot one way or the other, they move to the lead of the chest, and Gustavo is ‘accompanying’ her foot there.
This leads us to the first back sacada and salto at 1:06 with another back sacada after the enrosque into Giselle’s back open step which is converted to a boleo and beautifully adorned on the exit.
Another classic tango line (pose) at 1:38 with the music! However, they reverse and split weight pivot exit – very cute!
What I really love about this performance is that they are just not rushing anything! Exceptionally smooth transitions and care with every foot placement and angle.
Another great line from the americana (or promenade for others) at 1:52 to the long low line at 1:54. Enganche, boleo to milonguero dip, all with no spacing, all with the music – super!
Coming up to the finish, we have another noticeable and clean syncopation with Gustavo’s feet at 2:22 assisting the low stylish contra boleo with americana exit, reversing the pivot with a very quick enganche, transitioning to the back sacada from Gustavo with his right leg under Giselle’s back cross with her right leads up to his famous finish, the pivots, soltada and corte!
Sublime performance Gustavo and Giselle!
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