Location: Vancouver, WA across the river from Portland, OR
Posts: 2,220
Quote:
The goal is to better symmetrize our dance.
A worthy goal.
In the end though, I think you will find that the "embrace" that we use affects how well you can do things on one side or the other.
And, as long as you have a steady partner, this won't be much of a concern, but the more symmetrical you get, the more it will confound and challenge new partners who themselves have to try to be symmetrical.
DO report back on how it goes.
Last edited by Steve Pastor; 02-08-2010 at 05:01 PM..
Reason: yup, two w's not one!
Worked on backwards walking, inviting the follower to step into my space. Ugg. I have a feeling I'm making this harder on myself by over-thinking it.
Worked on dancing in small spaces. Subtle small steps, forward, back, side, hesitation, weight changes, etc. Keeping the movement as tiny as possible.
Spent some time on a simple pattern, the front ocho to the leader's right, then the follower step back in front and collects. (Like the ocho cortado without the cross.) I remember I was complaining about signs of progress a few months ago, but now I feel like I've peeled back another layer of the onion. When I first learned the step, my teacher chided me for being too tight, restricting the movement of the follower. A few months later, it was all about supporting the follower's movement by keeping the arm loose but containing. Now we're dancing very close, and I'm supposed keep my arm snug... but not restrictive. Which a few months ago would have seemed like a contradiction, but it kind of makes sense now.
We made a breakthru today..playing Pugliese and the dark tango that slows us down and makes us pause!! just what the doctor ordered...all giros smmmooooooth and all outside parallel walking...with impeccable balance....we are both soooooo happy!
Breathing...I'm finally noticing my breathing ...and I think that it's because my breathing is finally becoming 'normal' to the movements...exertion = exhale....walking=normal breathing....stillness, pause=normal breathing..feel it in and out...beauuuutifulllll...
PS..fwiw, I feel that our breakthru today was after a two day lay off and that somehow during the resting period, we both put it together on some unconscious level..perhaps, muscle learning during sleep...something happened!
Also, my partner says that she finally 'understands' the dance (after 8 weeks 4x a week plus a milonga)!...we've each session talked about the different walks and which figures will come off of each...parallel outside inside crossed footed etc. etc.. well, I'm sooooo pleased to hear her say that as I remember my confusion at the one and a half year mark....wow, it is working!
Her quote; " Yeah, because now I can understand the dance!"
Breathing...I'm finally noticing my breathing ...and I think that it's because my breathing is finally becoming 'normal' to the movements...exertion = exhale....walking=normal breathing....stillness, pause=normal breathing..feel it in and out...beauuuutifulllll...
Oscar Mandagaran told me something in a private lesson that I wish now I could remember verbatim, but it was all about how the breathing and movement in tango (especially for the leader) is like the expansion and contraction of the Bandoneon... hmmm.. gonna have to go back and give that some thought... i think the implication was that it is actually tied to the bandoneon's part within the piece? Anyone else here ever take from Oscar and remember his thoughts on this? It couldn't be a perfect mimic of the playing of the instrument, because in some music, you'd end up hyperventilating!
I'm not sure I've heard that before Zoops, but my teacher has worked on breathing with me before. Mainly as a subtle form of lead to help indicate syncopation/traspies.
... it was all about how the breathing and movement in tango (especially for the leader) is like the expansion and contraction of the Bandoneon... hmmm.. gonna have to go back and give that some thought... i think the implication was that it is actually tied to the bandoneon's part within the piece? Anyone else here ever take from Oscar and remember his thoughts on this? It couldn't be a perfect mimic of the playing of the instrument, because in some music, you'd end up hyperventilating!
Interesting thought, but I wouldn't think it was feasible, as you pointed out. How would a dancer even know which direction the bellows were going?
I like to breathe deeply sometimes, just as part of the dance. And, I enjoy it when my partner then breathes with me.
Interesting thought, but I wouldn't think it was feasible, as you pointed out. How would a dancer even know which direction the bellows were going?
I like to breathe deeply sometimes, just as part of the dance. And, I enjoy it when my partner then breathes with me.
Maybe it wasn't meant to be literal, but just a correlation of the long vs short breaths of the instrument? Or maybe not even that... just a visualization of the expansion and contraction and how to use it with the breath in the lead?
Maybe it wasn't meant to be literal, but just a correlation of the long vs short breaths of the instrument? Or maybe not even that... just a visualization of the expansion and contraction and how to use it with the breath in the lead?
I haven't taken classes with Oscar, missed them when they last did a workshop here, but I've had several teachers use that example - for breathing, for the embrace, for varying the dynamic of the dance. I don't think it was literal. I kind of thought it was a common metaphor amongst tangueros 'cause of the allusion to the song "Igual que un Bandoneon" (the same as a bandoneon).
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Last edited by tangobro; 03-08-2010 at 09:19 AM..
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