Discussion in 'General Dance Discussion' started by DancePoet, Nov 18, 2007.
If I had to pick just 3, my choices would be waltz, tango and quickstep. I guess I am a standard dancer at heart.
No contention, but why? I am hoping that this thread will point out the benefits of each dance as they apply to the dancer as well as the other dances.
Would it be cheating to say tango, milonga, and vals? ;-)
I'll have to say Cha Cha, Tango and Waltz.
Tanya, Peaches, MBB,
Please come back and share why you believe these dances to be the best contributors to one learning to dance. I'm really curious.
Oh, I was just being facetious. If you're talking about the three best dances to learn for the technique they each convey...I've got no clue. If we're talking about favorite dances...well, nothing holds a candle to AT for me.
I've kinda got a soft spot for swing, just b/c of it's exuberance; ditto for quickstep and vw...but I suck at those and kind of avoid them.
I suppose it's about balance for me. There's the cheeky and fun Cha Cha, the sexy and passionate Tango and the graceful and slow Waltz. They kind've balance each other out. (The fact that they're my favourite dances has nothing to do with it).
Going along with MBB's theory, I'd have to say waltz (for the elegance you learn), cha (for the quickness and sassiness you learn) and then I'm torn. To go with the "balance" I'd probably have to go in a direction that I don't like to go. How about I just say one should learn 2 dances?
Many know me as the AT teacher, and on a given day, I would have to agree with you. But, on another given day, the Slow Fox sneaks in at the #1 spot. Then AT and SF battle it out all day for my favori. It is so difficult because they have such similarity and so much to offer dance.
Heh. And I hate SF with a passion.
Could you explain this statement a bit further?
Edit to add: I guess I could make reasoned arguments for the three AT dances. From vals you learn fluidity, it's the "romantic" one of the three, and it seems to combine some of the always-in-motion aspect of milonga with some of the stateliness of tango.
Milonga teaches lightening fast weight changes, creativity under fire (for the leaders, at least), and requires excellent connection and following-sans-thinking, which I feel is almost a skill in itself. It's the playful release of the three.
And tango...well, tango is just pure elegance. What can I say? It's the foundation. Posture, carriage, waiting...it's all learned here. With the available time from the (generally) slower tempo, and the inherent pauses, the pressure is on to learn to dance even while not moving. It's the showcase for expression.
For those who have learned and danced SF from the inside out not the outside in (from the concepts of movement rather than from a syllabus), we learn that you have answered your own question. Take your last statement above, and replace Tango with SF. Its rise/lower, something missing from AT (I don't say that negatively), is what gives it slower tempo, inherent pauses, and specifically its need to dance even while not moving.
Now, don't get me wrong. By no means am I going to place SF above AT on my Favori. I just list them side by side depending upon the mood if the day.
Seem like I'm going to be in close agreement with several..
SF or IR or Bolero AND AT or Hustle or WCS AND student's inspiration
SF for the reasons already explained -- it allows for the "best" journey/progression for understanding the movement of two bodies and involves nearly all the concepts needed for such. And as such will normally evolve along a very "technical" progression. If the student has no intent on learning standard, however, I think Bolero could be substituted for SF, since its another "universal" dance covering practically all concepts of moving two bodies as one and tends to require the same technical focus. If a latin-only person balks at learning Bolero, IR could be substituted, but SF is probably the better choice for them.
One of the Lead/Follow disciplines -- since you need to learn (and I beleive this needs to start from the beginning and not only after you've mastered the technique) how to move your self, your parter, or the couple. You need to learn the dialogue, you need to learn to dance rather than move. For a well-rounded (multi-style) dancer, I'd probably suggest not-AT, for a standard only dancer, then AT would be the best choice here.
Finally, I think the third dance will change. It should be whatever dance most captures the excitement and imagery of dancing for the student in question (and yes this will be different for each student, and will change over time for a student, and at times it might mean there's only two dances on their plate). This should be the training that helps them learn to let the emotions flow through their dancing; it should epitomize the reason they want to dance.
or in other words:
1) Two bodies moving as one
2) dancing as conversation
3) Physical expression of music and emotion
Separate names with a comma.