Tango Argentino > AT is sooooooooo kewl! :D :D :D :D

Discussion in 'Tango Argentino' started by Genesius Redux, Feb 5, 2007.

  1. Ampster

    Ampster Active Member

    ...so where were we?

    Oh! Genesius, once your AT develops and morphs into a close embrace hold (Apilado, milonguero, salon). It would be physically impossible to actually look at each other. Let alone lock eyes.

    I (personally) seldomly look at my partner. Neither does she. When you get to the point where you "Dance with your soul," you'll find that she will dance with her eyes shut, and you dance with eyes just open enough to keep her from running into people, tables, and walls. It will all be danced "By feeling."

    My wife tells me that when I dance At with one of my favorite partners, I would have "That look," I would be "In the Zone." I ask her to describe it and she finds it difficult.

    Let me show you instead. Look at these pics. Look at the expression of the people who are actually deep in an AT moment. They have this increadibly intimate look on their faces. This is about where you'll be when your AT matures. No more of that giggling. Browse through these AT picture albums from Seattle : http://allseattletango.com/community/photos/2006-08-(10-14)%20tangomagic%20festival/index.html

    To illustrate my point again, look at our own Peaches. She's got "That tango look" too. http://www.dance-forums.com/album/data/500/small_2.jpg
    http://www.dance-forums.com/album/data/500/Cropped_Tango_2.jpg
     
  2. DancePoet

    DancePoet Well-Known Member

    :nope: Two words ... time, money. ;)

    (DP, that's four words. :lol:)

    Ayuh.
     
  3. Peaches

    Peaches Well-Known Member

    Oh, sheesh, Ampster. I can't believe you posted links to pics of me. I've got to find a way to get some new pics or something--now that my tango apparently looks like AT. (Thank you for the flattery, though.)

    I once heard the "AT look" as the look you find (and something similar in feel) after a long night of passion. *ahem* I think there's something to be said for it. I think of more like meditating. When I manage to get into the zone, nothing else exists beyond myself, my partner, and the music. (And, since I'm a follower, I don't think much about the floorcraft. I tried, it doesn't work much for AT, so I've given up.) Everthing else just falls away, and ceases to matter.

    GR, like Ampster said, once you get into close embrace the eye contact thing isn't an issue at all. Other things might be--like having her head nestled against yours--but not eye contact. And once you get more comfortable with it, it probably won't be an issue in open embrace, either. The giggles will stop, and eye contact will (possibly? probably?) become exceptionally intimate.


     
  4. DancePoet

    DancePoet Well-Known Member

    No offense, yet when I focus on technique with AT, I become a better At dancer.

    It's ok if one views it this way. Yet I've found the focus to be on the music, and what can be developed from the body flowing to the music.

    If the focus was on competing, then I understand how your perspective developed. And at the same time, I know many ballroom dancers who's focus has been on the social side of ballroom, too.

    Interesting.
     
  5. DancePoet

    DancePoet Well-Known Member

    Thanks for the info.

    Is this how it is done in Argentina, too :?:

    Wondering why the difference of 4 tango songs as opposed to 3 vals songs or milonga songs :?:
     
  6. DancePoet

    DancePoet Well-Known Member

    My limited experience has only been with the having a tanda of 3 tango songs. It would be interesting to try more, but I'm wondering if I could make it interesting at this point for the follower to dance 4 or 5 songs in a row with me at this stage of my learning.
     
  7. Peaches

    Peaches Well-Known Member

    If you can establish that magical connection, then it's always interesting. Furthermore, if you're worried about your stage of learning still, then it helps to have more songs (IME) to become more attuned to the lead--which helps to achieve that connection by the end of the tanda.

    And...so long as you've got it by the end...no one will remember the beginning!
     
  8. Twirly

    Twirly New Member

    Tango - Vals - Tango - Milonga sounds like a lot of vals and milonga! I've never been to any milonga where they play that much, as far as I know the standard is two tandas of tango, one of vals, two of tango and one of milonga. And when I've danced outside of BA there has usually been even less milonga and vals. Not sure how this is outside of Europe though.

    I'm used to four tangos and three vals/milongas in each tanda. Vals makes your head spin and milonga makes you exhausted, could that be why there are only three? ;)

    I think playing less vals and milonga, and having fewer songs in each tanda could be more common where there are many beginners. In the beginning vals and milonga is scary and tango music easily sounds "the same" and boring pretty quickly. Therefore it might make sense to change more often between different orchestras and sounds?

    When you get more experiences four songs is about right to get a good connection going and then you can stop on a high - you can always dance again later :)
     
  9. Twirly

    Twirly New Member

    True. And that's why it's better to stop after four or five max, at least for me. After seven or eight I tend to lose my focus and get a bit tired. It's best to stop when it's really great. This is easier when there are tandas and cortinas, because you are kind of forced to stop, otherwise you just want to keep going and going...
     
  10. Ampster

    Ampster Active Member

    And, if I may add...

    Your partner will remember a dance with a good beginning, and a memorable ending. The middle, can muddle. You can work on the middle as you go through your learning struggle.
     
  11. Peaches

    Peaches Well-Known Member

    Interesting. I never thought of it that way, but now that you mention it...

    Yeah. If a guy starts out with all this crazy stuff, which I could well have a hard time following since I'm still a beginner, it annoys me and does not set a good tone for the rest of the tanda. I'm like, "Didn't anyone ever teach you to start out with more basic stuff and let your partner relax--and then start introducing the crazy stuff?" But start out with some beautiful basic stuff, and let me feel confident and happy, and things go much better.

    I stand corrected. :)
     
  12. waltzgirl

    waltzgirl Active Member

    Hmmmmm.
     
  13. Peaches

    Peaches Well-Known Member

    ???

    I didn't think you'd ventured over to "The Dark Side," lol. (And if you have...you escaped?!?! I didn't think escape was possible!!! I thought it was like Hotel California...you can check out, but you can never leave.)
     
  14. Ampster

    Ampster Active Member

    I normally start off a tanda with just all basic stuff. Sometimes (depending on my partner), the first song is exclusively just "walks" (caminadas), except done lusciously to the music.

    The rest depends on my partner. If I can sense and guage her abilities, then I try to lead something, and build off that, depending on the "Invite & accept" concept. Based on how that pans out, I determine and deliver the successive beginnings and endings of the remaining songs in the tanda.

    Oh, and my best dances, strangely enough, have been the ones with the most basic stuff. IMHO, Its not the amount and complexity of steps you know. Its the quality of movement that makes a difference.
     
  15. DancePoet

    DancePoet Well-Known Member

    I feel like in Ballroom and AT dancing with the music is possible. Perhaps there are differences between competive ballroom dancing and social ballroom dancing, and maybe this is due to the way the competive side of ballroom is judged. At the same time competive ballroom isn't just about working the steps. It can also involve various aspects of upper body movement as well, and this means there will be more to choreography beyond just the steps.
     
  16. DancePoet

    DancePoet Well-Known Member

    And in AT, you can actually do the same movement at different speeds to the same music. :cool:

    Even in ballroom, technique can make things easier and more beautiful. And in AT I've had lessons where technique in foot placement and rotation of the body is important for making a move look beautiful. Granted this has mostly come from the perspective of how to lead something, yet as a leader in AT, if I don't use good technique, the followers motion could potentially look less beautiful.
     
  17. DancePoet

    DancePoet Well-Known Member

    I've been shown similar things in AT. ;)
     
  18. DancePoet

    DancePoet Well-Known Member

    Ah! Interesting ... musicality could have different meanings to different people ... hmmm.
     
  19. DancePoet

    DancePoet Well-Known Member

    Hi Keith, and welcome to D-F! :cheers:

    Thanks for sharing this viewpoint, and hope to see you around. :cool:
     
  20. DancePoet

    DancePoet Well-Known Member

    I have danced standard, too. I sense though that spontaneity can be increased by the more patterns that one knows, and this can permit creativity within different songs. And in AT, even the most beginner of steps requires good technique inorder to maintain a sense of musicality. I've seen AT leaders just moving through the "patterns" that they know without really flowing with the music. Flowing with the music, in either ballroom or AT creates a sense of musicality, and in a sense can be the beauty of a dance.

    In the end, both AT and Ballroom can be "sooooooooo kewl!" :D
     

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