Discussion in 'Tango Argentino' started by DancePoet, Apr 18, 2006.
Thanks, btm. Can't look at it now, but I'll take a gander this evening.
Energy, resistance?. What is it? Yada, yada, yada. In short, liken it to the comparison between a weak handshake and a firm handshake.
Interesting lesson today. Left feeling completely frustrated, but now that that's passed I can look at things more objectively and it's not so bad.
My teacher is now pushing me harder than ever, and tolerating less and less imprecision with my following.
My walk is changing, which is interesting...and I'm developing different radically different walks for different situations. I'm starting to feel grounded most of the time--which is interesting that I can actually recognize the different feeling, because I didn't used to be able to. For the first time, I understood what Ney & Jennifer talked about with how she walks. I can't say that I can do the same thing, but what I heard them talk about makes sense, and I think I might actually be getting something similar, which is kind of cool.
As an exercise, he made me follow and dance with absolutely no contact. Interesting. Difficult, balance-wise. (My balance was all over the place today.) Such a rush.
I find that I've not gotten to the point where I dance best in a borderline-apilado kind of style. Now, after having gotten me to that point, he's pushing me hard in the opposite direction. Mostly open work. Different way of balancing, different ways of moving, different way of moving my feet. It's like learning to dance all over again.
Played around with canyengue a bit, too. That was fun.
*sigh* Oh...god...I love the frustrations of AT. I'm in such heaven.
Although she says that she often leaves center and balance at home also, 'Me' is very well known for her exquisite feet. You might enjoy talking with her sometime.
Aren't there different preferences among different leaders? I was at a practica this weekend and one of the leaders (a friend of mine) asked me to lighten up my resistance. He likes the follower very light because he says he can move a lot easier and freer. Yet the teacher and the other leaders did not ask me to lighten up so I assume it's a matter of preference and style?
So anyway at this practica we worked on an interesting variation of the 8 count basic. This variation is useful for a very crowded floor where there is little room to move. The counts go like this:
One: step in place
Two: step to the side (as in the normal 8 count basic)
Three and four: leader pivots follower back and forth on her right foot
Five: follower is led to the cross right out of the forward pivot
Six: leader steps forward, follower steps back as normal
Seven & eight: either do as normal or leader can pivot the follower back and forth again, as he did for counts three and four
Looks very simple when it's done, but it took two hours of practice for everyone to get it!
Well... I'm not sure what the proper name is but last night we did a (leader) first 5 steps of 8 step basic but crossed right foot behind the left on 5, left forward and right behind left again with left forward and a quick turn CW, turn CCW, back on left and cross. Repeat from 5 and then walk around while lady leans and pivots on one foot.
Checkstep turns? Dunno, I was concentrating on my feet and keeping my partner from sliding out under herself. Hey, we *are* neophytes at this. Great fun though and I hope to practice more this Friday night.
Rough stuff for neophytes. Part of teh beauty and complexity of AT is that these things do not have names (as amer. dancers have come to know dance as). The elements appear to be crusados (man) X2; ocho cortado perhaps; and (the only "named" movement in the pattern).
Then again...maybe not.
"walk around while lady leans and pivots on one foot."
Calecita (cal - ah - see -tah) (Carousel, merry-go-round)
"Checkstep turns" would be turning while doing checksteps.
It was something I learned early on. One key piece of making check steps work when leading them is to keep the heel of your back foot on the floor. (It helps keep your weight from going too far forward.)
kah-lay-see-ta...pardon me, my language major is showing
If the lady is leaning, seems it'd be more like a volcada. But perhaps not in a beginner class.
The lady doesn't need to lean for a calesita, but typically both dancers lean (away) for a colgada (and of course the guy doesn't walk around the lady for a colgada as they both pivot).
This video clip has both. Calesitas are around 24 seconds into the clip, and the colgadas are at 50 seconds into it. No clue about checkstep turns though.
Yeah, I know what they are.
While I forgot about colgadas, and let my mind skip automatically to lean=>volcada, my point is that the poster said they were working on something where the guy "walk around while lady leans and pivots on one foot." That the woman was leaning makes it, in my mind, more of a volcada action (or colgada, which I'd spaced) than a calesita.
Although I'd say the man could be walking around, even in a colgada.
What's a checkstep?
Are you asking how they are done, or did getting a Spanish word answer your question?
Personally, I'll take either explanation. If it's a cunita, I know what that is. If you describe it to me, there's good odds I'll know what it is. But I've never heard of a "check step" in AT, and can't think as I've heard it with other dances.
Not cunita, which is a rocking step. The poster is writing about arrepentida con vuelta...a checking action of a movement in one direction to move in another while rotating (rotation similar to giro).
Ohhhhhh...a checkstep turn...why didn't somebody say so! ;-)
Actually, I didn't realize that had a name.
Do we have a consensus yet, as to whether a check step is the same thing as a rock step (cunita)?
Re: What are you working on?
Last night we all plowed our way around the room in an ocho to molinete exercise. Fun little exercise that works back ochos to molinete to the left, return to back ochos, then molinete to the right, return to back ochos... A fierce emphasis on center, embrace, lead/follow... A surprising challenge for all, especially when the music changed from tango to vals!
Oh and it er... heh heh. Reminded me specifically of our molinete thread here that devolved to discussions on pants and country music. When adapting this ocho molinete exercise from tango to vals, the lady had to keep her 'three' timing while in molinete. back (1) side (2) front (3). (Do not say QQS or I will hurt you.)
Ha ha! Pants.
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