Discussion in 'Tango Argentino' started by dchester, Oct 20, 2009.
Thank you, Thank you very much
Some of the most musical and enjoyable dances I've had have been with beginners who have learned only walking (in parallel and in cross system). It just goes to show how with a 'limited' vocabulary you are forced to be more creative-i.e. tune in to the music.
I would a million times rather do a walk only tanda with a nice connection and musicality than dance with guy with a few moves under his belt but who doesn't connect with me or the music.
How is it that some guys can lead sacadas and boleos but can't walk? I don't just mean the walk badly, but a full on inability to walk more than three steps before rocking back on their heels, losing connection, and treading on me, or head butting me because they are watching my feet. I'm not that ungrounded! I promise! Most walky walky leaders can tell where my feet are!
Also I agree that it is hideous to dance with someone who throws in all the moves (off balance of course) they've ever learned but he has a horrible uncomfortable embrace and throws you around, and then have your friends say "wow you're so lucky he's really good!" and then they dance with him and say "wow he's really really good!". I'm not saying I'm the best in the world to judge this, but I've danced with some very good dancers, and they didn't feel like that.
End of moan section
I suppose different people have different aims, I'm all for having fun and being a bit adventurous with the right partner, but really I'm looking for a deep connection with the music and my partner (which in no way excludes the above if he/she is the right partner!!!) rather than showing off flashy body ganchos, colgadas, high boleos and sacadas. I think once you reach a level of competency at those things it's no longer exciting.
But I have a feeling that that is exactly what a lot of women want. There's nothing wrong with it I suppose, it's just different perspectives.
I want to dance with someone who can lead a cross on the other side and make it feel effortless.
oh I settle for all of that: musicality, connection, and walking all the way to boleos and all done well
Yes- I see that quite a bit. I think some ladies see people dancing with a lot of energy, and equate that with "good dancer".
I happened to see exactly this last night at a milonga. A guy came in late to the milonga and had lots of sharp turns and sudden movement- lots of energy. The ladies were all going "Oh, he looks like a good leader!"
However, that was ALL he could do. I began to feel sorry for the ladies who he chose to dance with, as most of them don't seem to know how to respond bodily to that energy level and just looked like they were being dragged around. IMO, this led to a serious mistake on his part, in not noticing that his follows were NOT responding to his energy and not damping it down to fit the responses he was getting.
It kind of like my main teacher says when he is teaching beginners. They have a lot of energy, but no control and so he has to teach them to bring it back down. This is in direct opposite to people who may not dance with much energy, but have too much control and then he has to teach them to let go a bit. Whereas a good dancer (IMO) is somewhere in between this, control, but also with energy.
You called it. Some people are more into the connection while others are more into the steps. I think I'm a little bit odd, as some songs make me more interested in the steps (or at least the musicality), while other songs make me more interested in the connection.
What's so special about doing the cross on the other side? I've never had any interest in doing that. Am I missing out on something?
You make excellent points. It's all about sharing our energy and finding balance. One doesn't have to demonstrate all their energy outwardly dancing tango; one needs to share it inwardly with their partner.
I realized this is one reason there are men with whom I have never danced and will never dance because we would never balance our energies while dancing. When one finds a partner where your energy level is the same, it is divine.
That's so true -
but for me there is another dimension: When one finds a partner where you can easily play with the common energy level, it is even better.
I like this also. I don't delve into AT much BECAUSE I like varying degrees of energy, whereas most of the dancers around here only want the quiet zen of the inner connection.
I like roller coasters as much as I like Ferris Wheels. I like to mix it up.
For that reason I like all the "flashy, showy moves" in AT, but I'm not dancing them for an audience. I'm dancing them for the thrill of doing them well with my partner. I like a mix of quiet and loud in my dancing, no matter what type I'm dancing.
Quiet zen is good. As is the thrill of flashy and showy.
Variety is a good thing.
Me too; I'm always heading for the eye of the storm.
well- that wasn't precisely what I was getting at, though I do understand a desire to have varying degrees of energy.
The lead in questions wasn't doing moves that I would call flashy or show tango-y, but he was applying lots of energy to every move he made, even simple turns, without any variation at all, to partners who weren't really responding to it (for whatever reason).
I prefer to try to match the energy level I get from a leader. I enjoy leads who play with the energy level, but higher energy just doesn't automatically equate to big or flash and trash movement. If so, then I think one of the important points of the dance has been lost (IMO at least). You should be able to apply varying degrees of dynamic to any move you make, and it doesn't mean that the move has to develop in to a space eating monster because of it either.
Here is a video I've posted before, because it is small space dance movement, in close embrace, and it is (IMO at least) not in the least bit "lazy". They appear thoroughly engaged.There are slower movements, faster movements and timing changes, a couple of sharp level changes and interesting footwork and embellishments (esp during the variacion), without taking up huge amounts of space or devolving into the tango "flash and trash" that most people seem to equate with dynamic dancing.
Jennifer and Ney:
very difficult to say.....clearly walking and turns are very important to understand your follower when you dance in the milonga.....i must admit i like to insert a lot of boleos and ganchos or enganches and in a tanda i use to make twice or 3 times a turn with colgadas...
Well, since HBBoogie had the guts to post a video of himself, I figured I would do the same. This is of my wife and I at a practica.
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