I never been to any Encuentro. Why do you call it limited? What would be an example of stylistic variation that will be out of place at Encuentro compared to at a traditional milonga.
How would you define ‘mundial style’.
Huge walking steps, static rather than progressive turns, excessive use of the ridiculous "milonguero dip," insufficient use of pure dissociation in its place, both dancers projecting their rear end back as much as their upper body forward. It isn't everybody, but watch a few videos and you'll see it's enough.
I dance mostly in cross. I spend very little time in parallel. I also make a lot of use of the 50/50 weight distribution when I pause, at which times system is "undefined" because I'm in neither and leading entirely with my upper body.
I'm a constant/fluid dancer. I agree with you about turn-dominant dancers who turn in place; those who turn progressively aren't usually much of a problem, and look more like your constant/fluid types. The "Just gotta be me!" subset of the linearity/pause people drive me craziest, though, as they alternate between pausing when the ronda says they should move and driving forward when the ronda says they should stay in place . . . mostly because they don't want to do the same thing as others around them.
I've also noticed that you defiantly stick to this name, even though you know it's basically Estilo Villa Urquiza
Dancing for spectators or for the people in the table corner, inappropriate clothing, constant demonstrative open hold like in neotango, expansive figures (high circular boleos, linear boleos, wide circular colgadas), dancing on the spot.
It was 15 years ago. But this is not related to the style preferences of the attendees, but rather to the "conservative" mindset of the first organizers. Even before the pandemic, the encuentros began to die. Some names have survived, but there only few differences compared to marathons. In the meantime, even the initiators of the first encuentros have left the movement (We discussed this extensively in the other thread). Encuentros therefore were (to me anyway) a phenomenon at the beginning of the century.
Admittedly, this question sounds a bit unusual. Only an over-ambitious beginner categorizes his technique on the floor while dancing (I once was such a specimen). But I can't answer the question myself now, because I don't analyze the proportion of crossed and parallel system in a dance. I improvise to the music. I use my vocabulary intuitively. If I feel like I need to add a chain of a certain step to the accents of a fierce Pugliese marcato, I do so. I don't think about the fact that I have to go into the crossed system beforehand.
I freak out when linear start-stop dancers dominate the ronda. For me this is the death of tango. And honestly linear start-stop dancers belong to the technically stagnant and unmusical species (in my part of the world anyway).
I never choose the system, but rather a specific figure. The figure determines whether I go in parallel or crossed. This all happens in a fraction of a second.
Never really thought about it or analysed it! I'm equally at home in either, although I'd guess more of vals in cross-system. Probably around 50% average.
I choose to dance more often in cross that parallel for a couple of reasons:
I don’t. Never occurred to me to consciously choose.
Agree.
There are a very few of this specimens in my area. Most problems arise due to lack of leaders having skills and right tools. On the other hand some fairly skilled turn dominant dancers will keep doing giros and enrosques in place causing log jam. The worst example of it I witnessed was at a milonga in Istanbul. Their technique and skill was impressive. But in a small room with lot of dancers in the ronda, there were 5 or 6 leaders who were indulging in fast giros, enrosques, etc.
There are also the sleep-in-place dancers.
Not even. The current Mundial competition reminds me much more of modern tango escenario.I've also noticed that you defiantly stick to this name, even though you know it's basically Estilo Villa Urquiza
I think I've taken this a bit too far - I've noticed that I tend to step heel-first more and more often over the years, and am able to reverse my step at a moment's notice if I should even feel a hint of their feet. And it's slowly become part of my "style"; I frequently walk and land on my heel, usually (but not always) on a note in the music that needs emphasis/a strong beat, then complete the transfer of my body weight and allow the metatarsal to lower and touch the ground. I sometimes allow that lowering to be felt by my follower — usually when it is sharp; but I like slowing it down and sort of rolling my foot onto the ground. I think I tend to use this to mark the beat or syncopation while leading the follower in the melody.
There are two chapters: Escenario and Pista. In Pista they do not open the hold and stick to the ronda.