bordertangoman
Well-Known Member
....
My Incompetence
- Thread starter tangomonkey
- Start date
I've found I naturally 'syncopate' (step on the &s) in response to most Neo-Tango tunes - I guess that I'm doing my best to follow the 'no percussion' Tango music 'rule'... just feels more Tango to me... [it's not 'traditionalist' snobbishness - I genuinely just don't feel most Neo-Tango, and am 'dancing' despite it, rather than being in it... but I'm improving here...].
It takes some followers by surprise, initially, but my metronome is perfectly consistent (once I've got it going), so it ends up all good.
Re: womens' steps*: yup, employed that from the first second of learning. In class, I always repeat the followers' steps, as the teacher is demonstrating (once I've got the leaders' part down... which is usually pretty minimal); and when practicing at home (on my own), flip myself 180 and do her steps at a 2-3:1 ratio to mine.
It gives me a better idea of how much time she needs to settle after certain moves*, how much space she has to step into and what I should be doing with my body to assist her etc.
Getting over the 'I'm pretty much moving on somebody else's legs' cognitive hurdle, soon led to 'I'm painting/sculpting the music, the woman being my fine and cherished instrument... what I do only gracefully facilitating that with minimal resistance'. [A musician anology would probably be more apt... but I'm the guy who's, frequently, made music teachers have to leave the room, rather than beating me in frustration, such is my complete innability to conceptualise even the basics of music theory....
]
It really is all about HER (and the music, intertwined).
OK, my technique is still pretty dire (no practicas at all round here... or private lessons...), but my big, shining Tanguero heart can't be doubted by anyone, so even my failures are still pure Tango - counts for a lot amongst the 'right' people....
*For want of better terms... you know what I mean.
It takes some followers by surprise, initially, but my metronome is perfectly consistent (once I've got it going), so it ends up all good.
Re: womens' steps*: yup, employed that from the first second of learning. In class, I always repeat the followers' steps, as the teacher is demonstrating (once I've got the leaders' part down... which is usually pretty minimal); and when practicing at home (on my own), flip myself 180 and do her steps at a 2-3:1 ratio to mine.
It gives me a better idea of how much time she needs to settle after certain moves*, how much space she has to step into and what I should be doing with my body to assist her etc.
Getting over the 'I'm pretty much moving on somebody else's legs' cognitive hurdle, soon led to 'I'm painting/sculpting the music, the woman being my fine and cherished instrument... what I do only gracefully facilitating that with minimal resistance'. [A musician anology would probably be more apt... but I'm the guy who's, frequently, made music teachers have to leave the room, rather than beating me in frustration, such is my complete innability to conceptualise even the basics of music theory....
]It really is all about HER (and the music, intertwined).
OK, my technique is still pretty dire (no practicas at all round here... or private lessons...
), but my big, shining Tanguero heart can't be doubted by anyone, so even my failures are still pure Tango - counts for a lot amongst the 'right' people....*For want of better terms... you know what I mean.
@v22ttc: I've found practicing with poles* to be invaluable in understanding follower's steps, and being able to lead them with necessary timing.
*Not talking about any nationalities here, just two pieces of PVC, about 5-6 ft tall, with rubber tips on the ends.
tangomonkey
Active Member
Found this clip with Tete dancing to Pedacito De Cielo. What's with the arms floating along beside him. I know he had a tremendous reputation and I'm not disrespecting him or anything, just wondering what is going on? (have seen him do this in other clips too)
(Again, remove the spaces.)
w w w . youtube . com/watch?v=7AUW0K9tKMI
Or search in youtube for tete Pedacito de Cielo. It will be the first link.
This has nothing to with my OP (neither did syncopation). My apologies.
Maybe a mod. could let me know why newbies can't post links? Thanks.
I've never heard an explanation for that. I assume it was to demonstrate total connection in the chest: no arms.
I think after you've posted x times you'll be able to include links. They're just making sure you are valid. Won't that be nice to know?
tangomonkey
Active Member
That was my assumption too. Perhaps rather than a formal dance this was intended as a demo for the audience - it took place at a tango festival after all. But there are other clips where he does this too. Can't all be demo dances can they? Other than to demo chest connection and leading, why would he do it?
Just curious.
opendoor
Forum Master
over - and
Thanks a lot DC. Only with "three over one" I associated the triplet at once. Because the q-q-s (upbeat) usually requires an and instead of an over.
Here again an older vid on rhythm, I have posted before: http://www.youtube.com/watch?v=Uxi7WFlQAf0
[YT]Uxi7WFlQAf0[/YT]
Thanks a lot DC. Only with "three over one" I associated the triplet at once. Because the q-q-s (upbeat) usually requires an and instead of an over.
Here again an older vid on rhythm, I have posted before: http://www.youtube.com/watch?v=Uxi7WFlQAf0
[YT]Uxi7WFlQAf0[/YT]
opendoor
Forum Master
.. must pass, (please, no cards at all. But what about Boules ? You are not that far away from France)
Ampster
Active Member
When he was still alive, and visiting Seattle, he said that Tango done right does not need arms. That's what he's demonstrating. He also said that when he danced, he felt some sort of liberation, like a bird... Thus.
Allow me to add by saying (IMHO), you lead with your chest, not your arms. The arms are there for the embrace, not a hold, not a hug, and not to drive your partner like a bus--> (Click here to read)
Peaches
Well-Known Member
If that's the case (I can't view videos right now), that is such an incredible exercise for connection and following. So unbelievably useful!
One way I like to ask women to practice apilado is for them to hold their L arm straight up in the air, over their heads, while they dance.
tangomonkey
Active Member
I understand and chest to chest contact without arms is an exercise my regular teachers use. But in the clips I've seen, Tete seems to be doing this in a "performance", before an audience. Maybe all demos - don't know. I guess someone of his stature could do whatever he wanted, and it is very impressive watching him floating around on the floor with only chest contact. Just not for the milonga, unless you want to blaze a trail
I'll just point out that not every milonguero agrees with Tete on this subject, but IMO, you are correct about why he does that helicopter thing with his arms.