Sobre-passos instead of rebotes in VU?

opendoor

opendoor

Forum Master
An argentine teacher and show dancer has criticized me recently: dont make that much of rebotes, use sobre-passos, that really looks more chivalrous (org: caballeroso) instead of bouncing on the spot with any progress. Sobre-pasos, as far as I understood, are insinuated doublings without considerable weight transfer. This little difference was knew to me. Only for milonga dancing he accepted rebotes as a genuine and valid move.
 
opendoor said:
An argentine teacher and show dancer has criticized me recently: dont make that much of rebotes, use sobre-passos, that really looks more chivalrous (org: caballeroso) instead of bouncing on the spot with any progress. Sobre-pasos, as far as I understood, are insinuated doublings without considerable weight transfer. This little difference was knew to me. Only for milonga dancing he accepted rebotes as a genuine and valid move.
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i am not familiar with the term sobre-passos; so your post is rather incomprhensible; can you explain in layman terms or show some examples please?
 
dchester said:
Yeah, I was afraid to admit that I had no clue either about what it is.
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You must have been flirting with that attractive woman in class the day that step was taught. No, I have no idea what it is either. Nor do I think I want to.

I don't agree with a teacher suggesting to a student when and where they should use steps. If I enjoy a step, I'll use it whenever I feel inspired. Nor do I care what my steps look like.
 
AndaBien said:
You must have been flirting with that attractive woman in class the day that step was taught. No, I have no idea what it is either. Nor do I think I want to.

I don't agree with a teacher suggesting to a student when and where they should use steps. If I enjoy a step, I'll use it whenever I feel inspired. Nor do I care what my steps look like.
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you mean you do not dance chivalrously??? I am shocked!!

i suspect the original post was computer translated........its a trifle Yodaish

"Master Luke, insinsuating your doublings are you. Empty your mind and feel the Light-Sobre-Passos work for you."
 
bordertangoman said:
..suspect the original post was computer translated........
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Twas kind of this way: C. originally said in broken german "ritterlich". I replied "What", he then: "ritterlich, caballeroso". Later that day I opened up my on-line dict.... (germ) ritterlich stems from riding, because these guys did not want to walk. And Riding on his part seems to be close to (span) caballeroso which stems from (span) el caballo, the horse. So the question was, how to translate (germ) ritterlich into english. Knightly got a Prince Ironheart taste for my german ears (please correct me if not), so I chose chivalrous which seems to be of french origin and in so far close to the (span) caballo.

In other words, I dont know either what these sobre-pasos actually are..
Going to ask him for a YT example...

cheers
 
Having spent many, many hours trying to learn even the most rudimentary phrases of languages as I travel to non-English speaking countries, I have to say that anyone who is not a native English speaker is to be commended for communicating in English.
We are fortunate to have a wider perspective than that of only the English speaking countries here at DF.

Now, sobre-pasos and rebotes ??? You got me there.
 
Relax. I know enough show dancers who're also excellent social dancers to know that judging by stereotype isn't a very wise thing to do, especially when defenestration is involved.

Ah - I see what a sobrepaso is (the other variant that's closer to a plain rock step would be where you simply step in double time on the front foot and back with the other foot instead of rocking back to the original foot. Of course you're on another foot, but there are countless ways to resolve that, either immediately or after some time).

Turns out that's what I usually do with rebotes when it fits the music.

I'd disagree vehemently with anyone who says that there's always something wrong with 'plain' rebotes. Perhaps the teacher tried to convey to opendoor that sometimes they are more elegant and musical when they're not 'plain' and that variation is the spice of life, and then I'd agree. Sometimes, "sobre-pasoing" is simply impossible.

Suppose that the movement is already as fast as is musically elegant or that doing this is impossible because you have one foot too close to the follower...I have one step after a normal ocho cortado where I do a 1-2-3 rock step that causes a little wiggle from the follower before the ocho cortado is resolved, and I'd be hard pressed to invade her space just to "sobrepaso' that without causing quite some discomfort. It would also look very daft because sometimes less is more (opendoor next time someone tries to convince you to do something fancier than what you prefer, tell him "In der Beschränkung zeigt sich der Meister". If he doesn't understand German, too bad for him ;) ).
 
opendoor said:
An argentine teacher and show dancer has criticized me recently: dont make that much of rebotes, use sobre-passos, that really looks more chivalrous (org: caballeroso) instead of bouncing on the spot with any progress. Sobre-pasos, as far as I understood, are insinuated doublings without considerable weight transfer. This little difference was knew to me. Only for milonga dancing he accepted rebotes as a genuine and valid move.
Click to expand...

Interesting that he says the full rebote instead of the sobre-pasos is acceptable only in milonga, because your description of a s-p (which I've also never heard of) sounds like traspie' which you'd be doing in milonga rather than tango.
 
I think the issue here is that some people when doing rebotes move their center too far towards (and sometimes over) the rebounding foot, that it looks very spastic. I notice that most with left-turn rock steps. Whether doing one thing or the other is "more correct" is highly subjective, as we all here know.
 
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