What are you currently 'working on' in A.T.?-Vol.II

I'm working on getting the aging curve which takes my ability downward, and the experience and development curve (which should take my ability upwards) to balance in something that at least stays stable across the graph, and preferably results in an upward trend..

Not being sarcastic or snarky... seriously... this is a problem for me these days... the line on the graph is heading downward!
 
Altering direction in mid-step. Whee.

ETA: Sheesh, I have a lot of new stuff to work on. I kind of think of it as treating myself, as I've been focusing hard on walking and embrace for the past 5 months.
 
Putting it all together. Had some breakthroughs recently, but it's all kind of a jumbled mess in my head right now. Gotta find a way to get it all to stick. I think I might just need more practice time.

Also, I think I really understand sacadas in the giro now. Understanding and doing isn't quite the same thing though...
 
Also, more on ganchos/legwraps. I think I've got a better grasp of positioning, which seems like it's 95% of the step...
 
heh, thanks! :D

ETA: Well yes, I sort of understood that already, I just keep forgetting it! ;) Specifically, I was having a lot of trouble with the wrap in the giro until I was reminded of that fact. Once you have the perfect position, it's just a slight shift of the leader's leg, no effort at all.
 
Concentrating only on the woman's feet...where her weight/momentum, etc. is...
I've found that one of the DISadvantages of practicing alone is that; although I kept 'seeing' the woman's feet, I didn't do it to the extent and with the care that I needed to. And after much practice, I found that my Giros at a real dance with a partner were worse not better. Thankfully, I was able to make the adjustment and I gave up my solo lapiz turns for simply paying attention to the woman's steps in the Giro. It worked and it even got me a new practice partner! will wonders never cease? ...no
 
Mario7 said:
Concentrating only on the woman's feet...where her weight/momentum, etc. is...
I've found that one of the DISadvantages of practicing alone is that; although I kept 'seeing' the woman's feet, I didn't do it to the extent and with the care that I needed to. And after much practice, I found that my Giros at a real dance with a partner were worse not better. Thankfully, I was able to make the adjustment and I gave up my solo lapiz turns for simply paying attention to the woman's steps in the Giro. It worked and it even got me a new practice partner! will wonders never cease? ...no
Click to expand...

Some people on here, with a particular blog, might just say "It's all about her". Do you get the point? Fancy foot work is just icing, get all the rest to a high standard then worry about it. By then you probably care little for them anyway.
 
Mario7 said:
Concentrating only on the woman's feet...where her weight/momentum, etc. is...
I've found that one of the DISadvantages of practicing alone is that; although I kept 'seeing' the woman's feet, I didn't do it to the extent and with the care that I needed to. And after much practice, I found that my Giros at a real dance with a partner were worse not better. Thankfully, I was able to make the adjustment and I gave up my solo lapiz turns for simply paying attention to the woman's steps in the Giro. It worked and it even got me a new practice partner! will wonders never cease? ...no
Click to expand...
While I will at times do a lapiz or planeo during turns, you can't do them with every follower (nor in every situation). The follower needs to be precise enough to consistently step on the imaginary circle around you (not keep changing how close or away she is from you).

Of course, your balance needs to be good enough to withstand some minor fluctuations in what she does. Also, the more crowded it is, the more difficult (and/or less suitable) they become.
 
Last week was apilado, now I'm playing with colgadas and volcadas! Messing with the axis is fun. And scary. heh. The colgadas are feeling particularly awkward... it's tough to break the "stay forward" training.

I'm pondering where these would fit in the music. I'm almost thinking they work better done slow, like dragging over the duration of a note or over a sliding scale.
 
I find that colgadas, espcially, tend to fit better with electronic or alternative music. Not terribly shocking--modern move, modern music.
 
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