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

Subliminal

Well-Known Member
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
 
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
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.
 

dchester

Moderator
Staff member
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
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.
 

Subliminal

Well-Known Member
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.
 

Peaches

Well-Known Member
I find that colgadas, espcially, tend to fit better with electronic or alternative music. Not terribly shocking--modern move, modern music.
 
We got a whole new Tango scene suddenly with people from out-of-town heading it up! One young woman with 12 yrs experience is giving class at $3.50 a class and is just interested in covering her travel expenses to get here. Anyway, I got to dance a couple of tandas with her and I let it all hang out...all over the place...no inhibitions and she seemed to really like it...of course afterwards, she mentioned a couple things to work on. But I am stoked to have such a great dancer pay some attention to my dance. And to be able to push the envelope like never before!!
I'm still experiencing dificulties with the Giro and so I will re read the excellent thread on starting them and add a post if all my questions are not answered... at last, I have a future in this dance...and I have a couple of new practice partners, too!
 

Zoopsia59

Well-Known Member
We got a whole new Tango scene suddenly with people from out-of-town heading it up! One young woman with 12 yrs experience is giving class at $3.50 a class and is just interested in covering her travel expenses to get here. Anyway, I got to dance a couple of tandas with her and I let it all hang out...all over the place...no inhibitions and she seemed to really like it...of course afterwards, she mentioned a couple things to work on. But I am stoked to have such a great dancer pay some attention to my dance. And to be able to push the envelope like never before!!
I'm still experiencing dificulties with the Giro and so I will re read the excellent thread on starting them and add a post if all my questions are not answered... at last, I have a future in this dance...and I have a couple of new practice partners, too!
Wow! $3.50 per class? That's EXCELLENT! I pay more than that for a practica! Congrats on finding a tango "home" and some peeps to keep you progressing. :D
 

Subliminal

Well-Known Member
First real lesson in a while. Back to the basics... walking, musical interpretation, and maintaining perfect connection all the way through rotational movements. My teacher picked a variation on the ocho cortado with a much higher rotation than the usual one to illustrate some of these concepts. It was a harder than I thought... guess it goes to show you can't get stuck doing things one way or you don't improve.
 

Subliminal

Well-Known Member
More walking. Seems to go in cycles. I pick up more and more walking techniques, until eventually my teacher tells me to forget everything and start back at the beginning with how I walk on the street. Then we start building back up.

Arg. So frustrating.
 

opendoor

Well-Known Member
next step?

Difficult to start, and difficult to explain (especially in a different language) I am working on a different self-concept. And it wasn´t my idea. You know I had a lot of privates with Karin Solana Brennan (a former ballerina and really blessed tango teacher). She said, you are NO beginner any more, but so often you dance so as if: mistakes, laxity, sudden additonal repair, non-attention, hesitancy... would cloud all my progress. And indeed, I dont take it that seriously sometimes, for I dont want to be a priest or representative on the dance floor. Already to many dancers below my level tend to that sort of self-staging. I want Tango to be playful and unsophisticated. Do I bear a different responsibility, now? What is different for an artist. What are his mental properties? What makes a real good tango dancer besides technique and musicality? What am I lacking? I am a little bit confused, just now??
 

Ampster

Active Member
Difficult to start, and difficult to explain (especially in a different language) I am working on a different self-concept. And it wasn´t my idea. You know I had a lot of privates with Karin Solana Brennan (a former ballerina and really blessed tango teacher). She said, you are NO beginner any more, but so often you dance so as if: mistakes, laxity, sudden additonal repair, non-attention, hesitancy... would cloud all my progress. And indeed, I dont take it that seriously sometimes, for I dont want to be a priest or representative on the dance floor. Already to many dancers below my level tend to that sort of self-staging. I want Tango to be playful and unsophisticated. Do I bear a different responsibility, now? What is different for an artist. What are his mental properties? What makes a real good tango dancer besides technique and musicality? What am I lacking? I am a little bit confused, just now??
As a next step, I would recommend that (I think) it is time for you to just "Let go, and let things happen!"
 

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