Subliminal
Well-Known Member
Volcadas! I got at least one "Wheeeee!" tonight, which I count as a success.
What are you currently 'working on' in A.T.?-Vol.II
- Thread starter Mario7
- Start date
Subliminal
Well-Known Member
Following! Hehe. That was amusing. And informative. I think I did ok! Until my teacher started throwing boleos at me. I was like, what the heck was that?! Oh... right.
I guess the saying is true, don't judge a follower until you've walked a mile in her heels. Not that I wore heels. This time.
eta: I think this is going to vastly improve my backwards walk too. I totally understand the reaching with your whole body while keeping your leg free thing now!
I guess the saying is true, don't judge a follower until you've walked a mile in her heels. Not that I wore heels. This time.
eta: I think this is going to vastly improve my backwards walk too. I totally understand the reaching with your whole body while keeping your leg free thing now!
I think this is a very worthwhile pursuit. Not only do you gain an understanding of what a followers' experience is, but I also think ability to follow makes you a much better leader. All leaders could gain from learning to follow.
Mario7
Member
I really want to be able to cross-over to the woman's left side (in close-embrace)during the dance and do it two or three times very smoothly....I see this as a high-risk move and can't remember ever doing it at a Milonga. Any suggestions on what to pay attention to during this move, will be very welcome..as this is my current focus and it will really re-kindle my enthusiasm if I can add this to my social dance.
Also, I notice that it may vary widely in difficulty when dancing with different women of different heights because, I suppose, this changes the embrace?
Also, I notice that it may vary widely in difficulty when dancing with different women of different heights because, I suppose, this changes the embrace?
I think that songs inspire people in different ways. That's why I'm reluctant to say anyone else's style preferences are wrong. I'll simply say that I like it, or agree with it, but not that it's wrong (the one exception being floorcraft/safety concerns).
Many songs will inspire me to do colgadas / single axis turns, but I normally do them in close embrace.
It requires a lot of twisting of the upper body (torsion, disassociation), a follower that understands this is a possibility (so she's not trying to "fix" what went wrong, from her perspective), and a lot of practice.
The "easiest" way to get to this position, is to lead her to do a side step to your left (on to her right foot), while you stay on your right foot (getting you into cross system). The next step is the key, stepping with your left foot, to your right of her right foot. It's a bit awkward at first, as it's sort of a diagonal step that you take, while leading her to step straight backwards with her left foot (to stay in cross system). When you take this step, you also have to use a fair amount of twisting/disassociation (as will the follower) to maintain the embrace.
The next step (with right foot), just be careful to go straight, and if there is any doubt at first, err on the side of going to your right a bit (almost like a back ocho for her), but the goal is really to have her go straight (although performers often do this while gradually veering to the leader's left, (CCW)).
Other ways to get into this are from a rockstep (or rockstep turn), or from the counterclockwise giro (where you come out in cross system).
There are also a myriad of ways to come of out this, back ochos, walk to the cross, giro (clockwise), or change of direction (cambio de frente) to a counter clockwise giro. I'm sure others have their own favorite ways to get into or come out of this. Pick one way, get comfortable with it, then others will be easier to pick up on.
Hope this helps.
If you are referring to crossed system, I don't think it's all that difficult, once you are familiar with it. I suggest that you work it out with poles first.
If you are referring to parallel, I find that challenging. I've attempted it a few times recently, but I haven't found yet that it adds anything to my dance except just another step.
Mario7
Member
Yes, it is crossed sys. and should'nt be that difficult but seemingly it is to me.
I've noticed that Vidort's parallel left side walking is usually only once towards the beginning of the dance when he approaches the first corner in the room and has to pivot left...I think it adds more than just another step or an easier way to navigate the first left turn..I think that it turns him on, in some way, and 'loads' his dance dramaticly ..for what comes later. Don't ask me to explain this..you just have to see it and get it.
ps. it may have something to do with the build of the music, too.
http://www.youtube.com/watch?v=mekNwq3AW4E
In this dance, he uses the alternative parallel walking on the woman's left to heighten the Disney-like frolicking of two fairies fluttering their wings thru the night air.
http://www.youtube.com/watch?v=G0Q80F3efeA
hey, you either like it or you dont..me, I like it. It may be too simple for someone as sophisticated as Bordertangoman. jee jee
Ricardo Vidort was well down the path of his terminal illness at the time
of the Liz Haight video. It's typical of other demonstrations with his
trademark closed side parallel walking, apilado grapevine walk,
musicality and movement in the carousel.
D'chester has given enough suggestions for me to only add that the disassociation
anti-clockwise should accompany the sidestep. I usually traspie as Oscar
Casas demonstrates and D'chester's no step at all is equally valid though
maybe a little more challenging as a leader. What is without doubt is you
need to fluidly twist to disassociate with intent and you need a partner who
confidently follows the chest - it's a relatively unusual direction to twist
initially so be prepared for some acclimatisation.
If you get it right, eventually move from the three track walk to a two track
one apilado style and then try walking outside on the closed side in parallel
as Ricardo used to. The ladies who follow it often appreciate the variation.
Mario7
Member
thanks for the helpful posts guys...yes, variation is real important when one trys to keep it all simple, too. And I have experienced that the women do notice the variety in the walk.
Dave Bailey
Active Member
I think boleos must be quite tricky to practice by yourself - you'd need to somehow simulate the "emergency stop" impetus / energy provided by the leader, which is tricky.
I guess it might be a bit easier to work on the general free leg technique, as that's always the key to doing boleos successfully.
opendoor
Forum Master
Boleos
Worked on boleos, too, but on the linear ones (rectos). Ususally put too much energy in the lead. Tried it more gently, now. Tried to do it more colgadized, to emphasize the final flick by a rebote, then tried to freeze it, and to stop it on the way back. Looks altogether easier than it really is.
Worked on boleos, too, but on the linear ones (rectos). Ususally put too much energy in the lead. Tried it more gently, now. Tried to do it more colgadized, to emphasize the final flick by a rebote, then tried to freeze it, and to stop it on the way back. Looks altogether easier than it really is.