What are you working on in AT Episode III: The Return of the Tanguero

German?? Partially!!

0:00-0:17 ..lkjy&%kjaΩ®πlös colgada dfjks boleo baaah ?fjk˘ıÌÓˇ°‰»ÏÍÙ‡jafkj?

0:17-0:35 ..an other possibility is !bla%lsk?°§d¥jsdfjakj*alffksd#flgk if I convey the movement on to and now öœ√ölß$:ü'! '%kwerxycv gancho q$"§nbz#zpoi>€ but between the legs actually would mean boleo áåÅsdk&ñΩ†jpoi≈bxcqwül@çX attention! boleo

0:35-0:42 ..sdk&ñΩ†j gancho jks‡‡dfjk›˘ıÌÓˇ boleo

0:42-0:53 ..and then &%$§xelkja playing ks‡%%fifi£

0:53-1:43 ..for the women ®πlösdf®πlösdf must let Ì©lsk?°§d turn, closed feet d¥jsd keep closed $"§enbz#z ball turn so far and then its only just a straight backwards direction §xel got to look if oi≈blkjaΩˇ°‰ what we could do then ÄÜE‰€öœ√ölß$ get ready with

1:43-2:07 ..&%$§xlkjaΩ®πl y&%$§xelkjaΩ®πl !!!!!y&%$§xe??!! (shouting) keep the fiddle bow as long as possible §x!!EEEEeeeee...uung %$§x!! Yah-hooh!!!! and then its gone, and all the same with the boleo

2:07-2:42 ..Oaaaaughhhh!!! then I cannot go on any more, here!! Z‡%fifi£ZΩˇˇ%§ totally different as you know it, baaah uuaghh and if I lead her long (pointing up) she will also be long within the bar-measure &ZzW„A‡%fifi£ control over §dsk?°§d±¬¥jsdf!! ja, its no more seeking in nuevo moves, its both already there in time

2:42-2:54 ..and all the same with ?Ω®πlösdf and %$§x%$§x turning back wherever the man does $§xelkjaΩ® the man turns, and then it continues somewhere else

2:54-end Lets have &∆$§xel$§xel example &ñΩ†jpoi≈bxcqwü exiting story with the boleo $§xe$§x%$ unbelievable
 
opendoor said:
0:00-0:17 ..lkjy&%kjaΩ®πlös colgada dfjks boleo baaah ?fjk˘ıÌÓˇ°‰»ÏÍÙ‡jafkj?

0:17-0:35 ..an other possibility is !bla%lsk?°§d¥jsdfjakj*alffksd#flgk if I convey the movement on to and now öœ√ölß$:ü'! '%kwerxycv gancho q$"§nbz#zpoi>€ but between the legs actually would mean boleo áåÅsdk&ñΩ†jpoi≈bxcqwül@çX attention! boleo

0:35-0:42 ..sdk&ñΩ†j gancho jks‡‡dfjk›˘ıÌÓˇ boleo

0:42-0:53 ..and then &%$§xelkja playing ks‡%%fifi£

0:53-1:43 ..for the women ®πlösdf®πlösdf must let Ì©lsk?°§d turn, closed feet d¥jsd keep closed $"§enbz#z ball turn so far and then its only just a straight backwards direction §xel got to look if oi≈blkjaΩˇ°‰ what we could do then ÄÜE‰€öœ√ölß$ get ready with

1:43-2:07 ..&%$§xlkjaΩ®πl y&%$§xelkjaΩ®πl !!!!!y&%$§xe??!! (shouting) keep the fiddle bow as long as possible §x!!EEEEeeeee...uung %$§x!! Yah-hooh!!!! and then its gone, and all the same with the boleo

2:07-2:42 ..Oaaaaughhhh!!! then I cannot go on any more, here!! Z‡%fifi£ZΩˇˇ%§ totally different as you know it, baaah uuaghh and if I lead her long (pointing up) she will also be long within the bar-measure &ZzW„A‡%fifi£ control over §dsk?°§d±¬¥jsdf!! ja, its no more seeking in nuevo moves, its both already there in time

2:42-2:54 ..and all the same with ?Ω®πlösdf and %$§x%$§x turning back wherever the man does $§xelkjaΩ® the man turns, and then it continues somewhere else

2:54-end Lets have &∆$§xel$§xel example &ñΩ†jpoi≈bxcqwü exiting story with the boleo $§xe$§x%$ unbelievable
Click to expand...

could they be SMERSH agents? She could easily be a Rosa Klebb seductress....
 
I know a lot of women don´t like that dragging over the dance floor. But the following Sostenida (1:45-1:51) is so smooth that I will try to figure it out. Think the critical equal weighted point is at 1:48. Though it seems to be a great deal choreographed I find a little draw back in his lead at that point.

youtube.com/watch?v=dhu2_scNkco

.
 
I think one important thing for this type of volgada walks is to have proper dragging abraso. This couple changes their abrazo 1.33 She is then able to support her weight and he can keep his right arm quite relaxed around her. Othervise there is risk to squeeze her breath out!

By the way Danke for the german translation - it was actually really fanny!
 
LadyLeader said:
I think one important thing for this type of volgada walks is to have proper dragging abraso. This couple changes their abrazo 1.33 She is then able to support her weight and he can keep his right arm quite relaxed around her. Othervise there is risk to squeeze her breath out!
Click to expand...

Good eye LadyLeader. I think you're right. I went to a class recently with Carlos and Tova on volcadas and they taught something similar. The support point for that particular embrace is almost entirely in the upper arm, just beneath the shoulder. It allows for larger off-axis movements while still providing stability.
 
bastet said:
nice post Sub...the "where you are with your weight and the beat" is something i've had taught a couple of times mostly as a musical choice. The way one of my teachers teaches it, he explains it as 3 possibilities in the "tango snapshot" - either on top of the beat (body and foot together), midway ("normal" walking) and slightly behind the beat (foot arrives before body). He calls it rubato as he is a musician and relates it to the musical rubato concept just with the dancer's feet. The slightly behind the beat concept gives the movement a very relaxed feeling.
Click to expand...

Thanks for the comments Bastet. I like the idea of relating the musical terms to your feet. I will have to try the slightly-after-the-beat step.

I am still working on the even step walk and how it affects movement. One thing one of my teachers told me is that when following, this way of walking makes it easier to do steps inside the turn. I'd never thought about it, but it makes sense... if the follower is moving with the more abrupt weight change, there is a fraction of a second less time for the leader to sneak his leg in for a gancho or sacada.
 
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