What are you working on? v3
- Thread starter AndaBien
- Start date
Subliminal
Well-Known Member
Heh, thanks!
Subliminal
Well-Known Member
More following!
Working on keeping my right arm loose. It's weird, I think the right arm follower technique and the left arm leader technique are completely different. On the plus side, my teacher said my right arm was very present when it needed to be, perhaps because of my leading background. On the minus side, it was less movable most of the rest of the time. heh.
Worked on follower musicality. Interesting concepts... working to own the step, and use the music. If I'm not mistaken it's sort of like... you listen for upcoming things in the music and hope the leader will do something with them... but you can't react until he does, or you're anticipating. But you have to be ready to move if he does.
Worked heavily on ochos and the cross. I definitely have some new perspective on them. We also worked on taking the lead and overemphasizing a step to give my own voice to the dance.
Lots of stuff covered again! But I liked it. Heh, now I need to find someone who will lead me so I can practice.
Working on keeping my right arm loose. It's weird, I think the right arm follower technique and the left arm leader technique are completely different. On the plus side, my teacher said my right arm was very present when it needed to be, perhaps because of my leading background. On the minus side, it was less movable most of the rest of the time. heh.
Worked on follower musicality. Interesting concepts... working to own the step, and use the music. If I'm not mistaken it's sort of like... you listen for upcoming things in the music and hope the leader will do something with them... but you can't react until he does, or you're anticipating. But you have to be ready to move if he does.
Worked heavily on ochos and the cross. I definitely have some new perspective on them. We also worked on taking the lead and overemphasizing a step to give my own voice to the dance.
Lots of stuff covered again! But I liked it. Heh, now I need to find someone who will lead me so I can practice.
I'm happy to know you are doing this. I have often advocated it around here, but most men (all of them) are simply unwilling.
I'd be interested in knowing if it improves your basic dance skills and/or your leading skills.
If you know how to do a leg wrap, approach it more like that. Of course your leg won't be there, when she swings her leg around.
bordertangoman
Well-Known Member
step away diagonal left. The woman has to feel supported by your right shoulder and/or upper arm and the other hand has to stabilise the embrace. Also a slight feeling of suspension or a suggestion of lift in your right arm can help.
She has to have a relaxed leg.
Subliminal
Well-Known Member
What the others said. Also, I like to send some additional reassurance and stability through the connection the step before. She has to feel stable and relaxed for it to happen.
Also, if you're still having trouble, try to feel her free leg through your chest. Imagine there is a link between your chest and her leg, then "draw" a circle with your center to show her leg the path to take. Does that make sense?
Also, if you're still having trouble, try to feel her free leg through your chest. Imagine there is a link between your chest and her leg, then "draw" a circle with your center to show her leg the path to take. Does that make sense?
opendoor
Forum Master
Since it is now almost 4 years ago that I danced the first time to Piazzolla, and two years ago I dared late Pugliese, now one year with Pedro Laurenz is gone: I have collected enough courage trying early Troilo (his early 40s works). Find this is the most complex music by now.
How interesting. Troilo's early 40s work has long been my 'ultimate' tango dance music, whereas almost everyone I speak to can't see why I like it so much. I don't claim to dance very well to it (or to anything else, for that matter), but I think it wonderfully subtle and rich.
Laurenz has never caught my imagination: it sounds pleasant enough, but rather like elevator music - probably I'm completely missing the point. The real dance challenge for me is Firpo: can I ever dance to this music without wincing at the horrible noise it makes!
opendoor
Forum Master
Seems that it got to do with one´s objectives. When I felt ready to open towards Piazzolla and Pugliese, then because I found that lately I had enough vocabulary (figures) to cope with great feelings, and dramatic expressions.
Dealing with Laurenz was due to my VU phase concerning elegance.
Early Troilo may be a shy approach to club style without leaving my foundation in tango de salón. Troilo kept this bandwidth and the tension between these extremes.
The said orchestras in this sense were kind of the ambient sound of my consolidations. Still the music of my (tango) heart is Caló. And I still do not dance to Biagi, D´Arienzo (great deal), and any other kind of that so-called "tangomilonga" rhythmic stuff.
Dealing with Laurenz was due to my VU phase concerning elegance.
Early Troilo may be a shy approach to club style without leaving my foundation in tango de salón. Troilo kept this bandwidth and the tension between these extremes.
The said orchestras in this sense were kind of the ambient sound of my consolidations. Still the music of my (tango) heart is Caló. And I still do not dance to Biagi, D´Arienzo (great deal), and any other kind of that so-called "tangomilonga" rhythmic stuff.
You make VU sound like an affliction of adolescence, a bit like acne. Perhaps everyone gets over it, in time. ;-)