Archive for October, 2008

Meet in the middle..

Yet another piece from American country music suitable for tango — this piece for a slow milonga-style.


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lapiz blues…

A private session with S. today dealing with close embrace molinetas, sacadas, and incorporating a simple lapiz into my movements.

Lapiz: I have been trying for too much, and need to scale back. A simple inscribed circle suffices for now without trying to incorporate enrosques and planeos. In the backstep of a back ocho to the lead’s left, begin with pivoting on the right so the toe is in alignment with the angle of her back step before s l o w l y executing the lapis; pivot after the lapis is done and walk out.

Close embrace molineta: A rock step on the side that the molineta will be on, followed by a side step that chews up 180 degrees of the circle before two smaller steps in place for her back and side steps, done in the slow-slow-quick-quick-slow to match the length the steps should be.

It is a natural sort of evolution in close embrace ochos to do a secada, a pause to collect, and walk out.

I look forward to more work for better looking secadas. I note at this point I thought my barridas were pretty good, since I am using both feet in both direction. However corrections to my posture and timing make me realize the true state of my dance. While doing barridas (or a lapis), push the performing foot into the floor while it pivots for safety and stability.

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100 hrs.

An instructor light-heartedly suggests that I listen to about “a hundred hours” of vals in order to get the rhythm into my head so I can step on the down beat properly in that form. Private lesson today with S. dealing with refining my close-embrace ochos and turns in close embrace for either tango or vals. With my boleos I must take greater care both in timing and amount of energy – avoid using the arms as a kind of armature.

As always holding the embrace together to keep the connection needs to be worked on. Remember the idea of the barrel hoop and allowing her to move inside the “cage.”

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My investigations have taken me to this link, which is about both conceptual notions in tango as well as pragmatic ones. I cannot say that I agree with all that is written here; as I do not find that dance is so inherently sexualized as the author would have it (yet I acknowledge the daoist-like symmetries in couples’ dances). I offer it here.

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A toast…

…a toast to the ladies of tango, who draw the dance out of us.

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