Archive for December, 2008

Lapis and glacis

More on that class yesterday …

I must remember to “complete the circle” – and to always keep that connection and abrazo together; to avoid losing the dance in the step. Remember the secada should find the trailing edge. When placing one leg behind the other for an enrosque type movement, one knee behind the other vs. one foot behind the other. Practice – lapis – glacis and lapis – lapis. With one foot alongside the other remember to keep the placement compact for these pivots.


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Sacadas, a bit…

Finally some success with a basic figure I should have been more fluent in long ago; simple sacadas in the context of molinetas; practice both with and without lapis today with S. in a private lesson. I look forward to making this part of my vocabulary.

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Tango Radio

I found this link on Christmas Eve looking for music on-line — streaming tango music from the headwaters of tango, Argentina. Enjoy.

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Russian tango music

I found this while looking for something else.

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Live music

I read once of a successful show producer who had either purchased or rented real diamonds for the girls in his production to wear. He was told that he could have used rhinestones – fakes – for so much cheaper, and nobody would know the difference. “The girls will know!” he said.

So last night I had an opportunity to dance to live music for the first time. I understand now those who gush about the experience. Much more of a sense of community; the zeitgeist on the floor that much more intensive; and it drew out some very good dancing; even out of me. Wonderful.

It is perhaps a tacky analogy, but consider the difference between a soldier playing “taps” on a bugle at the grave of a comrade who has left this life and the same scene, but with a CD player.

The emotional differential seems to come from an elevated sense of “seriousness of intention” – the way, perhaps, dressing up for some people does.

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A private session with C. today and G. (спaсибо!) dealt with close embrace posture and form. Sigh… It seems I am forever going back to these basics and “polishing the apple.” Yet proper form is the spring, or well, from which good dancing comes from.

As well, some work refining this step. The trick is to force an irregular cross by using your right leg to displace her right into this cross, and to not be shy about getting into her space.

Also I need to be mindful to “lift” my follow in close embrace at appropriate times (say, in a boleo) to make the move more organic and smooth for both.

As well: Pause. Pause. Pause.

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la caída

“The fall” in Spanish, a new step introduced by Carina. There are several applications, but basically it involves the lead hooking his (r) behind his (left) when beginning a box step or other possible uses.

Also yet another milonga variant, similar to last week’s, but it involves side steps (with an “up” lead) in the place of the side-back-side molineta figure.

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