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Salida?

I’ve been going through a kind of mild epistemiological crisis, wondering about my dance. Take a break? Hit the classes hard again? Practice what I know? I’ve even considering a major step down of a few months or so to get my bearings about all this.

…The sum of which is that I am tentatively hoping to refine my dance in this coming year…to do well; quality over quantity.

Here’s a video that I’ve been watching for inspiration. I have no illusions that I will ever be anything but, at best, a “good” dancer if I work at this. But I think I will become that some day.

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Sacadas and more..

Heading out in an hour or so for a lesson; another attempt at grafting quality sacadas into my tango vocabulary. Practice. Practice. Practice..

In that class session, drills with S.: in proper form: “opening the door..moving into the follow’s space as and getting that trailing edge…”. A simpler sacada than the glacis-sacada is sacada-sacada-back ocho. For this figure it is important to collect after the second sacada before you position her so you can step over with your right before leading the back ocho. I have this unfortunate muscle memory from somewhere else to go forward with my left; which looks and feels less organic. Also the introduction of the “walking sacada.”

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I contemplate whether a brief exposure to the International Ballroom form will help my tango; or not; or whether it would be an inherent good for it’s own sake. One dancer known to me who is familiar with many forms tells me it would be boring to me since there is not enough room for improvisation; and she is in a position to know. However I have seen something like improvisation among those who enjoy this form.

I have a made a decision not to travel to Buenos Aires in the first half of this year. Perhaps later, though.

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Walking…

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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Power trip

Given that this is a political season, my thoughts have turned to the early history of my great nation, and that great song from our colonial era, Yankee Doodle Dandy.

From the chorus:

..mind the music and the step, and let the girls be handy….

The reels and waltzes of the day apparently were such that one even then had to mind the music (i.e. obey the music, and have musicality in one’s dance) as well as their footwork (and the step)…and as well one needed a supply of ladies. Some things never change. Long live our Republic, and long may we dance and have reason to.

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In your arms there a moment, a space
of time, no longer than a beat, or song;
this peaceful sea. In no other place
is it quite the same. A place to belong;
of simple friendship for boys and girls
making merry, as we were meant to.
Simple steps and pauses, and twirls
in place. Each one cares, and should
for the place they put their feet. True
care as we guard our hearts, for we could
mis-step, but this risk is small, you see.
We find our posture, then, and step forward
’till we would find anew that tranquil sea.

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Tango Haiku

Sharp turn; secada
Una mas, then parada
Deep concentration

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