Sorry, Keith. Looking through your recent posts, I see that you are, actually,
one of the rare leaders that also gets tired of all of the mulititudes of
leaders, even teachers, that really have a mindset that a lot of things are the
follower's fault in tango. (And, trust me. That is told to m
"the floor is my canvas and the woman is my brush. If I have built up her
confidence to the point that she feels secure and becomes elastic, I
wouldn't expect her to be trying to correct for my overwinding of her body.
It takes away from the ultimate art. And, we have to remember. The women
"the floor is my canvas and the woman is my brush. If I have
built up her
confidence to the point that she feels secure and becomes elastic, I
wouldn't expect her to be trying to correct for my overwinding of her body.
It takes away from the ultimate art. And, we have to remember. The women
Again, I have been blessed to have the best teachers in the world. I can only
relay what they teach me. If you want to dance with guys that don't see the
floor as a canvas, then, they might be confined to patterns. Does anyone else
out there agree that there are no patterns in Argentine tango
In response to Doug's response ... I must elaborate on the freedom that I get
from being open minded about the dance ...
I know it's a generalization, but, I find that, "in general" women have more
of an inherent musicality in their bodies than men. If anyone disagrees.
Fine. But, I, fo
While I understand the reason for this thread's title, I've never liked it.
Blame doesn't lead to improvement. Holding yourself accountable and desiring to
change is what leads to improvement. Everybody DOESN'T want to get better and
are content with their dancing level.
The title implies that
Tango For Her wrote:
> 1. If you are so sure your partner would walk away from you if
> you meantioned thinking of the floor as a canvas and her as a brush,
> how about taking on a little homework and ask her!
> We would love to hear alot of opinions on this.
I asked my regular dance
Tango For Her <[EMAIL PROTECTED]> writes:
> I know it's a generalization, but, I find that, "in general"
> women have more of an inherent musicality in their bodies
> than men.
Clearly this is true, since the vast majority of
musicians, both in rock bands and symphony orchestras,
are women,
Hehe. I don't hold any patents!
I have to agree, in part. I can dance with a woman who is heavier (in
weight), but dances light as a feather. She must have "learned" that
somewhere!
I know, from classes, that dancing with a man, again heavier in weight, and
just leading somethin
Cool! All women are different! And, there's no definition that says that I am
right! So, try the exercise and don't tell her! :o)
Oh, and if she says anything about your dancing after that, let us know!
Is this how they made "Days of Our Lives"? ;o)
Alexis Cousein <[EMAI
(...as she ventures, a little timidly, out from her much safer lurker
position.so remember, this is my first time :) )
Bravo Doug and Astrid!! I am a woman who both leads and follows - many
times back and forth during a single evening, depending on the
crowd...and while there is an obvious d
B,
"you were supposed to lead it" is absolutely the correct response and I
just wish ladies would use it more often. And, when a man tries to teach a
lady a figure during a milonga, I just wish she'd say ... "don't teach me,
just lead me". Because if he can't 'just lead it', than he certainl
I agree. ... playing her like a fine violin can be (1) meant in many ways
and (2) taken in many ways. Air to caution! I, personally, would find that
statement to be offensive.
I have to say, though, that you could divide this issue into two camps: (1)
Leaders who listen to the convers
The 'playing her like a violin' comments are generally offensive but have their
place. I reserve them for when I am trying to get other guys who may be
sceptical of dancing in general and tango in particular interested in dancing
tango. In that case, where I am trying to attract new leaders, I
;Victor Bennetts" <[EMAIL PROTECTED]>
To:
Sent: Friday, December 21, 2007 4:08 AM
Subject: Re: [Tango-L] Don't blame your follower
>
> The 'playing her like a violin' comments are generally offensive but have
> their place. I reserve them for when I am tr
> I find nothing offensive to play the role of a Stradivarius in the hands
> of
> a talented musician.
>
> But you, ladies, are free to feel offended and miss the whole point.
Talk like this is cheap if it comes from a man.
The point is that the whole tone of the statement of "playing her like a.
Playing the violin is not an easy task. In fact, it is among the most
difficult instruments. So, I do not agree that the expression gives us
association with someone who "reads the manual" and "presses buttons",
and expects machine-like behaviour.
Being fine tango instrument is difficult, an
There is nothing about "beauty" and nothing about "playing roles" when a
woman is
compared to a finely tuned musical instrument in dancing, dear gentlemen.
No wonder, it upsets women !
It is about to be Finely Tuned ! Strings are tight, and ochos are crisp.
Resonance procudes loud musical sound,
"I find nothing offensive to play the role of a Stradivarius in the
hands of
a talented musician."
I think the objectionable part is not so much the comparison to a
Stradivarius, rather the proposal that it is a dumb innate
object/instrument through which the leader/musician expresses their
skil
> "I find nothing offensive to play the role of a Stradivarius in the
> hands of
>
> a talented musician."
>
> I think the objectionable part is not so much the comparison to a
> Stradivarius, rather the proposal that it is a dumb innate
> object/instrument through which the leader/musician expres
I agree with Astrid. Nothing looks uglier on the floor than some guy who thinks
he is a great dancer doing a whole lot of intricate steps without any regard
for his follower. You can see him in love with his own footwork and totally
disregarding the woman. Connection to me means feeling with se
I just checked my Bulk email folder and found a
bunch of emails that I missed. Sorry for the delay
in writing back.
I still say, to myself, "Don't blame my follower."
with rare exceptions. In general, I become a better
dancer by always looking to me to modify the dance.
If my follower is st
--- Keith <[EMAIL PROTECTED]> wrote:
> One final question to the many expert followers out
> there. If I guy overled a Boleo, would you follow though
> and hit the guy's leg or
> would you control the Boleo and not hit his leg? I admit
> I don't know the 'correct' answer.
>
> Keith, HK
To an
Once a woman hit my vallet in my back pocket. It was a lot of fun!
She did not kick it out though ;)
Igor Polk
Trini:
"..the women would try to hit the
keys to get them to jingle during boleos.."
___
Tango-L mailing list
Tango-L@mit.edu
http://mailm
Well, in the US, janitors and truck drivers often wear their large
key rings on their belts.
And a high class woman don't want no maintenance man.
"Trini y Sean (PATangoS)" <[EMAIL PROTECTED]> wrote:
--- Keith wrote:
> One final question to the many expert followers out
> there. I
On 12/16/07, Trini y Sean (PATangoS) <[EMAIL PROTECTED]> wrote:
>
>
>
> This thread reminds me of something I heard a few years
> ago. It used to be that men in BsAs would hang their keys
> from belt or pants. And the women would try to hit the
> keys to get them to jingle during boleos and possi
I think this was possibly during a time period when keys
were more of the skeletal type. I'm not familiar with the
history of locks, but this type probably may not have fit
in pockets comfortably. Based on the footage that I've
seen, women were doing ganchos and high boleos.
Trini
--- Tango Soc
On 12/16/07, Trini y Sean (PATangoS) <[EMAIL PROTECTED]> wrote:
>
> I think this was possibly during a time period when keys
> were more of the skeletal type. I'm not familiar with the
> history of locks, but this type probably may not have fit
> in pockets comfortably. Based on the footage that
On Thursday the 13th Mario requested tips on
"Close embrace in close quarters".
I have yet to see a sinlge response.
Meanwhile, there have been more than 20 responses in the
"Boleo & Contra-boleo" thread.
I guess this speaks volumes about the interests of our
on line community.
Tan
The obvious answer Steve is ... lead the way.
What Mario actually asked was "which Tango sequences (patterns) can be
danced
in close embrace ... as I want to spend my time learning/practising only those
patterns ..."
If anyone had attempted to provide such information, he would have been
Hello, again, Keith!
Add in! Teachers fill their classes by teaching patterns. It is a necessary
evil. But, in time, everyone must learn that ballroom is patterns and
Argentine tango (well, except for show tango and coreography) is not.
Tango is in the body, not the patterns
The answer will emphasize steps, weight changes, and several steps
strung together, all of which can be danced pretty much in place.
If anyone wants to flame me for writing about "several steps strung
together", I can take the heat.
Meanwhile, Mario will, I think, appreciate any advice, reg
This is a reply to "Re: [Tango-L] Boleo/ contra-boleo"
Tango For Her wrote:
And, one surprising aspect, for the woman, is that if it is led correctly,
her foot will wind far enough around to hit you in your
thigh! They tend to like the fact that they appear so flexible.
Keith Wrote
TFH,
I competely agree with what you say about not blaming the follower and find it
ironic that I should be on the receiving end of your
lecture. Not long ago, I was making the same argument to other leaders who were
blaming their followers - where were you when I need
you :-). So, have I chan
Just to clarify my question to followers in my last post and to avoid any
further misunderstading.
"If a guy overled a Boleo, would you follow through and hit the guy's leg or
would you control the Boleo and not hit his leg?"
Clarification - I'm not talking about a Low Boleo which can be overt
Why are dancers outside Argentina so interested in learning these
moves
that are not recognized as acceptable social dancing in Buenos Aires?" If
more people went to Buenos Aires, observed how porten~os dance at the
milongas, perhaps all the workshops outside Argentina teaching ganchos,
boleos, v
On 12/17/07, [EMAIL PROTECTED] <[EMAIL PROTECTED]> wrote:
>
>Why are dancers outside Argentina so interested in learning these
> moves
>
> that are not recognized as acceptable social dancing in Buenos Aires?" If
>
> more people went to Buenos Aires, observed how porten~os dance at the
>
> mil
To difuse this a bit ...
How do you make money in tango? Give what people want! The trick to filling
your classroom AND keep them coming is to keep the attention of the
intermediate and advanced leaders. Any teacher knows that!
Intermediate dancers want to learn tricks and patterns
On Dec 17, 2007, at 12:51 PM, "Tango For Her" wrote:
> To difuse this a bit ...
>
> How do you make money in tango? Give what people want! The trick
> to filling your classroom AND keep them coming is to keep the
> attention of the intermediate and advanced leaders. Any teacher
> knows
Bored now
call your events whatever you like, but please don't generalize about
the "milongas in buenos aires." What you find hear depends entirely
on where you look, and there are so many places to look. The scene
here seems to become increasingly varied (well thats my perspective,
b
Intermediate dancers want to learn tricks and patterns. (This is
only my observation. This is a genaralization. This is not meant to offend
anyone!)
Social Argentine Tango is about connection with partner and music and
the emotion that is aroused in that connection. That is its unique beau
Nuevo tango is cool. I, myself, found incredible success in soft tango. So, I
try to pass along as much as I can. I observed that teachers that go out and
find complicated patterns have that added component that I believe it takes to
keep the longterm attention of leaders. I didn't say it wa
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