Argentine Tango - - with the Argentines
- Original Message -
From: "Mario"
Subject: [Tango-L] How many figures do you need?
It seems like the alternative to lots of variety in steps is to either do
few steps better and/or do the walk with more variety. For the close embrace
enth
It seems like the alternative to lots of variety in steps is to either do
few steps better and/or do the walk with more variety.
For the close embrace enthusiast who doesn't want to break the embrace
in order to do a figure, there is the search for a more profound connection
throughout the figures
Trini
I would agree with this immesely - as a follower, certainly I'm more
limited. As a leader, I don't have to think anywhere near as much as
most of my leading dance process is now well and truly bedded.
However, when many of the women I know start to lead, they go through
this enormous learn
--- On Tue, 5/19/09, Gary wrote:
> > When I decide to lead at a milonga, I'm always
> thinking "what else
> > can I do?"
>
> I don't get this feeling often, but its a killer when it
> happens. (BTW, I'm almost certain that the writer knows a lot more
> 'stuff' than me.)
I wrote the first s
I was struck by this observation:
> When I decide to lead at a milonga, I'm always thinking "what else
> can I do?"
I don't get this feeling often, but its a killer when it happens.
(BTW, I'm almost certain that the writer knows a lot more 'stuff'
than me.)
I've realised that I only have t
should be pooh-poohing learning figures just because it's learning figures.
Learning figures at the expense of partner connection, though, would be bad.
Trini de Pittsburgh
--- On Sun, 5/17/09, roger wrote:
> From: roger
> Subject: [Tango-L] How many figures do you need?
> To:
Sunday, May 17, 2009 2:13 PM
Subject: [Tango-L] How many figures do you need?
>I have just read all the emails on 'How many figures do you need?' . The
>response seem to reflect the remarks made about making love. The males seem
> all obsessed on "How many" and fem
I have just read all the emails on 'How many figures do you need?' . The
response seem to reflect the remarks made about making love. The males seem
all obsessed on "How many" and female response is one of "It's not how many,
but what you do with them." (Replace "many" with "big" and you see my
po
--- On Wed, 5/13/09, www.tango-argentino.info wrote:
> you need all steps, as much as you like, it's not that you
> have to dance them all, but you need them for to study, for
> improvising, to become free, so that you can dance, walk in any direction,
> you can turn to the right, to the left,
Hi Michael,
you need all steps, as much as you like, it's not that you have to
dance them all, but you need them for to study, for improvising, to
become free, so that you can dance, walk in any direction, you can
turn to the right, to the left, you can dance voleos, sacadas etc etc
in nearly
I certainly agree with Melina on this one.
"I've danced with a lot of good dancers, who have a quite limited
repertoire and with even more bad dancers with a huge repertoire! Some
may find that boring, but I'm searching for the quality within a
single movement."
It seems that the discussio
>
>
> How frequently are you able to incorporate what you learned from festivals
> and workshops into your dance?
>
> It's a slow Saturday night and I'm writing as I listen to Garrison
> Keillor's monologue. Unfortunately, there's no AT in Lake Wobegone, MN,.
>
> Michael
> Washington, DC
Just dow
Melina,
you could go even one step (sic) further: you only need the connection
with your partner, the music and the floor.
Everything else is just decoration. In order to be a good dancer no
externally visible movement is necessary.
It's just (more?) fun.
Daniel, fan of simple tango.
PS: Of
>
Hi Joe and all!
> Indeed! No figures. Period. (begs the question, what is a figure, but
> good rule)
>> You can be an excellent dancer, if you just walk forward - provided
>> you do it musically, connected to the partner with a nice embrace.
>
> But... do you really just walk "forward"? And, n
s life is not a rehearsal
===
From: Bertil Nestorius
To: "tango-l@mit.edu"
Sent: Monday, May 11, 2009 4:10:26 AM
Subject: Re: [Tango-L] How many figures do you need?
For me a molinette is what the woman/follower dance when the couple is doing a
Giro.
That means mol
t: Re: [Tango-L] How many figures do you need?
>
> Michael wrote:
> > I enjoyed my vacation in BA even though some tried to tell me what to do. I
> > observed that the Argentines use the following figures:
> >
> > Back ocho
> > Low Boleo
> > Walking
Michael wrote:
> I enjoyed my vacation in BA even though some tried to tell me what to do. I
> observed that the Argentines use the following figures:
>
> Back ocho
> Low Boleo
> Walking
> Ocho Cortado
> Giros (called molinetes north of the equator)
We also call'em giros - you need to involve a
Melina wrote:
> How many figures do you need to be a good dancer? In my opinion? NOT
> ONE STEP!
Indeed! No figures. Period. (begs the question, what is a figure, but
good rule)
> You can be an excellent dancer, if you just walk forward - provided
> you do it musically, connected to the par
How many figures do you need to be a good dancer?
In my opinion? NOT ONE STEP!
You can be an excellent dancer, if you just walk forward - provided
you do it musically, connected to the partner with a nice embrace.
If you are furthermore able to communicate a shift of weight in place,
a sides
On Sun, May 10, 2009 at 12:13 AM, Steve Littler wrote:
> How about the cruzada (cross), or the little cross (half-signal)? (Or is
> that already considered in Ocho Cortado?)
>
> I usually end back ochos with a cross or forward/backward boleo.
The terminology isn't always consistent. The linear wa
You don't *need* most of the ***adas. However, you *can* incorporate them to
spice up the dance.
Specifically:
- volcadas - I use them sporadically (at most once per song, usually <=1 per
tanda) if I feel the connection with the partner is especially strong; when
they work, they are fun!
- sacadas
True! The Front Cross, or Cruzada, is one of the
most beautiful steps in Tango! Especially following
a Low Boleo. Exquisite.
Jack
> From: Steve Littler
>
> How about the cruzada (cross), >
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How about the cruzada (cross), or the little cross (half-signal)? (Or is
that already considered in Ocho Cortado?)
I usually end back ochos with a cross or forward/backward boleo.
Steve
>
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Provided they're gentle, subtle and led mostly with the torso,
I think Sacadas are quite popular in BA. But, as Ron has written,
the major elements are the embrace and musicality.
Jack
> From: Michael
>
> I enjoyed my vacation in BA even though some tried to tell me what to do. I
> observe
MIchael,
>From what I've observed, that's about right.
The low boleo isn't needed, so
- Walking
- Back ocho
- Ocho Cortado
- Giro
will do just fine.
But don't forget a good embrace and good musicality.
Ron
On Sat, May 9, 2009 at 6:49 PM, Michael wrote:
> I enjoyed my vacation in BA even th
I enjoyed my vacation in BA even though some tried to tell me what to do. I
observed that the Argentines use the following figures:
Back ocho
Low Boleo
Walking
Ocho Cortado
Giros (called molinetes north of the equator)
I've read messages on Tango A about workshops and festivals for colgaldas,
v
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