--- On Tue, 7/5/11, Chris, UK t...@chrisjj.com wrote:
I note this list of the points that most people can judge
themselves
doesn't include being able to dance to the music.
Correct. The average social dancer thinks that just being on the beat is
dancing to the music.
In my
I am having to dance with an unbuttoned jacket. Last night I was
dancing an energetic jive with a lady who was wearing a lacy top. As
she spun away, my jacket button got caught in the lace, was pulled off,
and pinged away, never to be seen again.
John Ward
normally Bristol
UK, but now at the
On 05/07/2011 15:08, Trini y Sean (PATangoS) wrote:
You miss my point. If you've studied cognitive memory, then
you're aware that people have short term memories of 5 plus/minus
2 chunks of information. These chunks get bigger as experience and
muscle memory grow. Thus, a 12+ count
--- On Tue, 7/5/11, Alexis Cousein a...@sgi.com wrote:
I know some teachers will use an obvious entry that's 5
counts long to get into e.g. a right hand side cross system and may
want to bolt on an exit that's also quite long to get back into the
LOD
Yes, and a teacher would do that for an
On 05/07/2011 23:00, Trini y Sean (PATangoS) wrote:
Yes, and a teacher would do that for an intermediate workshop but
shouldn't be doing it for an advanced workshop.
Exactly my point: it gets us to the point where it's no longer
needed to be able to handle 12+ count sequences in an advanced
--- On Tue, 7/5/11, Alexis Cousein a...@sgi.com wrote:
Or is that you need to be able to... another way of
saying that
to do the advanced class you simply need to be a splicing
and reassembler expert who recognizes splice sites, who
can
see the forest for the trees even in a long sequence?
12+ count sequences encourages dancers to think of tango like ballroom, where
there's ONLY way to do a figure because it's tied to the count of the music.
Tango doesn't have any count that has to be followed like Cha cha, Samba,
Waltz, etc.
I think it's better to discover new ways of splicing
