Anne Atheling asked me to give some links to videos showing volcadas. So I did
a YouTube search which returned 625 videos. After about an hour and maybe 30
videos I gave up. Even the tutorials don't help. Why?
Because they don't break the volcada combinations down. (Well, two did.
Poor camera
A caution for women. If you have any problem with the lean, object.
Give some excuse (such as a hurt back) if that makes you feel better.
You can indeed injure your back doing volcadas.
Larry de Los Angeles
Indeed. And that is why this move, and I mean, especially this move,
should
I always wondered what is wrong with a well executed lead done utilizing or
invoving as a complement other body parts than the torso.
Do you have an opinion in this respect?
Notice that I said well executed lead. So please do not include 'bad habits'
of people that do not know how to lead.
I always wondered what is wrong with a well executed lead
done utilizing or invoving as a complement other body parts
than the torso.
Do you have an opinion in this respect?
Notice that I said well executed lead. So
please do not include 'bad habits' of people that do
not know how to
I am a follower and I will tell you why I prefer the torso to hands.
Leads with hands are annoying. I can be dancing with a man who has nice
posture and a good sense of music and then there are those hands
guiding me through the dance. Leading with the torso at least for me
is a much more
I agree. Hands maybe helpful for executing very complicated figures in
open embrace but in salon, they quickly throw you out of your tango trance.
Deby Novitz wrote:
The embrace is just that...an
embrace. With good posture the force of the torso moves the body
smoothly and naturally
With hands it
cannot be
smooth. AND with a bad lead I feel like I am being worked
like a slot
machine. Horrbyy.
I think a follower's input will far out-weigh a leader's input on THIS subject!
I wouldn't want my follower to feel horrbyy about MY lead!
FWIW, my belief is that the physical aspect of the lead comes through the
physical connection.
Thus, in close embrace, since the physical connection is via the torso, hands
and arms are not needed and perhaps
not desirable.
In open embrace, the physical connection is via the hands and
I'm with Deby. Most leads who use hands either over-lead or under-lead. All
the twisting and pushing of my hand does not make my feet move. But the worst
of all is when their body says one thing and their hands say another. I have
learned to just stop until they figure out where they want me
Jack Dylan wrote I [took] some time and trouble to explain
[the difference between an 'open' step and a 'crossed' step] but
received no feedback. I hope you found my comments useful.
They were useful. Thanks!
Part of the difficulty understanding what open and crossed mean is the
Larry wrote:
I suspect their system [crossed vs open]is good for thinking up new
ways of doing movements, but not for improvising them while dancing.
I beg to differ. Generally, I can not tell you which (right or left) foot my
follow is on, but I try to NEVER loose track of
our body
NANCY wrote:
But the worst of all is when their body says one thing and their hands say
another. I have learned to just stop until they figure out where they want
me to be.
yes, me too. Sometimes it surprises them, but they seem to understand
and it gives them a chance to learn. If
NANCY wrote:
But the worst of all is when their body says one thing and their hands say
another. I have learned to just stop until they figure out where they want
me to be.
yes, me too. Sometimes it surprises them, but they seem to understand
and it gives them a chance to learn. If
Re: [Tango-L] Leading with arms or hands
There is absolutely nothing wrong with using one's arms or hands to
help lead a figure. What often is wrong is HOW some people use those -
as a primary lead rather than a seconary helping one.
There is a hierarchy of leads. Most important is the upper
Below is my current correspondence with U of Oregon.
We might be able to save the archives.
=
From: Jon K. Miyake [EMAIL PROTECTED]
To: Martin Waxman [EMAIL PROTECTED], [EMAIL PROTECTED]
Subject: Re: Tango-L Archive
I (Marty)wrote:
Jon,
Does a backup of
Martin,
I contacted Lucy directly ( with a little Google search) and she is on it.
I don't think she realized we had lost the Server space with her departure from
U. of Oregon. She will let us know when the Archives are restored. I copied
this info to Shahrukh, the list Owner, so I think
Let's be more specific. It's not the use of the hands that's the problem.
It's the TIMING. It's when the man is impatient and doesn't respect my timing
that I feel that he's pushing or pulling me, even if he is trying not to use
his hands. Imagine a hoola-hoop being placed around the woman,
What Jack says is a little mean, and certainly divisive, considering I was
trying to make
peace by defending the much-maligned close embrace people who supposedly are
the only
ones who criticize other dance styles. So I'm going to try to defend myself.
I dance, and teach, many styles
Thank you for the many answers to the list and by private mail. Mostly to the
ladies for giving their valuable opinion as being recipient of those leads.
Most good dancers and tango teachers that I have known ( Traditional tango,
Stage tango, Canyengue) use their torso, arms, hands, thighs,
Norberto El Pulpo Esbrez and Stephanie Lepeu will teach two 1.5 hour classes
on Sunday, August 3 beginning at 1:00p at Cafe Duvall (2257 W 23rd Place,
Chicago IL 60618). The classes will build on concepts previously introduced
although it is not necessary to have
taken any of the prior classes
Lois asks:
So, if that is true that only Close Embrace people criticize, why is it that
Traditional tango, Nuevo, canyengue people don't criticize people who dance in
close? Are they just so much more tolerant? Is there nothing to complain about?
(BTW, I've heard some of my favorite dancers
Since I can only post 1 more time today, I'll have to kill 2 birds with 1 stone:
On Teaching:
My experience mirrors that of Lois and my preferred teaching style starts
beginners off in close-embrace, even though I used to teach in open-embrace.
However, there are too many factors in the
Thanks for the initiatives. I do have Lucy's contacts (thanks to Nancy
Ingle), and the archives are back online. I am following up to make sure
it is preserved. If necessary it can be moved to the server on which the
Tango-L information page (www.tango-L.com) is hosted, but it is not just
a
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