Winston, Alan P. wrote: > Over in English dance land, Bruce Hamilton used to describe the amount of > pulling force as
[Stuff deleted] Alan, I particularly like the understandable reference to a tetherball pole. I think it's easy for anyone to comprehend what might happen if one used the same forces on another dancer that one might use to navigate around the pole. I heartily agree, also, with your observation that a negotiation takes place every time one makes (intentional... and choreographed!) contact with another dancer. That period of negotiation might last only for a second. Even less, maybe. And, I think, it will determine the quality of the interaction. Ken Panton Ottawa " > More recently he's been taking that the position that the hand *knows* the > right > amount of pull/connection; you can find out by putting your cupped hand > around a > tetherball post (or some other round pole) and turning around it with an > amount of weight > you find satisfactory. The static post essentially gives you back as much > firmness / > connection as you put into it - and it does it without squeezing your hand or > trapping > your thumb. > > It may also be worth pointing out that every allemande is, and every swing > is, a > negotiation, where you find a mutually comfortable amount of tension and of > speed; you > never know whether the person you've come to has a wrist / shoulder / back/ > hip > problem or a dizziness/vertigo problem or is just too tired to go around that > fast right > now. You're obliged to pay attention to what the other person is giving you > and not > pull them off balance or fling them around, and you should offer only a > degree of > tension/connection you can tolerate. > > -- Alan > > > ________________________________________ > _______________________________________________ Contra Callers mailing list -- [email protected] To unsubscribe send an email to [email protected]
