On Sep 22, 2007, at 4:15 PM, Krasimir Stoyanov wrote: > I agree with Igor, but what is resistance? > Should the follower forcefully resist? Or it is just the inertial > resistance, according to the physics?
Of course, connection can mean anything from light to heavy. This could be a light to heavy force, or light to heavy inertia, or light to heavy responsiveness, light or heavy groundedness. I personally agree with Igor that super-light is less helpful for connection, and I prefer that there be an actual, sometimes substantial sense of engaging (toning up?) between the partners. I have two points to make about this: (1) The woman (man also), has three important places of engagement: with the floor, with her partner, and within herself. Using these leverage points allows her to create a positive connection that can be used to communicate movement and other things. This connection can be modified in many ways. All the great followers I know use many or all of these possibilities: - by resisting movement or self-powering, - by allowing stationary or moving momentum to slow the changes of tempo - by leaning or being more vertical, - by pushing into the floor or pushing off, - by allowing a slower response or a more sprightly response. - by slowing or speeding up the speed of the moving leg - by resisting or releasing early or late in the movement - by resisting or releasing early or late in the music - by leaving a step or arriving to a step early or late with respect to the music or lead. (2) The manner in which the woman engages with her partner IS THE FIRST AND MOST INTERESTING decoration in tango. It is one of the most significant ways for the woman to express musicality. Decorating the connection is far more interesting than the visible decorations we usually think about. Tom Stermitz Denver & San Diego Tango Festivals http://www.tango.org _______________________________________________ Tango-L mailing list [email protected] http://mailman.mit.edu/mailman/listinfo/tango-l
