Hi larry, long time not seeing you here :-) Are you still wearing your cream color jacket? Larry wrote: It is said that the woman owns the rhythm and the man owns the changing of it - as well changing the direction of the walk. If he wants to throw in an extra step or two (or more) he must do something extra with his lead. If he wants her to copy his rhythm change he has to keep a firm (maybe extra firm) embrace. If he wants her to continue the basic rhythm while he does his rhythm-adorno he must "suspend" (as Keith says) their contact a bit: loosen his embrace and give her added room to reduce body contact. I buy that theory by experience, but with some clarifications. Once danced close embrace in Bs As with a skinny tall gentleman who was trying to learn milonga (his tango and vals are ok). He has not acquired the ability to stabilize his body while he was attempting fast feet and weight change. Being in close embrace, I felt like I was holding a tall jack hammer a I felt the vibration from his bones. It was my natural reaction by dancing double beats with adornos. He kept "yelling" in desperation to ask me slow down, out of his frustration, the jack hammer even switched into high gear and we went around the floor like 2 Tasmanian Devils. Being polite, I never told him what went wrong in a milonga setting; I figured he would improve eventually (6 years since) . So I thought besides weight change or lack thereof, the signals of men also involve isolation of upper and lower body to guide the rthythm of the women? I just don't see loosening up an embrace in a Bs As close embrace setting to acheive that result. Bibi _________________________________________________________________ Back to work after baby–how do you know when you’re ready? http://lifestyle.msn.com/familyandparenting/articleNW.aspx?cp-documentid=5797498&ocid=T067MSN40A0701A _______________________________________________ Tango-L mailing list [email protected] http://mailman.mit.edu/mailman/listinfo/tango-l
