--- On Thu, 12/18/08, Jack Dylan <[email protected]> wrote:
> So if I'm dancing to what I 'hear' in the
> music, I lead my partner to do the same, i.e. to dance to what I hear, not
> what she hears.
What I was referring to (and I think Jay experiences this, too) is when the
woman doesn't hear as many layers as the man does and she's fixed on hearing
one layer, then she isn't able to switch to a different layer of music. In
milongas, three different rhythms can be present in the same song - single
time, double-time, and the milonga rhythm. Sometimes single time dominates but
the milonga rhythm lies underneath. So if she's fixated on the single time, I
have a hard time switching to the underlying milonga rhythm. If the woman
hears more layers than the man, she has her ornaments to dance her musicality.
When I follow, it does drive me nuts when my partner misses the pauses/freezes
in milonga (there's not much I can do about it either without backleading). In
Javier's demo, he doesn't dance the pauses the first time they occur, but he
catches them toward the end. When I'm leading the pause but the woman
continues bouncing around, it's a bit of a bummer. If I can get her to hear
the change in the music, then she tends to enjoy hitting the pauses when I try
them later.
I'm sure there's more work I need to do on my leading, but it's makes such a
big difference when the woman is attuned to the music.
> Some dancers, maybe Chicho, might be skilled enough to
> dance to one rhythm while leading his partner to dance to another
> rhythm but, IMO, that's way beyond the abilities of most - certainly
> mine..
But Jack, you do this every time you lead a woman to the cross in cross system.
Or lead her to do a molinete as you do an enrosque. Or if you just lead her
to extend her foot as you stand still. Just take those ideas and experiment on
them. Just do it consciously and soon you'll be doing it for the fun of it.
Trini de Pittsburgh
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