12+ count sequences encourages dancers to think of tango like ballroom, where there's ONLY way to do a figure because it's tied to the count of the music. Tango doesn't have any count that has to be followed like Cha cha, Samba, Waltz, etc.
I think it's better to discover new ways of splicing already known figures together. The problem with difficult figures is they only seem to work in the class. They don't seem to work to well outside the class. I've seen men at milongas rush women or throw them off their axis for some crazy figure that takes up too much space for what is available. I don't understand why music is played in classes. I can't learn a figure as fast as the music is playing. (I know I'm NOT the only one.) I need to stop and think about what I'm leading. If I can't lead a figure without music, I can't lead it with music. I agree with what Trini wrote in another message about absorbing chunks of info. When is started, I wrote down what I was supposed to do. I even wrote the steps for taking a woman to the cross on cross feet. After a while I just wrote "Go to cross on cross feet." Michael Going home to New York after 35+ years ----- Original Message ----- From: Alexis Cousein Subject: Re: [Tango-L] Getting tango lessons to the needy On 05/07/2011 23:00, Trini y Sean (PATangoS) wrote: Yes, and a teacher would do that for an intermediate workshop but shouldn't be doing it for an advanced workshop. Exactly my point: it gets us to the point where it's no longer needed to be able to handle 12+ count sequences in an advanced class. Or is that "you need to be able to..." another way of saying that to do the advanced class you simply need to be a splicing and reassembler expert who recognizes splice sites, who can see the forest for the trees even in a long sequence? _______________________________________________ Tango-L mailing list [email protected] http://mailman.mit.edu/mailman/listinfo/tango-l
