Here is my attempt at a synopsis for the benefit of the leaders, both seasoned and new:
FRAME POSTURE AND POSITION
- The arms are for the embrace NOT for leading
- The arms are there to hold the connection comfortably, and not to be used steer your partner like a boat rudder
- Granted every now and then you can use the arms for sending lead impulses. But that's an exception
- Maintain your Tango posture
- Stand straight, weight forward, relax, chest out, don't cave your chest, don't nuzzle
- Lead from your chest
- Use your chest, core, center, frame
- Use them to direct and guide the motion of your partner
- Leading movements in AT is an excercize in improvisation, NOT memorization
- Get the lessons you have learned and string them together to form your interpretatation of the song
- Don't rely on fixed patterns
- They are boring
- If your leading a movement, and it doesn't work, move on. DON't teach!
- A common newbie mistake
- Don't impress her with your fancy steps. Impress her with your simplicity
- Keep it simple, feel the music, out of simplicity, beauty comes
- Listen to the music. Develop your rhythmic skill
- Dance in-tune with the music. It makes such a difference in your leading
- Maintain your lane
- Counterclockwise please, and maitain your lane. Don't drift
- Dance in the appropriate size
- If you have the space, go ahead and do your showy stuff. Dance big
- If its a packed house, dance small, dance close to the floor and avoid the flailing leg things and the huge strides
- Be aware of where you're at at all times
- You are blind-sided on the right, do half turns, giros so you can see around you
- Adjust your position to those around you
- Don't back into traffic
- Inconsiderate and dangerous
- Don't stop traffic
- Inconsiderate
- If you must do your slow, stationary, and showy moves, move to the center
- The outside lanes are for moving traffic and for more experienced dancers
- The inside lanes are slower and offer more spcae for experimentation
- If you are just getting into AT, use the inner lanes
- If AT is new to you stay in the inner lanes. They are slower and much more forgiving
- If you bump into someone, make eye contact and apologize-EVEN IF YOU ARE NOT the instigator
- Gentlemanly behaviour makes for a good milonga. You will know who is at fault
- Maintain good personal hygiene
- You will be dancing close. VERY close. You must not stink!
- AT music is varied, familiarize yourself, and adapt your dancing to the music
- Depending who the composer is, AT music can have consistent rhythm, to changing rhythm several times in the same song
- This is one element in AT that is quite difficult to get the hang of. BE PATIENT in learning to "hear" the music
- Maintaining and dancing connected to one's partner at an etheriel level is the point of AT. NOT dancing steps and patterns
- You'll know once it happens
- Lots of endorphins
- Dance for your partner. NOT for the audience
- If you want to show off stay in the center of the floor
- When you dance, no one else matters except your partner
- AT is a 3 minute date
- Don't analyze it, Dance it
- When you are on the floor dance for the sake of the enjoyment of you and your partner
- Don't overanalyze things. It shows in your dance and mess you up
- Let things flow as they will
- Things will never be perfect, so let it go and flow
- AT is a conversation between two bodies without words
- Your partner chose to accept your invitation and dance with you. Return the courtesy and respect her
- Your partner is there to complete the AT equation
- No matter how good you think you are, you are nothing without a partner
- Adapt to your partner's level
- Don't force your "advanced" skills on your partner
- A talented leader will be able to dance with any partner at any level of skill, and the dance will look good
1 comment:
> Musicality is a skill
A trait, I'd say.
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