tag:blogger.com,1999:blog-81372916880768734802024-02-19T00:08:40.576-08:00AmpsterTangoAmpster's eclectic ruminations about Argentine Tango—A leader's perspective from the milongas of SeattleAmpsterTangohttp://www.blogger.com/profile/07128341367227617647noreply@blogger.comBlogger79125tag:blogger.com,1999:blog-8137291688076873480.post-38915536758337524162011-07-28T01:23:00.000-07:002011-07-28T09:14:26.998-07:00The music dictates...<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE_ieYquCSnjobEWswU0YWHFT1NpuMRnHLDEDKbKcAUaiiAydwDONyHK6KbuLhy9yxaJHqSR_k2a4qmpce6GJ8vb7VNNn1Q1SVyJktTWxI7Ykui5QGbQXiPgEPmUOTTO0LUvcsd6_V4fVA/s1600/Page_1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE_ieYquCSnjobEWswU0YWHFT1NpuMRnHLDEDKbKcAUaiiAydwDONyHK6KbuLhy9yxaJHqSR_k2a4qmpce6GJ8vb7VNNn1Q1SVyJktTWxI7Ykui5QGbQXiPgEPmUOTTO0LUvcsd6_V4fVA/s400/Page_1.jpg" width="400" /></a></div>A few years ago, I always wondered, that after years of learning technique I found my tango still wanting. My dances ended with a feeling of "Coldness." I looked and searched for the reason. I found it in the most ubiquitous and permeating elements of tango... The <b>Music</b><br />
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<br />
<b><span class="Apple-style-span" style="color: #bf9000;">A boring dancer was I</span></b><br />
I had a vast repertoire of steps and patterns. I knew how to lead. I knew where to place my weight, I knew where her weight was. I was not lacking of things to do. Despite all of this, I could not get over the feeling that when the tanda was over, I was not fulfilled. Because, I did not see my partners totally happy. It looked as though they had just finished a very long tedious activity. It dawned on me—Despite of what I thought of good technique, I was monotonously boring!<br />
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Being a former ballroom dancer, we went through drills and exercises to the point that we could do dance moves without the music. The thinking was that we could dance to anything. To a non-ballroom dancer, this would seem a bit absurd. But, In ballroom dancing's defense, a lot of it has to do with technical perfection. This was a training technique to be ultimately competitive.<br />
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<b><span class="Apple-style-span" style="color: #bf9000;">A total change in perspective</span></b><br />
In order to make my dancing more "enjoyable," I did a data-dump of my previous learning techniques. I changed my perspective to focus on tango, and just tango.<br />
<br />
I embraced the techniques native to tango, it's dynamics, it's nuances. I listened to the music. I got over the Tango technique part quite well with lots of patience and perseverance. The music however, was a different problem to handle. I couldn't get over the "Old" feel of the music, no percussion, sometimes, the singing voice I found distracting. I kept at it as I accepted the fact that if I need to be proficient in tango, I need to appreciate tango music to dance to it.<br />
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<b><span class="Apple-style-span" style="color: #bf9000;">My tango music epiphany</span></b><br />
This was a major turning point for me.<br />
<br />
Despite my self-confidence in leading and passable tango technique, I still felt like I wasn't dancing. Rather, I was simply "shuffling" across the milonga floor. One day, I found the answer. I internalized the music! It made a world of difference. Allow me to explain...<br />
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<b><span class="Apple-style-span" style="color: #bf9000;">The music dictates</span></b><br />
The answer was simple. As I danced, I listened to the music and channeled the mood of the music through my dance. So, if the music was slow, I dance slow. If I the music was fast, I danced fast. If the music changed pace, so did I. It if were an intense piece, say, a Pugliese, my tango was intense and passionate. If the music was sweet, like Canaro's Poema, my dancing reflected the loving embrace for my partner—I matched my mood and movement to the music.<br />
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<br />
- - - <br />
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I've found my tango now to be much improved. After this small improvement, I no longer leave my partners with a glazed look. They leave me with a smile, and my heart sings.<br />
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.AmpsterTangohttp://www.blogger.com/profile/07128341367227617647noreply@blogger.com8tag:blogger.com,1999:blog-8137291688076873480.post-32935315790744758982011-07-26T00:28:00.000-07:002011-07-26T06:45:09.572-07:00Volcano TangoMrs. Ampster and I went on a 10 mile hike up to <a href="http://www.nwhiker.com/GPNFHike40.html">Coldwater Peak</a>. A mountain within the Mount St. Helens National Volcanic Monument, and directly in the blast zone of Mount St. Helens.<br />
<br />
To celebrate our summit, we danced a Tango on uneven volcanic ash in-between two trees that were instantly scorched and knocked down when Mount St. Helens erupted in 1980.<br />
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</div>P.S. If anyone is wondering what I'm wearing, I hike (and dance) in a Seattle <a href="http://www.utilikilts.com/">Utilikilt</a> (it's a Seattle thing).<br />
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.AmpsterTangohttp://www.blogger.com/profile/07128341367227617647noreply@blogger.com0tag:blogger.com,1999:blog-8137291688076873480.post-10299140321775763772011-07-03T23:19:00.000-07:002011-07-04T06:19:08.498-07:00Mountain TangoJune 2, 2011 was a particularly beautiful day. Mrs. Ampster and I decided to do a day-hike to the summit of Tiger Mountain (WA).<br />
<div><br />
</div><div>We found ourselves atop the summit. The sky was clear with visibility unlimited. We could see cities in the distance surrounded by the evergreen forests of Western Washington surrounded by the magnificent Cascades Mountain range.</div><div><br />
</div><div>The day was warm and the breeze cool. The sun was beginning to set and the subdued hues from horizon to horizon created a beautiful burst of inspiration—A Mountain Tango!</div><div><br />
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</div>AmpsterTangohttp://www.blogger.com/profile/07128341367227617647noreply@blogger.com5tag:blogger.com,1999:blog-8137291688076873480.post-27909479622754377132011-06-21T09:43:00.000-07:002011-06-21T09:43:55.642-07:00A writting sabaticalMy dear friends,<br />
<br />
My apologies for not writing lately. Sometimes, this thing called "Life" gets in the way of fun things like tango. Rest assured, I am still here, and will be back soon.<br />
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Till then...<br />
<br />
AmpsterAmpsterTangohttp://www.blogger.com/profile/07128341367227617647noreply@blogger.com0tag:blogger.com,1999:blog-8137291688076873480.post-8671477324220967222011-04-20T00:03:00.000-07:002011-04-20T00:07:35.747-07:00Dancing 'Grounded'<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeVGwDOWZ-32Ehezxdx227fw2QNkla2RTs62K3BmEca6EcTxzovT7p7JAAp7onNuJehAeCi_s0iMqXZFM6aF_W2fvQJ1AOVVM8vKwP2uYfKJ1TqvVjz95qbBHMsvRBxI_yxGUkreKci4bL/s1600/Page_1.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeVGwDOWZ-32Ehezxdx227fw2QNkla2RTs62K3BmEca6EcTxzovT7p7JAAp7onNuJehAeCi_s0iMqXZFM6aF_W2fvQJ1AOVVM8vKwP2uYfKJ1TqvVjz95qbBHMsvRBxI_yxGUkreKci4bL/s320/Page_1.jpg" width="247" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dancing Grounded</td></tr>
</tbody></table>After dancing tango all of these years, I (every now and then) hear the word "Grounded" applied to dancing tango. I've always have wondered what term "Grounded" meant. Depended on whom you ask, or what you read, the definition varies. Their definitions varied from the deeply philosophical, enlightened spiritual, and the completely benign. Very few meant anything that I could coherently understand.<br />
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That being said, I now write about what dancing "Grounded" means to me...<br />
<br />
<b><span class="Apple-style-span" style="color: #bf9000;">My definition</span></b><br />
Landing each movement with your weight resolutely and confidently until your weight settles and stops, before initiating the next movement. This gives my partner the feeling of completion and closure for every phrase of movement... a period ending every sentence. It gives me the opportunity to wait for my partner to respond to my lead before I continue to lead on.<br />
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<b><span class="Apple-style-span" style="color: #bf9000;">My technical discussion</span></b><br />
I achieve this weight settling feeling via the following:<br />
<br />
<ul><li><i><u>Upper Body—Maintaining an <a href="http://ampstertango.blogspot.com/2009/07/my-intensely-silent-tango.html">Intensely Silent Embrace</a>:</u></i> I keep my upper body contact consistently in contact with my partner. The embrace is loving, firm, yet comfortable. I try to avoid any extraneous upper body movement. That way, my partner can take cues by whole body leading, rather than from just impulses, pushes, pulls, from the arms, etc.</li>
</ul><ul><li><i><u>Lower Body—Controlled whole leg movements:</u></i> Imagine taking one step... The ball of the foot, first contacts the floor. The controlled landing begins. My calf tenses with my quadriceps to move and center my upper body's weight over my leg. My upper and lower leg muscles then take my whole body weight, centered over my foot, then lowers the heel to gently, but resolutely contact the floor. The downward movement continues until my whole weight settles--and stops. End movement, continue next...</li>
</ul><br />
<span class="Apple-style-span" style="color: #bf9000;"><b>Grounding the rhythm</b></span><br />
The technical part, challenging as it may seem, was only one part of the equation. The other part was incorporating it into the rhythm. I needed to learn how to move with the music. It was a practice + trial-and-error exercise. Incorporating rhythm with the movement and settling weight was very complicated for me at first. After many tries, I was able to vary the technique to make it work with slow, fast, staccato rhythms. After that, I learned to smooth the amalgamation of movement to make it flow. That is, the moving, landing, turning, landing, etc, etc, etc.<br />
<br />
<br />
What works for me is a combination of interpreting the music appropriately, with controlled whole body muscular movement. It made a big difference in my tango. It also had the side benefit of developing good leg muscle tone.<br />
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.AmpsterTangohttp://www.blogger.com/profile/07128341367227617647noreply@blogger.com3tag:blogger.com,1999:blog-8137291688076873480.post-17443034890056436332011-03-16T23:44:00.000-07:002011-03-16T23:44:30.308-07:00I'm coming in for a landing...!<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDcQztt3HcPbr_0dju_C2yhotdKZ432OImj9RDiEhwtRRkImtVPDx7CPJNCAoBsumRMOpRfymUQ3lVnLFXQ1-l3YTQTVjIgZQxClvoo8axYXsIhyphenhyphen1jh1NWtKtMHu8bq5s5nBRyUfD1OB_4/s1600/Page_1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDcQztt3HcPbr_0dju_C2yhotdKZ432OImj9RDiEhwtRRkImtVPDx7CPJNCAoBsumRMOpRfymUQ3lVnLFXQ1-l3YTQTVjIgZQxClvoo8axYXsIhyphenhyphen1jh1NWtKtMHu8bq5s5nBRyUfD1OB_4/s400/Page_1.jpg" width="305" /></a>A few months ago, I wrote, <a href="http://ampstertango.blogspot.com/2010/09/landing-her-first.html">"Landing her first."</a> It was one of the most important things I've learned in leading tango. It was about my needing to wait until my partner's weight settled before moving on and leading my next maneuver. That was one part of the equation.<br />
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I now write about the other part of my "Tango movement formula"—I have to (first) let her know what I'm doing to make it easier for my tango partner to follow...<br />
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<b><span class="Apple-style-span" style="color: #bf9000;">Inadequacies (in the beginning)</span></b><br />
When I first started dancing tango, I had my moves memorized well and tried to lead them. Most of the time, my partner wasn't able to follow. I had attributed it to the myriad inadequacies of my partner (e.g. Lack of experience, didn't know the moves, etc.)<br />
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A couple of my partners did tell me, "I didn't get that." I wondered... If I executed my moved well, why weren't they getting it? Studying the matter, I realized the errors of my ways. It wasn't my partners' lack of following experience. It was my lack of leading skill that was the inadequacy.<br />
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<b><span class="Apple-style-span" style="color: #bf9000;">Epiphany (letting her know my intentions)</span></b><br />
My great epiphany was that, <i><u>"In order for my partner to follow me, I need to let her know what I'm doing!"</u><span class="Apple-style-span" style="font-style: normal;"> If my partner knows what I'm doing, it'll be easier for her to follow. Simple enough to articulate, not so easy to do.</span></i><br />
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<b><span class="Apple-style-span" style="color: #bf9000;">Mechanics (How do I do it)</span></b><br />
I learned to shift my weight with my lower body, and to send signals with my upper body—Smoothly!<br />
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<ul><li><b><u>Shifting weight:</u></b> I stopped rushing my movements, and took my time. When I started something, I made sure to settle all my weight on a leg–stop–then move on</li>
</ul><ul><li><b><u>Control:</u></b> I became aware of all of the things my body was doing. I made sure that I was precise and deliberate. Improved muscle tone helped a lot</li>
</ul><ul><li><b><u>Isolation:</u></b> I learned to isolate my upper and lower body. This allowed me to have a steady upper body, which facilitated consistent connection, while my lower body moved and put my upper body into the direction I was leading towards</li>
</ul><ul><li><b><u>Integration:</u></b> The combination of weight shifting, control, isolation, all had to come together. I just went out and endeavored to do them—all at once. It took lots of practice and patience. It took lots of trial and error. I also had to give profuse amounts of apologies to my partners. It was a difficult transition. But the goal was worth pursuing</li>
</ul><div><br />
</div><div>By transmitting my intentions to my partner with the appropriate commitment, it made it easier for my partner to follow. In turn, made it easier and more natural for me to lead. </div><div><br />
</div><div>When the combination works, the tango becomes one beautiful thing.</div><div><br />
</div>AmpsterTangohttp://www.blogger.com/profile/07128341367227617647noreply@blogger.com6tag:blogger.com,1999:blog-8137291688076873480.post-39464355737018749422011-02-14T09:13:00.000-08:002011-02-14T09:13:32.336-08:00My perfect tango partner<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC41LhWfazt6kwcm8U109aswIwD9AP3j9yMUJANBJe6hi3cSvoQZZ8yE_HuqnUTrIavONkMW8PwJH9-sT9GTlnOi8gAvtRmha_JKIKInBU338-bCORWiks6eEAuc1XJtsaQvQeDrGsKZAv/s1600/IMG_2225.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC41LhWfazt6kwcm8U109aswIwD9AP3j9yMUJANBJe6hi3cSvoQZZ8yE_HuqnUTrIavONkMW8PwJH9-sT9GTlnOi8gAvtRmha_JKIKInBU338-bCORWiks6eEAuc1XJtsaQvQeDrGsKZAv/s400/IMG_2225.jpg" width="308" /></a>It was in a Valentine's day party, 23 years ago that I met this cute girl. It was 1988.<br />
<br />
Her ensemble was a huge lace ribbon on her heavily curled long hair. She wore winged way-farer gold Ray-Ban's, low socks with fuzzy pom-poms. She spoke in happy tones. She was vibrant, smart, sometimes cynical, sometimes funny. She was complicated, yet easily understood. Her perfume filled the air with a sweet scent. I was smitten. I was in love.<br />
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23 years passed and it has had its complications, challenges, and irritations. The struggle of life took hold as every young couple embarks on the great tango adventure called life. There were highs and lows. But, amidst it all, there were was a happines that made life all so worth living.<br />
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Like a great tango, Mrs. Ampster has been my perfect tango partner. Through good and bad tandas and milongas alike. I thank her, and grateful to God to have blessed me with my perfect tango partner. After all, without a tango partner, I'm just a crazy guy going through the motions of life (and dancing)<br />
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I love you Mrs. Ampster, and here's to many, many more decades of going through the great milonga of life, called the Tango.<br />
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.AmpsterTangohttp://www.blogger.com/profile/07128341367227617647noreply@blogger.com4tag:blogger.com,1999:blog-8137291688076873480.post-87166362337559848492011-02-07T01:07:00.000-08:002011-02-07T01:07:50.598-08:00My personal tango milestones<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpkccwNqu6rnxXRfpA5SgdPE06HnMBzktR_jl9M0M5UfUN8teCbvvXqCHWjudtHdW2sA2zAwRHvHYDYfsES6RgKcJf8ci960e1EUtB9ipC0NXjGpM8V2cVgaIKz40earS2aNJPajOixBdg/s1600/Page_1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpkccwNqu6rnxXRfpA5SgdPE06HnMBzktR_jl9M0M5UfUN8teCbvvXqCHWjudtHdW2sA2zAwRHvHYDYfsES6RgKcJf8ci960e1EUtB9ipC0NXjGpM8V2cVgaIKz40earS2aNJPajOixBdg/s320/Page_1.jpg" width="247" /></a>I've been contemplating where my tango journey has taken me with some interesting stops along the way. I've grown, and vastly benefited from this journey. It is sprinkled with experiences and friends that have enriched my soul.<br />
<br />
Looking back, I'm bemused at the milestones I've passed...<br />
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<b><span class="Apple-style-span" style="color: #bf9000;">My, 'I've danced ballroom, I can dance anything' milestone</span></b><br />
Coming from a the ballroom world, with all of it's focus on technique, standard patterns, and forms, I was under the impression that I could dance anything and everything. Even this simple dance, devoid of formal exactingly competitive patterns called Argentine Tango.<br />
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I was sorely mistaken.<br />
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<b><span class="Apple-style-span" style="color: #bf9000;">My, 'This is how you need to teach me' milestone</span></b><br />
Coming from the highly detail oriented hands of ballroom teachers, I was under the impression that tango teachers would be the same. Finding that there was a difference, I (sometimes) looked contemptuously the lack of formality. I had concrete ideas of how I should be instructed.<br />
<br />
I was mistaken.<br />
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<b><span class="Apple-style-span" style="color: #bf9000;">My, 'I need to get all the tango stuff I can get my hands on' milestone</span></b><br />
This was my "Obsession" phase. I needed everything "Tango" related. Shoes, clothes, music, food, wine, books, movies, etc.<br />
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It was an expensive endeavor<br />
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<b><span class="Apple-style-span" style="color: #bf9000;">My, 'I need to attend all of the workshops' milestone</span></b><br />
I tuned in to www.allseattletango.com. If there was a visiting instructor, I was there. If they were veterans of "Forever Tango," I was doubly there.<br />
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It was exhausting, and I barely retained anything<br />
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<b><span class="Apple-style-span" style="color: #bf9000;">My cool moves milestone</span></b><br />
If I saw some cool tango move from CITA, YouTube or learned in some workshop, I had to keep doing it until I looked good doing it.<br />
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It bolstered my ego, but it was hell on my partners<br />
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<b><span class="Apple-style-span" style="color: #bf9000;">My need to attend every single milonga milestone</span></b><br />
Every milonga and practica was on my hit list. I had to be in every one of them, tango every night, and do all my moves whenever and with whomever I can.<br />
<br />
It was madness<br />
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<b><span class="Apple-style-span" style="color: #bf9000;">My overly technically deep analytical milestone</span></b><br />
I saw every step, every pattern, every move with blow-by-blow extreme technical analysis, thinking that it would help me improve in my tango. I studied degrees of angles, definitions, triangulated, moved and executed with exacting preciseness.<br />
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It filled me with information that I really didn't need to know, and made my head ache<br />
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<b><span class="Apple-style-span" style="color: #bf9000;">My Milonguero epiphany milestone</span></b><br />
One day, I took up this thing called Tango Milonguero i.e. Close embrace tango. It's complicated in its miniaturization of everything I've known thus far. The alignment and mechanics with my partner was much closer, and much more difficult as the axis of movement and centers of gravity were different. The connections were much more intense.<br />
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I was blown away<br />
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<b><span class="Apple-style-span" style="color: #bf9000;">My Intermittent absence milestone</span></b><br />
There are quite a few times that life and reality gets in the way of tango. Things such as work, injuries, illness, got in the way of tango and caused "disruptions" in my tango aggressive schedule.<br />
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The intermittent absences turned out to be a blessing. Each absence allowed my brain and body to rest. It allowed me to stop and think of my technique, balance, connection, etc, etc, etc.<br />
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Each return made each tango better.<br />
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<b><span class="Apple-style-span" style="color: #bf9000;">My Simplicity milestone</span></b><br />
Amazingly, after all the time, money, and effort, instead of building and growing an awesome repertoire of moves, I've grown to love the simple.<br />
<br />
Ampstertango blog milestone<br />
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<br />
<br />
This tango journey of mine has taken many twists and turns. As in any journey, one has to stop and enjoy the view for a while. I'm there, enjoying the view for now. Soon, I'll move to the next destination and milestones there will be more to come.<br />
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.AmpsterTangohttp://www.blogger.com/profile/07128341367227617647noreply@blogger.com1tag:blogger.com,1999:blog-8137291688076873480.post-50374688067521819672011-01-10T01:32:00.000-08:002011-01-10T09:55:04.540-08:00Lynch pins<div><span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 5px; -webkit-border-vertical-spacing: 5px;"><b><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; font-family: Baskerville; font-size: small; font-weight: normal;"><span class="hwGrp"><span class="hw" d:dhw="1" d:priority="2"><i><span class="Apple-style-span">linch<span class="hsb"></span>pin</span></i></span><span class="pronGrp"><span class="pr" d:pr="US" style="font-family: HiraMinPro-W3;" type="US"><i> |ˈlin</i><span class="sc" style="font-variant: small-caps;"><i> ch </i></span><i>ˌpin|</i></span></span><span class="varGrp" d:priority="2" style="font-weight: normal;"><i> (also </i><span class="v" style="font-weight: 600;"><i>lynch<span class="hsb"></span>pin</i></span><i>)</i></span></span></span></b></span></span><br />
<span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 5px; -webkit-border-vertical-spacing: 5px;"><b><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; font-family: Baskerville; font-size: small; font-weight: normal;"></span></b></span></span><br />
<div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 5px; -webkit-border-vertical-spacing: 5px;"><b><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; font-family: Baskerville; font-size: small; font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_QFzohDiF6XpocnEsut91TNBAMwObE_Mftzr_3hPZxcWHx0TOE1Gsfr21vEichV770eXDVMJQRQBO1GbQtLCmsUosPAzhpR5-dXG6dYibIRXf2pgzv8PUp7OERnyUoFlpC5jjigFnDtly/s1600/Page_1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_QFzohDiF6XpocnEsut91TNBAMwObE_Mftzr_3hPZxcWHx0TOE1Gsfr21vEichV770eXDVMJQRQBO1GbQtLCmsUosPAzhpR5-dXG6dYibIRXf2pgzv8PUp7OERnyUoFlpC5jjigFnDtly/s320/Page_1.jpg" width="320" /></a></span></b></span></span></div><span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 5px; -webkit-border-vertical-spacing: 5px;"><b><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; font-family: Baskerville; font-size: small; font-weight: normal;"><span class="SB" style="display: block; margin-left: 1em; text-indent: -1em;"><span class="prelim"><span class="ps" d:ps="1" style="font-weight: normal;"><i>noun</i></span></span><span class="sense" d:abs="1" style="display: block;"><span class="sn" style="font-weight: 600;"><i>1 </i></span><span class="def" style="font-weight: normal;"><span apple_mouseover_highlight="1"><i>a</i></span><i> pin passed through the end of an axle to keep a wheel in position.</i></span></span><span class="sense" d:abs="1" style="display: block;"><span class="sn" style="font-weight: 600;"><i>2 </i></span><span class="def" style="font-weight: normal;"><i>a person or thing vital to an enterprise or </i><span apple_mouseover_highlight="1"><i>organization</i></span></span></span><span class="sense" d:abs="1" style="display: block;"><span class="def" style="font-weight: normal;"><span apple_mouseover_highlight="1"><i><span class="Apple-style-span"><b>3</b> a person or thing regarded as and essential or coordinating element</span></i></span></span></span><span class="sense" d:abs="1" style="display: block; font-size: 16px;"><span class="def" style="font-weight: normal;"><span apple_mouseover_highlight="1"><i><span class="Apple-style-span" style="font-size: x-small;"><br />
</span></i></span></span></span><span class="sense" d:abs="1" style="display: block; font-size: 16px;"><span class="def" style="font-weight: normal;"><span apple_mouseover_highlight="1"><span class="Apple-style-span" style="font-size: x-small;">- o - o - o - o - o - o - o - o -o - o - o - o - o - o - </span></span></span></span><span class="sense" d:abs="1" style="display: block; font-size: 16px;"><span class="def" style="font-weight: normal;"><span apple_mouseover_highlight="1"><br />
</span></span></span></span></span></b></span></span></div><div><b><span class="Apple-style-span" style="color: #bf9000;">Lessons</span></b></div>I have spent a copious amount of money, time, and effort taking many lessons from many tango instructors throughout the years.<br />
<div><br />
</div><div>In their classes (which normally run a few hours per session), I and Mrs. Ampster are taught basic and advanced techniques, steps and patterns (like giros, molinetes, sacadas, etc.) advice on leading and following, etc, etc, etc.<br />
<br />
My head gets filled with so much information that it makes my head feel like it's going to burst. A few more days and a few more weeks pass and I hardly remember what was taught to myself and Mrs. Ampster in the first place. It really makes me wonder if my time, money, and efforts was worth it all. I try to incorporate the lessons learned... things fall apart quickly.<br />
<br />
<br />
<span class="Apple-style-span" style="color: #bf9000;">Fast forward a few moths—and a few years...</span><br />
Frustrations arise between Mrs Ampster and I from trying to adopt the lessons learned. It becomes an exercise in patience... So, I let things be and just dance.<br />
<br />
It's funny how epiphanies happen. As we dance, things just beautifully happen. I reflect upon it and... EUREKA! I'm reminded of my lessons!!! It wasn't the lessons itself that I'm reminded of, it small things...<br />
<br />
<span class="Apple-style-span" style="color: #bf9000;">Lynch Pins</span><br />
The large big lessons did not make a difference with me. It's the SMALL tweaks that made a difference—The Lynch Pins! Those small things that adjust your feet, tell you where to put your weight, how to hold your partner, and on and on and on...<br />
<br />
I've learned that's the cumulative lessons from the small things that make a difference—The lynch pins!<br />
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<br />
<br />
</div>AmpsterTangohttp://www.blogger.com/profile/07128341367227617647noreply@blogger.com3tag:blogger.com,1999:blog-8137291688076873480.post-41845509131745087292010-12-19T02:41:00.000-08:002010-12-19T02:41:55.766-08:00Holds, hugs, and embraces<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguEKt4w2jeLtINfSA_5h-fuEKOY9JbRObeoH9XQA5LoUt-IBkSAzK3gB8Csn17o2bWppbIhjejZLWUv9Gv3PTaG9LeKlmhMsAmUdzBm2vM9dc17XJ8gQSzpmgXTN5YISIM0xAMXV19Zq1F/s1600/Page_1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguEKt4w2jeLtINfSA_5h-fuEKOY9JbRObeoH9XQA5LoUt-IBkSAzK3gB8Csn17o2bWppbIhjejZLWUv9Gv3PTaG9LeKlmhMsAmUdzBm2vM9dc17XJ8gQSzpmgXTN5YISIM0xAMXV19Zq1F/s320/Page_1.jpg" width="320" /></a></div>In my path of tango learning, one of the things that I've had to evolve (over the years) was my embrace. In my opinion, it's the initial point of establishing connection with my partner. It is also the point of maintaining flow and energy throughout the tanda. Failure of maintaining a good embrace would (IMHO) tend to jeopardize a whole evening of tango...<br />
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<b><span class="Apple-style-span" style="color: #bf9000;">A "Hold"</span></b><br />
Having started partner dancing in ballroom, I was taught the most basic method of connection—The hold. There was the open hold, where you just held the hands of your partner (e.g. used in a swing). I was also taught the closed hold, where there are three points of contact. The left hand, the right arm, and the eyes (reverse for the woman). Depending on the dance, there was contact at the hips (e.g. Viennese Waltz), no big deal.<br />
<br />
The hold was perfect for the ballroom world. Large square frame, big bold moves, precise, technical, and mechanical.<br />
<br />
<br />
<b><span class="Apple-style-span" style="color: #bf9000;">A "Hug"</span></b><br />
Having left the ballroom world to transition to Argentine tango, I discovered that the ballroom hold didn't quite work for tango. Studying tango in open embrace (at the time) I had assumed that a ballroom frame and hold would be apropos. Seeing myself in a video caused me much consternation! What I had thought was right, actually looked quite goofy.<br />
<br />
I needed to adapt and change my embrace to be more appropriate for the fluidity of tango. Relaxing my shoulders, dropping my elbows, and relaxing my spine, and lowering my chin caused my tango to look like... a tango.<br />
<br />
I thought that I was in a good place with my tango. I knew my steps, patterns and could lead my partner with my arms. Holding my partner closer than being in a ballroom hold, I was leery of the closeness. I came up with a compromise. My hold was close enough to lead tango moves, and open enough to avoid the intimacy that tango supposedly created. I had shifted from a hold to a hug.<br />
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<b><span class="Apple-style-span" style="color: #bf9000;">An "Embrace"</span></b><br />
One day, I discovered the holy grail of tango—Close embrace (i.g. Milonguero) . It was the style that created that "Tango magic." It was tango at it's purest essence. It was elegant, simple to look at, yet so beautiful in it's lack of flash.<br />
<br />
I did not realize how complicated this "<a href="http://ampstertango.blogspot.com/2009/04/intricacy-of-simplicity.html">Simplicity</a>" could be. I had two things to deal with in dancing in close embrace.<br />
<br />
<ul><li>Technical</li>
<ul><li>The mechanics of learning how to execute tango in close embrace when you and your partner are totally connected and creating a common axis, while still being able to move fluidly in <a href="http://ampstertango.blogspot.com/2008/12/dancing-small-its-hard.html">very confined spaces.</a></li>
</ul><li>Sociological</li>
<ul><li>This was a personal problem as I discovered that I had to dance with complete strangers. It was to close within my comfort zone. Dancing in close embrace was exactly that. Really, really close. I yelled within my mind... <a href="http://ampstertango.blogspot.com/search/label/boobs">"These are not my wife's boobs!"</a> </li>
</ul></ul><br />
I got over the technical issues via a combination of learning, practice, feedback, and determination. I got over my sociological issues with dancing chest-to-chest with my partner when I realized that being in this predicament only became malicious if I made it so. I developed a deep respect for my partner, knowing that the dance really was done this way. The more I danced, the more comfortable and natural things became.<br />
<br />
Overcoming these two issues played a lot into the my latest evolution of contact with my partner. I was now embracing her. It was no longer a cold mechanical hold. Nor was it a friendly hug. It is a comfortable, trusting, loving and caring embrace.<br />
<br />
I hold not too tight, and not to light. I protect her and keep her safe. I lead her within my embrace. As we dance in an embrace, each tanda becomes a fun, kind, playful, passionate, beautiful, and magical tango experience.<br />
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.AmpsterTangohttp://www.blogger.com/profile/07128341367227617647noreply@blogger.com0tag:blogger.com,1999:blog-8137291688076873480.post-19705569455287851712010-11-25T19:31:00.000-08:002010-11-25T19:31:56.756-08:00A superb start, the middle muddle, a finish with flair<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8PNXPKR-yX7ucllVv9UCxYZ9ejz1Opk2-GDCO2a9F0Kuf8c11RSksHqDgju3fWIXg_brd_sENzbFnBm5PcsoKcT4-DBZgbU0OW-7bjoLRSv8Q6nffdPxKuVuo2aGjzJeEGdgsVgbZ50UN/s1600/Page_1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8PNXPKR-yX7ucllVv9UCxYZ9ejz1Opk2-GDCO2a9F0Kuf8c11RSksHqDgju3fWIXg_brd_sENzbFnBm5PcsoKcT4-DBZgbU0OW-7bjoLRSv8Q6nffdPxKuVuo2aGjzJeEGdgsVgbZ50UN/s320/Page_1.jpg" width="238" /></a></div>My tango does not proceed on one monotonous pattern of rhythm throughout the song. Rather, like a dialogue with my partner, my tango has a distinct opening phrase, a body of content, and a distinct ending...<br />
<br />
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<b><span class="Apple-style-span" style="color: #f1c232;">A superb start</span></b><br />
This is the part where I make initial connection with my partner. I try my best to settle within her comfort zone. I establish her trust. I <a href="http://ampstertango.blogspot.com/2009/05/dialing-in.html">"Dial in"</a> my dancing to compliment hers. I begin listen to the music, it's rhythm, it's beat, and it's phrasing.<br />
<br />
I meld the music to my partner. I don't rush. I wait. I time my opening to the music, and give my partner clear non-verbal signals to get ready. When the time is right, I begin to lead.<br />
<br />
I don't initiate the start of the tango with some fancy pattern. Rather, I consider something as simple as a side step, delivered clear and simple as a superb start. I am asking my partner, "Shall we dance?"<br />
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<b><span class="Apple-style-span" style="color: #f1c232;">The middle muddle</span></b><br />
This is the main, longest, and most <a href="http://ampstertango.blogspot.com/2009/04/intricacy-of-simplicity.html">intricate</a> part of the conversation with my partner. It follows the ups, downs, and rhythmic changes of the music. To this, my tango shifts, adapts, changes and morphs. I lead my tango in a balance of movement to the music, and a <a href="http://ampstertango.blogspot.com/2010/11/giving-and-taking-her-space.html">"give and take"</a> between my partner and I.<br />
<br />
Sometimes the interaction works, sometimes it doesn't. I compensate, compromise, adapt and modify my lead in order to make the conversation work. My objective is to give her<a href="http://ampstertango.blogspot.com/2009/02/make-your-partner-feel-safe-smart-and.html"> a beautiful tango experience</a>.<br />
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<b><span class="Apple-style-span" style="color: #f1c232;">A finish with a flair</span></b><br />
As in life, every tango conversation has to end—sometime. I've tried to make a good start. I've been doing my best to lead and sustain a smooth, coherent, and pleasurable body of content, that is, the middle conversation.<br />
<br />
Now the time has come to end this (conversation) in a way that compliments the events preceding. Just moving without regard to the ending makes for a "blah" experience (I think).<br />
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There is the one last note in (most) every tango song. I like to think that hitting the last note is a very good ending to a tango. By blending everything together to hit that one last note IS... an ending with a flair.<br />
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As I write this, I link to several of my older posts for reference. I find that the more I know, the more lessons I draw from older lessons learned. Composing my tango in phases works for me. I hope that by doing so, it also works for my tango partner.<br />
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<div class="separator" style="clear: both; text-align: center;"></div>.AmpsterTangohttp://www.blogger.com/profile/07128341367227617647noreply@blogger.com0tag:blogger.com,1999:blog-8137291688076873480.post-54674974608178276232010-11-13T15:00:00.000-08:002010-11-13T15:02:53.514-08:00We interrupt this broadcast...A good friend of mine from Seattle (Halbert) has started his own tango blog. Please stop by and have a read: <a href="http://a-few-tandas.blogspot.com/">A Few Tandas</a>AmpsterTangohttp://www.blogger.com/profile/07128341367227617647noreply@blogger.com0tag:blogger.com,1999:blog-8137291688076873480.post-66222089595766493632010-11-09T02:08:00.000-08:002010-11-09T02:08:30.162-08:00Giving and taking her space<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY0e-SSuKmzNUuZYM9JK3Ptmrh1w6kznutP2cw6hr9-Yb5bX9tWUZ0JOt8CVGpxWzI4OZFx0IcbiuKvOhdFxm_OUo5h4bvpZSLrpQq2Qgx8Q752YSkfY4DHq5RHYbnAWaer05B6a5K3El3/s1600/Page_1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY0e-SSuKmzNUuZYM9JK3Ptmrh1w6kznutP2cw6hr9-Yb5bX9tWUZ0JOt8CVGpxWzI4OZFx0IcbiuKvOhdFxm_OUo5h4bvpZSLrpQq2Qgx8Q752YSkfY4DHq5RHYbnAWaer05B6a5K3El3/s320/Page_1.jpg" width="246" /></a></div>This is a follow up from my post of <a href="http://ampstertango.blogspot.com/2010/09/landing-her-first.html">"Landing her first."</a> Of the two most important things I've learned to do in order for a tango to work is (see previous <a href="http://ampstertango.blogspot.com/2010/09/landing-her-first.html">link</a>) timing your lead to coincide with landing your partner first. The second is the active practice of giving and taking space from my partner.<br />
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Allow me to explain...<br />
<br />
<br />
<span class="Apple-style-span" style="color: #bf9000;"><b>Taking her space</b></span><br />
My first tango teacher once told me, "Occupy the space your partner just left." Not knowing anything about tango [at the time], I had no idea what he was talking about. I was simply muddling through my steps.<br />
<br />
A year or so later, the light bulb lit inside my head. I finally learned how to lead with my chest by communicating my intentions with my upper body, moving my partner. When I move my partner from her current position to the next, my body occupies the place where she had been. When her upper body moves, my upper body takes it's place, moving her legs. When here leg moves away, my leg takes it's place. All this while leading the pace, distance, and tempo from move to move.<br />
<br />
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<span class="Apple-style-span" style="color: #bf9000;"><b>Giving her space</b></span><br />
The other side of the coin from taking her space, is GIVING her space. Where taking her space works well for tango walks, giving her space works even better for moves requiring directional changes (e.g. turns, sacadas, paradas, etc).<br />
<br />
I found the reasoning behind the milonguero posture that (done right) makes my partner and I look like the letter "A." Back straight, chests projected forward, allows the legs space to move.<br />
<br />
The significance of this is that, should I decide to lead ochos, giros, walk backwards, walk on three tracks, etc, it gives my partner a place of her to place her leg to land, thus allowing her space and time to shift and complete her weight change, move without knocking knees.<br />
<br />
<br />
My lesson learned from this epiphany is that this principle follows common sense and is a fundamental skill, requiring the right posture, leading technique and timing.<br />
<br />
Done right, the appropriate giving and taking of her space facilitates that magical tango feeling of having "One body, four legs."AmpsterTangohttp://www.blogger.com/profile/07128341367227617647noreply@blogger.com7tag:blogger.com,1999:blog-8137291688076873480.post-38592915613436196882010-10-22T01:43:00.000-07:002010-11-09T23:02:27.616-08:00Turns<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2g0PFwkZHlp5QJcThb0AukLwwb2-O62OayDPlf1AxsrQ_c7eQrSCtLuOPParfQycBUv9yckfOujhvYkU35nAUBFl2Oj-8X0Nebm8BCLKlJKK6OoEorZnpu-Lar-IdLksiuFzY7t6qRU4h/s1600/Page_1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2g0PFwkZHlp5QJcThb0AukLwwb2-O62OayDPlf1AxsrQ_c7eQrSCtLuOPParfQycBUv9yckfOujhvYkU35nAUBFl2Oj-8X0Nebm8BCLKlJKK6OoEorZnpu-Lar-IdLksiuFzY7t6qRU4h/s320/Page_1.jpg" width="246" /></a></div>Giros, enrosques, molinetes, cadenas, calecitas and a myriad of other terms I don't even remember, refer to actions that initiate and/or execute variations of a (seemingly) simple act, so essential to tango— the ability to do turns...<br />
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<b><span class="Apple-style-span" style="color: #f1c232;">Why bother with turns?</span></b><br />
There is a great emphasis on the tango walk. This is true. It all starts with the walk.<br />
<br />
When I first started tango, I was heavily reliant on just walking—Front, back and sideways. However, when I find myself (finally) going to milongas, I realized quite quickly that walking in line of dance does have it's limitations.<br />
<br />
The limitations of walking happens when the line of dance momentarily slows down or stops. I couldn't move via walking and found that I couldn't just stand there. Rock-steps would suffice, but not for the whole tanda.<br />
<br />
My conundrum was how to keep my tango interesting, while I slow down in walking, without stopping in movement, maintaining graceful dance motion, while still moving very slowly forward (or in place) in the line of dance. I had to learn to turn in place, turn around, turn left, turn right, turn in rotation, turning, turning, turning...<br />
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<b><span class="Apple-style-span" style="color: #f1c232;">Turns... from different teachers</span></b><br />
Learning anything in tango for me is a <a href="http://ampstertango.blogspot.com/2010/08/my-little-bunny-brain-blow-ups.html">difficult process</a>. Each teacher I went to, almost always taught me several ways to turn. I only retained one turn per teacher—most of the time. With some teachers, I learned nothing at all. With enough perseverance, I retained enough turns to build a foundation.<br />
<br />
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<b><span class="Apple-style-span" style="color: #f1c232;">Combining and improvising</span></b><br />
I previously said "Foundation." That is because I never have retained the turns as they were taught to me. I remember "Why" a turn is done they way it is and "How" it's supposed to look. That's about it. I don't remember the blow by blow "How-to."<br />
<br />
What I've done is to remember the concepts of a particular turn, adopt it to my personal tango, and attempt to make it flow as one by combining them and improvising as I go.<br />
<br />
<br />
<b><span class="Apple-style-span" style="color: #f1c232;">Turn mechanics</span></b><br />
I've found that being able to turn my partner was not a function of steps and feet. Rather, I've found that if I lead resolutely with my chest, know <a href="http://ampstertango.blogspot.com/2010/09/landing-her-first.html">where my partner's weight is</a> and figure out where our mutual pivot points are, then I simply lead her chest around that pivot point. Her feet simply follow.<br />
<br />
<br />
<span class="Apple-style-span" style="color: #f1c232;"><b>Realities of a milonga</b></span><br />
The realities of the milonga necessitate putting all of the aforementioned together. The milonga is sometimes packed. Some leads are great, some back up in traffic, some cut in front, most are respectful of the line of dance. Sometimes the floor is fast, sometimes the floor is excruciatingly slow.<br />
<br />
Regardless where I find myself, my walks, combined with turns interact together to create my own unique tango floor craft. That way, I keep my partner safe, constantly moving, and in synch with the music.<br />
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<br />
<br />
.AmpsterTangohttp://www.blogger.com/profile/07128341367227617647noreply@blogger.com0tag:blogger.com,1999:blog-8137291688076873480.post-66879363301681959372010-10-12T01:13:00.000-07:002010-11-09T23:03:22.566-08:00Drapes and Rods<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdFNQVhkfSEwMDX9WW7atBzqKXMrXPuMUDovC_zmtF42icC9QXvcjQHLMlNQM5QJtVmuVMRIOU7xJBUaw7AGESTA0giGnw4xmssFexsYlFESyw99PqcoKiiwfx8Tm6ItYQA3g6Mj2mz-0Z/s1600/Page_1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdFNQVhkfSEwMDX9WW7atBzqKXMrXPuMUDovC_zmtF42icC9QXvcjQHLMlNQM5QJtVmuVMRIOU7xJBUaw7AGESTA0giGnw4xmssFexsYlFESyw99PqcoKiiwfx8Tm6ItYQA3g6Mj2mz-0Z/s320/Page_1.jpg" width="247" /></a></div>There is an old ballroom cliché that says, <i>"You are the frame, the woman is the picture. Whatever you do is to make her look good." </i><br />
<i><br />
</i><br />
Now that I dance Tango exclusively, I still keep that to heart, with my own tango appropriate modification. Frames and pictures, connotes something beautiful, yet static. Something to ogle at as it stands stoically for all to see.<br />
<br />
I would much rather think of the tango relationship as Drapes and Rods...<br />
<br />
<b><span class="Apple-style-span" style="color: #f1c232;">The Rod</span></b><br />
I am the rod, complete with finials and sconces. Alone, I am just a fancy piece of wrought iron metal hanging over the grand entrance. Without my partner, I'm just there with no visible purpose.<br />
<br />
<b><span class="Apple-style-span" style="color: #ffd966;">The Drapes</span></b><br />
The lady is the drape. She is the beautiful fabric of which those who see will marvel at her stunning beauty. Without the curtain rod, the fabric lays flat and unappreciated<br />
<br />
<b><span class="Apple-style-span" style="color: #f1c232;">The Dance</span></b><br />
My point is that, separately, we are simply props laying around. There is no chemistry, no movement, no mastery. Apart, we are nothing.<br />
<br />
Together, awash in the music of the bandoneon, dancing a la milonguero... magic happens.<br />
<br />
I am the rod that holds up the drape. She is the magnificent cascading delicate fabric. It is my job to move her. My motion creates the movement that catches and moves her upon the breeze. It is her job to float and flow with me upon the breeze. Together, we become the music.<br />
<br />
It is my job to make her flow. It is my job to make her move. It is my job to make her beautiful. It is our job to compliment each other—Like Drapes and Rods.<br />
<br />
<br />
<br />
.AmpsterTangohttp://www.blogger.com/profile/07128341367227617647noreply@blogger.com1tag:blogger.com,1999:blog-8137291688076873480.post-62148126945003142152010-09-20T23:19:00.000-07:002010-11-09T23:03:43.285-08:00"Landing" her first<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE-ZgV333bmY6VVUGig0UtgUdKHbiny6t1mPdHyaazfl-GifsclZ8i-SkxLsK8GkTDSwWEhuEk6xGRZ8-ztcZnIvmONV4DhSnts6y2oplYLg8lWWx1yfO3V8wecnXP7hyaTfK6igYIEl6y/s1600/Page_1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE-ZgV333bmY6VVUGig0UtgUdKHbiny6t1mPdHyaazfl-GifsclZ8i-SkxLsK8GkTDSwWEhuEk6xGRZ8-ztcZnIvmONV4DhSnts6y2oplYLg8lWWx1yfO3V8wecnXP7hyaTfK6igYIEl6y/s320/Page_1.jpg" /></a></div>One of the most significant learning experiences I've ever had (in tango) was knowing when my partner has landed her weight BEFORE I lead something else. It makes for a better, smoother dance...<br />
<br />
<br />
<span class="Apple-style-span" style="color: #e69138;">A leader in learning</span><br />
I remember the time when I was first learning to lead in tango. Woe to my partners at the time as I was very consistent—In knocking them off their axis. I would go from move to move and it seemed that they could never keep up with me, nor keep their balance.<br />
<br />
Much to my chagrin, their awkward debacles were <u><i>my</i></u> fault! Later in my (tango) learning process, I realized that I kept knocking them off their axis because of two things. First, I was impatient. Second, I was impatient because I didn't know if my partners had finished shifting their weight or not.<br />
<br />
I had made the mistaken assumption that my partners knew what to do. What I should have done was to learn how to lead properly.<br />
<br />
<br />
<span class="Apple-style-span" style="color: #e69138;">A major epiphany–Shifting weights</span><br />
My epiphany lay in the fact that in order (for me) to go from lead to lead, I had to get the timing right—I needed a signal.<br />
<br />
I figured out that the signal I needed was to know when she "landed" her weight. That's when my partner has completed her movement. This, I needed to know <u><i>before</i></u> I lead my next thing.<br />
<br />
<span class="Apple-style-span" style="color: #e69138;">Our chests are connected to our feet</span><br />
This is one technique I use to know where my partner's weight is. Since I dance exclusively in close embrace, I used our chest-to-chest connection as a telegraph by concentrating deeply and feeling her movements.<br />
<br />
I find it difficult to explain all the nuances, but here is my rule of thumb. There are three movements after I initiate a lead. First—she answers my lead by responding to it. Second—She follows my center, then returns to align with it. Third—(My epiphany) I feel her feet touch down, then, she settles and her whole weight "lands" on her leg.<br />
<br />
<u><i>That</i></u> moment is the moment I know that she's ready. It's the signal I was looking for! It's the (only) time for me to lead something else without knocking her over!<br />
<br />
<br />
<br />
<br />
In tango, many simple things make so big a difference. This is just one of those examples. That single learning experience of knowing when my partner lands her weight made all the difference from attempting a judo takedown to a smooth giro.<br />
<br />
<br />
<br />
<br />
.AmpsterTangohttp://www.blogger.com/profile/07128341367227617647noreply@blogger.com10tag:blogger.com,1999:blog-8137291688076873480.post-12136471698667552272010-09-14T01:33:00.000-07:002010-09-14T01:33:41.521-07:00Every time I dance, I take a chance<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglkPhoousI709r85pJGflEa5tSJRA7EjOYXNAOz4TZdlgIiJCLjjZmtWbCDn2lj7yg5H02KOni8eeFYXHtsfYdkUWOxrEqABJ8m6QzdfhWnaF8Sj9byBuLAjuX0jAA9QrDyjV6w1QTS_4G/s1600/Page_1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglkPhoousI709r85pJGflEa5tSJRA7EjOYXNAOz4TZdlgIiJCLjjZmtWbCDn2lj7yg5H02KOni8eeFYXHtsfYdkUWOxrEqABJ8m6QzdfhWnaF8Sj9byBuLAjuX0jAA9QrDyjV6w1QTS_4G/s320/Page_1.jpg" /></a></div>Every time I go up to a lady to ask for a dance, either directly or via cabeceo, a little voice in the back of my head raises alarm bells... I am taking a chance!<br />
<br />
<span class="Apple-style-span" style="color: #e69138;">The (main) chances I take</span><br />
<br />
<ul><li>A chance of <a href="http://ampstertango.blogspot.com/2010/03/coping-with-r-e-j-e-c-t-i-o-n.html">rejection</a></li>
</ul><div>There is always a chance of being turned down. I am not a rock star that women would fall over each other to dance with (it would be nice). I am just another <a href="http://ampstertango.blogspot.com/2010/04/un-making-tango-zombie.html">ex-Tango Zombie</a>, who really likes to dance. My point is, I'm not guaranteed a dance every time</div><div><br />
</div><ul><li>A chance of nervousness</li>
</ul><div>I am not always as confident as I think I am. When I realize that I'm not as ready as I thought I was, I get so nervous and my tango blows up. It goes from a promise of a blissful tanda, to a long arduous ordeal for my partner</div><div><br />
</div><ul><li>The chance of having a "brain fart"</li>
</ul><div>I've been doing tango for a while now. Every now and then, I find myself just not remembering, not knowing, not doing whatever it was I was trying to lead. Alzheimer's perhaps? Too many knock on my head in my youth? It's a "Brain fart!"</div><div><br />
</div><ul><li>The chance of asking an inept follow</li>
</ul><div>When dancing with strangers, every now and then, I chance upon a inept follow. It is seldom, but when it happens, I will finish the tanda and be the best lead I can and give her the best dance I can give her. It would not be a good tanda for me, but I hope it will be good for her.</div><div><br />
</div><ul><li>The chance of being a bad lead</li>
</ul><div>The inverse of the preceding. I try to be as best a lead as I can be. However, on occasion, I'm "out of it," I'm "not into it," or, worse I can be having a "brain fart" night. If I'm a bad lead it's inexcusable as I would give my partner a bad dance</div><div><br />
</div><ul><li>A bunch of other hang-ups</li>
</ul><div>The preceding are the major stuff that worries me when I take a lady to the dance floor. There are is a myriad of other stuff that sometimes befuddle me. Things seemingly so trivial as " 'Is my cologne too much?' 'Do my clothes match?' 'Are my boots shined?' 'Is there too much stuff in my pockets? Etc, etc, etc.</div><div><br />
</div><div>All of these all play in my head when I ask a lady to dance. So much can go so wrong so fast that it is in fact, taking a chance.</div><br />
<br />
<span class="Apple-style-span" style="color: #e69138;">Why I STILL take the chance to dance </span><br />
Getting over hang-ups (in tango) is like taking a leap of faith. I find that the magic that happens when one dances tango is an overwhelming reason to brave the minefield of misgiving in one's own mind. As much as I like to dance, it is important that I face the risks of asking (and getting) to dance a tanda of tango. Otherwise, I'd be sitting out the night, moping in a corner.<br />
<br />
While it is true that every time I dance, I take a chance... It is even much truer that in order to dance I <u><b><i>MUST </i></b></u>take the chance.AmpsterTangohttp://www.blogger.com/profile/07128341367227617647noreply@blogger.com0tag:blogger.com,1999:blog-8137291688076873480.post-34668375539712989502010-08-22T00:35:00.000-07:002010-08-22T09:19:21.045-07:00Someone asked me to teach tango<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyKsz_-mGV68rhiV4dXRbhCo5UPMdWMcPin71pt2aVUYkmaXgYNUZHw0EdCjzNPVVfOY8dxIGWeh_c_IbtNg-Ax_ZrMgamXbIm_zD069aeyEVfrZixmpCF-4XrRoaCzeodCN8fSSo4i0QV/s1600/Page_1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyKsz_-mGV68rhiV4dXRbhCo5UPMdWMcPin71pt2aVUYkmaXgYNUZHw0EdCjzNPVVfOY8dxIGWeh_c_IbtNg-Ax_ZrMgamXbIm_zD069aeyEVfrZixmpCF-4XrRoaCzeodCN8fSSo4i0QV/s320/Page_1.jpg" width="246" /></a>A non-tango colleague of mine, quite insistently, asked me to teach her tango. Maybe even start a tango club at work. I graciously said no and gave my reasons. My colleague seemed baffled at my answer. I just ended up saying that I couldn't teach.<br />
<br />
I guess, trying to address my true reasons were something only tango people would truly understand—I think...<br />
<br />
<br />
<br />
<b><span class="Apple-style-span" style="color: lime;">Don't want to teach steps</span></b><br />
I can (probably) teach different levels of steps, mechanical techniques, come up with patterns, and develop really deep tango concepts. However, I'm not inclined to go down this road because I have not the time nor the patience for such an endeavor. As a friend of mine once said, "As far as tango goes, I'm a consumer, not a producer."<br />
<br />
<b><span class="Apple-style-span" style="color: lime;">The real reason I don't want to teach</span></b><br />
The real reason I truly do not want to teach is this—I cannot teach anyone to express themselves with their own souls. I can teach my expression from MY soul. Having someone trying to adopt my interpretation will end up with someone trying to emulate myself. What I would want to happen is for everyone is to create a distinctive "you." I do not know enough to inspire someone to activate and express their own brand of tango from deep within.<br />
<br />
<br />
When the time comes when I figure out how to inspire people to develop their <b><i><u>own</u> </i></b>tango expression, maybe I'll consider teaching tango, but, not until then.AmpsterTangohttp://www.blogger.com/profile/07128341367227617647noreply@blogger.com5tag:blogger.com,1999:blog-8137291688076873480.post-27471496378288135192010-08-19T01:47:00.000-07:002010-08-19T09:59:18.122-07:00My little bunny brain blow ups<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2OL4vJ6_ZtAvd8fgK8DGOAvH9W2UVi9AVooRqLb3heoqkIKB5QikiQSwSw4j53XXoA0m-PaZm4LXd8yItskhQYWlusJt5hyphenhyphenC1FfO3uC4atQLnwFgeXTA_B2otlNIIvxDedOZvLMD8SMq3/s1600/Page_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2OL4vJ6_ZtAvd8fgK8DGOAvH9W2UVi9AVooRqLb3heoqkIKB5QikiQSwSw4j53XXoA0m-PaZm4LXd8yItskhQYWlusJt5hyphenhyphenC1FfO3uC4atQLnwFgeXTA_B2otlNIIvxDedOZvLMD8SMq3/s320/Page_1.jpg" /></a></div>One of my major tango pitfalls are attending Tango workshops and tango lessons. I... am... a... slow... learner.<br />
<br />
My latest foray into the tango workshop world was with a beautiful and dear friend. Secretly, I was a little hesitant going to the workshop. It has been so long since I've taken a workshop. Soon, I would remember why I don't do workshops anymore.<br />
<br />
The workshop started off well enough. I breezed through the first materials. As the workshop progressed and more (and complicated) material was given, the more disconcerted I got. My dancing got progressively worse. My loving embraced turned into something in between a bear-hug and a submission hold. My giros resembled something like Judo takedowns done to tango music. It was bad.<br />
<br />
With remorse, I apologized to my partner for my man-handling. She smiled and said, "Your little bunny brain blew up." I so very mush agreed.<br />
<br />
<br />
<b><span class="Apple-style-span" style="color: lime;">Short circuiting synapses</span></b><br />
The reason my brain fries (regularly) during lessons and workshops is because of volume vs. time. The teacher will throw so much stuff at me, and so fast. My mind and body are overwhelmed and incapable of absorbing everything in one session.<br />
<br />
It takes time for my muscle memory to learn and adapt. It takes time for my brain to absorb the patterns and steps. My motor skills and body mechanics have not processed fast enough to deliver proper technique. <br />
<br />
Then, in fits of desperation, frustration, and aggravation, my philosophical brain takes over and tries to analyze (and/or justify) the applicability of the lesson in a real milonga... While I'm still trying to do all of the aforementioned!<br />
<br />
<br />
<span class="Apple-style-span" style="color: lime;"><b>Managing my short-comings</b></span><br />
I cannot hope to come up to the level of my expert teachers. I do however, am capable of being a passable social dancer. That being said, I have developed my "Ampster's strategy to tango learning from lessons:"<br />
<br />
<ul><li>I know my boundaries and capabilities</li>
<li>I pick and choose from the lessons they gave me, and try to modify and adapt them to a social milonga floor</li>
<li>I take the lessons and figure out the body mechanics to make it work </li>
<li>I visualize (like a movie in my mind) how its supposed to work. I think of the appropriate technique, body mechanics, timing, leading that I need to do</li>
<li>I only do "The move" if I can lead it comfortably with a follower. If I can't, I won't have her suffer through my incompetence</li>
</ul><br />
<br />
In addressing all of my little bunny brain blow-ups, I resign myself to the fact that I am not infallible. I take my time to learn. I cannot do everything that was taught to me, but I [eventually] can do enough to add a little tidbit to my repertoire. Eventually, those little tidbits add up to make for an interesting tanda.<br />
<br />
<br />
<br />
P.S. To my wonderful and beautiful tango workshop buddy... Thank you for putting up with me :)<br />
<b><span class="Apple-style-span" style="color: lime;"><br />
</span></b>AmpsterTangohttp://www.blogger.com/profile/07128341367227617647noreply@blogger.com3tag:blogger.com,1999:blog-8137291688076873480.post-49973363811491488932010-08-04T22:52:00.000-07:002010-08-04T22:52:32.757-07:00The movie star in my arms<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYTTbnE-q4_9dJWSipIDKzBmZYOH17KT6a1JbN3mpJmG9OIrlxNwaKi9QqNht3GOkdcJFx1VIXbxSGDD-RNBd0qrAHB8qDCtsD59_O3Dj_UKYr5Z9EIbcBIzj1rk-ykC7TMzlpSrJa6uc6/s1600/Page_1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYTTbnE-q4_9dJWSipIDKzBmZYOH17KT6a1JbN3mpJmG9OIrlxNwaKi9QqNht3GOkdcJFx1VIXbxSGDD-RNBd0qrAHB8qDCtsD59_O3Dj_UKYr5Z9EIbcBIzj1rk-ykC7TMzlpSrJa6uc6/s320/Page_1.jpg" width="320" /></a></div>Every woman I tango with is a movie star.<br />
<br />
She is the reason I dance tango<br />
<br />
She is the reason I improve my dance<br />
<br />
I adore her<br />
<br />
I care for her<br />
<br />
I venerate her<br />
<br />
I revel in the warmth of her embrace<br />
<br />
I must make her comfortable in my embrace<br />
<br />
It is my job to make her look good<br />
<br />
It is my job to make her feel good<br />
<br />
It is my job to lead her well<br />
<br />
If she dances well, I dance well<br />
<br />
If we dance well, the music is within us<br />
<br />
If the music is within us, we are one<br />
<br />
If we are one, then we are in tango<br />
<br />
I truly care for the woman I tango with, for she is the movie star in my armsAmpsterTangohttp://www.blogger.com/profile/07128341367227617647noreply@blogger.com4tag:blogger.com,1999:blog-8137291688076873480.post-85533408314866625372010-07-29T01:20:00.000-07:002010-08-25T14:43:49.642-07:00Doing self critiques<div style="text-align: right;"></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNJbQII_Y6HmJ7xSt2IlH4t91SWTGPyvVZpVecEk9swglyPVURPbwSEcSnrzceHoogFtn1_jUQO5XYaZ_uyfr2Aujx_dZscXehNf2JlAxk9E54xFt0kT46i6-YFGOLHXE8S-rzC4p7Tnwn/s1600/Zombie-self+critique.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="153" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNJbQII_Y6HmJ7xSt2IlH4t91SWTGPyvVZpVecEk9swglyPVURPbwSEcSnrzceHoogFtn1_jUQO5XYaZ_uyfr2Aujx_dZscXehNf2JlAxk9E54xFt0kT46i6-YFGOLHXE8S-rzC4p7Tnwn/s200/Zombie-self+critique.jpg" width="200" /></a>Throughout the years I've been dancing tango, I've had a few opportunities to see myself dancing. It happened again recently, and seeing myself one more time, gave the opportunity to ponder and learn a few things.<br />
<br />
Every now and then, the <a href="http://ampstertango.blogspot.com/2010/04/un-making-tango-zombie.html">tango zombie</a> paths of old needed to be contemplated, examined, and corrected...<br />
<span class="Apple-style-span" style="color: #e69138;"><b><br />
</b></span><br />
<b><span class="Apple-style-span" style="color: #e69138;"><br />
</span></b><br />
<b><span class="Apple-style-span" style="color: #e69138;">Ballroom Lessons</span></b><br />
When I was an aspiring ballroom dancer many years ago, my teacher ( Sam Smith ) taught me two things:<br />
<ul><li>Some people do not look as good as they think</li>
<li>People need to be honest with ego. If not, they get stuck and never progress</li>
</ul><br />
What he was talking about was that many, many people think they are so good, and thus, look good too. Unfortunately, when others see you, that is not the case... and, it happens a lot.<br />
<br />
I was this (infallible) person once. I thought I was the best at what I did and no one could match me—Until I saw myself dance. It was during a performance. Oh my goodness! I looked horrible. That was a wake-up call.<br />
<br />
I had to improve. In order to do this, I had to accept the fact that I was not as good as I thought I was. That was what my teacher talked about being honest with my ego<br />
<br />
<br />
<b><span class="Apple-style-span" style="color: #e69138;">My tango critique evolutions</span></b><br />
Seeing myself dance in tango was more challenging than I had anticipated. The complexity and finesse tango needs required me to contemplate and plan in order to move forward. My self critiques reflected my growth in tango.<br />
<br />
<ul><li>My early tango years</li>
</ul>My perspective of myself emphasized on the "Mechanical." I believed that in order to be good, I had to expand my tango vocabulary. I went down the path of trying to learn everything as fast as I could.<br />
<div><br />
<ul><li>Sometime in between now and then</li>
</ul>I saw myself dance again. Despite the much expanded vocabulary, all I saw of myself was a step collector. My emphasis in learning, then shifted to techniques and the refinement thereof. So much so that I became "anal retentive." I became obsessed with perfection. I believed that having the repertoire of steps and precise delivery was they key to being good in tango.<br />
<div><br />
</div><div>Much to my chagrin, I realized that this, and my other preceding belief were quests of folly. Tango didn't work that way. I realized that tango is a balance of discipline, patience, technique, mechanical knowledge, all combined with caring for my partner.<br />
<br />
</div><div><ul><li>Seeing myself now</li>
</ul>It's funny. After all the money and work expended on workshops, memorization, techniques, shoes, clothes, blah, blah, blah... I came to the realization that I am now faced with one of the most difficult things to do in tango (IMHO)—Keeping things simple, and still look decent.<br />
<ul></ul></div><div>= = = = = = = = = = = = = = = = = </div><div><br />
</div><div>Many, many people have said that "In tango, you dance for yourself, and your partner. Not for anyone else." True, so very, very true. </div><div><br />
</div><div>However, when I see myself and there are things that obviously need correcting, I need to "man up" and do something about it.</div><div><br />
</div><div><br />
</div></div>AmpsterTangohttp://www.blogger.com/profile/07128341367227617647noreply@blogger.com1tag:blogger.com,1999:blog-8137291688076873480.post-64053484957701752572010-07-22T17:05:00.000-07:002010-07-22T21:14:42.462-07:00Heartbeats<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja8WMWLD9xRfc1x9RnXJ_pr2GXIvli7HVWOf9GKLhkhOwG_1BbvavYWAl_ZAvZcGCZHM1psN1F9AnIY7w1a8emC5K2pq8706gddDE_HziBLXE2vXhYwHGvkCEiX6_IrcPUYqlhqPgpTqWT/s1600/Zombie+Heart.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja8WMWLD9xRfc1x9RnXJ_pr2GXIvli7HVWOf9GKLhkhOwG_1BbvavYWAl_ZAvZcGCZHM1psN1F9AnIY7w1a8emC5K2pq8706gddDE_HziBLXE2vXhYwHGvkCEiX6_IrcPUYqlhqPgpTqWT/s200/Zombie+Heart.jpg" width="154" /></a></div>There is something in tango that is absolutely unique and beautiful. They are heartbeats...<br />
<br />
Only in tango have I experienced the deepest connections with my dance partner. This, none more so manifested by heartbeats. In between dances during the tanda, there is that few seconds before each dance begins.<br />
<br />
When the first bars of the music fills the air, it permeates my senses. I feel the music. I feel my partner. I breathe slowly and deeply while listening to the music. I listen to her. Then... There it is!<br />
<br />
I feel my heart thumping, as if to the beat. In between heartbeats, I feel another set... Her own heart beating.<br />
<br />
In this one fleeting moment (spanning a mere second or two) is the real beginning of "The tango experience." It is when I feel hearts and the music in harmonious synchronization is when our dance begins.<br />
<br />
It is a connection of souls. It is one conversation without words. It is warm, comforting, real, and simply human. It is a beautiful thing.AmpsterTangohttp://www.blogger.com/profile/07128341367227617647noreply@blogger.com1tag:blogger.com,1999:blog-8137291688076873480.post-88873424086368567572010-07-01T00:15:00.000-07:002010-07-01T01:35:55.333-07:00Dialing in—to different heights<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj__yrVxYZgO8PWSUKZQQWVqW0uG6JNjo-Rl8GPFzZuXmRguGnJJfrgIV5NNZgs3hjYcQ-tNn7-JW-CJAR9S2ayu4n4hDVM-RmqYS99OUuxIpjAr56rqKzyvDY1MoojnY0RkvFWz-8tdgDK/s1600/Zombie+Wanna+Dance.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj__yrVxYZgO8PWSUKZQQWVqW0uG6JNjo-Rl8GPFzZuXmRguGnJJfrgIV5NNZgs3hjYcQ-tNn7-JW-CJAR9S2ayu4n4hDVM-RmqYS99OUuxIpjAr56rqKzyvDY1MoojnY0RkvFWz-8tdgDK/s200/Zombie+Wanna+Dance.jpg" width="154" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG0PFs0TJPP6GEsuy19lZRGe0Be1pE48zuMCJ4zNchMYkDZ0w3du3pRmgezQhvF0Nb7cNO09zimjxvxrBW6BljkkKH090cRpCIwKsJSgQIOVProURxwozYCDskCuHYSguORIWKuk9UNU3s/s1600/Zombie+Tall.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG0PFs0TJPP6GEsuy19lZRGe0Be1pE48zuMCJ4zNchMYkDZ0w3du3pRmgezQhvF0Nb7cNO09zimjxvxrBW6BljkkKH090cRpCIwKsJSgQIOVProURxwozYCDskCuHYSguORIWKuk9UNU3s/s200/Zombie+Tall.jpg" width="153" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrROpJlihTtFbXL2Rgc90mnnWxO5yf9xBsybHji-Tl-SNdNQdmDsAsVhGQ1F6uuENKtncyfO8DV6vdR2o24UxhnBQHPwqrweEthYhCeeu3sFpL6pIytqXUtZDs2Q5KVZJBd2VnejapsKyR/s1600/Zombie+Short.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrROpJlihTtFbXL2Rgc90mnnWxO5yf9xBsybHji-Tl-SNdNQdmDsAsVhGQ1F6uuENKtncyfO8DV6vdR2o24UxhnBQHPwqrweEthYhCeeu3sFpL6pIytqXUtZDs2Q5KVZJBd2VnejapsKyR/s200/Zombie+Short.jpg" width="153" /></a></div><div><br />
I once wrote about "<a href="tp://ampstertango.blogspot.com/search/label/dialing%20in">Dialing in.</a>" I talked about adapting my dancing to match the dance capabilities of my particular partner (at the moment), in order to make the tango magic happen.</div><div><br />
</div>One of the challenges I've come across over and over again is dancing with partners of different heights. I like to dance a lot, and to limit myself with picking only partners who were of the same height, limited my tango time.<br />
<div><br />
</div><div>Furthermore, I see women sitting out most of the night regardless of them being beautiful dancers. I asked my veteran colleagues why this was. Their common answer: "Because, they are (either) too tall, (or) too short.<br />
<div><div><br />
I used to dance in open embrace. Height was not much of a problem. Since becoming a close embrace dancer, I was intrigued as the dynamics were vastly different. I experimented on the milonga floor for the next couple of years leading to some very "interesting" discoveries and results...<br />
<br />
<br />
<br />
<span class="Apple-style-span" style="font-size: x-large;"><b>I. The challenge of varying heights</b></span><br />
<span class="Apple-style-span" style="font-size: x-large;"><b><br />
</b></span><br />
<ul><li><i><b>My ideal height range</b></i></li>
</ul><div>Dancing close embrace, I found that a height difference of +/- 4 inches equaled my ideal height range. At this level, our bodies are hinged very similarly, allowing for dynamic movement. I could easily dance close embrace—apilado style. That is, with a deep lean, sharing a common axis with my partner. This is where the both of us would form a dance posture resembling the letter "A." Walks, turns, or any movement in tango is relatively easy.<br />
<br />
</div><ul><li><i><b>My reality of dancing with a partner who is too short</b></i></li>
</ul><div>Dancing apilado style with a partner who was significantly (a head) shorter than I would cause my weight to lay on them. This would cause her to be most uncomfortable. Leading anything would be difficult as the pressure would be downward as opposed to forward.<br />
<br />
I tried couching lower, but that just made my knees ache. I tried bending forward at the waist, but that made my bust stick out. In any case, a "Thank you" from any of my partners would be quite apropos at any point—I know this from first hand experience.<br />
<br />
</div><ul><li><i><b>My reality of dancing with a partner who is too tall</b></i></li>
</ul><b><i><span class="Apple-style-span" style="font-style: normal; font-weight: normal;">Trying to dance with a partner with a lean is like a defensive line-man executing a tackle. My center of gravity would be lower, and my shoulders chest, and head would drive into her upper chest, pushing her off her axis. This was tango. Not tackle football. </span></i></b><br />
<b><i><span class="Apple-style-span" style="font-style: normal; font-weight: normal;"><br />
</span></i></b><br />
<b><i><span class="Apple-style-span" style="font-style: normal; font-weight: normal;">Trying to lead would be awkward, as she is trying to stay upright and not get knocked over. I even tried to dance on my tip-toes. But, that just caused my leading to become vague and ambiguous as I was no longer grounded. </span></i></b></div><div><b><i><span class="Apple-style-span" style="font-style: normal; font-weight: normal;"><br />
</span></i></b></div><div><b><i><span class="Apple-style-span" style="font-style: normal; font-weight: normal;">Besides, NONE of this looked any good. The word "Goofy" came to mind. </span></i></b><br />
<b><i><span class="Apple-style-span" style="font-style: normal; font-weight: normal;"><br />
</span></i></b><br />
<b><i><span class="Apple-style-span" style="font-style: normal; font-weight: normal;"><br />
</span></i></b><br />
<span class="Apple-style-span" style="font-size: x-large;"><b>II. Lessons that work</b></span><br />
<div><b><i><br />
</i></b></div><div><br />
<ul><li><b><i>Too short, try a torso lead</i></b></li>
</ul>Something I learned from <a href="http://www.youtube.com/watch?v=cd6EbWELhns">Patricio and Eva Touced</a>a: If your partner is too short, stand up straight, always maintain your axis, <u>and offer her your torso for leading</u>!<br />
<br />
That is, if her head only goes up to my chest, I extend my leading to my torso. That way, when I move my chest, I move my torso along with it. This is where my shorter follower would get her leads.<br />
<br />
I tried it, and it works! It also has the side benefit of helping develop my core—which I am in dire need of...</div></div><div><b><i><br />
</i></b></div><div><br />
<ul><li><b><i>Too tall, stand up straight and develop your giros</i></b></li>
</ul>I stand up straight and ground myself, chest out, and lead with purpose. I maintain my own axis. By doing this, I find that leading becomes easier, as I do not have to compensate where the body hinges. I concentrate on where my (taller) partner's weight and axis are, and use that to time where and what I lead.<br />
<br />
Leading a taller partner has an added challenge... My forward vision is majorly impaired.<br />
<br />
With a taller partner, her chin would touch my temple. I can only see forward with my left eye. My right eye would be blocked by her neck, making me totally blind-sided on the right. To address this, I learned to develop my giros (i.e. stationary turns) to the left and to the right. That way, I turn either left or right before I move forward. It allows me to see, and helps make my dancing flow better.<br />
<br />
<br />
I did this because I love dancing tango. By learning how to dance with either short or tall partners, I'm able to diversify, both to my, and my partners' benefit.<br />
<br />
<br />
<br />
<i>P.S. To my past partners, both short and tall, whom I've inflicted my past ineptitude... I sincerely apologize</i>.</div></div></div>AmpsterTangohttp://www.blogger.com/profile/07128341367227617647noreply@blogger.com2tag:blogger.com,1999:blog-8137291688076873480.post-70149382734796558372010-06-11T02:17:00.000-07:002010-06-24T22:17:01.425-07:00The dreaded... MILONGA!<div class="separator" style="clear: both; text-align: center;"></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3D9YfirWlWGtwXe2vl2XUyB9dCJvTo-HnK5RjPw9eA5rTv95RjmBzXojXtNJf7Sp-bia93PAG654Bnx4oqf3qfDa-_ecHFDEcRFAvKPqsSRftah_Px2a99c5JkTeaVGFxFVS3s9TAWmRD/s1600/Milonga+Zombie.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3D9YfirWlWGtwXe2vl2XUyB9dCJvTo-HnK5RjPw9eA5rTv95RjmBzXojXtNJf7Sp-bia93PAG654Bnx4oqf3qfDa-_ecHFDEcRFAvKPqsSRftah_Px2a99c5JkTeaVGFxFVS3s9TAWmRD/s320/Milonga+Zombie.jpg" width="244" /></span></span></a><br />
<div class="MsoNormal"><b><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;">Milonga (place):</span></span></i></b><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;"> A term for a place or an event where tango is danced.</span></span></i></div><div class="MsoNormal"><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;"><br />
</span></span><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;"> </span></span></i></div><div class="MsoNormal"><b><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;">Milonga (dance genre):</span></span></i></b><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;"> Also refer to a musical genre. The song was set to a lively 2/4 tempo, and often included musical improvisation.. Despite 2/4 formula, rhythm is irregular. It is syncopated, consisting of 8 beats with accents on the 1st, (sometimes also 2nd) 4th, 5th, and 7th beats.</span></span></i></div><div class="MsoNormal"><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;"><br />
</span></span><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;"> </span></span></i></div><div class="MsoNormal"><b><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;">Regular 2/4 rhythm:</span></span></i></b><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;"> </span></span></i><b><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;">[1] </span></span></i></b><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;">2 3 4 </span></span></i><b><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;">[5] </span></span></i></b><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;"> 6 7 8 </span></span></i></div><div class="MsoNormal"><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;"> </span></span></i></div><div class="MsoNormal"><i><b><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;">Milonga rhythm:</span></span></b></i><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;"> </span></span></i><b><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;">[1]</span></span></i></b><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;"> 2 3 </span></span></i><b><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;">[4] [5]</span></span></i></b><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;"> 6 </span></span></i><b><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;">[7]</span></span></i></b><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;"> 8, sometimes also </span></span></i><b><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;">[1] [2] </span></span></i></b><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;"> 3 </span></span></i><b><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;">[4] [5]</span></span></i></b><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;"> 6 </span></span></i><b><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;">[7]</span></span></i></b><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;"> 8 or 3 3 2 </span></span></i><b><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;">[1]</span></span></i></b><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;"> 2 3 </span></span></i><b><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;">[4] </span></span></i></b><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;"> 5 6 </span></span></i><b><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;">[7]</span></span></i></b><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;"> 8</span></span></i><br />
<i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;"></span></span></i>____________________________________________</div><br />
If you watch the milonga floors (in Seattle), you'll notice that once a milonga tanda starts playing, the floor opens up. Why? A lot of people do not dance milonga. The single most common reason? "I'm not too good at milonga."<br />
<br />
The milonga was MY nemesis for the longest time. It was the dance that made me feel uncoordinated, clunky, and clumsy. Attempting to dance a milonga made me feel so inadequate. In an attempt to cope, I researched the milonga from a historical and technical standpoint. None of my research helped. <br />
<br />
Realizing this inadequacy, I decided to do something about it.<br />
<b><br />
</b><br />
<span class="Apple-style-span"><span class="Apple-style-span" style="font-size: x-large;">My milonga pitfalls</span></span><br />
I decided to do some introspection and figure out what it was that made my milonga dancing "Blow up." I postulated that, knowing my faults, I would know how to address them.<br />
<ul><li><b>Trouble with milonga music</b></li>
<ul><li>The primary hurdle. I did not get milonga music. It was obvious that it was fast. What baffled me most was the pattern<span class="Apple-style-span" style="color: #333333; font-family: Georgia, serif; font-size: 13px; line-height: 20px;">—</span>There wasn't a consistent one. I couldn't tell the downbeat because the orchestra did not use a bass. Furthermore, like in tango, the rhythm would change several times during the song. Only now, it was much faster!</li>
</ul></ul><ul><li><b>Troubles with leading</b></li>
<ul><li><b><span class="Apple-style-span" style="font-weight: normal;">Learning to be a competent leader dancing a tango was a challenge that took at least a couple of years (for me). Learning to be a competent leader dancing a milonga was worse. It took me at least another couple of years. Because, not only did I need to navigate, lead steps, apply musicality, be in tune, etc, etc, etc... but now, dancing milonga seemed more frantic, chaotic, and frustratingly fast, fast, FAST! </span></b><b><span class="Apple-style-span" style="font-weight: normal;">My milonga leading would normally disintegrate into an unrecognizable blob of shame. </span></b></li>
</ul></ul><ul><div class="separator" style="clear: both; text-align: center;"></div><ul><li><b><span class="Apple-style-span">Leading speed and tempo badly</span></b></li>
</ul></ul><ul><ul><ul><li>My musical challenge with leading a milonga lay in the fact that it was fast, and the tempo, irregular. I was used to dancing with a steady downbeat, and consistent rhythm. To my chagrin, this was not the case with the milonga</li>
</ul></ul></ul><ul><ul><li><b>(Really) Rough leading</b></li>
<ul><li>As I was not to sure of what I was doing, I would try to fake it. This lead to several embarrassing results, for which I am fully to blame. None of this made for a pleasant experience for any of my hapless partners (at the time). These occurrences happened before I started paying attention to my partners. Back then, it was all about me. </li>
</ul></ul></ul><div><br />
</div><div><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: x-large;">Milonga epiphany</span></span></div><div>As in any endeavor that you spend time, effort, and money in, when it works, it becomes an enlightening and magical experience. It is therapy for a frustrated milonga heart.<br />
<ul><li><b>Understanding the dance</b></li>
<ul><li>I tried, and tried, and tried. I took classes, took advise, experimented. Nothing seemed to work. I did not get this milonga thing. One day, I attended a class that seemed to tie all the milonga concepts together.</li>
<ul><li><a href="http://www.mumatango.com/">Muma's</a> lesson </li>
<ul><li>She showed up in Seattle once and I took a class. She was neither fancy, nor flashy. She only taught one thing—Milonguero style tango. The significance of her class to me was this: She used the same steps for Tango, Vals, and Milonga. The difference was HOW you delivered it. Tango had drama. Vals flowed, and Milonga was in staccato. Keeping this simple principle in mind, I realized that I could do it too</li>
</ul></ul></ul></ul><ul><li>Recognizing the music</li>
<ul><li>Now that I understood the dance, I now had to understand the music. Instead of listening for a downbeat, I listened to the top of the music—The rhythm and danced to it. It was there that I found the pauses, the stops, goes, and flows of the music. Knowing this, I learned WHEN to place my motion</li>
</ul></ul><ul><li>Delivery size</li>
<ul><li>It was always a problem for me to keep up with milonga music. That was, until I remembered a lesson from my ballroom days. </li>
<ul><li>If the music is slow, feel free to step large. If the music is fast, step small. That meant, if milonga was twice as fast, I lead steps were twice as small. That way, I could keep up with the speed without having to expend excessive energy</li>
</ul></ul></ul><div><br />
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</div><div><span class="Apple-style-span" style="font-size: x-large;">In the end...</span> </div><div>I can consider myself as a passable milonga dancer. Not bad, not painful, but passable. It took so much time. It took so much effort. But in the end, my reward is the extra space that I and my partner can dance in when the milonga floor opens up when a milonga tanda starts.</div>AmpsterTangohttp://www.blogger.com/profile/07128341367227617647noreply@blogger.com3tag:blogger.com,1999:blog-8137291688076873480.post-34654301943800607852010-06-01T12:44:00.000-07:002010-06-24T22:14:03.666-07:00A journey through my incompetence<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr-hjOtQDd7FIWC8kW5SXeh17F47SYjbu_ZJ7bwTMcLvXd2P8GWTNxIWyBFWiPLGg1RFlRng3Lg56nx7AoON2gXj4lF8RYum8hRZ1KsOeIL6Q8UXnYfgIeq0DNqywJWi9EZpyOHZ7sb5DD/s1600/Tango+Zombie+Question.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span class="Apple-style-span" style="color: black;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr-hjOtQDd7FIWC8kW5SXeh17F47SYjbu_ZJ7bwTMcLvXd2P8GWTNxIWyBFWiPLGg1RFlRng3Lg56nx7AoON2gXj4lF8RYum8hRZ1KsOeIL6Q8UXnYfgIeq0DNqywJWi9EZpyOHZ7sb5DD/s200/Tango+Zombie+Question.jpg" width="153" /></span></a><br />
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In practicing the way of tango, one of my most poignant "lessons learned" was that I was <b><i><u>not</u></i></b> as good as I thought I was.<br />
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In order to (continually) improve, I first had to admit it to myself that I was flawed. Secondly, I had to discover and learn what my shortcomings were before I could learn how to deal with them.<br />
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<b><u>Ampster's Incompetencies</u></b><br />
<ul><li><b><u>Problem:</u> I didn't know where my follower's weight was</b></li>
</ul><div>I can't lead someone, if I can't tell where she had her weight. I didn't know how to tell if she was planted, or if she had landed firmly on one leg. This malady caused me to Not know know if my partner had completed the step I was leading. I frequently knocked her off her axis, and always rushed her into steps before she could complete the previous one I just (tried) to lead</div><ul><ul><ul></ul></ul></ul><ul><ul><li><b><u>Resolution:</u></b> Patience and perception. I learned how to wait for my partner to settle, and feel her. I stopped myself from bulldozing through figures, and concentrate on reading her movements. I waited and made a conscious effort to feel her shift until she settled on one leg.There will be a very slight moment where I could feel all of her weight settle... Then stop—Which gave me the signal to start the next movement.</li>
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</div><ul><li><b><span class="Apple-style-span" style="font-weight: normal;"><b><u>Problem: </u></b></span>My previous dance experience applies to tango</b></li>
</ul><div><b><span class="Apple-style-span" style="font-weight: normal;">Coming fresh from the ballroom world, I had (mistakenly) assumed that my previous dance experience can be transposed into tango. I tried, and it didn't work. The results were quite embarrassing.</span></b></div><div><br />
</div><ul><ul><li><b><span class="Apple-style-span" style="text-decoration: underline;">Resolution:</span></b><span class="Apple-style-span" style="font-weight: normal;"> A little humility. I had to cast aside my previous assumptions. I had to swallow my ego and learn tango from scratch. That way, when I did learn tango, it was not "tainted" by the other dances. I stopped saying, "When I danced (blah, blah, blah) we did it this way..."</span></li>
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</div><ul><li><b><span class="Apple-style-span" style="font-weight: normal;"><b><u>Problem:</u></b></span> Figure oriented</b></li>
</ul><div>I thought that if I memorized a few steps, it would carry me along. It was like this in the ballroom world. Why would it not work in tango? Painfully as it was, most especially for my follows. This did not work. It made for a boring and mechanical dance.<br />
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</u></b></div><ul><ul><li><b><u>Resolution:</u></b> I had to learn how to lead dynamically. That meant putting together all the lessons learned and apply them holistically. Then, deliver and improvise based on the rules of tango (e.g. Line of dance, musicality, rhythm, improvisation, etc). The figures I did learn (e.g. Ochos, giros, etc.), were simply building blocks that I needed to string together as seamlessly as possible.</li>
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</div><ul><li><b><span class="Apple-style-span" style="font-weight: normal;"><b><u>Problem:</u></b></span> I expected the follower to "Know" what was being led</b></li>
</ul><div>I thought that when my tango teacher taught a move, everyone was supposed to "Get it." So, I expected the follow to "Get it" too. This only succeeded in frustrating me, and my follows to not want to dance with me.<br />
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</div><ul><ul><li><b><span class="Apple-style-span" style="text-decoration: underline;">Resolution:</span></b> Learn to lead. This is what makes tango... "Tango." It is a conversation without words in the form of dance. In order for the follower to move, I (the leader) needed to lead clearly first.</li>
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</div><ul><li><b><span class="Apple-style-span" style="font-weight: normal;"><b><u>Problem:</u></b></span> I expected the follower to keep up</b></li>
</ul><div>I lead, she follows... At my pace! Now, what was I thinking??? Tango is an expression of emotion. It's neither a race, nor a competition.<br />
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<ul><ul><li><b><span class="Apple-style-span" style="text-decoration: underline;">Resolution:</span></b> <b>Wait for her. </b>I have said in this blog (many times), that tango is all about her. This being no exception. I need to wait for my partner to finish, settle, then continue on. I don't need to rush her, as she needs to enjoy the dance.</li>
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<ul><li><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-weight: normal;"><b><u>Problem:</u></b></span> I did not understand Tango music</span></li>
</ul><div>When I first started tango, I preferred nuevo music. It was contemporary, had a heavy beat that I could hear. I could relate to it.</div><div><br />
</div><div>I didn't like traditional tango music because it was old and scratchy—and there was NO BASS! I couldn't follow the music, because I couldn't find the repetitive patterns.</div><div><br />
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<ul><ul><li><b><span class="Apple-style-span" style="text-decoration: underline;">Resolution:</span></b> Understand tango music structures. I wrapped my head around the fact that traditional tango music changed rhythm several times in one song—A revelation! Tango music doesn't have a distinctive bass because it doesn't need it. It's in the rhythm—Another "Aha" moment! knowing that, and listening to tango music profusely, I understood the dynamic range of the music. This made perfect sense as you had to lead the dance dynamically anyway. Understanding the musical structure of tango was the lynch pin!</li>
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</div><div>When I danced ballroom, we were taught that tango was a "Dancer's dance." In ballroom, that was simply a standard line they feed you. Transcending into the real tango world, I now truly understand why that is.</div></div><ul></ul>AmpsterTangohttp://www.blogger.com/profile/07128341367227617647noreply@blogger.com7