waiting - the essence of following

[Bordertangoman]

I think thats exactly what SG has been saying here all along, how he does not dance himself, but dances the woman.

Kind of a chicken/egg situation because the man has to do this by actions in his own body, not by physically propping the lady. 

a baffling remark? what do you mean?

[Some guy]

I believe the man needs to be able to hone his skills to where his lead barely disturbs the fabric of the his own clothes but illicits a powerful reaction from the lady. In order to do that, the man has to learn what actions within himself transmits information to the lady's body. 

[elisedance]

I believe the man needs to be able to hone his skills to where his lead barely disturbs the fabric of the his own clothes but illicits a powerful reaction from the lady. In order to do that, the man has to learn what actions within himself transmits information to the lady's body. 

can you please write "The Dancing man's Mantra"?
pretty please??

The difference betweena great lead and a lousy one is just that: a knowledge (learned or inate) of what a movement will do to (the sensitized) woman. 

Which reminds me of dancing with a 'dance host' a little while back who boasted that he could lead any of his girls into anything but complained that so called 'trained' women were impossible to lead - and he put me in that catagory together with the canadian national champion (now there's the best back-handed compliment I ever got).  I resisted being defensive but said: 'the problem for me is that I am getting contradictory leads from each part of your body.  He actually listened - and he was lost for an answer.  But that was exactly it.  He was so used to leading from a stiff upper frame (muscling the girl) that he didn't even think what his hips, swing or sway were doing.  Thus, the 'problem' with me was that I was actually listening to all of him...

maybe I should put this inthe gloat topic..

[Some guy]

I believe the man needs to be able to hone his skills to where his lead barely disturbs the fabric of the his own clothes but illicits a powerful reaction from the lady. In order to do that, the man has to learn what actions within himself transmits information to the lady's body. 

can you please write "The Dancing man's Mantra"?
pretty please??

The difference betweena great lead and a lousy one is just that: a knowledge (learned or inate) of what a movement will do to (the sensitized) woman. 

Which reminds me of dancing with a 'dance host' a little while back who boasted that he could lead any of his girls into anything but complained that so called 'trained' women were impossible to lead - and he put me in that catagory together with the canadian national champion (now there's the best back-handed compliment I ever got).  I resisted being defensive but said: 'the problem for me is that I am getting contradictory leads from each part of your body.  He actually listened - and he was lost for an answer.  But that was exactly it.  He was so used to leading from a stiff upper frame (muscling the girl) that he didn't even think what his hips, swing or sway were doing.  Thus, the 'problem' with me was that I was actually listening to all of him...

maybe I should put this inthe gloat topic..

I don't know about writing a book, but it's certainly what I'm hoping to achieve.  Yeah, it's impossible to dance with a stiff upper frame, so he shot himself in the foot before he even got off the starting line. 

[Bordertangoman]

I believe the man needs to be able to hone his skills to where his lead barely disturbs the fabric of the his own clothes but illicits a powerful reaction from the lady. In order to do that, the man has to learn what actions within himself transmits information to the lady's body.  

well I can't fault that statement...

but would add that in AT; the man has to learn to do actions  that will not transmit information to the lady's body.

[Some guy]

I believe the man needs to be able to hone his skills to where his lead barely disturbs the fabric of the his own clothes but illicits a powerful reaction from the lady. In order to do that, the man has to learn what actions within himself transmits information to the lady's body.  

well I can't fault that statement...

but would add that in AT; the man has to learn to do actions  that will not transmit information to the lady's body.

True, I've found that too in the limited AT I have had.

[elisedance]

I believe the man needs to be able to hone his skills to where his lead barely disturbs the fabric of the his own clothes but illicits a powerful reaction from the lady. In order to do that, the man has to learn what actions within himself transmits information to the lady's body. 

well I can't fault that statement...

but would add that in AT; the man has to learn to do actions  that will not transmit information to the lady's body.

True, I've found that too in the limited AT I have had.

interesting - is that true in ballroom too?

[Bordertangoman]

i was chatting to a ballroom instructor last night, and he said what I called suspension is not hesittation but 'hover'

[elisedance]

i was chatting to a ballroom instructor last night, and he said what I called suspension is not hesittation but 'hover'

hover is a nice term for it retains potential energy.  Better than waiting really... and I like the idea of 'about to swoop' like a hawk...

[Bordertangoman]

i was chatting to a ballroom instructor last night, and he said what I called suspension is not hesittation but 'hover'

hover is a nice term for it retains potential energy.  Better than waiting really... and I like the idea of 'about to swoop' like a hawk...

 

[Some guy]

interesting - is that true in ballroom too?

I don't know if the man will do anything that wouldn't transmit to the lady.  

Like I said, my knowledge of AT is VERY limited, and by no means was I taught by a master, so I'm wondering if the reason I felt that way about AT is because the information I got wasn't from the highest level.  

If you take ballroom there are steps where the man and lady are on different timing, different feet, different directions, for example in Swivels, lunges, (regular versus same foot), etc., where it could be argued that certain of the man's actions cannot be transmitted to a lady (like when the man changes feet, or stays on the same foot while the lady changes feet), but the more you study it the more you realize that everything the lady does is a direct result of the transmission of information.  There is nothing that the man has to keep from transmitting.  I used to think the Fan pattern in Rumba was a case where the man has to do something different from the lady and transmit only certain information.  However, the more I study it, the more I realize that that's just the illusion.  So I would have to answer "no".  It's not the same in ballroom, with the caveat that this is based on my very limited knowledge of AT.

[elisedance]

maybe the AT people are underestimating the woman   Just because its transmitted does not necessarily mean it leads to an action.  We even learn to ignore...  For example the man can make a jerky head action to which we do nothing - we only respond if his body is in synch with his head.

[Some guy]

maybe the AT people are underestimating the woman   Just because its transmitted does not necessarily mean it leads to an action.  We even learn to ignore...  For example the man can make a jerky head action to which we do nothing - we only respond if his body is in synch with his head.

Excellently put.

[Alice]

What is "AT" in this context? 

[elisedance]

Arthur and Terrence - before they met up with Thiebert and formed AT&T.