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Author Topic: Lead-Follow-Lead  (Read 6271 times)
TangoDancer
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« Reply #75 on: July 02, 2009, 05:00:52 AM »

Ah, yes. Very right you are.
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The most beautiful part of the dance is often found in between the steps... and in the movement within the stillness.
elisedance
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« Reply #76 on: July 02, 2009, 05:30:03 AM »

then perhaps I'm slowly getting somewhere - and maybe also I have found my (dance) mentor... Wink
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If you must leave the house, go build a home...

The limit of your love is also the limit of your art...
elisedance
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« Reply #77 on: July 25, 2009, 06:08:18 AM »

we worked more on this concept (and related ones in independent dancing) yesterday.  in order to be effectively led with minimal body contact it is (in retrospect I suppose its obvious) that you have a strong and consistent frame. 

What i am now getting is that the frame is much more than the circle or our mutual arms/backs that we tend to focus so miuch on, but extends down the spine to the pelvis.  In order to maximise mutual communication this structure has to stay consistent (I don't want to use any term that sounds like rigid).  for that I straighten my spine and line it up wiht my pelvis - the effect is two fold, it provides the scaffold for the frame and in the process it opens up the space between us.  With this mental image I find I can much more easily dance independently while together.

Last lesson we were really burning the floor - I was reaching physical limits to movement - not ones caused by trying to stay connected.  Not only that but I could also stop on a dime and follow an unexpected lead - thats what convinces me I am on track...

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If you must leave the house, go build a home...

The limit of your love is also the limit of your art...
TangoDancer
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Posts: 736



« Reply #78 on: August 01, 2009, 06:38:00 AM »

we worked more on this concept (and related ones in independent dancing) yesterday.  ....convinces me I am on track...

Indeed. I was telling someone just yesterday a.m. to think of their topline as a V-shaped pedestal support of the head/shoulders/arms from teh center of the lower back; to hold upright from there, and tone through the abs/core. All of this is the topline (notice how, for ex., how it all rotates/shapes when we are only thinking of moving the arms). You've been doing some good stufff as of late.
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The most beautiful part of the dance is often found in between the steps... and in the movement within the stillness.
elisedance
Administrator
Blackpool Finalist
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Posts: 35013


ee


« Reply #79 on: August 01, 2009, 06:47:19 AM »

this pro is totally transforming me - I may not be ready for competition (next wee) but as I see it it does not matter  we are working on much more important things than just routines...
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If you must leave the house, go build a home...

The limit of your love is also the limit of your art...
catsmeow
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« Reply #80 on: October 05, 2009, 10:26:50 PM »

waltzelf I am trying out your rule of thumb regarding simultaneous  leads. Thankyou for that idea. I am also at an awkward stage where I am trying to improve my lead indications through my foot placement . Using my feet has helped me take my arms out of the equation when turning. It is interesting learning to turn without turning. What is more important, the feet , the body or the frame?
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TangoDancer
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Posts: 736



« Reply #81 on: October 08, 2009, 05:10:07 AM »

waltzelf I am trying out your rule of thumb regarding simultaneous  leads. Thankyou for that idea. I am also at an awkward stage where I am trying to improve my lead indications through my foot placement . Using my feet has helped me take my arms out of the equation when turning. It is interesting learning to turn without turning. What is more important, the feet , the body or the frame?

The position. Learn to dance first by position (I guess this could be the body). Frame would be next. Feet would be last in this equation. Note also that there are 3 positions to be cognizant of; relative to the partner, relative to the movement intended, relative to the surroundings.
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The most beautiful part of the dance is often found in between the steps... and in the movement within the stillness.
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