Expression

[catsmeow]

QPO: Thank you for your response. So far you are the only one curious enough to consider what I am trying to acheive. My education in dance has made me a slave to timing. It controls me whereas now I want to control the time. I see my job as managing what will happen between the counts using various parts of my body . So far it is easier in latin. What is more amazing is how the speed of the body parts make such a huge difference. How I interpret a song, whether it is rumba or tango, depends most strongly on the melody.  There is a door opening for me here to improve my dancing. I would appreciate any comments .

[skipper]

Instead of dancing rumba at 24-26 beats my partner and I are wanting to try a much slower time at an upcoming show. Suddenly, my job as timing manager has taken an entirely new direction as I had hoped. How does a couple fill out the beats with so much extra time? We are working hard to find out. Now lets apply this same problem to tango. We are using argentine tango timing instead of the faster international timing. How would you use your expression to not make it look like a very slow tango!

Have you given some thought to maybe dancing 1&uh  2&uh  3&  4&
I don't do alot of latin, but had a lesson with a coach about this kind of timing....

[Rugby]

I may be wrong, but I think he means he is learning how he can syncopate at particular points, hold longer in other spots, then change it around depending on the move and the feeling he is trying to create.  When a song is very slow, as catsmeow's is, you have to try and take up the time without looking like your doing a Matrix.  The challenge is to keep the time but create different timing effects so the dance does not become monotone, boring, nor lose the character of the song and dance.   Each part of the body can act like a different instrument in the music to show the expression of the song.  A sharp four, holding the one then a regular two, three.  Or, a softer four, one then a sharper two three and so forth.  I like doing a two, then sycopate the three by holding the first part of three to come out on the last half of three, then into the four, one.  I also like to do foot and body actions differently in that the feet may stop but my body moves and the arm and or head is used to create an accent.   The beat can be broken down to help create different feelings and actions which make each rumba, for example, unique.

 

[Bordertangoman]

"Tango –  runs the gambit of emotions, passion, fire, anger, lust, jealousy, desire, elegant smokey looks, deep red lips, half shut eyes, fierce looks, bold embraces, pushing, invitations to sin, teasing, betrayal, rough, barely contained, confusing messages, hot to cold temper with in seconds, denial of interest, words that indicate otherwise, what you feel soul searing and yet must keep barely contained else others see it, blood red dresses tightly fitted to the skin, long gloves, high heels, lingerie that conceals but brings the invitation to imagine what is hidden beneath, corsets, seemed stocking thigh highs, garter belts, seductive perfume, caviar, champagne, wide brimmed hats with eyes looking from beneath lowered lashes, men smoking cigars and raised eyebrows, sneers, leers, turning and walking away. Coming back because one can not stay away ..."


emeralddancer

Then sublimate all those feelings into the dance. make it real inside you.

I cant really answer the question but I would suggest  you watch Tous Les Matins Du Monde and understand what motivates one ( or you ) to do something; then dance with one real feeling of your own;
even if its boredom
or " I dont know what you are asking of me?"
or " I will not become what you see in me"

[TangoDancer]

My education in dance has made me a slave to timing. It controls me whereas now I want to control the time. I see my job as managing what will happen between the counts using various parts of my body .

Please consider my post #11. I promise, it will help.  http://partnerdanceonline.com/index.php?topic=421.msg15428#msg15428

[Some guy]

Instead of dancing rumba at 24-26 beats my partner and I are wanting to try a much slower time at an upcoming show. Suddenly, my job as timing manager has taken an entirely new direction as I had hoped. How does a couple fill out the beats with so much extra time? We are working hard to find out. Now lets apply this same problem to tango. We are using argentine tango timing instead of the faster international timing. How would you use your expression to not make it look like a very slow tango!

Have you given some thought to maybe dancing 1&uh  2&uh  3&  4&
I don't do alot of latin, but had a lesson with a coach about this kind of timing....

I thought this video might be apt for this.  It's Bryan Watson and Carman dancing BASIC rumba.  I never new basics could be so expressive and beautiful.  My eyes were a little more moist than I care to admit after watching it.  Bryan mentions one of the great dance teachers who has passed away.  Dora-Satya Veda here on PDO learned from the same teacher. 
http://www.youtube.com/watch?v=Ye5Gd2pv6wg&feature=rec-HM-r2

This is video proof that there's a HUGE difference between "doing" the technique and "expressing" the technique.  Like Bruce Lee says, if we cling blindly to technique you will be restriced by its limitations.

[elisedance]

...there's a HUGE difference between "doing" the technique and "expressing" the technique.  Like Bruce Lee says, if we cling blindly to technique you will be restriced by its limitations.

nothing much to add - I just wanted to quote that incase anyone missed it as I think it bears acutely on the whole left-brain/right-brain discussion.
(I suppose I did add something after all )

[Some guy]

...there's a HUGE difference between "doing" the technique and "expressing" the technique.  Like Bruce Lee says, if we cling blindly to technique you will be restriced by its limitations.

nothing much to add - I just wanted to quote that incase anyone missed it as I think it bears acutely on the whole left-brain/right-brain discussion.
(I suppose I did add something after all )

Dora-Satya Veda told me something that's quite an eye opener too as far as technique is concerned: "technique is a toolbox.  Don't take your toolbox with you on to the dance floor!".   

[elisedance]

nice.... and don't take it with you everytime you practise either for that matter - you've mastered it when you don't have to 'do' it anymore

[dream a little dream]

For those of us who have yet to master it, we hang on to what we have in our toolbox fiercely!

[Some guy]

For those of us who have yet to master it, we hang on to what we have in our toolbox fiercely!

I used to do that. 

[elisedance]

and you become your own biggest enemy....
one has to learn to let go and the sooner you start the better.  without it you simply can not do 'in the moment'dancing.

the absolute key is to learn that its OK to make mistakes, indeed, as in most skills we learn some mistakes simply have to be made, you have to get past them so just do them earlier!

[Bordertangoman]

Imagine in the middle of your dancing there is the eye of a storm; a moment of stillness;silence when you find that you will see from the inside what you need to show others on the outside

[Some guy]

Imagine in the middle of your dancing there is the eye of a storm; a moment of stillness;silence when you find that you will see from the inside what you need to show others on the outside

Nice!!!

[elisedance]

wow BTM - love it.  And I have a lot of storms to have eyes in !