Skipped the private with my primary teacher last week, to catch up the other instructor on one of his volatile visits to the area. The lesson was very educative and productive, as it always is with him.
I had some not well-formed questions in my mind about things I had been struggling with in my dancing. But as usual, I just let him teach and fix whatever he thought was the most flagrant. And as usual, I got several very important answers to the very questions I had. He seems to understand my struggles even better than I do. I think I found myself a great teacher.
First note would be about timing and being late on some steps and pivots. The teacher said that I have to go from foot to foot more decisively, and not end up keeping my weight in between or leaving some of it on the foot I am parting from. That foot has to be completely free of weight, to be able to do an embellishment or a sacada or whatever comes. And to be balanced, I have to arrive completely on my axis. Sometimes I have to go to the point of destination with the hip, as there is no time to make a graduate transfer. That point was already made once by G. , but not fully understood by me at the time, and now it makes perfect sense.
On the turns and pivots, I have to turn my hips to the direction of the movement first, and then make a step. And do not be lazy pivoting, more energy. That brought us to the not-so-new discovery, that my hips and are not completely free and relaxed, as they are supposed to be in tango. I tend to tuck and crook and stiffen, especially on the more complicated moves.
The general rule here would be, the connection between the torso and the hips has to become very very long and relaxed. Everything above the waist grows up, everything underneath drops down. The body is like a tree, the top reaching for the sky, the roots growing into the ground. I have to monitor and eliminate the shortening and the curling in my body.
Another area I tend to close is the left shoulder. I also have to remember about the arms being relaxed, and about the connection with the leader's body coming from the palms, not from the entire arms.
The teacher gave me other images to think about, like my entire body hanging from a skull, or my legs being long like a daddy-long-legs' . Even when I am making tiny step, there is that feeling of my legs and the whole body being long, free and being able to produce the amplitude. I have to make a video and see if imagining all those things translates into the actual changes in movements.
More things to pay attention to: keeping the feet in contact with the floor at all times, looking for that groundness; the right side boleo works better, remember that feeling and seek the same while doing the left side boleo. On ganchos, free and articulate the hip joint, not the knee.
In general, turn, twist, flex the knees on boleos more. The movement has to become more free, more "oily". This is a very familiar refrain. Amazing how I get stuck with the same thing in tango I used to struggle in ballroom with.
On the bright side, I seemed to follow him better than in our previous lessons. So, perhaps, there is some improvement.
To shange the topic slightly, I have been revising my milonga strategies. I have come to the conclusion thatI better just not take certain things close to heart.
After all, they only harm me if I let them. They are not important indeed. Instead of trying to avoid them at all cost, I can chose to laugh them off.
Monday, December 20, 2010
Sunday, October 3, 2010
Otra. Posted on June 23, 2008.
Another lesson with my primary teacher, after a two-week break.
Some highlights:
I still shift my weight too fast from foot to foot sometimes. Sometimes the going foot ends up in the wrong place, just because I start the leg movement too soon. Remember to delay and go with the body first. Ironically, that is when the step comes out nicer and longer. In general, I have to think in terms of staying more on the standing foot and with the leader, not in terms of going.
For the forward step, I have to approach it in two stages. The foot is sliding forward without weight placement. Before the weight changes, my body stretches, following the leader's body, as I let the leader actually lead the weight shift. The back leg stays behind longer. It feels like I make the leader move my delaying hip, for the lack of better explanation.
I noticed a funny thing. I was afraid to stick my foot forward, as if I might lose control over it. But at the same time, I realized, if there is no weight on that foot, if the whole weight stays on the standing foot, that is where the control is. I can retrieve the foot ( if the lead calls for it) as long as it remains free of weight.
Another point I have to think about is the inner edge of the foot on the floor. Even though my weight is on the ball of the foot, that's the inside of the leg/heel that leads the movement. This is one thing I will monitor during the group lesson tomorrow.
Also, I tend to lose connection when the leader pauses me, especially in crosses. Also it happens when I pass in front of him from one side to another. Got to remember leaning forward and toward the middle of the "cone" our bodies are forming.
At one moment my right hand being too rigid got in the way of the step he was leading. It is amazing how concentrating on the lead, not on tensing or moving my members, on the contrary, relaxing them helps the dance flow.
I was not happy with myself during the lesson. My head position was uncomfortable, the right arm felt twisted. I was arching my back, was not sure at times of what I was doing with my feet. But somehow, some steps felt better than the others. As the lesson progressed, I relaxed and ended up producing more of those nice feeling smooth steps.
My teacher who said it was getting better every time was probably right. It is just, now I expect more, of myself, and of how the dance is supposed to feel.
Lately, I know, it sounds as a broken record. I repeat the same observations about my mistakes from the private lessons in every entry. Yes, I have been working on the same problems over and over. But I believe my dancing is improving, by small increments. My other teacher once said that all our tango life we keep working on the same things, just on different levels, so I should not feel bad about repetitions.
I am looking forward to tomorrow's class as an opportunity to practice.
Some highlights:
I still shift my weight too fast from foot to foot sometimes. Sometimes the going foot ends up in the wrong place, just because I start the leg movement too soon. Remember to delay and go with the body first. Ironically, that is when the step comes out nicer and longer. In general, I have to think in terms of staying more on the standing foot and with the leader, not in terms of going.
For the forward step, I have to approach it in two stages. The foot is sliding forward without weight placement. Before the weight changes, my body stretches, following the leader's body, as I let the leader actually lead the weight shift. The back leg stays behind longer. It feels like I make the leader move my delaying hip, for the lack of better explanation.
I noticed a funny thing. I was afraid to stick my foot forward, as if I might lose control over it. But at the same time, I realized, if there is no weight on that foot, if the whole weight stays on the standing foot, that is where the control is. I can retrieve the foot ( if the lead calls for it) as long as it remains free of weight.
Another point I have to think about is the inner edge of the foot on the floor. Even though my weight is on the ball of the foot, that's the inside of the leg/heel that leads the movement. This is one thing I will monitor during the group lesson tomorrow.
Also, I tend to lose connection when the leader pauses me, especially in crosses. Also it happens when I pass in front of him from one side to another. Got to remember leaning forward and toward the middle of the "cone" our bodies are forming.
At one moment my right hand being too rigid got in the way of the step he was leading. It is amazing how concentrating on the lead, not on tensing or moving my members, on the contrary, relaxing them helps the dance flow.
I was not happy with myself during the lesson. My head position was uncomfortable, the right arm felt twisted. I was arching my back, was not sure at times of what I was doing with my feet. But somehow, some steps felt better than the others. As the lesson progressed, I relaxed and ended up producing more of those nice feeling smooth steps.
My teacher who said it was getting better every time was probably right. It is just, now I expect more, of myself, and of how the dance is supposed to feel.
Lately, I know, it sounds as a broken record. I repeat the same observations about my mistakes from the private lessons in every entry. Yes, I have been working on the same problems over and over. But I believe my dancing is improving, by small increments. My other teacher once said that all our tango life we keep working on the same things, just on different levels, so I should not feel bad about repetitions.
I am looking forward to tomorrow's class as an opportunity to practice.
Tuesday, July 13, 2010
Le Pied est de retour. Posted on June 18, 2008.
I went to the best milonga in the city last night.
I came early and stayed till the very end.
I could not believe the amount of the good time I was having. I had never danced as much at that place as last night. It is mostly frequented by teachers and dancers of similar level, so the crowd is highly selective and competitive.
Of course, last night the demographics were favorably skewed. The festival is going on, and there are visitors. I started the night with three leaders from a famous out-of town tango community. All three were completely different one from another, and all were fabulous dancers. Then a local leader who I had been eyeing for a while finally asked me, and showered me with compliments. After that, several other favorites with whom I do not have a chance to dance often, took me to the floor.
I believe that the lessons of my first teacher kicked in. In general, I felt more connected to my partners, more in control. The music was all classic, very familiar. I am not sure how great my dancing was, looking objectively, but everybody seemed pleased, and I was on a cloud nine.
At some point I sat down next to my friend, and commented to him about how great everything was going for me that night, and how unexpectedly lucky I was getting such fabulous partners there, of all places.
The friend replied. "You so underestimate yourself. You have to know that you are a very good dancer. A star, you will become, perhaps, in two or three years. But right now already, your dancing is great. Everyone dancing with you, if he understands anything about tango, should see that, and realize that you are absolutely special. It is not a compliment. I am telling you the truth. I want you to remember that. You are an amazing dancer."
Listening to him go, I thought I was going to cry. These words meant a lot to me. Having somebody to tell you things like that sometimes is more valuable for your dancing than taking lessons.
I really want to live up to his words.
It was a very happy night.
2010 Update: This post is dedicated to Mari from Texas. May you have lots of happy tango!
I came early and stayed till the very end.
I could not believe the amount of the good time I was having. I had never danced as much at that place as last night. It is mostly frequented by teachers and dancers of similar level, so the crowd is highly selective and competitive.
Of course, last night the demographics were favorably skewed. The festival is going on, and there are visitors. I started the night with three leaders from a famous out-of town tango community. All three were completely different one from another, and all were fabulous dancers. Then a local leader who I had been eyeing for a while finally asked me, and showered me with compliments. After that, several other favorites with whom I do not have a chance to dance often, took me to the floor.
I believe that the lessons of my first teacher kicked in. In general, I felt more connected to my partners, more in control. The music was all classic, very familiar. I am not sure how great my dancing was, looking objectively, but everybody seemed pleased, and I was on a cloud nine.
At some point I sat down next to my friend, and commented to him about how great everything was going for me that night, and how unexpectedly lucky I was getting such fabulous partners there, of all places.
The friend replied. "You so underestimate yourself. You have to know that you are a very good dancer. A star, you will become, perhaps, in two or three years. But right now already, your dancing is great. Everyone dancing with you, if he understands anything about tango, should see that, and realize that you are absolutely special. It is not a compliment. I am telling you the truth. I want you to remember that. You are an amazing dancer."
Listening to him go, I thought I was going to cry. These words meant a lot to me. Having somebody to tell you things like that sometimes is more valuable for your dancing than taking lessons.
I really want to live up to his words.
It was a very happy night.
2010 Update: This post is dedicated to Mari from Texas. May you have lots of happy tango!
Tuesday, May 25, 2010
Adelante. Posted on June 9, 2008.
Another lesson with my regular teacher. We went non-stop for an hour.
Dissociation of the body gets to a new level. Now it is not just "body first, legs follow". The body has to twist from top to bottom gradually, first the torso, then hips follow, then legs and feet. And delay, delay, delay (I keep throwing the hips, and hence, the weight, into the step too soon). The teacher says that will make me more musical.
Now, I have been working on my forward steps in particular. Again, I have to delay, keep my weight back longer. But the "going" foot slides forward at the same time, without any weight on it. Same thing, doing paradas. Also, I have to listen for the lead always, in stops and pauses, too
Another reminder is about using the inner edges of the feet, and turning the feet outward.
In sacadas, sometimes, I throw my feet around too wide (not mention too soon). I have to aim for the collect position.
In general, as usual, I have to think "standing foot" and "being with the leader", "not going away too soon". Even more so when the music is fast.
After the lesson, I was fairly a mess, and didn't dance very well at the party later that day. I have to make a note about not blaming myself too much for not dancing well when I am tired, or when the partner is tired, unfocused, nervous, or just not doing a good job for whatever reason. It happens, and it is not necessarily my fault. And it is not at all the end of the world when the dance does not go too well.
In general, I believe, dancing goes better with everybody more or less. I feel more in control and less tense. It would be nice to make a video to see if it looks any different on the outside.
However, from time to time I have to remind myself to relax. I am getting a little too preoccupied by hard work and practice. I should just put on a nice dress and go dance carefree, sometime soon.
Dissociation of the body gets to a new level. Now it is not just "body first, legs follow". The body has to twist from top to bottom gradually, first the torso, then hips follow, then legs and feet. And delay, delay, delay (I keep throwing the hips, and hence, the weight, into the step too soon). The teacher says that will make me more musical.
Now, I have been working on my forward steps in particular. Again, I have to delay, keep my weight back longer. But the "going" foot slides forward at the same time, without any weight on it. Same thing, doing paradas. Also, I have to listen for the lead always, in stops and pauses, too
Another reminder is about using the inner edges of the feet, and turning the feet outward.
In sacadas, sometimes, I throw my feet around too wide (not mention too soon). I have to aim for the collect position.
In general, as usual, I have to think "standing foot" and "being with the leader", "not going away too soon". Even more so when the music is fast.
After the lesson, I was fairly a mess, and didn't dance very well at the party later that day. I have to make a note about not blaming myself too much for not dancing well when I am tired, or when the partner is tired, unfocused, nervous, or just not doing a good job for whatever reason. It happens, and it is not necessarily my fault. And it is not at all the end of the world when the dance does not go too well.
In general, I believe, dancing goes better with everybody more or less. I feel more in control and less tense. It would be nice to make a video to see if it looks any different on the outside.
However, from time to time I have to remind myself to relax. I am getting a little too preoccupied by hard work and practice. I should just put on a nice dress and go dance carefree, sometime soon.
Tuesday, May 11, 2010
With no futher ado. Posted on May 11, 2008
I took a private lesson with my first teacher today.
I plan to do it more regularly from now on.
I believe he is the one who teaches me the best how to follow, and how to connect with my partner.
I will take lessons from other instructors occasionally, so they can teach me other things, or rather, same things under a different angle.
The refrain of the lesson was a familiar one: "slow down".
First I have to move my torso as a reaction to the lead. Then goes the foot, where the leader is sending it. And then, shift my weight, as much as he wants me to. A lot of delay. Keep my weight on a standing foot longer. Oftentimes I keep shifting my weight too soon.
I have to watch for those repetitive movement. Keep connection through them. When they cease, the point of connection often shifts. Also, the point of connection shifts throughout the movement, and as the leader makes transitions from steps to steps. I have to find it, and keep my weight forward and in the middle of that point.
The position of my hips plays a role.
Also, turn the foot more outward.
On forward steps, keep the foot behind, and let the leader pull it "from the hip".
Use more contra-body motion.
In fact, the teacher didn't say explicitly, but I figured out, I have to move my torso more, turning and twisting it here and there. And also, release the close side of the embrace when the connection point shifts more toward the open side of the embrace. When the leader lets me go, I got to do the same.
We will also work on my musicality in the future. I need to figure out how to follow the lead, and move to music at the same time. So far the teacher said that when I follow the lead comfortably, I will be able to add my own, since I am listening to the music as well.
2010 update. Some questions I was asking then seem so strange to me now. For example, "follow the lead, and move to music at the same time". What did I mean? Why in the world was that a problem?? :)
I guess the two years (precisely 2, wow) that have passed since did not go to waste after all.
I plan to do it more regularly from now on.
I believe he is the one who teaches me the best how to follow, and how to connect with my partner.
I will take lessons from other instructors occasionally, so they can teach me other things, or rather, same things under a different angle.
The refrain of the lesson was a familiar one: "slow down".
First I have to move my torso as a reaction to the lead. Then goes the foot, where the leader is sending it. And then, shift my weight, as much as he wants me to. A lot of delay. Keep my weight on a standing foot longer. Oftentimes I keep shifting my weight too soon.
I have to watch for those repetitive movement. Keep connection through them. When they cease, the point of connection often shifts. Also, the point of connection shifts throughout the movement, and as the leader makes transitions from steps to steps. I have to find it, and keep my weight forward and in the middle of that point.
The position of my hips plays a role.
Also, turn the foot more outward.
On forward steps, keep the foot behind, and let the leader pull it "from the hip".
Use more contra-body motion.
In fact, the teacher didn't say explicitly, but I figured out, I have to move my torso more, turning and twisting it here and there. And also, release the close side of the embrace when the connection point shifts more toward the open side of the embrace. When the leader lets me go, I got to do the same.
We will also work on my musicality in the future. I need to figure out how to follow the lead, and move to music at the same time. So far the teacher said that when I follow the lead comfortably, I will be able to add my own, since I am listening to the music as well.
2010 update. Some questions I was asking then seem so strange to me now. For example, "follow the lead, and move to music at the same time". What did I mean? Why in the world was that a problem?? :)
I guess the two years (precisely 2, wow) that have passed since did not go to waste after all.
Monday, May 3, 2010
Directions. April 20, 2008.
I have to look inside myself, not outside. Nothing will come from the outside, nothing external will do any good if I don't have what it takes, what I need, within myself.
I have to look forward, not backward. Dwelling on in the past only holds me back. Turning to the future will make me move on, progress.
I have to look forward, not backward. Dwelling on in the past only holds me back. Turning to the future will make me move on, progress.
Saturday, April 17, 2010
Spring Breakthrough. Posted on April 19, 2008.
I am getting over, slowly, but truly.
Practice sessions with my second, and now only, partner, have become more or less regular. And fruitful.
I have taken too many classes and workshops lately. That made me too preoccupied with technique. I almost forgot how to relax, stop judging myself. How to just dance and enjoy. Dress up, show off a beautiful pair of shoes, watch the couples dancing, drink some wine, gossip, be in love with a person I am dancing with... be in awe with tango.
All in all, things are going well.
The next assignment will be to keep it balanced, not compromise either social aspect or technical improvement. One-two lessons/workshops, one-two practice sessions, and a couple of milongas a week, perhaps even just one. That adds up to 3-5 nights a week. That would be my schedule from now on.
For my future private lessons, I am thinking to ask the teacher to work with me on timing and musicality. "Slow down" doesn't do it anymore. I need to know when and how to accelerate, without jumping the lead. Also, how to interpret different kinds of music by moving different ways.
One of the local maestros already gave me a glimpse onto this topic. But I need more detailed instructions.
Back to my sense of humor.
Practice sessions with my second, and now only, partner, have become more or less regular. And fruitful.
I have taken too many classes and workshops lately. That made me too preoccupied with technique. I almost forgot how to relax, stop judging myself. How to just dance and enjoy. Dress up, show off a beautiful pair of shoes, watch the couples dancing, drink some wine, gossip, be in love with a person I am dancing with... be in awe with tango.
All in all, things are going well.
The next assignment will be to keep it balanced, not compromise either social aspect or technical improvement. One-two lessons/workshops, one-two practice sessions, and a couple of milongas a week, perhaps even just one. That adds up to 3-5 nights a week. That would be my schedule from now on.
For my future private lessons, I am thinking to ask the teacher to work with me on timing and musicality. "Slow down" doesn't do it anymore. I need to know when and how to accelerate, without jumping the lead. Also, how to interpret different kinds of music by moving different ways.
One of the local maestros already gave me a glimpse onto this topic. But I need more detailed instructions.
Back to my sense of humor.
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