Tuesday, October 23, 2018

Solitaire learning: The feeling of winning!

pleasurable pastime activity
change of mode
now I want to win!
to know the feeling for winning 

Usually I get restless just listening to the music. I need something more and a solitaire game has been a good company to me for many classical concerts on the radio. Usually my hands are quite mechanically moving the cards on the screen when the auditive is getting more attention. Many nights I was losing game after game and it was ok when the music was my main goal. There was though nights when I suddenly shook my shoulders and wanted to win.

I remember at that moment I changed the way I sat, I was more alert, I was focusing on the cards and I started to win!

It was not a new thing; everybody knows that there are different attitudes giving different results. So I knew the facts but the revolutionarily new thing was that now I knew how the difference FEELS.

How it felt in the body to be alert for winning and what kind of state the mind needs to be in so the result comes.

That is valuable when learning steps, posture, movements and what so ever tango puts on the table for me to learn. I know the difference when just moving and when I am fully LEARNING.

I am sure that you also have this kind of experience - give it the recognition it needs and let it become a tool when developing your best version of a dancer!

any of various card games played by one person, the object of which is to use up all one's cards by forming particular arrangements and sequences.

Wednesday, September 13, 2017

The bloody heel

Ten days ago one of my followers was involved in an incident where her leg was peeled by another follower's heel. There was definitely some blood and still after ten days she is not able to carry out her life long daily routine. She can dance but not swim according to medical advise!

What happened? 

It took place during one of our weekly milongas. According to those involved and a few around the couple behind my friends was dancing vigorously. The back boleo of this younger follower was not performed with a relaxed leg only but it was powered by her back muscles in the way the some dancers do. So instead of a bruise my partner got her calf peeled off! Afterwards the leaders tried to help to take care for the injuries but the follower wasn't there.

After an accident you are usually quite shaken and more careful with your steps. Not this couple.

There seems to be two different responsibility systems around the pista of today. The older system loads all the responsibility for the couples actions on the leader. What ever path the follower heel takes it is the leader's responsibility.

The other system is more based on individual responsibility. The leader is supposed to adapt his dance to the crowd but here the follower should also take a look around and consider if there is space for high boleos. If she finds the pista too crowded she would resist a high boleo lead and transform it to a low one! She is an independent dancer!

My partners leg 10 days after the incident!

I wonder what are you willing to give up to be able to share the same pista with different styles, ages and skill levels?

Who is responsible for heels on your home pista?  Leaders only?

Your opinion on what should an organizer do to prevent these incidents?

Tuesday, June 27, 2017

The importance of following and leading

Is the leading more important than following has been the subject for several postings lately.
This is my view: I consider the leading and following to be the core functions in our dance. The leader and the follower are equally important at all levels and more similar in effort when both partners have developed their adaptation skills and later on the intuitive dance. However at the beginning the leaders workload is larger.

I agree with the writers about the step learning. I also think that both groups learn their own steps with equal easiness. Some individuals learn more easily then others but within the groups of leaders and followers it may be about the same.

Another area to learn is how to produce the lead/leading signals and follow/receive the signals. Think about a basic ocho as an example. Both groups need to learn the signals for different parts of it and during the hours on the pista leaders and followers do develop all the variations needed for different partners.

And here is the end of the list for follower responsibilities as i see it. On other hand the follower has the advantage to reach the level of true enjoyment or intuitive dancing much earlier than a leader. (a leader can experience the followers special level of relaxation and dream about joining her there some day. . . )

The list of the leader responsibilities is longer. At a later development level the conscious mental efforts and physical demands become similar for the persons forming the couple. During the journey from start to that level the leader is responsible and expected to cover for the shortcomings by learning more than a follower.

To begin with I need to know the follower steps - if not, how could I create the signals for an appropriate lead. It doubles my step learning efforts and even today it is mentally exhausting to remember her/my steps simultaneously when I am learning a new sequence.

Then we have the navigation which is much more than walking forward to an empty space on the pista. It is a complicated skill and last mastered. But when mastered the couple can intuitively adapt their steps to the space available while smoothly advancing on the dance line together with others. We can also, as couples, react to the music with different steps but simultaneously with others so the fully developed pista is pulsating to music. You can see this happen on some videos from Buenos Aires milongas.

The most demanding of the extras is the responsibility for content. The steps must be interesting enough and the connection to music needs to be satisfying. Different followers want different content. The leader must know what to suggest.

In the table below the rows present the areas of responsibilities for both groups.
The columns show how much mental/conscious effort is needed for dancing. It stretches from totally conscious steps --> totally intuitive dancing. A variation of the Four stages of competence process!

For me the different stages/periods are these: During the Lead/Follow period the dancing is mostly a conscious process, demanding all my mental capacity. When partnering we both know the steps by heart and can easily adapt to each others; at the best moments intuitively. To reach to the absolute dance the couples on pista must have the skill to intuitively adapt to the other couples as well as to each others within the couple.

Finally and once more - I consider the leading and following to be the core functions in our dance. They are equally important at all levels and more similar in effort when both partners have developed their skills and later on the intuitive dance.


Tuesday, July 19, 2016

The Bandoneon Caminata

This is an old idea and the video footage is from 2009 and 2010; with other words please forgive the low quality of the visuals!

My goal for the caminata was for a long time a simultaneous walk. I wanted our feet to move in same speed so the distance between my toes and her toes was the same all the time. I was sure this was the ultimate goal for an heavenly correct walk. This walk was filmed on our Saturday training and I remember how pleased I was with the regular pattern our feet created! 

They started at the same time and we brushed by the standing leg simultaneously and the distance was kept stable. There was other problem but the feet were great!

Time went by and I became a little bit reluctant. I started to wonder if our walk with its regular pattern was a liiiiiittle bit boring?  Those thoughts guided me to this Javer caminata.

The distance between the feet is changing, it is moving like bandoneon between a short distance at landing to its maximum when moving forward. The foot behind you is moving more slowly compared to the speed when the foot is in front of your body. When she is moving fast Javier's foot is slower and the opposite!

This creates a fantastic vivid walk!

Javier Rodriguez and Stella Misse

they land simultaneously

when they have shifted the weight to a new standing leg
his foot is still behind him (slow) but her has passed (fast)

to prepare the new landing
his foot passed the standing leg and continues forward (fast)
her foot has a shorter distance to cover and can take it easy (slow)

they land simustaneously

It is stil in use and here an US based couple use the same walk!

Ney Melo & Jennifer Bratt

If you want to clearly to see the steps use the possibility to slow down Youtube player. 
It works on steps 50% or 25%