Saturday, September 24, 2011

Finding Your Style via Leg Wraps

Song: Pobre Yo by Carlos Di Sarli Y Su Sexteto Tipico
Instructors: Homer & Cristina Ladas
June 1, 2011, Cellspace, San Francisco

Homer and Cristina Ladas summarizing an intermediate tango lesson on
style and structure in tango.

0:23 - A little plug for

0:39 - One important idea was the difference between style and
structure. Style can be something unique and personal, and alter the
appearance and the feel of the moves with the same structure.

0:48 - Another important idea was the importance of communication: any
application of style by the leader only works if the follower can
receive it properly. As an illustration, students were tossing little
objects to each other in groups, throwing with different levels of
creativity. At the end, there seemed to be a tentative tradeoff:
groups with extreme creativity caught the ball the least. Creativity
in tango works only if "the ball is caught".

1:06 - a pattern - leading the follower into a cross and then lead a wrap.

1:25 - the leader's structure - lead the follower into the cross while
keeping a straight line of walking, without height change, keep the
shoulders overturned while leading into the cross, extend the left
leg, touch the follower's thigh, and, while keeping the follower on
her axis, turn the spine and shoulders to lead a wrap.

1:48 - the follower's structure - keep with the leader at all times,
including the twisted position, keep own balance, and being able to
unwind into the wrap. Thigh contact is important.

2:22 - the style parameters - it is possible to alter many aspects of
the sequence without altering the structure - such as speed of the
wrap, the rhythm of going into the cross, height changes in different
places (including the wrap). Stylistic games are all fair, as long as
the partner "catches the ball" and the couple executes the cross and a
wrap as intended.

3:14 - four branches of tango awareness that Homer and Cristina try to
develop - awareness of self, partner, music, and surroundings.

4:22 - a little demo of the sequence with stylistic alterations by
Homer and Cristina.

As a kind of individual experiments, the students were also attempting
to lead multiple wraps after the cross.

Notes courtesy of Leo Landa