Hiasan - Teknik Detil untuk 2 Embellishments

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Ini sangat membantu untuk memahami dari mana pergerakan berasal. Dengan embellishments, berkali-kali, lift kaki perlu datang dari pinggul.

Saat kaki berdetak kencang dan kemudian luput, paling sering juga sesuatu yang terjadi sebagai hasil logis dari gerakan pinggul, bukan sebagai sesuatu yang dilakukan oleh pengikut dengan sengaja.

Ini mengejutkan orang betapa mudahnya bagi kita untuk membedakannya, tapi ada perbedaan besar dalam bagaimana alam atau tidak alami gerakan terlihat.

Ini juga mengejutkan orang betapa sulitnya (bagi banyak orang) untuk belajar membiarkan ilustrasi mengalir daripada melakukannya.

Sebagai studi kasus, jika Anda menyentuh kaki Anda di tanah atau memukul tumit Anda, Anda bisa bertanya apa otot yang terlibat dan mana yang paling penting. Kita akan mengatakan punggung bawah, pantat dan paha bagian atas. Namun, banyak orang, saat mereka menggunakan jenis gerakan ini (atau boleo depan) membuatnya bisa mengatasi otot di sekitar lutut dan pergelangan kaki mereka daripada otot-otot di sekitar pinggul dan paha mereka. Bila menyangkut hal-hal yang salah ini, maka gerakan menjadi kaku dan kaku.

Seperti biasa, ini tentang intinya.

Nama artis:
Osvaldo Pugliese
Judul lagu:
A Orlando Goñi
Judul album:
Osvaldo Pugliese - 40 Obras Fundamentales
Situs artis:
http://en.wikipedia.org/wiki/Osvaldo_Pugliese

(Dari Wikipedia): Dia mengembangkan pengaturan dramatis yang mempertahankan elemen kuat dari beat beat tango sambil berjalan namun juga menggembar-gemborkan perkembangan musik tango bergaya konser. Beberapa musiknya, kebanyakan sejak tahun 50an, digunakan untuk pertunjukan tarian teater. Di Buenos Aires, Pugliese sering dimainkan kemudian di malam hari saat para penari ingin menari lebih pelan, impresionis dan intim.

00:05
So, we're going to break down two embellishments. And we're going to do them in great detail.
00:09
So, at least with these two, you'll have some detailed instructions.
00:15
And they are, one for front ocho, one for back ocho.
00:27
And here, back ocho.
00:33
So, for the front ocho, for the ladies, as you do this,
00:36
The first thing that you want to think about is making sure that you kick the leg up,
00:41
And then bring it down, while you're facing away, before you turn.
00:45
N: Well, that's the second thing.
D: What's the first thing?
N: The first thing is that the leg needs to come up from the hip.
00:53
D: OK, so, as we do this,
N: He's the girl.
D: OK, I'm the girl.
00:57
Let's go this way, actually.
01:00
We go. I bring it up. I bring it in. I bring it down. And then, it pivots.
01:10
With the leg, at the beginning, if you look at the side view,
01:13
I step forward. It goes up. I bend the knee.
01:18
And that lets you go higher, right? So, the leg straight only goes so high.
01:21
But, you bend the knee, it lets it come higher. You beat it in. And when you beat it in, you keep it tight to yourself.
01:28
D: And then, you pivot.
N: So, you want the knee to cross over the other leg, as much as it will.
01:33
So, we have: go that way. Kick up, bang. Bend the knee. Let it come down along your own leg.
01:40
N: And then you pivot.
D: And then you pivot.
01:42
And notice, that, during the pivot, I kept the feet in this configuration here.
01:47
So, after I cross over... The foot's crossed over. I pivot, while it's crossed over. And then, go out.
01:55
N: That's really beautiful, when it goes fast. Do it fast.
D: So, if we do it more smoothly...
02:08
It's especially really beautiful, when you do it.
02:12
So, there's that.
02:13
N: The ochos?
D: And, with the ochos, with the back ochos,
N: Back ochos.
02:22
So, it's your hips, that are making the... Your foot just, kind of, falls in there, and then your hips make it bounce.
02:27
Right. So, I'm not pulling my foot in, as much as I'm turning my hips.
02:31
And the knee bends, and the foot beats in by itself.
02:33
And then, as the hips continue to pivot, it beats out again.
02:37
Right. So, it's all about the rotation of the hips.
02:40
Drawing the thighs tight, bang. When my calf hits my shin, as I turn - bang, it bounces out, escapes. And then, you go on.
02:48
N: And when it escapes, it escapes very tight.
D: Yes.
N: So, show that.
03:03
And, in general, as you do all these embellishments, or use tango style...
03:10
Overall, I want you to think about the tightness of the thighs.
03:14
So, you'll see, as we do all of these different kinds of embellishments, and, in fact, all of our movement,
03:18
We always have the thighs tight, the calves tight, the feet tight.
Seri:
Hiasan
Tag:
Teknik, Hiasan
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