Condurre - Come fare una donna swoon

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Probabilmente lo diciamo altrove, ma la cosa più importante non è tutte queste tecniche. Essi aiutano (molto), non ci sbagliano. Ma, se sei significato e egocentrico, il migliore abbraccio del mondo non farà molto per te.

Sii bello. E coraggioso. E tutto funzionerà.

Nome dell'artista:
Horacio Salgán
Titolo Canzone:
Don Augustin Bardi
Titolo album:
Legends of Tango

(Parafrasa da Wikipedia): Salgán ha iniziato a studiare il pianoforte all'età di sei anni. Alcune delle più famose composizioni di Salgán comprendono Del 1 al 5 (Días de pago) (1944), Don Agustín Bardi (1947), Entre tango y tango (1953), Grillito, La llamo silbando, Cortada de San Ignacio e A fuego lento.

00:05
Leaders, I want to, first, set expectations, and say this chapter, and this series, actually, is about how to make a woman swoon.
00:11
But, realistically, it's going to take more than watching a 3-minute video.
00:16
So, you're going to watch the videos on the embrace, because that's really core.
00:19
You're going to watch this video a gillion times. And you're going to practice a ton.
00:23
And then, once you really get it, it will work marvellously.
00:25
So, they say, to quote, "Put the woman to sleep".
00:28
And it's not really about making her sleep. But, it's about letting there be no interruption.
00:31
So the pressure is very constant. So, I'll hold her gently here. And my pressure won't change suddenly.
00:40
So, as we dance, there's just this even few pounds of pressure on all points of contact.
00:45
D: I don't, for example, say, "Oh, here's nothing. OK, let's go side, OK, let's go back."
N: Oh, I'm not going to like that. I knew I wasn't going to like that.
00:52
So, I'm not, "Bang, bang", sort of, jarring her with changes in pressure. And, instead, I'm keeping it constant,
00:58
And just changing the direction.
01:00
So, I'm holding in with everything. And then, if I want her to go that way, then we move that way.
01:04
But I'm still having this gentle pressure.
01:06
That's point number one. Now, point number two, is that...
01:13
As you lead the follower, I really want you to think that you want to give her time.
01:17
D: So, you're going to wait for her to be ready to move, before you move her to the next thing.
N: Yes. This is a big one.
01:21
D: So, you're going to attend to her.
N: And it's, actually, more complicated than that. Because you want to give her exactly as much time, as she needs.
01:28
And then you go right after she finishes whatever she's doing.
01:31
Using front ochos, as an example.
01:35
I'll go side. I pivot her. I wait for her to finish completely pivoting. And then, I go.
01:40
I pivot her. I wait for her to finish, all the way. And then, I go.
01:45
And, if we did the wrong, it would be this. I go side. I pivot her, OK, let's go! I pivot her, OK, let's go!
01:53
And she's almost ready. But not quite. So, you want to wait for her to finish her movement.
01:57
So, think just those two things. And... OK, we are going to add. I'm going to add the last one.
02:02
D: And it's, sort of, too much. But, you're tough.
N: OK, yeah.
02:06
The final thing. And this is very subtle is the ball of the foot has a lot of width to it.
02:11
Right? So, you can be anywhere on the ball of the foot. Not the ball of the foot - the whole foot. But also, the ball has width.
02:16
So, she can be right here. Or, she can be here. Or here, or here. Or here. On her heel, or on the very tiptoe.
02:24
And so, oftentimes, especially if you're dancing with a woman who's newer, she won't know where to be on the foot.
02:30
And so, she won't find it very easy to pivot, or to take certain kind of steps.
02:34
So, she needs to be... We need to be on the ball of our foot, Iin order to have our axis be very controlled, for pivots, particularly.
02:41
But, if she's not there... Let's say, you're on your heels. So, if she's on her heels...You're good at being on your heels.
02:47
Then, I'll hold her softly, as a leader, and I'll move her softly forward.
02:50
And I'll place her on the ball of that foot, so that it's easier for her to move afterwards.
02:54
So, now, how come that conglomeration of techniques makes a woman swoon? What does it make her feel like?
03:02
So, guys, there's two things. There's one part, which is that you're holding her in a...
03:10
D: Well, you are holding her. Right? People like to be held. So, you're holding her.
N: Some of us really like to be held.
03:14
And, you're holding her in a way... And, because you're using...
03:16
Watched...Because you've watched all those chapters about the embrace, and practiced hard.
03:20
You're using the muscles of your back to hold her. Which makes it feel safe and strong.
03:24
Because my arms are still relaxed and I'm going into her, both with my arms and my mind, it's also attentive and caring.
03:35
And so, there's the strength of the back and the ease of the arms, giving the... helping, enable to love.
03:43
And then, as you dance with her,
03:45
Because you're making sure she's ready to go, before you take them to the next thing, - there's this attentiveness.
03:50
So, you're emoting to her strength, love and attentiveness.
03:54
D: And then...
N: And then, it's such a smooth experience.
03:57
And then, she's just magically going in all these different directions. And she doesn't know how it's happening, but, boy, it's cool.
04:03
And that's the evenness of the pressure and the ball of the foot.
04:05
Sometimes, when I get finished with dancing a dance with David, I have no idea what we did. And I know all the steps, I teach the steps.
04:13
But, it'll just be this incredible, magical experience, that happened.
04:18
And if they ask me afterwards, what was it I was doing - I have no idea.
04:21
It was just this... I almost feel like I'm flying.
04:24
D: Have fun. Practice.
N: Yeah.
Serie:
Condurre
tag:
Condurre
Ho 2 piedi sinistro - mi aiuta a ballare