Sihir Oluşturma - Ortağınızla Var Olma Üzerine

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Nancy, tango'nun yaşam için bir metafor olmasını anlatıyor. Tango'da, her iki ortak için birbirini gerçekten dinlemeyi öğrenmek önemlidir. Tangoda ve hayatta, dikkatli bir şekilde dinlemek, ortaklar arasındaki bağlantıya bir sunum hissi katabilir.

Eğlenceli.

Sanatçı adı:
Manuel Barrueco
ŞARKI ADI:
Tango Etude #1
Albüm Başlığı:
Solo Piazzolla
Sanatçı Web Sitesi:
http://www.barrueco.com/

Sanatçının web sitesinden: Manuel Barrueco, uluslararası çağın en önemli gitaristlerinden biri olarak tanınmaktadır. Benzersiz sanatçılığı, mükemmel bir enstrümantalist ve üstün ve şık bir müzisyen olarak, baştan çıkarıcı bir sese ve lirik hediye sahip olmaya devam ediyor. 2002'de Manuel Barrueco, kendisinin "En İyi Enstrümantal Solist Performansı" için Grammy adayı oldu. Tonar Music'in özel Manuel Barrueco Koleksiyonu'nda ilk kez yayınlanan Solo Piazzolla.

00:04
So, a lot of times, what happens is, as I'm teaching combinations, I'll tell people things. I'll say, for example...
00:10
I'll say, "Do this". And then, I'll take them in, you know, whatever it is. Cut, cut, tap.
00:15
Step, cross. Flick. Step, cut. Catch. Throw, touch. Whatever, long, long... Goes for a while.
00:21
D: And, at the end of that, I say, "Got it? Good. Do."
N: No, you don't.
D: Yeah, I know. I do better than that.
00:27
D: But...
N: He doesn't do that.
00:29
But, what happens, is when you see people dance, they look like this.
00:34
Ha-ha!
00:36
N: Even though he doesn't do that, you do see this.
D: And I'm exaggerating.
00:40
So, when we teach, just like in the videos, we show one little piece at a time.
00:44
And we make sure people are comfortable doing it, before we move on.
00:48
N: So, that was not just to himself.
D: OK, she's like: "say the right."
N: Yeah.
00:51
But, even when we do that, if it's a long, involved combination, you see people doing it like this.
00:57
I mean... So, the bottom line is when it pushes your limits, then you have to give all your attention to something.
01:02
D: So, for example, you give all your attention to what you have to do to her.
N: The footwork. Right, to how you move...
D: To get her do what you want.
01:08
And listen to the word choice: what you have to do to her.
01:14
Right? So it stops being a participatory thing. It stops being communication.
01:18
And it starts being, "Oh, I move my arms this way".
01:21
Yes, that's right.
01:22
And so, I want to say that half of this idea of being present with your partner is choosing smart things.
01:28
It's hard to be present when you're doing the hardest thing you know.
01:31
N: Yeah. If you're dancing socially, dance less than the hardest thing you know.
D: Dance way less than the hardest thing you know.
01:37
And also, part of it... So, if you look at the touch chapter, a lot of it is in the spirit of the chapter on listening.
01:48
And part of it is just being willing to look at someone. Right? So...
01:51
D: To say, "Hi".
N: Hi.
D: So, for example, if she were here,
01:55
There's a big difference between my looking at the camera and my looking at her.
02:00
N: There certainly is.
D: You see that difference?
02:04
And so, I want you to say, that sometimes, it's OK to look... You don't always have to have your gaze averted
02:09
As you feel so intensely passionately.
02:11
Sometimes, you can... Feel it intensely passionately at your partner too.
02:16
Or not. But I want you to realize there's a person there.