Sambungan - Breath and Fluidity in the embrace
Many people have very specific (frequently wrong) ideas about what it means to have connection in partnered dancing. We hear from some (or we notice by their movements) that they think connecting in the tango way is just too invasive. That they aren't prepared to make "that kind" of connection with a stranger.
We teach that you bring your human-ness to your partner but that connection doesn't require you to give up all of the personal parts of yourself. That you can be together in this very personal way while only sharing what you are prepared to share based upon how you feel about the other person. Think of your experience with really great doctors. They connect with you in a very meaningful way without allowing you all the way in to the private areas of their lives.
- Nama artis:
- Horacio Salgán
- Tajuk lagu:
- Don Augustin Bardi
- Tajuk Album:
- Nuevo Quinteto Real
- Laman Web Artis:
(From wikipedia): At 20 he was discovered by orchestra leader Roberto Firpo, who hired Salgán for his orchestra. In late 1942 he made his first recording, and in 1944 put together his own orchestra, which lasted until 1947. Salgán then devoted himself to composing and teaching and in 1950 returned with a new orchestra. 1960 saw the formation of the Quinteto Real, with Salgán on piano.
- In these few videos we're talking about connection.
- And, there are several purposes to connection. One of them is to find physical ways to let the two bodies move completely together.
- And another one is to make the experience of moving completely together mind-blowingly wonderful. Which we do often.
- Right. So, I'm doing the editing of these videos. And, in editing, there are 29 frames to a second of video.
- And, sometimes, I have... Frequently, I end up going frame by frame when I'm doing the editing.
- And the coolest thing, when I can see us twentynine times in a second,
- And, every single time, any place I stop - we're completely together. That is just so cool.
- And, these are techniques that will help you find that.
- So, the first thought is that, as you dance, I want there to be breath.
- And, this isn't just for the leaders. This is for the follower too. Right? So, breath is just...
- D: As you're dancing, instead of being this...
- It's... Before you take a side step, maybe, for a leader, you might go...
- And then you step side. So I actually am... Breathing and having a sigh in my body.
- It's not only about what comes into my lungs, or my diaphragm, or whatever.
- It's also the use of my body, that I let my body breathe.
- However, David says this is the first thought. And, this is something that's really hard. And it's, I think, quite advanced.
- So, it's for after you've mastered the steps. And, after you've mastered some of the dance techniques.
- Then, to layer this on top of it, gives another dimension to the dance.
- I mean, really, this is, sort of, an advanced intermediate chapter. This series is an advanced intermediate series.
- So, before I take a side step, you'll see that I'll say...
- And then, we'll step. And you might not do that every step, but this idea of breathing, as you go...
- And then, you take a pause. You go through. And then, on.
- And, it's hard to see it out here. But, when I went forward, I took a pause, and I went...
- And then, I went forward. So, I'm not just static to forward. I'm...
- ...To forward. So, there's that movement, in the upper body.
- That's a really good point. Because that helps the woman know what you're going to do next. Which makes it very reassuring to her.
- Because then, she's not all tense, worrying about how she's going to follow. 'Cause it's completely clear, what he's going to ask for.
- And, likewise, for the followers, as you're doing this, I want you to think, that...
- D: You don't want to be rigid either.
D: So, as you hold him, if you keep your body loose and organic... Not loose...
- N: Engaged.
D: Engaged and organic.
N: But not rigid.
D: But not rigid.
- Then, his experience of your dance will be vastly better.
- That was point one. Point two.
- D: And, once again, this is a reminder. This is not a beginning chapter or even an intermediate chapter.
- N: Right.
D: This is advanced intermediate. Or, even, low advanced.
- On this... So, after you learn to dance from your core, and use your torso to initiate movement,
- And get rid of all slack in the system. And all these other profound things.
- Then, I want you to... For the leaders and for the followers,
- To experiment with this idea of letting your arms be involved in the dance.
- This was very hard for me to learn. David showed me this with the framework of ochos.
- Especially back ochos. Remember? And I found it really difficult but it made a very big difference once I got it.
- So, for the leaders, let me exaggerate this. A normal basic might look like this.
- And, you'll see, as I do this, that I keep my arms very still.
- You know, my arms aren't moving, at all. Or, almost at all. That's a normal basic.
- Here's a basic, where I'm letting my arms partake in the dance.
- N: You're not moving a lot.
D: No, no, it's very subtle.
- But it makes the dance about the whole body. It's not just about the movement of the center, or through the torso.
- So, the arms do have this breath in them. So, as I go side, there's that movement in the arms.
- And, for the followers, you do the same. So, if we do this together.
- And that's, probably, more movement than we would have normally.
- Oh, yes. We're exaggerating this terribly, so it's easy to see on camera. It's really very subtle.