Hiasan - Ambil 2 - Boleo As Embellishment

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Repeating for emphasis: Every time you do an embellishment, we want it to be:

  • on purpose
  • deliberate
  • that you decided to do an embellishment at this moment because, somehow, it added to your mutual experience of the dance

Never from habit.

Nama artis:
Kristina Olsen
Tajuk lagu:
In Your Darkened Room
Tajuk Album:
In Your Darkened Room
Laman Web Artis:
http://www.kristinaolsen.net

From a review on the website: Olsen, an itinerant troubadour who regularly graces Australian folk festivals, was at her most engaging. Such was the candour of her songs and chatty tales that it would impossible for anyone with blood in their veins not to empathise with her. Her full-throated voice and crisp guitar served up such diverse subject matter as crop-dusting and prostitution, while a revealing yarn about life-drawing classes introduced The Truth of a Woman. From her new CD came In Your Darkened Room, the title track to an album containing some of her finest work, a black frost edging her usual warmth and humour.

00:07
So, for the followers, we want to say that you can do a boleo as an embellishment.
00:13
Basically, anytime you have a half-pivot or more.
00:16
So, for example, there it is in front ocho. Or, we can do a calecita.
00:20
We'll keep going, so you have plenty of time to see. And there's that calecita.
00:25
D: You can do it in... Well, for example, sometimes the leader does a half-turn going through you.
N: Which is very fun.
00:36
That's one of my more favorite moves in tango. But not particularly with the boleo.
00:41
But one thing, we want you to think about, as you do that - is first to make sure, that you're fast enough.
00:46
So, as you feel the leader taking you around, you have to make sure you end when he's ready to end.
00:49
Because you don't want to interrupt the motion, unless you really plant him.
00:52
And let me say that again: embellishments are really fine and good.
00:56
But, unless you're stopping the leader, you don't ever want to interrupt the flow of the movement for an embellishment.
01:01
So, let's do the wrong.
01:03
N: Let me think how to do the wrong.
D: I'll do the wrong, don't worry.
01:07
N: Oh, goody!
D: So, lead me in front ochos.
01:10
I'll do a big wrong, and then, a subtle wrong. Here's the big wrong. Here, just starting. Big wrong.
01:17
N: And he slows me all way down... David!
D: It was a big wrong, right?
N: It was.
01:22
A subtle wrong. I'm, like, "Oh, I'm doing a boleo, and..." And that wasn't really awful, the way...but it was less with her.
01:31
That was totally less with me.
01:32
So, instead, we want it to be... You'll notice, that I'm completely following it. I'm completely following it, and then, maybe there's a boleo.
01:39
But we don't want it to be, you say, "Oh, there's a boleo". What I want you to think, that up here, it's the same energy.
01:44
And, as a leader... If I hadn't been watching the camera, I would not have known that he'd done a boleo.
01:48
The energy was so much the same, and the timing was so fluid.
01:51
D: To your partner.
N: To your partner.