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Chì - Linear Movement

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One way to identify the muscles that you need to use for the leads is to have a partner attempt to move you while you resist like a statue. If someone attempts to move you to your left, those are the same muscles you need to engage to move your partner to your right. If someone attempts to push you back, in resisting, you use the same muscles that you'd need to walk forward.

Start with your partner applying a lot of pressure and then gradually reduce the pressure while still making sure you can feel which muscles are firing. Mostly, it should be the same muscles even as the pressure lightens.

Tên nghệ sĩ:
Aníbal Troilo
Tên bài hát:
Tiêu đề album:
RCA Víctor 100 Años - Anibal Troilo
Trang nghệ sĩ:

(From Wikipedia): Anibal Troilo was a bandoneon player, composer, arranger and bandleader in Argentina. His orquesta típica was among the most popular with social dancers during the golden age of tango (1940-1955), but he changed to a concert sound by the late 1950s. Troilo's orchestra is best known for its instrumentals and also recorded with many vocalists.

So, ladies, I want you to stand here, like this. One leg back, one leg forward. Hands up strong.
Leaders, I want you to softly push.
This is tango, martial arts tango.
Or softly pull. And, you'll notice that, as I do this, she doesn't move. I'll go the other way.
And, actually, this way she should be sideways. So, stand sideways. Yeah.
That makes it easier.
And then, she feels that hit her abs.
And then, after you get that sense, if I want her to move backwards...And now stand, and if we're collected.
I'll move her, I'll push this way, so she moves backwards. And, at the beginning, nothing will happen.
Until she feels this pressure hit her abs. And then, we can use that, to walk her backwards.
If I want her to walk forwards, I'll softly pull. And, at the beginning, this pull doesn't create movement.
It just connects my hands to her center. And then, we can move together.
So, at the beginning, when he's pulling - I'm pulling back. Until I feel his lead hit my center.
If we take, for example, the basic.
At the beginning, there's this pressure sideways. She resists it. Then, we go side.
Two steps through her, I'm pushing through her. And, I'll use my forearm, actually.
So that, if I want her to go back, on this side, on this left side, I have my hand to bring her back.
But, on the right side, I don't have anything. So, I use my forearm here.
A little bit forward, so that I can push on both sides, to take her back.
So, what he's talking about, is how do you lead linear movement.
D: And the answer is, with linear pressure.
N: Right.
Seems that's, sort of, blindingly obvious. But, you know, it's not, until someone tells you.
So, the next exercise, for the leaders, is, you would then walk forward, backward. Side to side. In any random combination you like.
And, the followers, you would have your frame and upper body firm and ungiving.
And then, he can just move you around. And, I want you to feel that your legs, sort of, float underneath you,
As you just walk, in whatever direction he takes you.
So, for the leaders, you get this sense of the clarity of your direction of movement, sideways, or forward, or back.
And, for the followers, I want you to have this experience of being...
Choosing to not move, in your frame. And then, feeling that your feet, and your center of gravity, can just float.
And, to the extent, that the follower... succeeds in making the frame really strong, so that the rest is just floating,
That's the extent, to which the leader really finds it fun to move the follower around. I just love moving David around.
And I want to change the wording somewhat. And move from the word "Really strong" to the word "Ungiving".
Because you can use different degrees of strength. At the beginning, it's really strong and tense.
But, eventually, it becomes looser. But you still choose not to let the arms move.
That's very cool.
Đi dạo, Chì