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Tạo Magic - On Being Present With Your Partner

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Nancy talks about tango being a metaphor for life. In tango, it's important for both partners to learn to really listen to eachother. In tango and in life, listening carefully can add a sense of presentness to the connection between partners.

It's fun.

Tên nghệ sĩ:
Manuel Barrueco
Tên bài hát:
Tango Etude #1
Tiêu đề album:
Solo Piazzolla
Trang nghệ sĩ:

From the artist's website: Manuel Barrueco is internationally recognized as one of the most important guitarists of our time. His unique artistry has been continually described as that of a superb instrumentalist and a superior and elegant musician, possessing a seductive sound and uncommon lyrical gifts....In 2007 Manuel Barrueco received a Grammy nomination for the “Best Instrumental Soloist Performance” for his Solo Piazzolla, which was the first recording to be released on the exclusive Manuel Barrueco Collection on Tonar Music.

So, a lot of times, what happens is, as I'm teaching combinations, I'll tell people things. I'll say, for example...
I'll say, "Do this". And then, I'll take them in, you know, whatever it is. Cut, cut, tap.
Step, cross. Flick. Step, cut. Catch. Throw, touch. Whatever, long, long... Goes for a while.
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.
D: But...
N: He doesn't do that.
But, what happens, is when you see people dance, they look like this.
N: Even though he doesn't do that, you do see this.
D: And I'm exaggerating.
So, when we teach, just like in the videos, we show one little piece at a time.
And we make sure people are comfortable doing it, before we move on.
N: So, that was not just to himself.
D: OK, she's like: "say the right."
N: Yeah.
But, even when we do that, if it's a long, involved combination, you see people doing it like this.
I mean... So, the bottom line is when it pushes your limits, then you have to give all your attention to something.
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.
And listen to the word choice: what you have to do to her.
Right? So it stops being a participatory thing. It stops being communication.
And it starts being, "Oh, I move my arms this way".
Yes, that's right.
And so, I want to say that half of this idea of being present with your partner is choosing smart things.
It's hard to be present when you're doing the hardest thing you know.
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.
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.
And part of it is just being willing to look at someone. Right? So...
D: To say, "Hi".
N: Hi.
D: So, for example, if she were here,
There's a big difference between my looking at the camera and my looking at her.
N: There certainly is.
D: You see that difference?
And so, I want you to say, that sometimes, it's OK to look... You don't always have to have your gaze averted
As you feel so intensely passionately.
Sometimes, you can... Feel it intensely passionately at your partner too.
Or not. But I want you to realize there's a person there.