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Các Embellishments của Người dẫn đầu và Molinette - Adv - Man's Shaping

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We think beauty is functional.

(David speaking) In other contexts, I remember reading about a study where people would more successfully use ATMs that were more beautiful (with fewer errors) than ATMs that were not. There was a physics talk by a Nobel prize winning physicist stating the following: beauty is a great predictor of truth in physics. A theory that's beautiful is more likely to be true.

In sports, very often, good form is beautiful. So, too, in tango. By working on making something more beautiful, you will also be working on making it more functional. It may seem a longer road, but there is still function inside the beauty.

Tên nghệ sĩ:
Tên bài hát:
Tango from Scent of a Woman
Tiêu đề album:

From cd baby writeup: Zigatango reworks Argentinean tango and traditional Gypsy music with a rare youthful flair exposing a burning intensity of emotion, often combined with a wild, almost demonic energy.

So, we call this, "Man's Shaping".
And, when David said, "Well, what video are we going to be filming?", and I said, "Men's Shaping", he said, "Oh, that's a hard one".
If it's hard for David, I think we all have to pay a lot of attention. But, here it goes.
Just showing. And then, we'll break it down. From this angle.
D: So...
N: Well, that worked.
The idea is that it gives the man the opportunity to do all this stuff with his feet.
Which, by the way, I've said all along, is part of what molinette is about.
However, it really requires a lot not just of the man, but of the woman.
Because, as a follower, you really have to be very perfect, not to throw the man off balance.
When he's, basically, only on one foot, and he can't use the other for balance.
N: Show the man's part, just by yourself, so they can see what are you talking about.
D: Yeah, "What shaping are you talking about?"
I go side. As she does that small ocho, I pass my foot over... And then, over, pointing.
So, as she goes: pivot; forward, I go: point. Here's our molinette. It comes in, goes to the back foot. Pivots, and exits.
So, it's really... It's really beautiful. But, you can see, he's on his one foot for the whole time.
Which is makes it our responsibility to stay the same distance around him, all the way around. And to not be pulling him off his axis.
And, when you're trying to judge whether you're the same distance or not,
I think the easiest way is not to look at the feet, but to look at the person's face.
N: That's good.
D: So that the face goes a different distance. You know, you go one inch closer, or eight inches further away, you really notice.
Ha-ha, right.
D: Let me show the guy's again, slowly. And then, the ladies'. And then, we'll show it together.
N: OK.
So, for the leaders. Let's do this angle.
You start side. In the upper back, I rotate in, as I cross over. It's an odd lead,
To get her to go for that front ocho. And then, I pivot her, and extend.
As she goes around me, I pivot around... She goes: forward; side; back; side.
I'll come in on her next forward, grabbing a back sacada. Turning, and then, exiting my right to her left.
This series is supposed to be advanced.
Showing that together, and then, for the followers. Oh, starting in the wrong direction.
I cross over. She pivots. I point. Pivoting her around me. Collecting in the thighs. Grab that sacada. Pivot more. Exit together.
For the followers. He's going to take you side to your left. It's very-very small. And pivots.
You go: forward; collect; side... Back; collect. Side; forward. Here's his front sacada. Forward; side; back. He exits with you.
So, after that, you're really just doing a molinette, for quite awhile. Exact same technique.
D: Let's show...
N: One more time.
D: Let's show from another angle.
So, really, for you, guys, if... I mean, it's very beautiful, if you want it.
Practice little tiny pieces of it, over and over, until they're comfortable.
And then, add another little tiny piece, and another. And do it with us.
And, anybody can get it. You just have to want it enough to really work at it.
Notice, my foot is going just in advance. Grabs; turns; and exits.