Making Possibilities Work - Lead and Follow for Anything
- Translational at same level
- Rotational around her
- Rotational around him
- Push Up or Down
- Artist Name:
- Zully Goldfarb
- Song Title:
- Friling
- Album Title:
- De Donde Viene Mi Voz
- Artist Website:
- http://www.zully.com.ar/
Complex tangos sung in both spanish and yiddish with great authenticity.
From artist's website about one album: Tells the story of piringundines, from German cabaret to the Buenos Aires tango venue, and with the tango it will take us through a history of crossed destinies, and misunderstandings, love, and forget that we identifys as Argentinians.- 00:05
- There are leads where you move your partner.
- 00:07
- Those leads are I"m "going to say roughly at the same level. so, I can say to her:
- 00:10
- "Go away from me."
- 00:12
- He would never say that.
- 00:13
- "Come towards me"
- 00:14
- That's the one, that's the good one.
- 00:15
- If both arms move, or the whole body moves, I can say:
- 00:18
- "Go around me".
- 00:20
- If I spin her, this is rotational - "Go around yourself".
- 00:25
- Front ocho, back ocho, boleo, part of molinette.
- 00:28
- A small part, the bigger part is the other kind.
- 00:32
- If I want her to extend along the floor,
- 00:35
- Then, instead of it being about this, it's more downward and then outward, downward and then in.
- 00:40
- So, for example, if I want her to extend out - I say this.
- 00:46
- And then I extend out.
- 00:48
- It could be to any direction.
- 00:50
- Same lead, when you're going to the side,
- 00:52
- Because her feet are more narrow from the side,
- 00:56
- If you watch here, I do a much more subtle lead to the side.
- 01:03
- Or to the other side.
- 01:05
- Then I would do, necessarily, if I were going to the back. In which case, I\it can go a lot more.
- 01:10
- You see, that's more macroscopic movement.
- 01:14
- If you wanted to be in the air with a leg - gancho, boleo, anything like that,
- 01:18
- You'll see, in the embrace, we lift up.
- 01:21
- And then it can go forward.
- 01:23
- Or up, and then around.
- 01:26
- Well, what if you put that one together. Put that one together. I didn't like the way that looked.
- 01:30
- That's the way it supposed to be.
- 01:32
- If... So, we have up, we have down,
- 01:36
- When you bring it up, then you can...
- 01:38
- After you've gotten the leg up, then you don't have to worry about her stepping.
- 01:42
- So, then you can bring it...
- 01:42
- That's true!
- 01:43
- Right, she's out there, she starts hopping madly.
- 01:46
- So, because you don't have to worry about her stepping, after you get her leg off the floor,
- 01:49
- Then you can start to move the free leg, by swinging it in different directions.
- 01:52
- And that's really what we do do when we're in the lean, and then he's moving it around.
- 01:57
- Right, so, for example, I'm here.
- 01:59
- I can pull the leg forward, for example.
- 02:03
- Let's say I get my leg out of the way. Why not?
- 02:06
- Bring it in, up over. And that was led, right?
- 02:10
- She had no idea.
Yeah, I had no idea what he was going to do. - 02:14
- Nancy: I frequently have no idea what he's going to do.
David: So, we have transitional, which is at the same level, - 02:18
- Rotational around her, rotational around him.
- 02:21
- And then, if you push up or down, and then in some direction,
- 02:24
- You can cause the free leg to move in lots of interesting ways.
