[Tango-L] On Axis, Off Axis

[Michael Figart II]

If I may add my views? Please comment!

Just the term "on axis" can be misleading. What does it really mean? The
earth is on it's axis, but it's tilted. On axis in relation to what? I
think; Each dancer should "maintain" a single, straight, reliable axis
whether or not that axis is "in balance" or not (I guess which we can
define as vertical to earth's center?). Axis and balance are totally
different things. A pig on a spit over a fire is "on axis", but it sure
isn't on it's own balance.  Then there is always a third axis, the one
about which the dancers move. Even in a "single-axis" turn, such as a
colgada, there are the axes of the dancers, revolving about a central
axis, but the three axes are just really close together.

Balance is a completely separate issue. Bottom line, to me, in all
styles of tango, balance can be individual, or it can be shared. What's
cool is when two bodies start reacting instinctually to the needs of
each to maintain the balance of each. At it's best, it is such a dynamic
thing that balance may change from shared, to individual, and back to
shared again, etc, in milliseconds.

Just my take....

Michael

-----Original Message-----
From: tango-l-bounces at mit.edu [mailto:tango-l-bounces at mit.edu] On Behalf
Of Jay Rabe
Sent: Saturday, May 06, 2006 12:17 PM
To: tango-l at mit.edu
Cc: jay at tangomoments.com
Subject: Re: [Tango-L] On Axis, Off Axis

Some points of observation/analysis on Evan's thread of maintaining axis
in 
close-embrace...

As always, the simple expression "on-axis" can be interpreted in a lot
of 
different ways.

If I stand flat-footed, with my center of mass directly over the center
of 
my foot. I am clearly on-axis, in the most literal sense. If I lean
forward, 
putting my center of mass above the ball of my foot. I am still on my
axis, 
in the sense of fully supporting my own weight, but now my chest has
moved 
about 4" forward (a maximum of 1/2 the length of my foot, per Even's 
analysis of center of mass not extending beyond the edge of the 
"foot-print"). Mechanically, moving my chest forward is equivalent to
moving 
my feet back. If my follower does the same, the consequence is that now 
there is more space between our feet, and we can dance without knocking 
knees. Note that, in this position (call this "position-1"), it is not 
necessary that either dancer be exerting any forward pressure on their 
partner.

Teaching this concept (weight on balls of feet) can be challenging. One 
device used by a lot of instructors is to have the dancers apply forward

pressure to their partner. Alex uses the expression "2 pounds of force."
In 
order to apply forward pressure, a person must push with their feet,
which 
has the consequence of putting their center of mass/force over the balls
of 
their feet. One note: It is highly important that the force vector be in
a 
direction parallel to the ground, that is, directly forward into their 
partner, with no downward component. In this position (call this 
"position-2"), let's say that the individual dancers are still "on their

axis" in the strictest sense of being able to maintain their position 
without falling if their partner steps back.

Now consider the extreme ("position-3"), in which the dancers put so
much 
forward pressure on their partner that, if one were to step back, the
other 
would fall (I've heard the term "apilado" used to describe this type of 
embrace). But even with this much force, per Even's analysis, the PAIR
is 
still "on axis" (but now it's a shared axis), because they can, as a
couple 
in an embrace, stand motionless without falling, because the leader
fully 
receives and returns (balances) the force back to the follower.

Note there is a continuum of possibilities between positions 2 & 3 in
the 
amount of force given & received. IMO it isn't so important how much 
pressure is given. The important things are: no downward force; weight
on 
balls of feet (= space between the feet); and energy directed into their

partner for a good "tango connection."

One interesting thing about position 3 is that the extra force sent by
one 
and fully balanced by the other seems to create a coiled-spring-like
effect, 
storing energy, so that when I do a lead, it is possible to release that

energy into very fast/large/dramatic moves.

Finally, all of these principles apply to open embrace as well as close 
embrace. In close embrace, the forward force is applied with the chest, 
while in open embrace it is applied with the points of contact in the 
hands/arms.

     J
     www.TangoMoments.com


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