[Tango-L] Style "vs." technique-- 3 ocho styles

[Jake Spatz (TangoDC.com)]

Sorry, I didn't answer the important question...

Those 3 methods of doing ochos derive from the embrace. How did I 
explore them? By varying my body tone, as a direct result of following 
the music's melody and tone (instead of reducing it to rhythm).

If I prevent my partner from "rolling" (against my chest) within the 
embrace, by becoming firmer and increasing the lean pressure a tad, she 
stays glued to me (as in apilado embrace), and pivots her hips with more 
dissociation. The angle and speed of the walk determine the degree of 
her pivot.

If I become even firmer, move more sharply (and with shorter steps), and 
keep a sharp angle to the ochos, she'll have to cross her legs under her 
hips, without having much chance to pivot properly. (This is a lot of 
fun with the zippier passages in Di Sarli, where the arrastre has a lot 
of pep.)

If I become looser in the embrace and rotate my chest more fluidly, 
she'll feel like rolling too. It all comes down to body tone, and how 
well it interprets the music.

Typically, I change styles (and angles, directions, speed, etc) all the 
time, sometimes every half-ocho. It lets me navigate at will, dance to 
melody (and individual notes, on occasion), and present a ton of variety 
without resorting to stupid shit on a crowded floor.

Where did I get this? From taking notes instead of taking classes. From 
not second-guessing the teachers I did take classes with. From observing 
the variety of ways in which my variety of partners move. From delving 
into the fundamentals. From applying one style's techniques to another 
style's embrace. (The last of these is a recipe for infinite discovery.)

Jake Spatz
DC


Igor Polk wrote:
> Wonderful writing, Jake !
>
> Very useful and interesting.
>
> Hey, where did you get this [execution of ochos] three ways: "body alignment
> vs. body dissociation vs. leg-crossing under the pelvis" ? That is exactly
> what I am telling to my friends too.
>
> I think your approach to teaching is very right: we do play different music
> at milongas, so we have to know how to dance differently, besides, we meet
> different people, and it adds new dimension to dancing.
>
> "Contrary", yes. That is what I meant writing about contradictory technique.
> Yes, they define different styles, and only contradictory in them is that
> they can not be executed precisely at the same moment.
>
> Thanks,
> Igor
>
> PS. Though I would argue that "ocho cortado" is "Giro cortado". It can be
> both, and there is the whole bunch of other ways to do it - this is one of
> the most variable steps of tango ( with most ancient roots ). To me: it is a
> "side step" with imposed variations. ( I have not yet figured out where is
> the ocho there: is it a side step, or a finalizing cross which is only one
> of the endings... Can someone help me? )
>
>
>
>
>