[Tango-L] Hucks theorem #1, Jake's Steno pad.

[Jake Spatz (TangoDC.com)]

A few points from the sidelines of these topics...

1. Women take notes. I've looked at them in workshops. I can't always 
decipher others' notation, but I can't always decipher my own cartoons 
either. In any case, these things don't pertain to men (or leaders) 
alone. The desire for knowledge, or at least a record of kinesthetic 
acts, has no demographic.

2. The steno pad wasn't my idea. It's just the result of me repeating 
(to my own boredom) how important note-taking is. One of my students 
tried out several different methods, before arriving at this one. I'm 
just passing it on to anyone who wants to see how well it works for 
themselves. (Let me know too: I don't use it.) I prefer writing on 
fine-ruled graph paper or else blank drawing paper.

3. Awhile back there was a hiccup regarding notes vs. videotape. I think 
the recent discussion proves the utility of notes, in that they 
encourage critical thought, analysis, and experiment. (Even failed 
experiment, in the case of Theorem #1, has its purpose.) Videos, in my 
experience, encourage mimicry (not entirely bad in itself), 
name-dropping (pointless), and self-evaluation (invaluable). Just wanted 
to clarify what we're all up to here.

4. There's nothing wrong with multiple notational methods, so long as 
you can figure out what the hell you wrote down. Shorthand is one thing; 
graphics another; analysis something else still; and full choreography 
(most strict sense: graphic record of dance movements) is something 
different again. Da Vinci wrote forwards when he cared to.

5. Other notational ideas...

I recently started playing around with dotted vs. solid lines, when 
drawing foot patterns, to indicate the starting and ending positions of 
pivoted movements. I've considered using colored pencils to 
differentiate left and right feet (or leader and follower); but I don't 
like colored pencils (they're a pain; I write & usually draw 
left-handed, so I'm picky about it), and don't carry any. I've also 
considered varying the thickness (visual weight) of arrows, to indicate 
motion quality (e.g., related to the arrastre), but haven't yet figured 
out the best way to associate the graphic with the kinetic reality.

6. The stationary-step thing remains a topic of interest to me. Anyone 
wanna pick that one up?

Jake Spatz
DC


Nussbaum, Martin wrote:
>  
> Huck Wrote:   " Theorem #1:  If you're in the parallel system
> and both you and your partner take a step, either
> you'll both be taking an open step, or you both
> will be taking a closed step.  Likewise, if you're
> in the crossed system and you both take a step,
> one of you will be taking an open step while the
> other will be taking a closed step. Huck"
>
> Sorry Huck, but this theorem is invalid. Either type can be led from
> either system, in both close embrace or open embrace, and not just in
> the sacada example Jake gave. All it requires is a bit of disassociation
> between upper torso, which does the leading, and what your (leaders)legs
> do. 
> Jake,  I just slapped my head so hard for not thinking of something as
> ridiculously obvious as that 2-column Steno pad ! Please keep the
> notational ideas coming!    Yes indeed, there are people on this list
> for whom the most efficient notation is essential to quickly jot down
> ideas and concepts we "got" in workshops, or stumbled onto in a
> practica, and due to insufficient practice burn-in time, forgot weeks
> later, (for me, even hours later.)  I apologize to any followers who
> find this discussion boring, or useless, but believe me this is all done
> to increase variety and creativity (without sacrificing connection and
> musicality- they are not mutually exclusive !)which not only makes tango
> so much fun for me, but also increases the fun of the followers I dance
> with. 
> Martin
>
>
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