[Tango-L] Musicality quotient P.S.

Fri Dec 7 19:27:19 EST 2007

It' hard to elaborate on "our centers" since I came to a feeling of (1) her center and (2) the concept of giving her energy without actually feeling as if I am giving energy, rather that she is receiving energy.  In that sense, my concentration shifted from "my center" to, hmmm, how do I put this ... 

  ... it's a little hard to put into words ... say I want to lead a forceful backstep.  I have to lead a bending at the knees and a swell of energy into her chest.  But, I don't really feel like I am creating the force.  When it all works as it should, I feel as if I am along for the ride, more like a fly on the wall.  

  Imagine being inside her chest feeling that rush of energy.  Maybe, it is put better in a non-dance example.  Imagine giving a child a big push on a bike.  But, imagine the feeling from within that child's body.  When my mind is on the inside, like that, my focus is no longer on my center.  My total concentration is "inside" of her center.  It's really amazing.  When I finally hone in on that feeling, I know what she is going to comment, later.  I really felt what she felt.

  I hurt my foot years back, so, I just dance occassionally and, therefore, it takes one heck of alot of concentration for me to get inside of her body like that.  Matter of fact, it's really exhausting.  (I remember a day when it wasn't!)  

  Anyway, when I find that sweet spot, I find that my body is a bit like that of a cat.  I feel like I am using every damn muscle!  100 percent of my intent is on having her receive differing amounts of energy WITHOUT actually having her feel differing amounts of energy against her skin.  The more regularily I dance, the less cat-like strain it takes.  But, when I've been away for a few weeks at a time, whew, it's exhausting.  

  When I was in Boston, my dance partner once told me of a lesson that she had with a guy in Western Mass that was, undoubtedly the best dancer in New England.  She came back talking about "walking like a cat".  It was so profound that I bought the domain www.WalkLikeACat.com.  I never did anything with it.  But, still, I love that woman for teaching me what he taught her.  It's like my center is no longer the point.  I am able to get my mind into "being along for the ride", feeling it from her point of view ... almost 100 percent thinking of it from her point of view.  

  The closest I've had to that feeling being taught in a class was when Luciana Valle taught about feeling myself breathing INSIDE of her chest.  I distinctly remember that being A LOT of work.  But, when you get it, there is no longer any force of my body on hers.  There is only me feeling her chest as it swells through the movement.  It's incredible!  That woman is a genius!

  Anyway, I know that I was the one that "created the ride", but getting to the point where I can get through the dance without the feeling of creating force against her body is the best feeling in dance!  That's when I experience being with her, along for the ride.

  And, that's when we both walk away thinking, "Wow! That was better than ...!"

  Amen!

meaning of life <kushi_bushi at hotmail.com> wrote:

tom

that is an great observation and a really beautiful way to perceive the dance. i like it.

on the practical side, since it would be impossible to balance and move if you were to move from someone elses center might it be beter described "to move from the combined center of the fussion between your body and hers". i think that this is how i dance with my wife, we both have our own center, but combine and move from our fused centers. and i am sure from some of the practice that we do, that when we both agree where that is that we are "on" (NIRVANA)

and of course, it is all about her, was there a question?

The Tangonista
Sponsered by P.E.T.A. (People Expressing Tango Attitude)
NOTICE - no cats were injured in the making of our music

> Date: Fri, 7 Dec 2007 14:06:03 -0800
> From: tangopeer at yahoo.com
> To: tango-l at mit.edu
> Subject: Re: [Tango-L] Musicality quotient P.S.
>
> Tai Chi ... Tai Chien, if I have spelled that correctly, is the center of the body. Dance to the center of your follower's body and you will experience the ultimate connection. Then, the woman will truly feel your musicality.
>
> It isn't about your feet, your chest, your head or your finger nails. It is all about the woman. When I put all of my concentration on how my partner's body reacts to my movements and hers, we both approach nirvana.
>
> Tango is very simple. It is all about the woman. Try on doing a variety of things with your feet while still giving the same feel to the woman. You will notice that the energy doesn't come directly from your feet. Think about the woman's body receiving your energy and you will notice that you are no longer thinking about your feet.
>
> Again, think of how the woman is receiving and reacting to energy and you will notice that all of your body is merely there to assist you. You could dance the jig with your feet and, as long as she feels pure tango musicality, she won't care.
>
> Try on feeling how the energy flows through HER body and how HER feet find the timing and the feel.
>
>
> Igor Polk wrote:
> Some say the musicality should be expressed in feet,
> Some say that in chest.
>
> Dear associates,
> what would you say about a person who can express musicality in feet and in
> chest ( or "with" )
> Would you Adore him, or Condemn him?
>
> Igor Polk
>
>
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