[Tango-L] What does it take?

[Nina Pesochinsky]

And, gentlemen...

Hear the music the way that only you uniquely can - on your cellular, 
or maybe molecular level.  And if you need to have your heart (or 
anything else) broken for music to enter, then find a way to do 
that.  It is well worth it.  I can't speak for all women, but I can't 
(well, I can, but don't enjoy) dance with a man who only has either a 
head or a heart.  I need both.

Best,

Greedy Nina


At 05:44 PM 8/19/2008, Joe Grohens wrote:
>Jack Dylan wrote:
>
> > Mario, Don't make the mistake of trying to model your dance on
> > someone else. Ricardo Vidort and the other milongueros come from a
> > bygone age. Yes, let's marvel at their dancing but, when a
> > milonguero dies, his dance dies with him and that's the way it has
> > to be. What you need to do is find your own dance. Take lessons,
> > learn good technique, learn some figures, practice, dance a lot and,
> > eventually, your own dance will come, And it'll be your dance and no
> > one else's. Jack
>
>....
>
>It is very true what Jack says - one needs to find one's own dance.
>
>In my experience, that process of finding your dance does involve
>seeing things you like in other dancers, and trying to do them
>yourself, and keeping the parts that fit your body's abilities,
>personality, and dance circumstances.
>
>I think imitation can be a valid first step towards acquiring your own
>style. I suppose it's possible to end up being merely an imitator, but
>that's only if imitation is where you stop your development.
>
>It is very hard to really imitate fully the style of another dancer.
>And copied stylistic traits always look like an inferior copy.
>
>Joe
>
>
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