| TANGO BODYSHOP WORKSHOPS AT BRAMSHAW MORE |
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| Extracts
from reports from a Tango Bodyshop that accompany video clips of a
particpant's work on camera. This is a general example. Each report is
written specifically for a Bodyshop particpant.
[HOME] There are some areas that need attention and my observations based on the video clips are thus: First clip [Leader]: Slow the video down by pausing it and using the arrow keys to move frame by frame. You will see that many leads are instigated by your legs moving first. This is happening in your forward and side steps. Invite a step and wait for it to be initiated. [Follower]: In the first clip, your decorations are interrupted by [Leader]'s next lead. Use your core strength to possess your access to finish the decoration (unless you feel an urgency in [Leader]'s lead when he may be trying to take you to the next safe space. To collaborate with [Leader] (and indeed any partner) react to an invitation with clarity of movement to your next axis OR resolution of current axis to complete a decoration or time a move with your interpretation of the music. Second clip [Leader]: Your barrida starts perfectly when [Follower] has taken a back cross to your left, made a new axis on her right leg and left her right leg extended. By using more contraposture to generate a compelling lead, [Follower] will move more positively around you in a anticlockwise circle making (a) the connection between your right and [Follower]'s left foot (actually it is upper ankle to upper ankle) effortless and leaving the path of the barrida clear of obstructions. Note your final lead which is coming from the leg first. Third clip [Follower]: You can make the transfer from axis to axis more controlled by breaking a single step down into (a) on invitation accept by extending your free leg (b) don't release the possession of axis by your standing leg yet (c) when you are ready, expedite the change of axis by using your pelvic floor muscles to make a new axis at the same rate that you 'unmake' your last. Remove any remnants of falling onto a new axis as we all do in the process of simply walking. This will create a dance structure of one body with 4 legs even in these very difficult rotary figures. It will also give you more creative input (speed, impetus etc) and protect your axis from the problems caused by less capable dancers. To you both: This is a difficult move based on circular dynamics. You are moving too fast. Make each axis significant. [Leader]: While you 'roll' across [Follower], your embrace needs to communicate a message of 'rotate on a single axis. [Follower] become the centre of a circle while you are stepping around the circumference. [Follower]: You are putting more energy that is appropriate into the boleo, and in the second instance, it robs you of some precision of the next step. I think if you both make this move feel good danced at half the speed, all of these little faults will disappear. [HOME] | [MORE BODYSHOP INFO] | [BOOK A BODYSHOP] |
 PARTICIPANTS FEEDBACK Thank you, this is going to be extremely helpful. We will sit down and look at it properly over the week-end. S Thank you for a truly brilliant course which we enjoyed enormously and have recom- mended to loads of people. You guys work so hard. D Thank you for this most valuable feedback. We did struggle, partic- ularly at the final movement, but we are not disheartened. We are endeavouring to utilise your suggestions and will persevere. M I appreciate the feedback greatly and it is really good to have it in writing so I can remind myself. Your message is clear. Now all I have to do is act on it! I did enjoy the workshop enormously. B Debbie, Steve - a very belated thank you for the last Bodyshop at Bramshaw which was excellent. It's an incredibly clever concept and having gone through the "does our bum look big in this" moment of seeing ourselves on screen. We think it's a great way of developing technique and confidence - you have managed to achieve the balance between what feels like a private lesson and a really supportive group class. S |
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