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Bylaugh One weekend, in the fall of 2003, saw a series of Tango workshops held in the recently-refurbished Orangery of Bylaugh Hall in Norfolk. Rodolfo Aguerrodi and Miho Omaki led workshops with a small group of local or temporarily resident participants on Friday, Saturday and Sunday - morning and afternoon. We also visited the local milonga in Norwich on the Friday night. These notes are abridged "aides-memoire"; you do need Rodolfo and Miho's coaching to fully understand what is going on. |
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The third workshop focused on milonga: |
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First we practised our milonga walk: |
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| ... pushing the chest forward in small steps in which chest, knee, and foot are aligned vertically ... | |||||||||
Then we practised moving in and out of cross-system: |
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| ... moving forward on right leg ... | |||||||||
| ... crossing left foot in behind partly-raised right foot and moving forward on right leg in one beat ... | |||||||||
| ... moving forward on left leg ... | |||||||||
| ... crossing right foot in behind partly-raised left foot and moving forward on left leg in one beat ... | |||||||||
We then tried the above as a couple, discovering that leading the follower in and out of in-line crosses is difficult: |
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| ... leader moves in offset parallel, dissociated to maintain connection with his follower ... | |||||||||
| ... as leader moves forward on his right leg and follower back on her left, leader must turn his torso to bring his follower in front of him and into the cross of right on left as he crosses left behind right ... | |||||||||
| ... leader dissociates on the next step by turning his torso back to the right moving his follower to his side as he moves forward on his right leg and she moves back on her left leg ... | |||||||||
| ... leader's step forward on his left leg / follower back on her right encourages follower to cross left on front of right as he crosses right behind left ... | |||||||||
| ... etc. | |||||||||
| We then used the above, repeating leader's left behind right / follower's right in front of left or vice-versa to align with the music; progressing forward | |||||||||
| We then used the above, repeating leader's left behind right / follower's right in front of left or vice-versa to align with the music inching to the side or slowly turning anti-clockwise | |||||||||
| Then we practised a "vibration" effect in which we changed weight from one foot to the other on the spot but very quickly | |||||||||
Finally we enhanced the inching to the side motion by inorporating the "vibration" effect when the music encouraged that. |
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............................................................................... This site is supported by Vecta Consulting Limited |
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©2003 Frank Morris |
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