This was the tanda I took my glasses off for. I don't particularly like dancing in glasses, I'll admit, and I largely have been doing so recently because I haven't gotten around to getting new contacts. Back in the day, I'd take my glasses off for just about any partner (usually resulting in a post dance-haze grope about the floor as I desperately attempted to relocate them), but I've realized that having that little facial force field has some advantages at times.
Posture in tango is a pretty important thing for me. It, like any technical element, cannot make dancing, but its absence can certainly derail dancing. As spiritual as we wish to wax about dance, at the end of the day the thing that distinguishes it from meditating, listening, thinking, philosophizing, is that it is an extremely physical act. So oddly enough, the physical matters in every detail.
I have two postural pet peeves, both of which I may lapse into from time to time, making my reaction to the visual effect more self-consciously virulent.
The first, I call Duck Butt - where the dancer allows her pelvis to roll out, giving her a bustle effect, scrunching the muscles in the lower back and creating a round extrusion of the abs that my pilates teacher likes to call breadloafing. The effect reminds me of cartoon ducks when they are standing... it's problematic because it disengages the core, breaks up the axis (making the follow heavier and less reactive to energy), and can hurt the lower back.
Credit to Rinus Bakker an awesome G+ Circle Denizen |
And may make you appear depressed |
Anyways, Turtle Back can be of varying severity. I tend to keep a straight enough back these days,. but I also have a tendency to finish out that roundness with my neck. I'm very aware of it, because i have a tendency to push my neck forward when I'm engaging with other people - even worse, years of sitting in orchestra audiences where outright dancing is discouraged has given me a small tendency for head-bopping. It's kind of cute to watch me bopping along like a drunk puppy to a perky swing, but in a close dance like tango bopping can become bashing pretty quickly. It was worse when I first began dancing, because I am quite tall even before adding the 4 inch heels. When I began, I would compensate by bending my knees, compressing my spine and - well - hunching. I advise against this as
Cave Man tango! |
I still tend to push my neck forward or lean it to the side, although to a degree, I think tango can be more forgiving of this than others. Nonetheless, having your spine out of whack does mean having your axis equally zany and I prefer to keep my zaniness to embellishments and socks.
Adding the close embrace gives even more possibilities for bizarre neck strains. When I first went to Buenos Aires, a friend of a friend who took it upon himself to adopt me decided that my heavy-head was a a tango emergency requiring intervention. It was common in the community for people to take the head-to-head nature of tango a bit far, until the contact was a high pressure neck wrestling exercise. I would enter into embrace, and lean my head to the right, locking heads with my lead. I could literally collapse my neck muscles as if I were taking a nap on my lead's face. Apparently, this is poor form! Who knew?
Adding the close embrace gives even more possibilities for bizarre neck strains. When I first went to Buenos Aires, a friend of a friend who took it upon himself to adopt me decided that my heavy-head was a a tango emergency requiring intervention. It was common in the community for people to take the head-to-head nature of tango a bit far, until the contact was a high pressure neck wrestling exercise. I would enter into embrace, and lean my head to the right, locking heads with my lead. I could literally collapse my neck muscles as if I were taking a nap on my lead's face. Apparently, this is poor form! Who knew?
Having come to grips with my neck as a part of my axis, it was a hard transition back home and the pressure from some of my lead's own heads would push my head clear over to my left shoulder. Over time I managed to counter by turning my head towards my lead. It has certain stylistic pleasures, but it also allowed the pressure of his head to push my head a bit backwards, a direction with far less give. I still enjoy this sometimes, but it also could end with my head twisted completely sideways, making moves to an entire side of my body extremely uncomfortable and the pressure of a heavy head still strains a poor girl's neck.
So, while I don't necessarily mind the face to face contact common in tango, I don't particularly find it necessary and sometimes find it to distracting. Contact is essential, but when the pressure is such that one feels like she's getting a face lead, this really might be a time to back off. Random roaming hand grips and crazy arms are about as much static I can take in a connection! Glasses can render this sort of aggressive head-butting moot, because they are pointy and sharp and extrude from a portion of my face that might ordinarily make contact.
I'm pretty amazed at how many leads will still try to make head contact despite the glasses, often nuzzling their heads into mine at a certain point in the music, like a cat stimulating his scent glands across my forehead. I guess I should be grateful my leads try to mark my with head butts instead of spraying me - which is not to say that sometimes a particularly heavy cologne doesn't do just as much spray-wise. Still, it's uncomfortable, it is definitely not something that I have invited in any fashion, and it often bends and smudges my glasses. Sometimes, this will be accompanied by a tighter embrace, which I suspect is meant to emulate intimacy and passion, but can sometimes feel more like a wrestling pose (you WILL put your head to mine, damnit! Now hold still while I burrow into your skull!). So perhaps what I'm saying is that I need spiked glasses to don for the particularly invasive leads.
But then, there are those times where you are legitimately dancing closely and your shared space is such that your bodies naturally merge into each other's. And at this point, glasses have outworn their welcome and there is little to do with them but hope they land safely...
So, while I don't necessarily mind the face to face contact common in tango, I don't particularly find it necessary and sometimes find it to distracting. Contact is essential, but when the pressure is such that one feels like she's getting a face lead, this really might be a time to back off. Random roaming hand grips and crazy arms are about as much static I can take in a connection! Glasses can render this sort of aggressive head-butting moot, because they are pointy and sharp and extrude from a portion of my face that might ordinarily make contact.
I'm pretty amazed at how many leads will still try to make head contact despite the glasses, often nuzzling their heads into mine at a certain point in the music, like a cat stimulating his scent glands across my forehead. I guess I should be grateful my leads try to mark my with head butts instead of spraying me - which is not to say that sometimes a particularly heavy cologne doesn't do just as much spray-wise. Still, it's uncomfortable, it is definitely not something that I have invited in any fashion, and it often bends and smudges my glasses. Sometimes, this will be accompanied by a tighter embrace, which I suspect is meant to emulate intimacy and passion, but can sometimes feel more like a wrestling pose (you WILL put your head to mine, damnit! Now hold still while I burrow into your skull!). So perhaps what I'm saying is that I need spiked glasses to don for the particularly invasive leads.
It's not always easy to predict which tandas are a glasses-off affair, but again, when you cherry pick the songs and the partner, you can be pretty darned sure. There's a reason that dancing cheek to cheek earned the designation of heaven... sometimes. With the proper animal.
2 comments:
Whaddiya mean "X" on the girl? I like her posture. :-P "Three's a crowd, you know." :-D
To fix that pushy leader head, take the left palm of your hand and push his head away.
Of course, he may stop dancing with you (maybe forever), so when you do this, make sure you're in the most crowded area where people are watching so everyone will not mistake who is dumping who...if he decides to walk away. *merry laugh*
Another alternative is a diamond stud on your nose or get a fake one and glue it to your nose. When his head puts too much pressure on your cheek or nose, turn your nose to the cheek with the stud on and dare him to press now.
If he likes the pressure, start drawing on his cheek with the stud. After the tanda, there should be bloody scratch marks on his cheek. What a trooper! Must be really into S&M. :-D
Well, that's all I can think of for now OR you could use the "snot" trick. Blow your nose and let something hit his cheek. You'll realize how quickly you'll be in open embrace the rest of the tanda. ;-)
Happy Thanksgiving, Dear. *muah!* Aaaaaa--aaaa---aaaachoo! LOL :-D
But really, do you like the way she's holding her body or her body itself ;-)
I like the snot deterrent idea. Subtle and likely to make quite the impression.
Hope you had a lovely Thanksgiving!
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