Cool figure tonight in Copello (with Cecilia Gonzalez and Gustavo, who it turns out is really great) which looked something like this:
# | Lead | Follow | Comments |
1 | RF | LB | 4-track with l on f's left (salida en 5) |
2 | LF | RB | rebote, so either peso medio or whatever |
3 | LB | RF | here the woman starts a right turn |
4 | RF | LS | L does a sacada leading the woman into a big planeo |
5 | - | RB | really just the continuation of her left lateral move, sacada-ed |
6 | LF | - | man whips his hips around to get his left foot to her right, freno |
7 | RB | - | man shifts his weight back onto his right foot (but as far to the left as possible, to leave the woman room to step forward comfortably) |
8 | - | RF | woman steps over man's left foot |
Oh man, this stuff is so boring to notate...
So anyway, about encircling the bear (and then I've got to get to another disfraz party): I figured this out with Italian and then with Spanish and never really got it with salsa but I'm getting it with tango. If you study enough, the same problems that you thought you'd beat come up again and again (with a slightly different form each time). So if you just keep studying, eventually you'll get the time to work on them because they're important recurring problems.
So at first the universe of knowledge that you're trying to learn just seems to damn large, but then later the basic part of is knowable. For instance, enrosques while the woman turns are difficult, but you will eventually have to tackle them, and they will keep coming up and you will keep getting better at them.
Isn't it great how I don't even explain the bear metaphor? I'm off!
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