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Nothing wrong with your frame   Leave a comment

Next to the sound of fingernails scratching on a blackboard, the sight of a long arm hung over the man’s shoulder with a hand like a banana bunch pressing against the lungs or kidneys of a poor guy makes my spine tingle and shudder. Perhaps is something about the scratch that sounds like an animal in distress, or the violation of the integrity of the embrace that is as conspicuous and embarrassing like a fart in church.

It takes a concerted effort to go out of the way to hold a guy’s lung, kidney or hip, fingering his back, and pointing the elbow out and up, as if telling everybody that this guy doesn’t have any body presence and he needs to be held and poked in case he falls apart.

It also takes a lot affection to invite to dance someone who used to know how to embrace and was very caring about it, before the great floods of 2005. Much of the elegance, connection, and shared intimacy was swept away by the waters that drowned the city for weeks under a scorching sun. But one night there she was sitting next to me shooting the breeze with friend, so I asked.

She got up with a look of surprise in her eyes that matched my surprise when her left arm went up and around my shoulders the way she used to do back then. There was the magic of the tango bringing two human beings from different time periods together under the allure of violins and bandoneons.

While we waited for the second song of the tanda, she asked how was her frame. Your frame is good, I said, and we danced the next song. The warmth of blood rushing on a young body, the pearls of perspiration and the deep calm respiration are a unique gift that rewards a tango dancer who knows how to treat a woman.

On the next pause, she asked if there was anything wrong with her frame. There is nothing wrong with your frame I said. And we danced the rest of the tanda.
As we stood for a moment exchanging pleasantries, she asked again about her frame and what was I doing with my right arm around her back keeping her upper body from turning away and into me with freedom. Was there anything wrong her frame?

There is nothing wrong with your frame, I said.
My right arm around your back was embracing you to make sure we danced as one in the space we created with the embrace.

“MY EMBRACE” – I want to dance you in space occupied by the embrace of a man and a woman (Carlos A. Estevez (Petroleo)

Posted October 8, 2011 by Alberto & Valorie in EL YEITE

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You start swinging side to side three, four times maybe, as if winding up for a great launch of your right leg on the right side of your partner on your way to your first salida or maybe to warm up first with a base.

But then you forcefully charge into your partner with at least a dozen steps pushing her like a shopping cart, holding her left lung and clearing your way by using her as a weapon of mass distraction.

At one point you attempt to turn with a rocking stride and send your partner’s legs flying into some innocent dancer by, as they try to stay attached to her body which you have shoved out of your way so you could do that thing which I frankly don’t get.

Then you charge again into your partner which by now begins to backpedal trying to find some room to move as you shopping-cart her for another dozen or so straight steps.

Even (dancing, walking, leading) that way you miss the beat and look totally oblivious to the music. As a matter of fact, later when the bad dancer’s relief hour comes and they play the greek wailing song, you still keep doing the same thing.

First question is why?
Who told you that that remotely resembles tango dancing?
Would you mind getting some gentle advice and perhaps consider a free tip on the essential concepts that every tango dancer learns in the first minutes of his/her tango journey?

1. The tango is a dance of embrace, i.e. your right arm surrounds the woman’s body, with the articulation between your upper and lower arm (inner elbow) making firm contact against her left side. Your lower arm extends across her back with your right hand, fingers closed, reaches at least past the middle of her back (right lung hold).

2. With the woman firmly and safely secured in your right arm, it would impossible for you to walk into her or for her to walk into you because your bodies are pointed in slightly different directions. If you move forward, you will be aiming for her right shoulder but first,

3. You make a lateral opening to your left, bringing her along until she opens her right leg and changes her axis from left to right. The reason you do this is to clear your right leg so you can take your first forward step with what is known as your inside leg, outside on her right side.

What you do next with the left leg, also known as the outside leg, will dictate where you going and what else can you do, but when you get back to move your right leg, either open to your right or cross in front walking outside her right. Or actually take a half step and change your weight when the right shoe comes next to your left. If you are alert, you’ll realize that you have arrived again to your initial home position.

This in itself will make you look like a tango dancer, will allow your partner’s legs to look pretty as they open and cross moving diagonally from your right to your left or from your left to your right, and will open a new perspective into a simple structure from where we create one thousand and one illusions.

We hope that by reading it, you’ll register what we repeat time after time while you’re chatting with your partner waiting for the steps.