Part II of Un Tal Gavito Vol 3 Review
Remarks on Waiting, Beauty and Simplicity
Gavito and Duran's comments continue, as they describe the beauty of simplified, slowed down movements and how emotion is expressed in the absence of a movement, rather than in a multitude of movements. After Gavito's remarks about intention and moving from the heart in the dance, Marcela added her own comments about the intimate conversation going on at all times, with all parts of the body, between the two dancers.
One example she takes issue with is the woman looking like she is "shining her shoes" on the man's pant leg, before the step over after the man's "sandwich". Marcela stresses almost more the caress of her own leg, "the sensuality is in the closing of the legs, with the ankle and knees touching."
Remarks on Waiting, Beauty and Simplicity
Gavito and Duran's comments continue, as they describe the beauty of simplified, slowed down movements and how emotion is expressed in the absence of a movement, rather than in a multitude of movements. After Gavito's remarks about intention and moving from the heart in the dance, Marcela added her own comments about the intimate conversation going on at all times, with all parts of the body, between the two dancers.
One example she takes issue with is the woman looking like she is "shining her shoes" on the man's pant leg, before the step over after the man's "sandwich". Marcela stresses almost more the caress of her own leg, "the sensuality is in the closing of the legs, with the ankle and knees touching."
In the video, embedded in the previous post, you can see the beginning of the sandwich ("el sanguchito") and Gavito's movements, in which he very lightly caresses Marcela's leg, then almost appears as though he'd caught himself doing something too intimate, and quickly pulls his foot away crossing it behind his other leg, leading her to the step over (which unfortunately isn't visible in that sequence). Later, when it's shown more fully, Marcela answers his caress with an almost tentative brush over his leg, then caressing and closing her own leg and ankle as she steps over him. The feeling is more of a denial of an impulse to do something more intimate. So the sensuality of the step comes from what is not done rather than what is done.
Marcela goes on to say, " ... a lot of women who dance, experienced or not, tend to overload the tango, overload the movement. Putting in a lot more things than the tango needs. In reality, the beauty is in the simplicity."
Finally they discuss the dialogue of glances, of facial expressions. The way "not" looking at each other can speak more than look directly at each other. The experience, the effect, the emotion, is different every time - even with the same partner and the same music, the moment can never be duplicated.
Gavito states simply, "You can't teach it. You can't lead it."
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