3641 Secrets of the molinete and struggling bears
Date: Fri, 22 Jul 2005 17:51:08 -0500
From: Susan Munoz <susanmunoz@9DOTSOLUTIONS.COM>
Subject: Secrets of the molinete and struggling bears
Regarding the molinete, Jean-Pierre S. wrote, in part: "I might add that
men MUST know the molinete the same way women do. I've come to realize
that some men out there have the weird notion that the molinete is only
for women. They couldn't be more mistaken! To which Richard deSousa
wrote: "I agree... you have no quarrel with me... both partners have to
maintain their axises otherwise they'd upset each other's balance."
Igor Polk said that part of the problem with the molinete is that women
".... are trying to make the steps themselves, while they should only
listen to a good lead, that is all. What they can do if there is no one?
And if they are making the steps themselves, men should follow them. But
our men are not able to follow, they must lead! That is why everybody at
those lessons look like struggling bears." First of all, gentlemen --
thank you for your equal partnership remarks.
This brings up a question about the molinete in vals: In vals (if I'm
remembering correctly), I was instructed the follower should do the
molinete with a rhythmic step/beat; i.e., slow, quick, quick "1......., 2-3..........1......., 2-3." So, when I'm dancing a vals
and the leader leads a molinete and if I move with that rhythm inside
the molinete and the guy isn't leading/responding/interacting (whatever
word best fits), with the same slow, quick, quick (or wherever he has
chosen the accent to be), it fits rather strange = 'struggling bears.'
On the other hand, if he's an advanced (my perception) leader and
"leads" the molinete with the accent it feels really nice. It would
seem to me that if the guy leads me into a molinete and does not lead
with an accent and I do, that I am making the steps myself, then, rather
than listening to the lead (good or bad). (And we all need/want to be
patient with those of varying skill levels.)
So the question becomes: "In the vals, whose responsibility is it -- or
is there any -- to lead and/or accent the rhythm?" Maybe I've not
articulated the question as good as it could be, but hopefully, you will
understand it enough to know what I'm attempting to ask.
Kind regards,
Susan
Date: Fri, 22 Jul 2005 18:39:39 -0700
From: Iron Logic <railogic@YAHOO.COM>
Subject: Re: Secrets of the molinete and struggling bears
Dear Susan
>>>
"In the vals, whose responsibility is it -- or is there any -- to lead and/or accent the rhythm?"
>>>
In waltz or tango if the you want a quick quick on back - side, then the man must accelerate from the preceding back step and ofcourse open up a lot with the upper body to make space for woman's back cross. Also here, I think, the key is to let the lady pivot before letting her "fall" to peform a back cross-side step, same goes for women, .i.e complete pivot and then go.
2 cents.
Cheers,
IL
Susan Munoz <susanmunoz@9DOTSOLUTIONS.COM> wrote:
Regarding the molinete, Jean-Pierre S. wrote, in part: "I might add that
men MUST know the molinete the same way women do. I've come to realize
that some men out there have the weird notion that the molinete is only
for women. They couldn't be more mistaken! To which Richard deSousa
wrote: "I agree... you have no quarrel with me... both partners have to
maintain their axises otherwise they'd upset each other's balance."
Igor Polk said that part of the problem with the molinete is that women
".... are trying to make the steps themselves, while they should only
listen to a good lead, that is all. What they can do if there is no one?
And if they are making the steps themselves, men should follow them. But
our men are not able to follow, they must lead! That is why everybody at
those lessons look like struggling bears." First of all, gentlemen --
thank you for your equal partnership remarks.
This brings up a question about the molinete in vals: In vals (if I'm
remembering correctly), I was instructed the follower should do the
molinete with a rhythmic step/beat; i.e., slow, quick, quick "1......., 2-3..........1......., 2-3." So, when I'm dancing a vals
and the leader leads a molinete and if I move with that rhythm inside
the molinete and the guy isn't leading/responding/interacting (whatever
word best fits), with the same slow, quick, quick (or wherever he has
chosen the accent to be), it fits rather strange = 'struggling bears.'
On the other hand, if he's an advanced (my perception) leader and
"leads" the molinete with the accent it feels really nice. It would
seem to me that if the guy leads me into a molinete and does not lead
with an accent and I do, that I am making the steps myself, then, rather
than listening to the lead (good or bad). (And we all need/want to be
patient with those of varying skill levels.)
So the question becomes: "In the vals, whose responsibility is it -- or
is there any -- to lead and/or accent the rhythm?" Maybe I've not
articulated the question as good as it could be, but hopefully, you will
understand it enough to know what I'm attempting to ask.
Kind regards,
Susan
