thoughts on teaching on2 in on1 prevalent scene?

acpjr said:
Whether or not you believe the on2 mystique is good or bad or right or wrong, it's very powerful in generating interest in learning to dance on2 in a non-on2 scene. You're gonna have to roll out the on2 hype machine....
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Hmm, that´s something I hadn´t considered. An element of mystique does encourage people to learn a new timing, I would admit.

However, I´d say that its more honest to promote On2 classes to On1 dancers by saying that´s another important string to add your bow, showing how understanding timing from different perspectives (and hearing how these relate to the music) will help make you a more "rounded" dancer.

And then teach your preferred approach to general dance technique, musicality etc no matter what beat you dance on...

acpjr said:
If your fear is that you'll somehow create on2 snobbery and your students will abandon on1 in favor of on2 and only dance with each other, you are already admitting failure as an instructor by not promoting the dance as a social dance that welcomes all styles and skill levels.
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This is true.

However, if you tell your students that breaking on2 makes them a better salsa dancer (as some teachers I know do), then you´re admitting failure that your skill as a teacher, your general teaching methodology, and the skills that you are helping your students to develop are what is making them a better salsa dancer...
 
MAMBO_CEC said:

For those of you who are mathematically inclined!!! scientific evidence that NY style is smoother.
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This was a terrific talk by a world-renown mambomatician. I wonder if data from real dancing fit his mathematical model, as On2 can, in some cases, might seem "snappier" than the smooth version he's describing. I guess we'll have to wait until an experimental mambophysicist tackles the problem. Nonetheless, I look forward to reading his peer-reviewed publication in the near future.
 
MAMBO_CEC said:
For those of you who are mathematically inclined!!! scientific evidence that NY style is smoother.
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Ok, it was fun to watch it. Unfortunately - garbage in, garbage out - he came to wrong conclusions. While theoretically correct ET2 style is less smooth than correct on1/on2/son/mambo, practically you can observe motions of upper body and steps and soon figure out that motion is way more complex than, one step back, one step back, wait, wait, let's go forward.

P.S. I'd love to drink some beer with that guy. :)
 
Of course it's wrong. 1st harmonic would be actually analog to movement across the floor and 3rd harmonic to smaller variations, like body movement etc. And in NY style steps are small, but there is much styling etc, so it's actually just opposite to "conclusions" drawn at the end of the clip
However, these things could be measured and elaborated mathematically, just that result would be too complex to understand for most "usual people" hence useless, just like this clip
 
I think this stuff was done in jest, the last thing I want to see happening is people doing mathematical models of dancing styles, what's next? finite element analysis of dancers bodies? For me the whole thing was a joke, I have no idea if the guy was serious about it, I got a laugh out of it and it got people talking, It's shows by the reactions how sensitive people are to this "LONG RUNNING" saga of ET2,PR2,LA and CUBAN,ON3. Back to the OP!!!
 
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MAMBO_CEC said:
I think this stuff was done in jest, the last thing I want to see happening is people doing mathematical models of dancing styles, what's next?
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I was actually planning to implement a database of salsa patterns backed by a graph database equipped with a salsa move generator that could search for possible connections between various patterns based on partners, feet and hands position. However, so far I have been stuck on the actual model of a body movement and getting all sufficient parameters without having to fill out a really big form for each step (left hand position, right hand, partners hands, feet, body orientation, movement direction and acceleration, etc.) and defining transitions between the states and its rules.
 
Aurel said:
I was actually planning to implement a database of salsa patterns backed by a graph database equipped with a salsa move generator that could search for possible connections between various patterns based on partners, feet and hands position. However, so far I have been stuck on the actual model of a body movement and getting all sufficient parameters without having to fill out a really big form for each step (left hand position, right hand, partners hands, feet, body orientation, movement direction and acceleration, etc.) and defining transitions between the states and its rules.
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I prefer to go out and dance instead :wacky:
 
vit said:
Well you can skip spins after the copa first and add them later - that's what I will do when trying the move on the next party
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Interestingly, the first 3/4 or so of the copa cape was taught by Santo Rico as part of a slightly longer routine at the Seattle Congress this afternoon. The hardest part wasn't where I thought it would be, for me was keeping contact during the double inside coming out of the copa.
 
Ultimately "smoothness" in dance is based on the dancer and how the dance is executed, not what count the break happens on or on scientific analysis of the steps.
 
Jag75 said:
Ultimately "smoothness" in dance is based on the dancer and how the dance is executed, not what count the break happens on or on scientific analysis of the steps.
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It does actually. On1 has different footwork than on2 because of the difference in the pause, so it will effect the smoothness one way or another. Which style is smoother I am not gonna discuss, but the difference in the physical execution of the basic step of both styles are in one way or another going to lead to a difference in smoothness, taking all other variables constant.
 
Kading said:
It does actually. On1 has different footwork than on2 because of the difference in the pause, so it will effect the smoothness one way or another. Which style is smoother I am not gonna discuss, but the difference in the physical execution of the basic step of both styles are in one way or another going to lead to a difference in smoothness, taking all other variables constant.
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Here we go again.. the " footwork " is no different, the musical expression IS.

And, "smoothness", has little or nothing to do with the beat upon which one breaks, its always about the seamless connection, between "flight " and music .
 
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