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	<title>LimerickTango &#187; The Second Class</title>
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	<description>...from the Shannon to the Rio de la Plate</description>
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		<title>Fundamentals, Opportunities &amp; Variations</title>
		<link>http://www.limericktango.com/2010/06/fundamentals-opportunities-variations/</link>
		<comments>http://www.limericktango.com/2010/06/fundamentals-opportunities-variations/#comments</comments>
		<pubDate>Fri, 18 Jun 2010 13:32:25 +0000</pubDate>
		<dc:creator>LimerickTango</dc:creator>
				<category><![CDATA[The Second Class]]></category>

		<guid isPermaLink="false">http://www.limericktango.com/?p=713</guid>
		<description><![CDATA[I have written much here about how I approach the beginnings of tango. But beyond that? Where do I take things? For a long time I have simply referred to it as &#8216;the second class&#8217;, preferring not to use the &#8230; <a href="http://www.limericktango.com/2010/06/fundamentals-opportunities-variations/">Continue reading <span class="meta-nav">&#8594;</span></a>]]></description>
			<content:encoded><![CDATA[<p>I have written much here about how I approach the <a href="http://www.limericktango.com/weighty-discussion/the-preparatory-cycle/" target="_blank">beginnings</a> of tango. But beyond that? Where do I take things? For a long time I have simply referred to it as &#8216;the second class&#8217;, preferring not to use the terms &#8216;improver&#8217; or &#8216;advanced&#8217; due to connotations applied to them. I could not think of a term that would encapsulate correctly what it is that lies beyond my fundamentals of tango.</p>
<p>Until now. And that term is &#8216;Opportunities and Variations&#8217;.</p>
<p>In encapsulating the second class correctly it helps describe the function and relationship to the first class. The First class deals with the fundamentals of tango; the embrace, the walk, the music, ochos, turns, stops, check-steps. All the things you need to navigate the floor. You do not need to know how to perform a sacada to get round the floor but without stops or turns things would get sticky.</p>
<p>A sacada is an example of an opportunity and a means towards variation. She ochos or sidesteps and I take the opportunity to sacada. I didn&#8217;t have to. But the possibility was there and now because I took that opportunity new possibilities arise. Indeed if I vary the manner of my sacada then different possibilities occur. If I follow the music and the music changes then my movements change. Vals and Milonga all come out of the music.</p>
<p>So in the first class I lay down the fundamentals. Then in the second class I take those fundamentals and show how they can be used to explore the possibilities. Nothing new needs to be created, just revealed.</p>
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