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No Bols Needed For Bougaling
To understand bouboling, you must first understand bougaling. Bougaling is simply bouboling without the bols.
(actually bougaling is the parent activity so bouboling is bougaling with the addition of the bols) You have either done
yourself or have seen other people doing what is almost bougaling, though you may know it by other names:
If done with both an uninhibited attitude AND because of the feeling of it, those forms of dancing would be bougaling
except for one very subtle difference. Understanding that subtle difference requires a basic grasp of the mental
components of bougaling. Even the simple explanation of those mental components is a bit complicated, but I will try to
keep it simple to begin with and leave the complexity for later.
You will already have noticed a tendency for creating unique names for things. I am not making up the "things". They
actually exist. I am just giving each "thing" a unique name to mark it as a unique "thing". (and to provide a nomenclature
for discussion) Once you have understood the uniqueness of the "thing", you can forget the name and just come back
here if you need it. To explain bougaling I will enumerate:
First > Throw Out The Hard-Dancing
For clarity we will use the term "hard-dancing" for "learned movements selected for the visual impact". Hard-dancing
is what we think of as dance steps or styles of dance. The 1st important key to understanding bougaling
is that it is easier to learn to bougal if you eliminate the intent to do hard-dancing.
Bougaling is > moving to music for the feeling of it.
Bougaling is not > doing learned movements based on selection for the visual impact.
To understand bouboling, you must first understand bougaling. Bougaling is simply bouboling without the bols.
(actually bougaling is the parent activity so bouboling is bougaling with the addition of the bols) You have either done
yourself or have seen other people doing what is almost bougaling, though you may know it by other names:
If done with both an uninhibited attitude AND because of the feeling of it, those forms of dancing would be bougaling
except for one very subtle difference. Understanding that subtle difference requires a basic grasp of the mental
components of bougaling. Even the simple explanation of those mental components is a bit complicated, but I will try to
keep it simple to begin with and leave the complexity for later.
You will already have noticed a tendency for creating unique names for things. I am not making up the "things". They
actually exist. I am just giving each "thing" a unique name to mark it as a unique "thing". (and to provide a nomenclature
for discussion) Once you have understood the uniqueness of the "thing", you can forget the name and just come back
here if you need it. To explain bougaling I will enumerate:
First > Throw Out The Hard-Dancing
For clarity we will use the term "hard-dancing" for "learned movements selected for the visual impact". Hard-dancing
is what we think of as dance steps or styles of dance. The 1st important key to understanding bougaling
is that it is easier to learn to bougal if you eliminate the intent to do hard-dancing.
Bougaling is > moving to music for the feeling of it.
Bougaling is not > doing learned movements based on selection for the visual impact.
the boogie, rockin, rockin out, gettin down, groovin, workin it out, shakin your groove thang, boppin, body musicking
> 7 important keys to understanding bougaling
> the one subtle difference that makes a big difference
> the astounding ability of the iKo to move our body to music
> the one subtle difference that makes a big difference
> the astounding ability of the iKo to move our body to music
There is quite a bit more to learn about
bougaling so now let's learn about Elemoz
bougaling so now let's learn about Elemoz
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