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C’est en faisant n’importe quoi que l’on devient n’importe qui

I received this video from our friends over in France. They decided to make the “Addicted2Salsa ‘the first real episode’”. It stars a French version of me and Stephanie Kadlicko (my partner in the VERY early episodes of Addicted2Salsa videos). They add a kung-fu/karate moves to the basic step. Something fun to watch.

If you didn’t know, I love people with a great sense of humor (even if it is at my expense). If you want to make fun of any of my videos (or my dancing) feel free - trust me, I’ll love it.

Lastly, I do not know French as well as I would like. Therefore, if anyone can send me a translation of the spoken script - I would much enjoy it very much! I did love their quote in the video which reads:

“C’est en faisant n’importe quoi que l’on devient n’importe qui” which means “In doing anything, one becomes anybody”. (or someone can correct my French translation if I have it wrong.

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3 Responses to “C’est en faisant n’importe quoi que l’on devient n’importe qui”


  1. 1 Sami

    Hi,

    I’m one of the guy on the video (the one playing you :P)

    “C’est en faisant n’importe quoi que l’on devient n’importe qui” is actually the motto of Rémi Gaillard, a french guy who makes some deeply funny videos.
    You can check his videos on his website : http://www.nimportequi.com

    His motto is a pun, which is hardly translatable in english, but your translation is quite correct.
    And Setha (the other guy on the video) just borrowed it from him.

    I can help you with the script of the video, a little bit later.

    Sami

  2. 2 Tom

    Fun video :)
    Just as a tangent to it, has anyone done salsa with props?
    I saw this nugget of awesomeness (i’m a fan of dance to mashed up tunes)
    http://www.youtube.com/watch?v=o2vTXMQ0sHY and wondered if anyone had choreographed anything? Something breaking out of single partner dancing, but more flexible in shape and form than la rueda? (muchos spices ftw? ).
    it comes off the back of the observation that mini-la rueda’s aren’t always seen - there could be some interesting possibilies dance wise, if you started to have a much more flexible vision of a salsa dance?

  3. 3 gindrou

    1
    00:00:33,000 –> 00:00:36,500
    Hi ! I’m Anthony

    2
    00:00:36,500 –> 00:00:39,000
    Hi ! I’m Stéphanie

    3
    00:00:43,700 –> 00:00:48,500
    Bonjour ,nous allons aujourd’hui vous présenter une nouvelle passe.

    4
    00:00:48,500 –> 00:00:50,500
    Cette passe, on l’a intitulé :

    5
    00:00:50,500 –> 00:00:52,500
    “Une passe Congo avec Kick”

    6
    00:00:53,500 –> 00:00:58,000
    Pour présenter la chose, nous allons commencer par un pas de base.

    7
    00:01:06,500 –> 00:01:09,500
    Nous allons effectuer un Cross Body avec un Kick.

    8
    00:01:09,500 –> 00:01:12,660
    Notez bien comment va se placer ma jambe droite.

    9
    00:01:17,000 –> 00:01:19,000
    Pour aider le déplacement de la danseuse,

    10
    00:01:19,000 –> 00:01:21,500
    j’effectue un Kick sur ses fesses.

    11
    00:01:21,500 –> 00:01:23,500
    Nous allons maintenant effectuer un Break.

    12
    00:01:25,500 –> 00:01:27,500
    Puisque la danseuse a été maltraitée,

    13
    00:01:27,500 –> 00:01:29,500
    elle inverse les rôles.

    14
    00:01:29,500 –> 00:01:31,500
    Ouverture des bras,

    15
    00:01:31,500 –> 00:01:34,000
    et nous nous vengeons sur notre partenaire.

    16
    00:01:36,500 –> 00:01:39,000
    2, un coup sur l’estomac et 3 on le fini.

    17
    00:01:39,000 –> 00:01:42,000
    Mais un partenaire ne reste jamais au sol !

    18
    00:01:52,000 –> 00:01:54,500
    Maintenant que les deux partenaires sont séparés,

    19
    00:01:54,500 –> 00:01:56,000
    nous allons pouvoir effectuer un Shine

    20
    00:01:56,000 –> 00:01:58,500
    pour lequelle chacun va briller séparément.

    21
    00:02:03,500 –> 00:02:05,500
    Le partenaire étant désorienté,

    22
    00:02:05,500 –> 00:02:08,500
    il ne faut pas hésiter a bouger exagérément la tête.

    23
    00:02:13,000 –> 00:02:15,000
    La danseuse le récupère.

    24
    00:02:15,000 –> 00:02:17,500
    Mais le cavalier est de dos.

    25
    00:02:17,500 –> 00:02:19,500
    Il faut le récupéré de face.

    26
    00:02:19,500 –> 00:02:24,000
    Pour cela, nous allons lui imprégner un mouvement de rotation,

    27
    00:02:24,000 –> 00:02:26,000
    puisqu’il n’a pas l’habitude a être guidé,

    28
    00:02:29,500 –> 00:02:30,500
    qu’on bloque.

    29
    00:02:31,000 –> 00:02:32,200
    A partir du moment ou on bloque,

    30
    00:02:32,200 –> 00:02:35,000
    on va faire tourner le partenaire pour le retrouver de face.

    31
    00:02:39,000 –> 00:02:40,500
    Puisqu’on l’adore,

    32
    00:02:40,500 –> 00:02:43,000
    on lui fait un geste affectueux.

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