Re: [Tango-L] Better? Worse? Just different.
I was merely agreeing with what you were told by an Argentine is Buenos Aires. And my agreement was based on what I've seen at many traditional milongas in Buenos Aires. If you don't agree that's fine; it's all Tango; but it's not all 'traditional'. But you asked a direct question and I responded. Don't blame me if you don't like the answer. I told you what I think is traditional tango. How about you reciprocate and tell us what you think it is. Or anybody else for that matter. I'd be interested to hear. Somebody wrote, quite a while ago, [Michael, I think] that the Argentines in Buenos Aires dance only 5 or 6 figures and I'm sure he didn't include leg wraps in that. Btw, I don't think "the shape of the embrace" is the defining factor. You can dance huge triple Volcadas in close embrace but I don't think anyone would call that 'traditional'. Jack - Original Message > From: Brick Robbins > > So anyone who dances wraps in their tango, no matter the shape of the > embrace, is not dancing traditional tango. Thank you for making that > clear. ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
Re: [Tango-L] Better? Worse? Just different.
Trini, So does that mean you think 'anything goes' and it's still traditional tango. If the answer is 'yes', fine; everyone is entitled to their opinion. But if the answer is 'no', then aren't you doing the same as I did? Jack - Original Message > From: Trini y Sean (PATangoS) > > Does this mean, then, that tango is ... gasp ... CODIFIED? > ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
Re: [Tango-L] Better? Worse? Just different.
Jack: Thanks for remembering: Below are the figures I observed danced by the Argentines: Walking Ocho Cortado Molinete (to the right and left) Back Ocho Boleo I didn't see any figures that take up a lot of room because there wasn't a lot of room. The Argentines value connection, not figures. Michael I danced Argentine Tango --with the Argentines - Original Message - From: Jack Dylan To: tango-l@mit.edu Sent: Thursday, April 21, 2011 6:16 AM Subject: Re: [Tango-L] Better? Worse? Just different. I was merely agreeing with what you were told by an Argentine is Buenos Aires. And my agreement was based on what I've seen at many traditional milongas in Buenos Aires. If you don't agree that's fine; it's all Tango; but it's not all 'traditional'. But you asked a direct question and I responded. Don't blame me if you don't like the answer. I told you what I think is traditional tango. How about you reciprocate and tell us what you think it is. Or anybody else for that matter. I'd be interested to hear. Somebody wrote, quite a while ago, [Michael, I think] that the Argentines in Buenos Aires dance only 5 or 6 figures and I'm sure he didn't include leg wraps in that. Btw, I don't think "the shape of the embrace" is the defining factor. You can dance huge triple Volcadas in close embrace but I don't think anyone would call that 'traditional'. Jack - Original Message > From: Brick Robbins > > So anyone who dances wraps in their tango, no matter the shape of the embrace, is not dancing traditional tango. Thank you for making that clear. ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
Re: [Tango-L] Better? Worse? Just different.
I've always thought that the defintion of a 'Colgada' is that the axes of the couple tilt away from each other. How is that possible while remaining in close embrace? Or is my understanding incorrect? Any video showing this? Jack - Original Message > From: jan bares jb34...@att.net > BTW, is anyone on this list aware that Gustavo Naveira, e.g., teaches a >close embrace,“colgada milonguera”? Did it in his class. > > ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
Re: [Tango-L] Better? Worse? Just different.
Hi Jack, it's easier to imagine if you don't think about axes rather than the weigt of the dancers pulling away from each other. Since the weight is mainly connected to your hipps, this is manageble without losing the close embrace. I am sure there is some video out there with some milonguero couple who does it, but you have to look carefully. Cheers, Bertil > Date: Thu, 21 Apr 2011 03:54:55 -0700 > From: jackdylan...@yahoo.com > To: tango-l@mit.edu > Subject: Re: [Tango-L] Better? Worse? Just different. > > I've always thought that the defintion of a 'Colgada' is that the axes > of the couple tilt away from each other. How is that possible while > remaining in close embrace? Or is my understanding incorrect? > > Any video showing this? > > Jack > > > > - Original Message > > From: jan bares jb34...@att.net > > > BTW, is anyone on this list aware that Gustavo Naveira, e.g., teaches a > >close embrace,“colgada milonguera”? Did it in his class. > > > > > ___ > Tango-L mailing list > Tango-L@mit.edu > http://mailman.mit.edu/mailman/listinfo/tango-l ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
Re: [Tango-L] Better? Worse? Just different
It's interesting to me to compare the tango situation to the situation for contradance, which is danced entirely to live music and has a thriving population of dance bands who play very well for dancers. I wonder what makes the difference? Contradance to me is a dance which is inextricably linked to its music. However, I did recently see a flyer for an "alternative music contradance," which leaves me thinking very much "ugh!". I am learning, after twenty years of dancing tango on and off, to really hear the music. I used to like dancing to non-traditional music because I could hear the beat better, but I find that the more I listen to tango music, the less I like dancing tango steps to non-traditional music because it lacks all the things that makes tango music beautiful (including surge and suspension). --Sharon On Wednesday, April 20, 2011, Tango22 wrote: > Keeping Tango bands alive is very difficult, because there is insufficient > money in it for struggling musicians. When one member leaves a band, the > growth in repertoire stops until the new member is up to speed, so it's vey > hard to develop a good dance repertoire. Getting sufficient gigs to maintain > interest is hard. So it's a chicken & egg situation. > > We all like to give aspiring bands a go, but it can be risky. Even then, I'm > not inclined to lecture people who have put in many hours of rehearsal about > how and what they should play. I prefer not to overuse a local band, with > plenty of recorded classics in the dance mix, until I'm happy that they can > hold a crowd. > > Unfortunately , many bands drift off into too much Piazzolla. Perhaps it > suits their classical instruments and classical inclinations, or maybe the > arrangements are easier to acquire. One Sydney band of very good musicians > recently got a severe caning for doing this at a milonga. Many bands > valiantly attempt to arrange their own music. It's often a disaster. > Arrangements from an experienced arranger work better, but they must be paid > for. On the other hand, bands also want to be innovative and interesting, > but it's hard to innovate without a background steeped in tradition. > > I do not subscribe to musicians being required to dance. Playing and dancing > Tango are very different things. In fact, musicians of all kinds rarely > dance, because they are too busy playing, or practicing. > > Joaquin Amenabar's Australian Quartet is outstanding and a great example of > live traditional dance music. They are playing again at Milonga Para Los > Niños in Brisbane, early August They train for at least 6 months, under his > remote-control guidance. Last year I was delighted to watch the pre-ball > rehearsal where he spent 2 hours converting the band from concert mode to > dance-band mode. A really impressive display from Amenabar and some very > accomplished musicians. See last years band at www.paralosninos.net. > Listening to this band should be compulsory for aspiring Tango musicians. > It's worth the trip. > > Joaquin also does some collaborative work with the Qld. Conservatorium during > his visit. > > Ignacio Varauschky (El Arranque, Tango Via & Escuela De Tango Orquesta) also > did a very creditable job with SYO students at a special Sydney milonga after > his student workshops in Canberra and Sydney. What happened to the Canberra > students, I wonder? Are they encouraged to play at milongas. > > Maggie Ferguson, http://en.wikipedia.org/wiki/Maggie_Ferguson, is also a > driving force for new Tango musicians in Australia. Do Sydney and Canberra > Tango communities support her huge effort? I hope so. > > John, > Brisbane, Australia > > > > > > > > > >>> >> I have to wonder, if these bands are so awful, who is hiring them to >> play at milongas? Who is telling them about the lack in their music? Are >> they willing to accept advice about dance music from dancers? If not, >> they shouldn't be playing dance music. >>> However, experienced improvising musicians can certainly deliver the >>> goods,& I've seen it done. Tango is a FEEL. You don't learn it at the >>> conservatory, or by rehearsing until you're blue in the face. >> True. My first piece of advice to aspiring tango musicians is to learn >> to dance tango, to appreciate the music as a dancer, so they know what >> makes good dance music. >> >> Myk, >> in Canberra > > ___ > Tango-L mailing list > Tango-L@mit.edu > http://mailman.mit.edu/mailman/listinfo/tango-l > ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
Re: [Tango-L] Better? Worse? Just different
Sharon wrote: I used to like dancing to non-traditional music because I could hear the beat better, but I find that the more I listen to tango music, the less I like dancing tango steps to non-traditional music because it lacks all the things that makes tango music beautiful (including surge and suspension). This is unfortunately one of the principal reasons that contributes to many dancers resorting to non-tango music for dancing: it ts easier to hear the beat in other music or modern "electro-pop" tango. It takes time to hear the beat and the many nuances in tango music. As teachers advise students to be patient about the technical requirements of tango, it is also important to advise that the same patience is often required to learn to appreciate the music. The subtleties of the dance and music are interconnected. Taking shortcuts in one will affect the other eventually. Cheers, Charles ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
Re: [Tango-L] Better? Worse? Just different
I have found that to really gain an appreciation for the nuances of the tango music, it is important to listen to the music "almost" non-stop. This helps incorporate the various nuances into the body and the subconscious. Even today, I find it difficult to dance to a piece of music I have never heard before when the beat is not strong and predictable. When dancing to tango, one can dance to the beat or melodic structure, and one can also concentrate on one or the other musical voices (i.e., instruments or voice). My two cents, Gordon On 4/21/11 9:47 AM, Charles Roques wrote: > Sharon wrote: > > I used to like dancing to non-traditional > music because I could hear the beat better, but I find that the more I > listen to tango music, the less I like dancing tango steps to > non-traditional music because it lacks all the things that makes tango > music beautiful (including surge and suspension). > > This is unfortunately one of the principal reasons that contributes to many > dancers resorting to non-tango music for dancing: it ts easier to hear the > beat in other music or modern "electro-pop" tango. It takes time to hear the > beat and the many nuances in tango music. As teachers advise students to be > patient about the technical requirements of tango, it is also important to > advise that the same patience is often required to learn to appreciate the > music. The subtleties of the dance and music are interconnected. Taking > shortcuts in one will affect the other eventually. > > Cheers, > Charles > ___ > Tango-L mailing list > Tango-L@mit.edu > http://mailman.mit.edu/mailman/listinfo/tango-l ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
Re: [Tango-L] Better? Worse? Just different
Last Sunday I had a conversation with Blas Clemente Catrenau he grew up in Mataderos during the 1940’s and 1950’s. In the early 1990’s Blas began to organize Milongas and from 2003 to 2009 he hosted “La Milonguita” one of the most successful milongas of Buenos Aires. In 2002 Blas won the Metropolitan Championship of Tango Salon. The first question Blas asked me was “what is the number one most important thing about dancing tango” My brain was racing trying to think of the right answer…uh the woman the embrace, deodorant, breath mints? Thankfully he answered his own question before I had a chance to make a fool of myself. “The Music” first you need to learn the music second is “The Heart” you need to feel the music in your heart only then can you dance Tango I think deodorant came in third. Blas was referring to traditional tango music. David Sharon wrote: I used to like dancing to non-traditional music because I could hear the beat better, but I find that the more I listen to tango music, the less I like dancing tango steps to non-traditional music because it lacks all the things that makes tango music beautiful (including surge and suspension). This is unfortunately one of the principal reasons that contributes to many dancers resorting to non-tango music for dancing: it ts easier to hear the beat in other music or modern "electro-pop" tango. It takes time to hear the beat and the many nuances in tango music. As teachers advise students to be patient about the technical requirements of tango, it is also important to advise that the same patience is often required to learn to appreciate the music. The subtleties of the dance and music are interconnected. Taking shortcuts in one will affect the other eventually. Cheers, Charles ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
Re: [Tango-L] Better? Worse? Just different.
--- On Thu, 4/21/11, Jack Dylan wrote: So does that mean you think 'anything goes' and it's still traditional tango. If the answer is 'yes', fine; everyone is entitled to their opinion. But if the answer is 'no', then aren't you doing the same as I did? Jack Hi Jack, At one point in time, walking to the cross would not have been considered "traditional". At another point in time, molinetes were not considered "traditional". At one point in time, Tete Rusconi was not considered a "traditional" dancer because he and Maria made everything into a turn instead of simply walking. He refused to teach for a long time because he didn't think his dancing was proper. My point, of course, is that what is considered "traditional" changes with each generation because tango is a living dance. Sometimes something is labeled "traditional" to contrast it with something new. For example, leg wraps created from a woman's pivot after her side step are considered more traditional than the one created by, more-or-less, swinging her leg around his. I googled "tradition" and saw this phrase in Wikipedia: "In artistic contexts, tradition is used to decide the correct display of an art form. For example, in the performance of traditional genres (such as traditional dance), adherence to guidelines dictating how an art form should be composed are given greater importance than the performer's own preferences." I don't think that will fly in tango. I believe the tradition in tango was to respect and appreciate the new movements a man came up with and not to copy that particular movement for oneself. Each person has his own tango. I think what defines what is classic or modern tango lies not so much in the movement itself but in the energy and the intention of the movement. I watch Diego & Carolina do a colgada and has a definite salon feel. I see Homer and Christina do a colgada and it has a more nuevo feel. I've done close-embrace colgadas with salon dancers years before colgadas were being taught in workshops. Today, I think that it's becoming more of the context of the dance (space size, traveling versus stationary, music, etc.) that determines whether a tango is classic/traditional or not. Trini de Pittsburgh ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
[Tango-L] Better? No. Worse? No. Different? Definitely!
Trini wrote: <> Historically as new steps came along, they were still executed within the technical framework of traditional tango, meaning that posture was not compromised, one did not turn their head in a different direction from their frame, watch their partners feet, feet were kept together and collected between steps, weight was kept forward over the balls of the feet, etc. So steps like the cross or a molinete were more easily absorbed into the traditional structure of tango. What is different about much of nuevo lies in the difference in fundamental elements like those, not just in different steps. Nuevo tango has a different structure, not just different steps. It is not a semantical argument about the roots of the words "traditional" or "classic." Charles ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
Re: [Tango-L] Better? Worse? Just different
Gordon wrote: "I have found that to really gain an appreciation for the nuances of the tango music, it is important to listen to the music "almost" non-stop. This helps incorporate the various nuances into the body and the subconscious. Even today, I find it difficult to dance to a piece of music I have never heard before when the beat is not strong and predictable. When dancing to tango, one can dance to the beat or melodic structure, and one can also concentrate on one or the other musical voices (i.e., instruments or voice)." To expand a little bit Gordon's wise (2 cents) contribution, I will add that to dance tango musically and with some originality, we have not only to constantly listen the music, but analize it with some musical knowledge. One of the particularty, challenge, and beauty of AT, is the posibility to artistically choreograph almost every musical "nuance" as Gordon said. We must be aware of even the melodic articulation such us legatos, portatos, staccatos, and the like. And what about crescendos, fermatas, and rests? Good experienced AT dancers may interpret a piece on the spot by improvising a good coreography without "preparing" it in advance. However, as an "advance" beguinner, I personally feel the need, just to dance with a 10-20% satisfaccion, to prepare a rendicion with the vocabulary that I have, by rehersing over and over and trying different "moves" for a particular musical texture. My half penny contribution. :-) Ruben ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
[Tango-L] Music: Beat, Energy, Emotion & the Embrace
- Original Message > From: Charles Roques > > . one of the principal reasons that contributes to many dancers > resorting >to non-tango music for dancing: it ts easier to hear the beat in other music >or modern "electro-pop" tango. That's interesting, especially since those who prefer non-tango music for mimicking tango steps usually don't dance to the rhythm of the music. I think what they get from the non-tango music is energy - energy for the large and rapid movements that to them define tango. In contrast, milonguero dancers conserve energy, keeping it inside of the embrace, using some for movement and some for sharing emotion with their partner in the embrace. This is hard to do at arm's length - at least sharing positive energy. The only kind of energy that can be shared at arm's length is negative - dragging or pushing you partner. It takes an embrace to share positive energy - affection and romanticism. Ron ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
Re: [Tango-L] Music: Beat, Energy, Emotion & the Embrace
Amazing and fantastic how different we are! In my experience, "affection and romanticism" can be wonderfully shared at the arm's-length distance, maybe even more so. ...dubravko === seek, appreciate, and create beauty this life is not a rehearsal === > >From: RonTango >To: Charles Roques ; Tango-L >Sent: Thursday, April 21, 2011 2:02 PM >Subject: Re: [Tango-L] Music: Beat, Energy, Emotion & the Embrace > >- Original Message >> From: Charles Roques >> >> . one of the principal reasons that contributes to many dancers >> resorting >>to non-tango music for dancing: it ts easier to hear the beat in other >>music >>or modern "electro-pop" tango. > >That's interesting, especially since those who prefer non-tango music for >mimicking tango steps usually don't dance to the rhythm of the music. I think >what they get from the non-tango music is energy - energy for the large and >rapid movements that to them define tango. > >In contrast, milonguero dancers conserve energy, keeping it inside of the >embrace, using some for movement and some for sharing emotion with their >partner >in the embrace. This is hard to do at arm's length - at least sharing positive >energy. The only kind of energy that can be shared at arm's length is negative >- >dragging or pushing you partner. It takes an embrace to share positive energy >- >affection and romanticism. > >Ron >___ >Tango-L mailing list >Tango-L@mit.edu >http://mailman.mit.edu/mailman/listinfo/tango-l > > > ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
Re: [Tango-L] Music: Beat, Energy, Emotion & the Embrace
Of course, that is assuming that you and Charles even agree on the definition of the words "affection and romanticism"! Gordon On 4/21/11 2:24 PM, Dubravko Kakarigi wrote: > Amazing and fantastic how different we are! In my experience, "affection and > romanticism" can be wonderfully shared at the arm's-length distance, maybe > even more so. > > ...dubravko > > === > seek, appreciate, and create beauty > this life is not a rehearsal > === > > >> >> From: RonTango >> To: Charles Roques; Tango-L >> Sent: Thursday, April 21, 2011 2:02 PM >> Subject: Re: [Tango-L] Music: Beat, Energy, Emotion& the Embrace >> >> - Original Message >>> From: Charles Roques >>> >>> . one of the principal reasons that contributes to many dancers >>> resorting >>> to non-tango music for dancing: it ts easier to hear the beat in other >>> music >>> or modern "electro-pop" tango. >> That's interesting, especially since those who prefer non-tango music for >> mimicking tango steps usually don't dance to the rhythm of the music. I think >> what they get from the non-tango music is energy - energy for the large and >> rapid movements that to them define tango. >> >> In contrast, milonguero dancers conserve energy, keeping it inside of the >> embrace, using some for movement and some for sharing emotion with their >> partner >> in the embrace. This is hard to do at arm's length - at least sharing >> positive >> energy. The only kind of energy that can be shared at arm's length is >> negative - >> dragging or pushing you partner. It takes an embrace to share positive >> energy - >> affection and romanticism. >> >> Ron >> ___ >> Tango-L mailing list >> Tango-L@mit.edu >> http://mailman.mit.edu/mailman/listinfo/tango-l >> >> >> > ___ > Tango-L mailing list > Tango-L@mit.edu > http://mailman.mit.edu/mailman/listinfo/tango-l ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
Re: [Tango-L] Better? Worse? Just different
". . . to dance tango musically and with some originality, e have not only to constantly listen the music, but 'analize' it . . ." Well put. ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
Re: [Tango-L] Colgada milonguera
In brief: My take of the colgada as I learned it in "nuevo" classes is converting the translational momentum into a rotational momentum around a common axis. Follower is lead to step, stopped before being able to complete the step (when her momentum is at the peak) sent off her axis with the leader balancing her in opposite direction so as to create a common axis of rotation between partners. The momentum of her step then makes the couple rotate around the common axis. It can be lead from a variety of steps and in some versions the leader contributes to the momentum as well. Weight is one foot of each partner. All 4 feet may or may not be together on the floor. Good timing and practice is required so that the initial momentum is not lost. Following this wordy intro, "Colgada milonguera" I saw first in a milonga few years ago operates on the same principle. It is, in my opinion, more demanding on the leader who has the subtle balancing job of placing the common axis of rotation between the partners who are in the close embrace. I am not aware of any video. Jan --- On Thu, 4/21/11, Jack Dylan wrote: > From: Jack Dylan > Subject: Re: [Tango-L] Better? Worse? Just different. > To: tango-l@mit.edu > Date: Thursday, April 21, 2011, 6:54 AM > I've always thought that the > defintion of a 'Colgada' is that the axes > of the couple tilt away from each other. How is that > possible while > remaining in close embrace? Or is my understanding > incorrect? > > Any video showing this? > > Jack > > > > - Original Message > > From: jan bares jb34...@att.net > > > BTW, is anyone on this list aware that Gustavo > Naveira, e.g., teaches a > >close embrace,“colgada milonguera”? Did it in his > class. > > > > > ___ > Tango-L mailing list > Tango-L@mit.edu > http://mailman.mit.edu/mailman/listinfo/tango-l > ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
Re: [Tango-L] Colgada milonguera
http://www.youtube.com/watch?v=ZRKY78o3Azw On 4/21/11 4:27 PM, jan bares wrote: > In brief: My take of the colgada as I learned it in "nuevo" classes is > converting the translational momentum into a rotational momentum around a > common axis. Follower is lead to step, stopped before being able to complete > the step (when her momentum is at the peak) sent off her axis with the leader > balancing her in opposite direction so as to create a common axis of rotation > between partners. The momentum of her step then makes the couple rotate > around the common axis. It can be lead from a variety of steps and in some > versions the leader contributes to the momentum as well. Weight is one foot > of each partner. All 4 feet may or may not be together on the floor. Good > timing and practice is required so that the initial momentum is not lost. > Following this wordy intro, "Colgada milonguera" I saw first in a milonga few > years ago operates on the same principle. It is, in my opinion, more > demanding on the leader who has the subtle balancing job of placing the > common axis of rotation between the partners who are in the close embrace. I > am not aware of any video. > Jan > > --- On Thu, 4/21/11, Jack Dylan wrote: > >> From: Jack Dylan >> Subject: Re: [Tango-L] Better? Worse? Just different. >> To: tango-l@mit.edu >> Date: Thursday, April 21, 2011, 6:54 AM >> I've always thought that the >> defintion of a 'Colgada' is that the axes >> of the couple tilt away from each other. How is that >> possible while >> remaining in close embrace? Or is my understanding >> incorrect? >> >> Any video showing this? >> >> Jack >> >> >> >> - Original Message >>> From: jan bares jb34...@att.net >> >>> BTW, is anyone on this list aware that Gustavo >> Naveira, e.g., teaches a >>> close embrace,“colgada milonguera”? Did it in his >> class.> >> ___ >> Tango-L mailing list >> Tango-L@mit.edu >> http://mailman.mit.edu/mailman/listinfo/tango-l >> > > > ___ > Tango-L mailing list > Tango-L@mit.edu > http://mailman.mit.edu/mailman/listinfo/tango-l ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
Re: [Tango-L] Music: Beat, Energy, Emotion & the Embrace
Of course, that is assuming that you and Charles even agree on the definition of the words "affection and romanticism"! I agree But, although Charles has a good point, not necessary we need to share affection to decently dance AT. What about if I'm not very romantic? The only affective energy that motivates me to dance is the one towards music, art, harmony and beauty. Any other kind of affection has to be deliver or demonstrated with caution specially if we are not dancing with our closed friends or our beloved one. Ruben > Of course, that is assuming that you and Charles even agree on the > definition of the words "affection and romanticism"! > > Gordon > > On 4/21/11 2:24 PM, Dubravko Kakarigi wrote: >> Amazing and fantastic how different we are! In my experience, "affection >> and romanticism" can be wonderfully shared at the arm's-length distance, >> maybe even more so. >> >> ...dubravko >> >> === >> seek, appreciate, and create beauty >> this life is not a rehearsal >> === >> >> >>> >>> From: RonTango >>> To: Charles Roques; Tango-L >>> Sent: Thursday, April 21, 2011 2:02 PM >>> Subject: Re: [Tango-L] Music: Beat, Energy, Emotion& the Embrace >>> >>> - Original Message From: Charles Roques . one of the principal reasons that contributes to many dancers resorting to non-tango music for dancing: it ts easier to hear the beat in other music or modern "electro-pop" tango. >>> That's interesting, especially since those who prefer non-tango music >>> for >>> mimicking tango steps usually don't dance to the rhythm of the music. I >>> think >>> what they get from the non-tango music is energy - energy for the large >>> and >>> rapid movements that to them define tango. >>> >>> In contrast, milonguero dancers conserve energy, keeping it inside of >>> the >>> embrace, using some for movement and some for sharing emotion with their >>> partner >>> in the embrace. This is hard to do at arm's length - at least sharing >>> positive >>> energy. The only kind of energy that can be shared at arm's length is >>> negative - >>> dragging or pushing you partner. It takes an embrace to share positive >>> energy - >>> affection and romanticism. >>> >>> Ron >>> ___ >>> Tango-L mailing list >>> Tango-L@mit.edu >>> http://mailman.mit.edu/mailman/listinfo/tango-l >>> >>> >>> >> ___ >> Tango-L mailing list >> Tango-L@mit.edu >> http://mailman.mit.edu/mailman/listinfo/tango-l > > ___ > Tango-L mailing list > Tango-L@mit.edu > http://mailman.mit.edu/mailman/listinfo/tango-l > ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
