[Tango-L] LA MILONGA-CANDOMBERA
" Very few teachers in the Tango arena venture into the Milonga-Candombera subject. In fact, Tango is always taught as some strange phenomenon that just fell off the sky and materialized on its own, in Buenos Aires. To teach the Milonga-Candombera is to effectively point to the substantial link between Candombe and Tango. One could not speak of Candombe or Milonga-Candombera and be silent about the African descendants in Buenos Aires, or the Afro-Argentines. " Click on the following link to read the rest of the article: http://www.tangomagdalena.com/Newsletters/vol5_jan08.html Tangamente, Jean-Pierre Sighe TANGO MAGDALENA, LLC 580, Grand Ave, Suite # 305 Oakland, CA 94610 Ph.: 510-836 0812 Web site: http://www.tangomagdalena.com ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
[Tango-L] The Wisdom of the Basic 8 Count
" The Basic 8 Count should be taught with an immediate warning that students quickly free themselves from its structure. It should never be taught as THE basic for Tango dancing. Such fallacy has tremendously regrettable consequences. The unlucky student who falls into the hands of the false prophet will have to face the pain of going back to unlearn or re-learn. It’s just a matter of time. After about a year or so, the truth will surface, starring mockingly at the student. The religiously blind execution of the 8 count suddenly appears quite inadequate to the floor navigation ..." Click here to read the rest of the article: http://www.tangomagdalena.com/Newsletters/vol6_feb08.html We are TANGO MAGDALENA Web site : www.tangomagdalena.com Tangamente, Jean-Pierre Sighe ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
[Tango-L] SALIDA CON "LOKO"
This month we are Introducing a New Step : Salida con "loko" " Please, click on the following links to watch the videos ( In the "open" embrace ; In the "close" embrace) as I describe the move: http://www.tangomagdalena.com/salidaloko_open1.html http://www.tangomagdalena.com/salidaloko_close1.html Once the man has placed the woman on her right leg, he leads the regular salida. Given the fact that the lady goes slightly ahead of the man, he seizes the opportunity, as she begins to move, to quickly switch weight and meet her at the end of the salida with his left leg “sandwiched” between hers " Please, click on the following link to read the rest of the article: http://www.tangomagdalena.com/Newsletters/vol7_mar08.html Tangamente, Jean-Pierre Sighe --- TANGO MAGDALENA 580 Grand Ave, Suite # 305 Oakland, CA 94610 Ph: (510) 836 0812 Web site : www.tangomagdalena.com ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
Re: [Tango-L] Not Leading vs Leading crosses
Good going Ernest!!! I applaud the thinking. I am (and have been), with my partner, thinking exactly (almost) in the same direction. My theory has been that there is no law that says the Cruzada has to ONLY be executed from the left side. I am very happy to see that you are exploring that side. You see, that is exactly what probably happened in the years passed where the Black folks in Argentina were stepping in that Circle (they called "Tango") and doing their thing, inventing , daring to come up with new concepts. They didn't have Youtube on their side to help record things properly. Today, we are blessed with the Internet. Let's keep the tradition of expanding the dance happening. Candombe !!! Jean-Pierre Sighe - - Original Message - From: "Ernest Williams" <[EMAIL PROTECTED]> To: Sent: Wednesday, April 02, 2008 7:42 PM Subject: [Tango-L] Not Leading vs Leading crosses > Check out this video that describes aspects of leading various types of > crosses. > > http://www.youtube.com/watch?v=JlrxF2DQTWE > ___ > 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] SALIDA CON "loko" Part 2
"...If he wants to bring her back in front of him, he can then make her use the logical Cruzada. But this time, it would be executed on her left (instead of the traditional right). In other words, she will cross her right leg over the left. Watch video 3 in open and close embrace. Click on the following link : http://www.youtube.com/watch?v=hiQnmXkjRsg The second angle that I find interesting, from the same point where the man stands after the Salida con “loko” is the change of direction, using the Media-Vuelta. Watch video 4 in open and close embrace. Click on the following link: http://www.youtube.com/watch?v=SoO59UuyoW4 " Please, click on the following link to read the rest of the article: http://www.tangomagdalena.com/Newsletters/vol8_apr08.html Tangamente, Jean-Pierre Sighe ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
[Tango-L] The Mystique of the Volcada
"Enter the mysterious and exciting world of The Volcada. When properly executed this move inspires beauty. However, just like any other graceful move in Tango, the Volcada requires structure. Often invisible to the beginner, with practice this move becomes indispensable - if one remains mindful of the esthetic of the dance. Obviously, all the dancers who execute the Volcada don't project the same kind of mastership in the move. Perhaps this stems from an incomplete understanding of the move's construction. Let us analyze it." Read the rest of the article here: http://www.tangomagdalena.com/Newsletters/vol11_july08.html Tangamente, Jean-Pierre Sighé TANGO MAGDALENA 580 Grand Ave, Suite # 305 Oakland, CA 94610 Contact: (510) 836 0812 Web site: http://www.tangomagdalena.com ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
Re: [Tango-L] The Volcada
Larry, There shouldn't be any confusion about what I wrote. Your definition of Volcada is absolutely correct. I am describing what is known these days as the figure called "Volcada" (that is the move indeed executed over and over with the wide front boleo ending in a cruzada. I am focusing on its proper construction. The premise of my remark is simple : There cannot be a lean if the man has not executed the proper tent. The tent by itself is an important element to have if one wants to have the lady lean + execute a wide front boleo. Of course, there are many variations on the theme, if one is creative. Thank you for your point well taken. Jean-Pierre S. --- - Original Message - From: <[EMAIL PROTECTED]> To: Sent: Thursday, July 31, 2008 8:17 PM Subject: [Tango-L] The Volcada > The discussion of the volcada which Jean-Pierre Sighe pointed out > http://www.tangomagdalena.com/Newsletters/vol11_july08.html > totally misrepresents what a volcada is (as well as being confusing in > other ways). > > Volcada comes from the verb meaning to tip over, or pull off balance. It > is an extreme lean. That is all. Not an extreme lean + a wide front boleo > ending in a cruzada, as people might think because the three are often put > together. > > Dancers can simply do a volcada and then recover to a normal embrace. Or > they can hold the carpa (literally tent, an upside-down V stance) for a > few beats. Or do a drag. Or a carousel. Or several other actions. > Including the popular wide front boleo ending in a cross. > > there are lots of variations on the woman's front boleo. One is to make it > an amague, a kick straight back instead of to the side wrapping around the > woman's knee. Nor need it need to end in a cruzada, as the article > suggests. The front boleo could lead into a normal boleo, followed by > another front boleo. And finally into the woman stepping straight back > with the free foot instead of a cross in front. > > If anybody cares to talk more about volcadas, we might talk about how to > lead into it. But this message is long enough already. > > Larry de Los Angeles > > PS The volcada is not a nuevo tango move. It was old in 1989 when I > started tango, long before anyone heard the term nuevo tango used to label > a way of dancing. > > > > Make your vacation more memorable with a luxurious vacation rental. Click > now! > http://thirdpartyoffers.juno.com/TGL2131/fc/Ioyw6iiflWOBrJpR30AG5wgriYqFnXeNzKL4Ct3zuUeR4Og8LgKt26/ > > ___ > 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] Volcada (instructional video)
Videos uploaded... Give us a click here: http://www.tangomagdalena.com/Newsletters/vol12_august08.html Jean-Pierre Sighe - TANGO MAGDALENA, LLC 580 Grand Ave, Suite # 305 Oakland, CA 94610 Ph.: 510- 836 0812 Web site : http://www.tangomagdalena.com ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
Re: [Tango-L] Volcada (instructional video)
Hi Trini, If her back were to collapse, she would instantly become very heavy, almost slipping away under me and most importantly, she would not be able to sustain such pressure on her back. I can affirm to you that none of that happens. My lovely partner can stay there in the carpa as long as I keep here there, with no problem. Your point reminds me of a comment someone made some years ago, after watching Marcela Duran stay in the carpa and yet, moving into a Salida (which is VERY, VERY difficult to do, as the mastery of balance needs to have been acquired). The comment was that she has an "abnormally supple back"... By SUPPORT, I mean 1/ starting out by establishing the contact, NOT from the chest as a lot of people think. The immediate illusion in the close-embrace is the false contact from the "chest-down". It is not. The contact should go from the "abdominal-up", in other words, from the "solar plexus-up". 2/ firmly holding her back in the embrace, as if you would put an imaginary cask to hold her back. 3/ firmly holding your own torso with no wavering, to complete the support. That is the support she needs. From there, she will indeed "let go" and come to your chest. If the support is not there, she will by instinct resist, or fight the leaning; why? because, she would be on her way to falling. Your second point: "The other point of confusion for women after they have learned a volcada is distinguishing when she's asked to lean or when she's invited to take a forward step" You are here describing what would happen if the carpa is not set properly, which is the point I'm bringing up in my article and the clip. If the carpa is set properly, it implies that you share her axis. Therefore, the signal she will get from you will be that of simply staying with you. She could not feel separated to the point of taking a step. Cordially, Jean-Pierre S. -- - Original Message - From: "Trini y Sean (PATangoS)" <[EMAIL PROTECTED]> To: Sent: Friday, September 05, 2008 4:47 AM Subject: Re: [Tango-L] Volcada (instructional video) > Jean-Pierre, > > Thanks for sharing your video, however, it looks to me as if your partner > allows her back to collapse during the carpa instead of maintaining a > strong core. I think your video needs more information on that aspect and > on what you mean by "support" so that the women are protected. The other > point of confusion for women after they have learned a volcada is > distinguishing when she's asked to lean or when she's invited to take a > forward step. It's common for women to mistake a simple step forward as a > volcada. That's something you might want to address as well. > > Trini de Pittsburgh > > > --- On Fri, 9/5/08, Jean-Pierre Sighe <[EMAIL PROTECTED]> wrote: > >> From: Jean-Pierre Sighe <[EMAIL PROTECTED]> >> Subject: [Tango-L] Volcada (instructional video) >> To: Tango-L@mit.edu >> Date: Friday, September 5, 2008, 7:00 AM >> Videos uploaded... >> Give us a click here: >> http://www.tangomagdalena.com/Newsletters/vol12_august08.html >> >> >> Jean-Pierre Sighe >> >> >> >> - >> TANGO MAGDALENA, LLC >> 580 Grand Ave, Suite # 305 >> Oakland, CA 94610 >> Ph.: 510- 836 0812 >> Web site : http://www.tangomagdalena.com >> ___ >> 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] Volcada (instructional video)
Thank you Larry for your additional useful information and comments.
I agree with you 110% when you say : "Actually ALL parts of a volcada
combination must be lead" !
Have a great day.
Jean-Pierre S.
- Original Message -
From: <[EMAIL PROTECTED]>
To:
Sent: Friday, September 05, 2008 12:50 PM
Subject: Re: [Tango-L] Volcada (instructional video)
Jean-Pierre Sighé writes in the following link ---> The Cruzada MUST be
lead
and not just assumed.
http://www.tangomagdalena.com/Newsletters/vol12_august08.html
Actually ALL parts of a volcada combination must be lead. The volcada is
just
the extreme lean. Lean + amague/front boleo + cruzada is a popular
combination,
but it's only one of many that start with the lean.
The dibujo ("that famous arc on the floor") during the amague/front boleo is
an
adorno. Like all women's adornos it is the woman's option to do it or not.
If
the man is hurrying the combination she will likely leave it off.
The video accompanying Sighé's text is one of the best YouTube videos of
several
dozen I've seen which shows lots of volcada combinations, not only because
of
its video quality.
http://www.youtube.com/watch?v=S4n81J4zkyc
The whole dance is a good example of how to dance with a lady new to a man.
The
very first volcada, near the beginning, is just a lean. She is tipped off
balance, with weight forward of her toes, making it a true volcada. (The
word
comes from volcar - to upset, overturn, tip over or knock over.) And it is
only
a slight lean.
This way the leader can tell if his partner can and will do a lean, rather
than
panicking and stepping forward with her free foot to regain her balance.
Later on he does a more extreme lean but adds a zarandeo (shake, a twisting
around the vertical axis). She adorns this by lifting her free foot so that
she
does almost a boleo to the left and the right. Another good example of a
couple
testing their mutual body language.
There are many other volcada combinations, including a carousel, in the rest
of
the video.
Good selection, Jean-Pierre
Larry de Los Angeles
Live the good life! Click now for great retirement planning assistance!
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[Tango-L] Fun with a Milonga-Candombera
http://www.youtube.com/watch?v=DKfu2wOG154 Jean-Pierre Sighe - TANGO MAGDALENA, LLC 580 Grand Ave, Suite # 305 Oakland, CA 94610 Contact: 510-836 0812 Website : http://www.tangomagdalena.com ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
Re: [Tango-L] Milonga-Candombera, Canyenguero etc.
Thank you Ernest, Great clips of you and Maricela too. We will contribute more :-) We do have our OUTDOOR MILONGAS at the Lake Merrit Park on the 1st and 3rd Saturday of the month (unless otherwise posted on our web site). Check out some pictures here: http://flickr.com/photos/elenadopiro/sets/72157605125863105/show/ http://www.tangomagdalena.com/Pictures_Galleries/Gallery5/index.html Tangamente, Jean-Pierre S. - Original Message - From: "Ernest Williams" <[EMAIL PROTECTED]> To: Sent: Tuesday, September 09, 2008 9:25 AM Subject: [Tango-L] Milonga-Candombera, Canyenguero etc. > Love the clip of Jean-Pierre and Bianca having fun at the docks just like > old Argentina. There should be something regular done out there, like a > milonga or something. > > I have a few videos out there of various styles of tango including > candombera, canyenguero and funky milongas too. Check them out. > > http://www.youtube.com/results?search_query=ernest+maricela&search_type=&aq=f > > Ernest from Chicago > www.tangolifeinc.com > ___ > 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] Milonga-Candombera, Canyenguero etc.
Huck sounds like one of these stiff dudes I see here and there, with no rhythm in their bodies... therefore terribly boring to watch. Dancing means... DANCING. Why don't you post a clip of Chuck dancing (anything) for the rest of us. Would you? Jean-Pierre Sighe - - Original Message - From: "Huck Kennedy" <[EMAIL PROTECTED]> To: Sent: Tuesday, September 09, 2008 10:34 AM Subject: Re: [Tango-L] Milonga-Candombera, Canyenguero etc. > On Tue, Sep 9, 2008 at 9:25 AM, Ernest Williams > <[EMAIL PROTECTED]> wrote: >> On 2008/9/9 Jean-Pierre Sighe <[EMAIL PROTECTED]> wrote: >> > >> > http://www.youtube.com/watch?v=DKfu2wOG154 >> >> Love the clip of Jean-Pierre and Bianca having fun at the docks just like >> old Argentina. > > I thought the volcada lesson posted last week was very good, but > I have to give a thumbs down on the URL above. Deer lowered, he waves > his left arm around more than a drunk partygoer doing the chicken > dance at a wedding reception. > > Huck > ___ > 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] Milonga-Candombera, Canyenguero etc.
Huck Kennedy, Let's go point by point. You seem to sharp for me. Please, bear with me. 1/ Are you a poor dancer? Just checking. > > Indeed. Mr. Sighe unwittingly mentioned it himself above when he > said "rhythm in their bodies," the elephant in the room being, "not in > their arms." Find me an Argentine instructor who advocates that sort > of arm movement and I'll gladly reconsider my opinion. 2/ A stiff body will not comprehend what having rhythm in the body means or implies. I would submit to you that a movement in the arm is perfectly fine AS LONG AS : a/ it does not negatively impact the partner. In fact, if both partners are in sync, they will BOTH participate in that rhythmic adornment, thus, DANCING together. b/ It's not done all the time, but just from time to time to increase the grooving (but then again, "increase the grooving" would be foreign to a stiff body). > >> Why don't you post a clip of Huck dancing (anything) for the rest of us. >> Would you? > > This is as good a time as any to discuss posting videos to > Tango-L, since over the past few months it seems to have become the > latest rage. 3/ Huck Kennedy, don't think that every one on this list suffer from the same disease you suffer from (whatever it might be). I personnaly do ENJOY all the videos posted by other dancers. It is great to see people having fun with their thing. You can always use the "delete" button to avaoid watching. That's what an adult would do, in my opinion. Stop the whinning about people expressing their freedom of expression. > > First of all, let's dispense with the ridiculous before moving > onto the sublime. For those who say, "Oh yeah, oh yeah, well let's > see your video if you're so smart!!," I would ask, what are you going > to do for your next parlor trick, ask film critic Roger Ebert to post > an example of his latest movie, since he has so much to say about > other people's movies? > > Secondly, it would never even occur to me or the many people I > know who are good dancers to post videos of themselves on the > internet, as though we were somehow special--but hey, to each his own. > If we did, however, we would not expect ourselves to be immune to > critique, or get all upset and indignant when it came. If we found > the critique useful, we'd apply it and be thankful for having received > it; if not, we'd just ignore it. > > So--what are we on Tango-L supposed to do with all these videos > people keep posting? What is the point of posting them, if we can't > use them as a teaching exercise and discuss what we like and what we > don't like about them? Is this like in kindergarten where everybody > gets a trophy? > > What are we Tango-L readers to make of all these videos, when we > see dancing at least as good if not better everytime we go to a > festival, or in many cases, every time we go to our own local > milongas, week in and week out? 3/ Huck Kennedy, once again, we live in a FREE society. You got that? If you want to attck someone (notice how different is an "attck" from a "criticism"), be strong enough to sustain your attack, when put on the spot. In other words, some scoundrels who have populated fora on the Net for too long, just love to attack other people behind their ridiculous nicknames, but cannot offer any clip of themselves dancing anything, to the rest of us. Then, all of a sudden, you encounter them at a milonga, you watch them "dance" and you just shake your head! Stop the whinning and just post a clip to us Cordially, Jean-Pierre Sighe - ___ > 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] Milonga-Candombera, Canyenguero etc.
Monsieur Trini Sean, Why don't you teach me and the rest of those you know so well, the "sublimation" Wh! You must be something! I can't wait to learn from you. In the meantime, I hope you were able to comprehend the last lesson I expose to you in my last e-mail. Your question and point were so full of indignant ignorance. By the way, where could I actually see you "sublimation" demonstrated on a video clip? Please, send me a link. I lve to learn!!! Jean-Pierre S. --- - Original Message - From: "Trini y Sean (PATangoS)" <[EMAIL PROTECTED]> To: "Tango-L" Sent: Wednesday, September 10, 2008 10:17 PM Subject: Re: [Tango-L] Milonga-Candombera, Canyenguero etc. > Sean Here, > > Your criticism is spot on Huck. But how to defend your point? How would > someone who has never experienced sublimation understand what is missing > when they "groove"? IMHO, you have a better chance of explaining color to > a blind man. > > Sean > > PATangoS - Pittsburgh Argentine Tango Society Our Mission: To make > Argentine Tango Pittsburgh’s most popular social dance! > http://patangos.home.comcast.net/ > > > --- On Tue, 9/9/08, Huck Kennedy <[EMAIL PROTECTED]> wrote: > > Deer lowered, he waves his left arm around more than a drunk partygoer > doing the chicken dance at a wedding reception. > > Huck > > > > > ___ > 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] Milonga-Candombera, Canyenguero etc.
Let's encourage his alter ego, the Trini fellow. Please, post the "sublimation" demo for the rest of us. I'm burning to learn! Jean-Pierre S. --- - Original Message - From: "Iron Logic" <[EMAIL PROTECTED]> To: "Tango-L" ; <[EMAIL PROTECTED]> Sent: Wednesday, September 10, 2008 10:54 PM Subject: Re: [Tango-L] Milonga-Candombera, Canyenguero etc. >>> > But how to defend your point? >>> > Huck, be brave, just post your video :)..bring it , > don't be shy:)). > > > > --- On Thu, 9/11/08, Trini y Sean (PATangoS) <[EMAIL PROTECTED]> wrote: > > From: Trini y Sean (PATangoS) <[EMAIL PROTECTED]> > Subject: Re: [Tango-L] Milonga-Candombera, Canyenguero etc. > To: "Tango-L" > Date: Thursday, September 11, 2008, 12:17 AM > > Sean Here, > > Your criticism is spot on Huck. But how to defend your point? How would > someone > who has never experienced sublimation understand what is missing when they > "groove"? IMHO, you have a better chance of explaining color to a > blind man. > > Sean > > PATangoS - Pittsburgh Argentine Tango Society Our Mission: To make > Argentine > Tango Pittsburgh’s most popular social dance! > http://patangos.home.comcast.net/ > > > --- On Tue, 9/9/08, Huck Kennedy <[EMAIL PROTECTED]> wrote: > > Deer lowered, he waves his left arm around more than a drunk partygoer > doing > the chicken dance at a wedding reception. > > Huck > > > > > ___ > 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] Milonga candombera, canyenguera, etc
Thank you Sergio, for providing the few examples. Jean-Pierre S. -- - Original Message - From: "Sergio Vandekier" <[EMAIL PROTECTED]> To: "Tango-L List" Sent: Wednesday, September 10, 2008 11:27 PM Subject: [Tango-L] Milonga candombera, canyenguera, etc MHO in this discussion is that one should not criticize in a negative form other people's dancing. At the most one could say I do not like the way he dances, or I like his dancing style ... If absolutely necessary one can have a general discussion of movements of the arms in milonga candombera but without putting anyone on the spot. ...everyone is entitled to have his own style. I do not think that Jean-Pierre deserves any criticism, quite the opposite, he should be congratulated. He (IMO) is obviously doing a great job, his dancing style is elegant, has great sense of the rhythm, he has taken the time to share his accomplishments with us, videos and beautiful pictures. He is a good dancer. Even more, if you knew "Candombe" or "Milonga Candombera" you would think that Jean-Pierre is dancing according to the style. The Milonga candombera is different from the regular milonga, it may adopt certain movements of the body and the arms, imitating the Candombe itself. I am enclosing some examples. http://www.youtube.com/watch?v=Zk3nFezA-3k&feature=related http://www.youtube.com/watch?v=aPWM1cr4m78 http://www.youtube.com/watch?v=pL3cDacCNX0 http://www.youtube.com/watch?v=MpvVMvPVmN8&feature=related Best regards, Sergio _ Want to do more with Windows Live? Learn “10 hidden secrets” from Jamie. http://windowslive.com/connect/post/jamiethomson.spaces.live.com-Blog-cns!550F681DAD532637!5295.entry?ocid=TXT_TAGLM_WL_domore_092008 ___ 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] MILONGA... THE ORPHAN DANCE
... "The umbilical cord cannot be severed without generating distortion and misunderstanding. The nurturing influence of Candombe must be revisited, re-actualized, to keep Tango evolving and generating into something unimaginable at the moment. Perhaps, we would then see the so-called Nuevo Tango (in its musical designation) FINALLY enriched, so it can emerge out of the rhythmic cul-de-sac in which it momentarily finds itself. I refer to the very monotonous rhythm that almost ALL of the Nuevo Tango pieces repeat; that is the obvious display of the bankrupt conception, coming from a place of a poor rhythmic ability."... Read the rest of the article here: http://www.tangomagdalena.com/Newsletters/vol13_oct08.html Tangamente, Jean-Pierre Sighé TANGO MAGDALENA 580 Grand Ave, Suite # 305 Oakland, CA 94610 Ph: 510- 836 0812 Web site : http://www.tangomagdalena.com ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
Re: [Tango-L] music and candencia
Mario, I agree 100% with your thoughts and observations. Those of us who are not Argentineans can still enjoy that "ooumf" that characterizes good Tango dancing or Tango projection. Listening and listening and listening You provided the remedy. I cannot imagine dancing Tango and not being a Tango listener. Jean-Pierre Sighe --- On Apr 2, 2013, at 12:03 PM, Mario wrote: > These are just some of my musings about the candencia in the AT danceI'm > offering that; by candencia it is generally agreed that the person is dancing > with the whole body..not just with the legs... and of course within the good > fundamentals of the dance but not rigidly so... It has been my impression > from watching several years of YT videos that seeing a male dancer move from > behind him, that I can tell an Argentine from a non-Argentine > dancer...anyway, this is certainly not always true but I would bet that I can > score more than 50% right guessing and to a large enough number to prove that > there is something significant there. so, now I'm just speculating on > what that 'something' is... and what I get is that the dancer was raised in > the same culture that produced the dance and the music. Ok a no brainer..but > think about it... knowing the song and what is coming next...where the accent > is ..the next dynamic move in the music... well, that's what > gives the Argentine the edge in cadencia...and in getting all the meat on the > fire when it counts...so, what can we non Arggies do to compensate a little.. > to inch towards that divine movement where the music and the body are one? > ... I'm proposing the listening to more and more music... putting aside time > to do it... or combining it with other activities...driving?... and most > relevant of all would be listening to music with a singer..' the singer is > the soul of country music' as Waylon Jennings said... and that goes for > Argentine tango too.. > ___ > 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] TANGO AND THE MISSING LINK
"Tango was created in the brothels of Buenos Aires! This is the assertion generally trumpeted to any Tango student who opens the door to this new world, eager to learn and fascinated by the beauty and sophistication of the dance. As newcomers they don't ask challenging questions and are willing to take a lot by faith. It is true that the idea of such beautiful art form being shaped in the brothels carries a fascination of its own and provides many subjective impressions and imaginations that might encourage the studying of the dance itself. Therefore, the status quo has been enthusiastically adopted by default." Give us a click to read the rest of the article at TANGO MAGDALENA : http://www.tangomagdalena.com Tangamente, Jean-Pierre Sighé ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
[Tango-L] The Wholistic Dancing
"From the Center, the mind confidently, delves into its infinite prerogatives and brings to the forefront, a host of possibilities. Perfect vehicle between the physical, psychic and emotional bodies, the mind allows the dancer to instantly BE in the three bodies simultaneously. Thinking and Acting upon, become integrated in one reality. It could lead to a total state of trance. The integration will remain such until the dancer, consciously or unconsciously breaks the fluidic wave. " ... Read the rest of the article with your visit to us at : http://www.tangomagdalena.com/wholistic_dancing.html Jean-Pierre Sighé ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
[Tango-L] Of Leading and Following
"...She is now comfortably seating and enjoying the room. From the time she stepped out of her car, she has executed many walking steps and not once had stumbled or was pushed or pulled into the space offered to her by the gentleman. He has done any and everything possible to be the least interfering with her walking as he was in fact Leading her into the house. She gracefully Followed his suggestions but she remained the Queen as she walked in." You can read the rest of the article by giving us a click on the following link: http://www.tangomagdalena.com/Newsletters/vol1_sept07.html Tangamente, Jean-Pierre Sighé TANGO MAGDALENA Website: http://www.tangomagdalena.com ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
[Tango-L] DANCING TANGO ON TANGO
"I recognize the right of anyone who is capable of playing around with rhythms, to improvise on different structures. However, as I indicated earlier, that quality does not occur accidentally. It is a learned and mastered condition. Playing around from time to time is perfectly fine. But creating a system in which Tango is systematically “danced” on anything that has musical notes is aberrant."... Read the rest of the article with a click at : http://www.tangomagdalena.com/Newsletters/vol2_oct07.html Tangamente, Jean-Pierre Sighé ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
[Tango-L] TANGO AND THE GEOMETRY OF THE DANCE
"When Providence places us in the presence of someone who has acquired a certain mastery in the art of Tango, we would greatly benefit from his / her knowledge by asking questions pointing to the “why” perspective. To simply stay on the “how” level, drastically limits the depth of the communication. A true teacher will undoubtedly enjoy a torrent of exciting questions leaning to the “why” and be just as eager to communicate the secret elixir to the opened and thirsty mind." Read the rest of the article by giving us a click at : http://www.tangomagdalena.com/Newsletters/vol3_nov07.html or http://www.tangomagdalena.com/tango_geometry_dance.html Tangamente, Jean-Pierre Sighe ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
[Tango-L] THE UPPER BODY COUNTER-POSITIONING
"When we walk, going about our daily occupations, we don't have to be aware of what our body is doing, in order for us to go from point A to point B. The truth is that our body executes a series of automatic movements to maintain us balanced, so that we can walk and not fall down, between our successive steps. A slow motion mode movie of us walking would reveal one important thing the body does: the "Counter-positioning" of the upper body, in symmetrical alignment with the lower part of the body." Read the rest of the article here: http://www.tangomagdalena.com/Newsletters/vol4_dec07.html Happy Holidays!!! We are TANGO MAGDALENA Web site : http://www.tangomagdalena.com Tangamente, Jean-Pierre Sighé ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
