--- Mario <[EMAIL PROTECTED]> wrote:
> OK, tonite at an art opening..my favorite dancer
> the one who dances like a feather and follows each
> step I take...
No wonder you end up doing the foxtrot if she "dances
like a feather"; a proper tanguera will make you feel
her presence by using her
f dancing -
> Always Blame Your Partner.
>
> Well done Andrew - good advice for a beginner.
>
> Keith
>
> On Mon Feb 25 0:39 , Andrew RYSER SZYMAÑSKI
> <[EMAIL PROTECTED]> sent:
>
> >
> >--- Mario [EMAIL PROTECTED]> wrote:
> >
> >> OK
You don't need to be a professional dancer [or musician], indeed, you don't
need to know anything about dancing to realise that they dance to the music
about 5% of the time. The rest bears no relation. This is what makes it look
clumsy. All that is missing is a tightrope.
Yes, the unrelated juxt
--- On Sat, 1/8/09, Keith Elshaw wrote:
> From: Keith Elshaw
> Subject: [Tango-L] What Do You Think?
> To: tango-l@mit.edu
> Date: Saturday, 1 August, 2009, 6:42 PM
>
> Jack wrote:
>
> "After all, Milonga only became part of the 'Tango Trinity'
> in the 1930s."
>
> Uh - no.
>
> Milonga pre-d
On Thu, 9/12/10, Michael wrote:
> From: Michael
> Subject: Re: [Tango-L] teachers aren't so important
> To: "Sandhill Crane" , tango-l@mit.edu
> Date: Thursday, 9 December, 2010, 22:13
[.]
>
> My teacher taught what I needed, not what I wanted. There's
> a big difference
> betwee
I must disagree. it's not a question of copying anybody. Most probably these
two would not do the same again to the same music; but they would still respect
it's PHRASING & cadences. Two or three years of memorising steps will only be
counter productive & prevent you from letting yourself GO & e
--- On Wed, 13/4/11, Mario wrote:
one thing for
> sure is that I don't want to reward bands who practise at
> the milonga...they should be more professional and get their
> act together before they ever play for dancersbe
> demanding please...I heard one trio get up on stage and brag
> that t
--- On Mon, 13/6/11, Huck Kennedy wrote:
> Let's hope this sorry
> new trend gets nipped in the bud, pronto.
I remember, way back in 1995[?] we had a visiting teacher here in London [UK] -
Maria Pantuso - who did just that. She asked us to warm up for a few tangos and
watched us for
--- On Fri, 17/6/11, hbboog...@aol.com wrote:
...when a man dances he must 'PUT ALL THE MEAT ON
> THE FIRE" this means he must give all of his attention to
> the music and the woman he has in his arms at the moment.
> Any man, no matter what his name is disrespecting the woman
> he's dancin
--- On Sat, 18/6/11, sherp...@aol.com wrote:
> Andrew, I am not sure the woman
> initiates the process...
She does, by just looking in a certain way at the man [who is dancing with
another partner] whe he can't help seeing her.
Obviously, I didn't mean that she goes up to him and verbally asks
http://www.youtube.com/watch?feature=player_profilepage&v=WvB3muf6b5s
PS:
http://pythia.uoregon.edu/~llynch/Tango-L/2004/msg02733.html
Andrew W. RYSER SZYMAÑSKI,
23b All Saints Road,
London, W11 1HE,
07944 128 739.
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Tango-L@mi
Dear All!
This must be the best introduction to tango I have read in the last 20 years.
Written like an autobiographical novel, it has a lot of factual info on tango
well balanced with personal experience. Very readable. AND it doesn't subscribe
to the tango-born-in-the -brothel cheap publicit
1)In the tango, the man keeps the woman guessing, but
the music keeps the man guessing. There is no fun in
dancing day in day out to the same music: this
eventually leads to choreography, the opposite of
tango, which is based on improvisation. Anybody who
insists that the dancers dance better if th
Amaury & Chris
The popular misconception re Gardel is well
illustrated by Chris's contribution. But the real
reason you cannot dance to Gardel is due to his very
peculiar approach to rhythm. He use a very individual
form of rubato [push & pull] resulting in the same
beat being in two different pla
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