ng, but you can google it, or the
author's name, to get the link)
All the best,
Brian Dunn
Dance of the Heart
Boulder, CO USA
www.danceoftheheart.com
"Building a Better World, One Tango at a Time"
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h
t was about the relationship between people. But it
was not concretely about the development of the dance through the
relationship. The new subject is the development of the dance BASED on the
relationship."
Read the full text of the currently published interview sections at
http://www.da
naling mechanisms can work just as well or better in many
cases, since no physical effort would be required.
On the other "hand", arms are certainly "necessary" for colgadas, otherwise
somebody's hitting the floor, and it won't be me :) ;)
All
y to
experience. Based on our results, by training these "attention habits" into
beginning leaders early on, the lead/follow communication is greatly
improved compared to the "what does the leader do" or "what does the leader
lead with" pe
ransitory short-duration learning
experience, to invite people to adopt a useful frame of reference for later
learning. The LAST thing I'd want to do on a tango evening is spend too
much time not touching my partner ;)
Brian Dunn
Dance of the Heart
775 Pleasant Street
Boulder, CO 80302 USA
ere his extensive background in audio engineering adds a lot to many of
his investigations and selections.
All the best,
Brian Dunn
Dance of the Heart
Boulder, CO USA
www.danceoftheheart.com
"Building a Better World, One Tango at a Time"
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y. This inquiry has the possibility to lead us into very fruitful
tango explorations without hamstringing our "tango conceptual framework"
with unnecessarily cumbersome and misleading ideas about how all this
lead/follow stuff actually works.
All the best,
Brian Dunn
Dance of the Heart
er they
DO have room at their local milongas, at least they'll be able to look and feel
good as they express themselves (safely, with consideration, in an appropriate
scale, as their leader may indicate space to execute it, etc. etc.)
OK, let's say it ONE MORE TIME - be expressive, but don
"style choices" of others. Something along the lines of "If THEY can do what I
do, but I can't do what THEY do, maybe I should just shut up and dance". After
all, isn't it a lot easier for me to "lower the bar" to my current level, using
"style&qu
urrent tango developments are "ratified by Buenos
Aires Tango", whatever that may mean to a given individual, it makes sense
for that individual to assume that they're not really "the thing" yet. And
this mechanism alone will serve to effectively define for all of
uperslow linear boleos (virtuoso "nuevo" elements) all done with beautiful
connection and near-flawless musicality...
http://www.youtube.com/watch?v=s5FOjT959J0
... and many of us have seen them bring this mastery to the social floor of
the milonga with consummate taste, complete awaren
t;Buenos Aires Tango" is the common frame of reference, because
IMHO it's Buenos Aires where ALL the tango pots (dance, music, tradition,
innovation) are boiling the hottest.
All the best,
Brian Dunn
Dance of the Heart
www.danceoftheheart.com
"Building a Better World, One Tango at a Time"
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d"
for improvised social tango. I mean, they're just dancing for enjoyment
with each other in the moment like the rest of us, except they have the
benefit of 1) a lovingly honed artistic perspective, 2) superb technique,
and 3) decades of dancing in Buenos Aires milongas.
(continued
ze with, your situation. In that context you've apparently been
inspired to draw some "style" distinctions for your own purposes, in both
music and dance. We can assume these distinctions are useful to you, and
perhaps to others. So without calling into question the disti
t awestruck by this message - a true pleasure to read and
savor. Thank you for taking the conversation to a new level. Vivaldi as
"power metal" - I love it! Bravissimo!
All the best,
Brian Dunn
Dance of the Heart
Boulder, Colorado USA
www.danceof
ncing exclusively for
one's partner in a milonga. It's disappointing that he went to such
enthusiastic lengths to mislead the readers of this page.
All the best,
Brian Dunn
Dance of the Heart
www.danceoftheheart.com
"Building a Better World, One Tango at a Time"
__
's handling of this
"story" causes me to wonder whether I should give as much credence to things
he says about tango matters I don't know about.
I'd love to copy Rick on these messages, but I can't find an email address
on his blog, nor can I find a place to
erstood quantifiable goal for their tango navigation
training for the next festival: Learn to dance comfortably and musically
within a well-defined square, in whatever way you choose, gradually shade
into using the next square as the ronda moves, and all dancers can expect an
equal shot at tango h
or myself I hope some Francophone is
motivated to harvest some small goodies through translation for the rest of
us...
All the best,
Brian Dunn
Dance of the Heart
www.danceoftheheart.com
"Building a Better World, One Tango at a Time"
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h such passive measures.
Maybe the better idea would be to project well-defined "linear-V" cones of
light JUST into the lanes, so that leaving your lane would temporarily take
you into darkness? It would at least make for some nice photographs!
All the best,
Brian D
ilongas (and tango communities in general) are social
networks whose collective behavior can be very difficult to predict. Here's
a cautionary note concerning such direct action (and its unforeseen
consequences):
"You make what you defend against, and by
Your own defense against it is i
ls it still compares very well with
a good-quality wood floor. We expect many more happy years of dancing on
it.
Good luck with your project,
Brian Dunn
Dance of the Heart
Boulder, CO USA
www.danceoftheheart.com
"Building a Better World, One Tango at a Time"
-Original Message
nce.
Many followers I have talked to are in despair over the fact that many of
their local leaders have stopped improving. But from a leader's point of
view, after all, he gets an acceptable number of dances at his current skill
level. After getting all dressed up for a milonga, fo
the walk (but none
of us knew better at that
time, and that includes me. Fortunately, we've collectively learned a lot
since)...
Some teachers simply teach too many steps and nothing else because going
back to basics is met with
a lot of resistance by the audience, which is unwilling to work on
basics...And yes, I think we both lament that just as much as the other.
<<<
Hear, Hear! And thanks for that great Todaro story - wish I'd been there.
All the best,
Brian Dunn
Dance of the Heart
www.danceoftheheart.com
"Building a Better World, One Tango at a Time"
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> -- Original message from Jack Dylan :
> > Correct me if I'm wrong but hasn't Buenos Aires already solved
> > this problem by allowing for the separation of traditional dancers
> > and nuevo dancers?...Aren't traditional milongas for Salon and
Milonguero style, while
> > alternativ
otes with others who have observed the same,
or different, circumstances in Buenos Aires, or who seek to resolve the
kinds of conflicts Ron and Jack refer to at USA tango events of various
sizes.
All the best,
Brian Dunn
Dance of the Heart
www.danceoftheheart.com
Building a Better World, One Tan
milonga, there's no hard-edged outer
ronda, but line of dance is generally observed, generally nobody tries to do
any "talk-teaching" during social dance time, even in the spacious middle,
which is big enough to allow those who don't join the ronda to remain more
or less station
Jack, you wrote:
>>>>>
> Practica X is the best example. And the
> average age at these venues is substantially lower than the age at
traditional
> milongas. Also, as Brian Dunn just pointed out (12/17 posts), that´s where
the
> best dancers are. > >
To clari
***WARNING***
Long, analytical tango-related post meant for the exclusive enjoyment of
those who enjoy such things!
***ALL OTHERS: We encourage you to DELETE this post IMMEDIATELY!!!
Well! Quite a menu of things to reply to...
>>>
First of all, I have never ever seen a *crowded* milonga where ev
to fully
explore with her what's available in my share of the space without
encroaching on anyone elses space. And if that space decreases as the
Milonga gets more crowded (which did NOT happen in the Canning example I
described) and the "open middle" disappears, well, the principle s
, I can persuade her to relax into my embrace more without
using this kind of hold, and then I can adjust and manage the embrace with
her more easily.
As long as we're discussing style, I invite similar non-judgmental
speculation on how the "waiter-serving-drinks" horizontal posit
- Original Message
> From: Brian Dunn
>
> Potential functional advantages of an arm-around-the-leader's-waist
> embrace:
>
> As long as we're discussing style, I invite similar non-judgmental
> speculation on how the "waiter-serving-drinks" h
Dear Tango Aficionados,
If youve been dancing tango for more than a few months, you are probably
aware of the many tango festivals scattered thickly around the country.
Most tango festivals in the USA worth packing your bags for go something
like this:
1) Welcome Milonga
2) Classes with a teache
n case you wish
to submit an alternate proposal. We'd love to work with you to refine your
ideas in advance of your presentation, as time and resources allow.
Our upcoming Facebook page and website page will be announced on our own
website at www.danceoftheheart.com - please
what the music gives you" and separately defines expression as "how
you manifest your expressive response to the music/your partner/your own
emotional state". Her class structure and exercises explore and train these
concepts separately, only combining them at the end.
All the
point of view, the whole fable was
designed to show the origins of common things in the tango, not necessarily
the way to "lead" them now.
Incidentally, he had everyone START with an embrace that was intimate enough
for the man's right hand to reach around and be underneath his partner&#
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