Hi all,
I'd like to get others' analysis of this performance by Sebastian Arce and
Marianna Montes. I think highly of Sebastian and Marianna as teachers and
dancers. As I watched this performance, however, I began to think that he was
going to lift her up in the air over his head, and I real
I am sympathetic to lovely dancers who have talent and grace and skill.
I appreciate the tone of their comments.
I just wish they would add:
This is performance tango, or tango for a place where everybody is doing
nuevo and there is disregard for other dancers on the floor.
Please don't do this
May I share some thoughts?
If there were no new people coming-in to tango in a flow, we would be back
to the dark ages from the 50's to late 80's when all there was was tango
por export (that video was a version from today of that).
But, isn't it pretty much a given that when big, flashy shows ar
Performance.
John
>
> Date: Sun, 26 Jul 2009 18:01:06 -0700 (PDT)
> From: "Trini y Sean (PATangoS)"
> Subject: Re: [Tango-L] What do you think?
>
> Some of the responses from people seem to be too
> rooted in their own ideas of what
Dancers of different genres do from time to time extend their boundaries or
cross the border. An example of this extension is illustrated by a renowned
ballroom dance couple interpreting Piazzolla in both clips below. What does it
matter about the "steps" they use when they are true to the musi
Jack wrote:
"After all, Milonga only became part of the 'Tango Trinity' in the 1930s."
Uh - no.
Milonga pre-dated tango.
___
Tango-L mailing list
Tango-L@mit.edu
http://mailman.mit.edu/mailman/listinfo/tango-l
> From: Trini y Sean (PATangoS)
>
> I'd like to get others' analysis of this performance by Sebastian Arce and
> Marianna Montes. >
> http://www.youtube.com/user/liffeylinda#play/all/uploads-all/0/yJHIUdavnKk
>
My personal view is that I found it clumsy and boring, especially Sebastian
who
n...@yahoo.com
> To: Tango-L@mit.edu
> Subject: Re: [Tango-L] What do you think?
>
>
>> From: Trini y Sean (PATangoS)
>>
>> I'd like to get others' analysis of this performance by Sebastian Arce and
>> Marianna Montes. >
>> http://www.youtube.
Trini, Jack...
It was an incredibly difficult piece to dance to to begin... 99% of
dancers should really sit for the subtleties that are in this music
are very difficult to dance to, let alone do it exceptionally well.
Remember, you don't have to like their style, or their interpretation
Keith,
An excellent comment and observation.
I would also add... adjust maybe that any dancer can dance with
disregard (refer to another thread on 'nuevo versus ... ") be they
milonguero or nuevo. It is the dancer, not the style that determines
regard or disregard for other dancers.
Looking
> From: Noughts
>
> According to Jack, this was not inspiring, but Jack, do you move as
> smoothly as they do? Are you able to execute some of the most
> incredibly complex movements smoothly and without fault? >
No, I'm not a professional, so of course I can't dance anywhere near their
sta
As an ex professional ballroomer... I personally don't see the Rumba
in any of their dancing... maybe because most smooth dancing has
similar elements the music is often the differential. Walz had
many of the same steps as Foxtrot, take away the music and show the
sames steps, then you tell m
> but I also feel that to critique others, one should be at a certain level..
> Are you at their level?
I strongly disagree with that. I do not need to be a professional
singer to be able to say that I like the voice of one singer and
dislike the voice of another. I do not need to be a heavy meta
Indeed, this is what an opinion is is it not? Like the old saying
says, "an opinion is like an , we all have one..."
Sometimes better left unsaid let alone written for an entire
undisclosed list
But note, that I did say, at least justify your comment... your
position. Is this not
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
Am 26.07.2009 20:36 schrieb Andrew RYSER SZYMAÑSKI :
> 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
> clum
Let me be clear. I never criticized their dancing or said that they were bad
dancers. I just stated that I think they wandered into modern dance or ballet.
When I was a beginner (back when videos of tango were hard to find), I bought
a video tape of a ballet company doing tango. To my eye,
Trini y Sean (PATangoS) wrote:
> If a clip of this was shown to those untrained in tango, would they think
> that
> parts of the dance was modern dance or ballet and not tango?
Personally, I'd think labels are just that: labels. They are necessarily
reductionist in nature (that is their force,
> From: Noughts damian.thomp...@gmail.com
> Curious, where did you see rumba here? Timing? Again
> different to Rumba, they did no 'figures', none if you can show or
> enlighten us, then that would be great.
>
I'm surprised that you ask but, since you did, let's start with 'underarm
tur
--- On Mon, 7/27/09, Jack Dylan wrote:
> Now you could say that 'anything goes' as long as they're
> dancing to tango music and, if that's your opinion, fine. But when does it
> stop being tango and become something else - modern dance?
That's what I was getting at. I've heard people say too
Simple and to the point It will always be different from CE
dancers or Milonguero style...
2009/7/28 John Lowry
>
> Performance.
> John
>
> >
> > Date: Sun, 26 Jul 2009 18:01:06 -0700 (PDT)
> > From: "Trini y Sean (PATangoS)"
>
> From: June es esj...@hotmail.com
>
> Dancers of different genres do from time to time extend their boundaries or
> cross the border. An example of this extension is illustrated by a renowned
> ballroom dance couple interpreting Piazzolla in both clips below. >
> http://www.youtube.com/watc
--- On Wed, 7/29/09, Jack Dylan wrote:
> > From: June es esj...@hotmail.com
>
> > http://www.youtube.com/watch?v=rV8P_4F80pw
> > http://www.youtube.com/watch?v=0WJc-2KKpNY&feature=related
> Thanks June, I've never seen these videos before. This
> couple is from Finland, which probably explains
--- On Wed, 7/29/09, Peter Esser wrote:
> In your post you make a distinction b/w tango salon and
> milonguero style.
>
> What is the difference?
>
> Peter
Hi Peter,
You should first know that there are some people who do not like to use the
term "milonguero" to describe a particular style
Hola List!
Wading in here on the tail end, with nothing profound, just one
observation...on the heels of Trini's last message about "cutting the apron
strings"...
It seems the Nuevoists desperately want to call what they do "Tango", when
it looks and must feel less and less like Tango. As do the
Alex Long wrote:
> Hola List!
>
> Wading in here on the tail end, with nothing profound, just one
> observation...on the heels of Trini's last message about "cutting the apron
> strings"...
>
> It seems the Nuevoists desperately want to call what they do "Tango", when
> it looks and must feel les
> From: Trini y Sean (PATangoS)
>
> Why should nuevo extremists feel a strong need
> to still keep the ties to milonguero or salon tango?
>
I don't want to be cynical, but I'm guessing the answer is MONEY.
Most nuevo professionals tour the world and their income is based
on the worldwide
t a load of pigeon dung. Thank
heavens that in the real world, most of us still call a spade a spade.
Anton
-Original Message-
From: tango-l-boun...@mit.edu [mailto:tango-l-boun...@mit.edu] On Behalf Of
Alexis Cousein
Sent: Thursday, 30 July 2009 8:05 PM
Cc: tango-L@mit.edu
Subject: R
--- On Thu, 7/30/09, Jack Dylan wrote:
> > From: Trini y Sean (PATangoS)
> >
> > Why should nuevo extremists feel a strong need
> > to still keep the ties to milonguero or salon tango?
>
> >
>
> I don't want to be cynical, but I'm guessing the answer is
> MONEY.
I suspect that it's no
I wonder why we hypothosis that "Nuevo" is not tango, when it was only
ever an extension of tango and a breakdown of how they danced salon
and then using it in different ways
Devised, understood and taught by the TANGO MASTERS OF ARGENTINA?
___
Tango
--- On Fri, 7/31/09, Noughts wrote:
> I wonder why we hypothosis that
> "Nuevo" is not tango, when it was only
> ever an extension of tango and a breakdown of how they
> danced salon
> and then using it in different ways
I'm not hypothesizing that Nuevo is not tango. I don't see that it
For me, quite simply because it's not. It's Argentine. Just the
updates to the style are 'new'...
2009/7/31 Trini y Sean (PATangoS) :
>
>
> --- On Fri, 7/31/09, Noughts wrote:
>
>> I wonder why we hypothosis that
>> "Nuevo" is not tango, when it was only
>> ever an extension of tango and a brea
--- On Fri, 7/31/09, Noughts wrote:
> For me, quite simply because it's
> not. It's Argentine. Just the
> updates to the style are 'new'...
One could say the same thing about the moves from International, Finnish, or
American tango back when those dances were developing. Isn't it possible
> From: Trini y Sean (PATangoS)
>
>
> I'm not hypothesizing that Nuevo is not tango. I don't see that it can't be
> tango the same way Finnish Tango is a type of tango, or International Tango
> is a
> type of tango. Why insist that extreme Nuevo is Argentine Tango?
>
Why can't we think o
> Milonga pre-dated tango.
>
> The milonga we dance nowadays [2 beats to the bar, fastish ,as in Milonga
> sentimental] only goes back to the 30's. The pre-dating one was a slow
> dirge played by the payadores towards the end on the 19th Century and
> hardly ever danced to. Piazzolla revived it in
--- On Sat, 8/1/09, Vince Bagusauskas wrote:
Interesting question on what is Argentine tango. Reminds me of some of the
guiding principles of an Australian tango club:
Which tango?
1. The Club's primary focus is on participatory Argentine
social tango.
Sorry, a little late - the milonga became the rage right now.
On the video now so widely discussed sebastian and Mariana dance a beautiful
Argentine tango. Perhaps a little more performance oriented. And they may be
moving the bounds. The year is 2009. Tango has been evolving and they are on
the
--- On Sun, 8/2/09, jb34...@att.net wrote:
The good “nuevo dancers” dance anything from the
> close embrace club style to “nuevo” based on their mood
> and available space. I.e., they dance tango.
> For example, M & S did an underarm turn – they did it
> “tango like” IMHO.
One or two underarm t
> The good “nuevo dancers” dance anything from the
> close embrace club style to “nuevo” based on their mood
> and available space. I.e., they dance tango.
What do you call someone who can speak, read and write English, Japanese,
Swahili, and Russian with clarity, precision and humor in all lang
Brian, may I quote you on that?
I really fully believe all should re-read this and think... I use an
analogy of the Windows operating system.. but this, this is soo much
better.
2009/8/3 Brian Dunn
>
> > The good “nuevo dancers” dance anything from the
> > close embrace club style to “nuevo” bas
I have no issue with the views of Brian Dunn. But in my opinion, it's not
dealing with the fundamental problem facing many of us.
I believe a milonga is a venue of social dance, not a forum for experts. In
most fields including sports, experts interact with their peers in an
environment of equa
Brian,
>"Pay lots of attention to the opinions of world-class experts when they
>discuss their own area of expertise, and routinely ignore them when they
>express opinions in areas in which they have no expertise". Lately we've
>heard lots of critique of the aesthetic choices of some good soc
Brian Dunn says:
> What do you call someone who can speak, read and write English, Japanese,
> Swahili, and Russian with clarity, precision and humor in all languages? In
> other words, they can improvise successfully in all of them? I would call
> them a "language expert".
Nice post, Brian. G
I have to take exception to what Mr. Merchant wrote.
tt's articulate, well-reasoned, and fair. Quite against the spirit of
Tango_L.
I'm going to have to report him to the moderator.
rde
___
Tango-L mailing list
Tango-L@mit.edu
http://mailman.mit.edu/
--- 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
I agree with Keith... when I studied la musica at the Academia Nacional
del Tango for a few weeks, it was made clear that milonga predated
tango and, btw, was not at all dirge like!!! (where did that come
from???) The great tango guitarist Anibal Arias said it had its roots
in southern Brazi
Keith, note how Andrew says:
"The milonga we dance nowadays"
The milonga from the 19th century was a different music from the
milonga that developed in the 1930s. The roots of tango may have been
the older milonga, but today's (1930s and later) milonga came out of
the tango of the 1920s, no
- Original Message
>
> I agree with Keith... when I studied la musica at the Academia Nacional
> del Tango for a few weeks, it was made clear that milonga predated
> tango >
I was talking about dance, not music and I agree wth Andrew. Yes, milonga
music predated tango but it was no
- Original Message
> From: Keith Elshaw
>
> All the above is, I'm afraid, reproduction of myth and mis-information.
>
Thanks Keith; I suppose you were there?
Jack
___
Tango-L mailing list
Tango-L@mit.edu
http://mailman.mit.edu/mai
49 matches
Mail list logo
