Well... this is fantastic. The "arrastre test" seems like kind of an
idiosyncratic prerequisite for being a tango teacher, but I am glad to
learn about different ways that people use the word arrastre, and I am
thrilled to know of these references to the Pablo Aslan and Andrew
James web sit
On Thu, May 1, 2008 at 7:22 PM, Joe Grohens <[EMAIL PROTECTED]> wrote:
>
> Well... this is fantastic. The "arrastre test" seems like kind of an
> idiosyncratic prerequisite for being a tango teacher,
I agree. I truly admire Jake for the way he's plunged these last
few years via research into
Huck Kennedy wrote:
> I truly admire Jake for the way he's plunged these last few years via
> research into the deepest depths of tango,
Thank you, Huck. But let me mention that my "research" (hardly) is
/supplemental/ to dancing.
> but I'd be willing to bet that if you asked 99 out of 100 tango
Hello,
One should weary of musical interpretation imposition. Music is to be
interpreted by each dancer (both roles) and that is what makes them
(hopefully) unique.
A great teacher will convey the ideas and the tools to explore the
music and how certain things are commonly named (they're just tha
On Sat, May 3, 2008 at 12:02 AM, Jake Spatz <[EMAIL PROTECTED]> wrote:
> Huck Kennedy wrote:
>
> > but I'd be willing to bet that if you asked 99 out of 100 tango teachers,
> including the best from Argentina, what an arrastre was, they'd reply that
> it was a foot drag and wouldn't have the slight
