In BsAs one that dances to the cortina is called an "Idiot" the cortina is for clearing the floor not for dancing that's why it's not tango usually rock n roll.
Sent from my iPad On May 21, 2012, at 6:21 AM, "z...@zutalors.fr" <z...@zutalors.fr> wrote: > You raised some interesting ideas, Shahrukh. > > The world owes a debt of gratitude to Argentina for its gift of > the music, > dance and culture of Tango. Like a child raised in a loving > family, Tango > has become strong, left the home of its parents and gone out into > the > world. Tango is now French, Finnish, Japanese, Chinese, Australian > and just > about every other nationality. Though never denying its roots in > Argentina, > each country adds elements of its own culture to the dance. Tango > is strong > enough to accept such diversity and still retain the passionate > core which > gives it its unmistakable identity. > > If we try to deny the diversity that Tango is absorbing, by > slavishly > adhering to the customs of its origins, then we are in danger of > turning it > into the stultified and grotesque parody of human passion that > International Tango (also called Ballroom Tango, Tango de salon) > has > become. > > There is a milonga in Paris, where dancers find on the tables > sheets of > paper containing the organiser's preferred codegas, reminiscent of > Standing > Orders or Orders of the Day posted in military barracks. I'm all > for the > codegas of the milonga, they promote a more congenial atmosphere, > free from > the minor socially stressful moments that can arise in a place > where > strangers and friends mix, but when someone awards him or herself > the > authority to enforce them, the opposite effect is felt, an > authoritarian > and unfriendly atmosphere. > > One recent night, I was there with my dancing partner, a vivacious > person > for whom music and dance are almost as essential as air and water. > Standing > in a corner during a cortina, we started to move in rhythm with > the music, > much as one would if one hears music when waiting in a queue, and > as my > partner often does anywhere, when taken by a piece of music, > either heard > or imagined. > > The organiser crossed the entire length of the floor, with a face > like a > thunderstorm blowing in from the North Sea, to tell us that we > were not > allowed to dance during the cortina, and that the cortina would > continue > until we stopped! Is this the atmosphere that the codegas are > intended to > produce? On leaving that night, it was made clear to us that we > were not > welcome in his milonga. So be it, I can understand why private > milongas by > invitation only, have become a phenomenom in Paris, for people who > want to > escape the Tango Dictators. > > Reg Hardman > > > > > On May 20, 2012 at 7:35 PM Shahrukh Merchant > <shahr...@shahrukhmerchant.com> wrote: > > ...snip... > >>> If you generalize this observation, there are many aspects of >>> milongas >> in Buenos Aires that, strictly speaking, are not essential to >> emulate in >> order to dance Tango, but which has nonetheless evolved to be >> part of >> the mainstream concept of "milonga" outside Buenos Aires and >> Argentina >> as well. > > ...snip... > >> There's another list too, of milonga traditions that have >> developed >> outside Buenos Aires, that don't exist in Buenos Aires (or exist >> to a >> negligible degree). Anyone care to take a shot at that? The use >> of >> "alternative" Tango [sic] music would be the most obvious >> example, but >> on the positive side we have complimentary refreshments tables >> and in >> some cases BYO wine (regulations permitting ... and sometimes >> not >> permitting notwithstanding ...). >> >> Shahrukh Merchant > _______________________________________________ > 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
