The Tango-L mailing list archive
Digest from 10 Mar 1999
to 11 Mar 1999
Reply-To: Discussion of Any Aspect of the Argentine Tango <TANGO-L @MITVMA.MIT.EDU>
To: Recipients of TANGO-L digests <TANGO-L @MITVMA.MIT.EDU>
Date: Thu, 11 Mar 1999 03:00:02 -0500
Sender: Discussion of Any Aspect of the Argentine Tango <TANGO-L @MITVMA.MIT.EDU>
From: Automatic digest processor <LISTSERV @MITVMA.MIT.EDU>
Subject: TANGO-L Digest - 10 Mar 1999 to 11 Mar 1999
There are 12 messages totalling 845 lines in this issue.
Topics of the day:
1. Tango Bars
2. Tango Bar
3. [Fwd: SOS please !!!]
4. Tango in FIRENZE (Florencia)
5. tango milonguero
6. Question for Followers/Comments re: tango milonguero
7. CITA - Accomodation needed
8. Crime in Buenos Aires [English translation]
9. Question for Followers/Comments re: tango milonguero-long reply
10. Question for Followers/Comments
11. Practica (was Question for Followers/Comments)
12. Question for followers/Comments re: milonguero
Date: Wed, 10 Mar 1999 00:37:16 -0800
From: Phil Seyer <Phil_Seyer @ILOVEMUSIC.COM>
Subject: Re: Tango Bars
I used to put up with smoke, too. I didn't known any better.
But in California, we have learned to
enjoy and appreciate clean air.
Now I wouldn't dream of being around a bunch
of smokers and their ashtray breath!
Many Californians feel the same way.
In fact, it is against the law in San Francisco
to smoke in bars! However, it is not
yet enforced. But the days of smokers
in bars are limited.
They are already completely gone in the work place,
in restaurants.
When I go to Japan I need to take a gas mask for travel on the trains.
Actually, I'll take a portable air cleaner!
============================================================================
===================
Experience software coaching technology. Be inspired Get MagicBrain -- an
intelligent Windows 95/98 application developed with Visual Prolog, a 5th
generation language. Write to MagicBrain @ilovemusic.com
Original Message-----
From: Peter Niebert <Peter.Niebert @IMAG.FR>
To: TANGO-L @MITVMA.MIT.EDU <TANGO-L @MITVMA.MIT.EDU>
Date: Tuesday, March 09, 1999 4:47 AM
Subject: Re: Tango Bars
>Phil Seyer writes:
> > How can you stand the smoke?
> > Or is it a smokeless bar?
>
>Come on Phil, you MUST be joking! I always thought people go to a bar
>to drink a fine beer and be merry with their friends. Drinking a
>bottled beer (or dancing a lonely Tango) in the living room is just
>not the same thing. What does this have to do with smoke?
>
>He he, take that puff, feeble American!
>
>
>I never smoked and do not particularly like the smoke produced by
>smokers (sometimes it makes my eyes hurt). But I found that in the
>Tango community (in Germany that is, in France there are many more
>smokers in general) there is a comparatively large number of smokers.
>And after some time of getting used to this fact all I can say is: I
>do not care, let them smoke if they have to. There are things that
>attract me more to these people than their smoking could drive me off.
>
>I believe that there are much bigger risks to health than being
>exposed to a little bit of smoke or even to smoke a little bit
>yourself. And besides, here is more bad news for you: You are mortal.
>
>IMHO, accepting or rejecting smokers is a cultural question rather
>than a health concern. When looking for a nice place for a Milonga the
>smoke is clearly not among my first concerns.
>
>Peter
>
>
>[PS: Because it matches the subject and since Stanley Kubrick has just
> left us I cannot hold back my favourite joke concerning his movie
> 2001. If you do not remember the film and one of it most important
> quotes, simply ignore this.
>
> The last words heard of David Bowman as he entered LONDON:
>
> "My god, it's full of bars!"]
>
Date: Wed, 10 Mar 1999 05:33:30 EST
From: Timothy Pogros <TimmyTango @AOL.COM>
Subject: Tango Bar
Along with a little smoke you also have to conceder about tango in bars is
most Bars have there own sound systems. Now at Belinda's I have to bring my
own, but at the Diamondback Brewery where I teach they have there own. A 12000
WATT Mega sound system, trust me it's AWESOME.
Also The Diamond Back is a downtown dance club (another word for bar) which
has a monthly budget for advertising. Some of that money is now spent on me
and TANGO. With Tango Buenos Aires coming to Cleveland, and my new found
visibility I was able to help promote this show, getting me on television, and
a magazine article about me teaching tango, all at no cost to me.
The one lady was correct though, The bar you teach in has got to make a single
lady safe for her to come there alone. Without ladies at your milonga, you'll
have no men.
Belinda's Bar is in an unsavory neighbor, but once inside I feel I have a gold
mind.
If all the tables and chairs were removed I could have a beautiful wood dance
floor of 8000 sq. ft. The bar area is separated from the dance floor area, and
any one who has been in BsAs feel at home at Belinda's. But I first have to
get people in side, and that's one of my problems. I probably have to search
for a new club (bar).
Tim
Date: Tue, 9 Mar 1999 22:06:40 -0300
From: Tijman Liliana <lady @FIBERTEL.COM.AR>
Subject: [Fwd: SOS please !!!]
Hi Guys
Some of you aksed about guillermina and Roberto address?
Guillermina & Roberto Reis
Phone Number: 1 212 445 1037
E-mail: reistango @geocities.com
Web site: www.geocities.com/Broadway/Alley/6307/
Simplest URL: http://messages.to/reistango/
All the best
L @dy
Lic. Liliana E. Tijman
Kinesiologa.
---------------------------------------------------
L @dy forever like a TANGO!! (slso.. LU7AUI)
ICQ 814335
http://www.geocities.com/Paris/Bistro/4011/tango.htm
http://www.geocities.com/Paris/Bistro/4011/geriatria.htm
Date: Wed, 10 Mar 1999 08:49:20 -0300
From: Lidia Ferrari <lferrari @FEEDBACK.NET.AR>
Subject: Tango in FIRENZE (Florencia)
This is a multi-part message in MIME format.
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charset="iso-8859-1"
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Hola Tangueros,
DO you any know tango places (milongas, pr=E1cticas, classes) in
FIRENZE, ITalia?? It is for one friend of mine that alive in this city.
Thank you very mutch,
Saludos
Lidia Ferrari desde Buenos Aires
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<BODY bgColor=3D#ffffff>
<DIV><FONT color=3D#000000 size=3D2>Hola Tangueros,</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2>DO you any know tango places =
(milongas,=20
prácticas, classes) in</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2>FIRENZE, ITalia?? It is for one =
friend of mine=20
that alive in this city.</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2>Thank you very mutch,</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT> </DIV>
<DIV><FONT color=3D#000000 size=3D2>Saludos</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2>Lidia Ferrari desde Buenos=20
Aires</FONT></DIV></BODY></HTML>
=_NextPart_000_001C_01BE6AD2.E3919D40--
Date: Wed, 10 Mar 1999 12:54:25 +0100
From: Per-Anders Tengland <perte @TEMA.LIU.SE>
Subject: Re: tango milonguero
Gigi (you) asked for teachers in the milonguero style. I've only taken
one workshop advertised as "milonguero style". The teacher was Susana
Miller (a quite well known teacher from Bs As). It was a very good
workshop and I highly recommend her as a teacher. She also speaks
english well (which for me is a plus).
Per-Anders Tengland
Malmoe, Sweden
Date: Wed, 10 Mar 1999 14:35:22 +0100
From: Jan Dirk van Abshoven <cadena @KNOWARE.NL>
Subject: Re: Question for Followers/Comments re: tango milonguero
Hi Gigi & List
>>>About milonguero style :
>...How come it isn't taught much?
I have wondered so myself, for myself I teach it exclusively for more than 3
years now.
Like you said it seems easier than open frame, but to teach it, it is not
easier!
In open frame it is easier to show something (twenty times) and have people
copy your moves. This makes it possible to teach a large number of pupils at
the same time too.
Teaching people how to interprete and improvise is something you cannot do
by mere showing.
On the other hand, when pupils understand the concepts of interpretation and
improvisation, who needs a teacher to show them any figures?
So my point is, teaching milonguero is not so easy and it pays lousy.
To end on a possitive note: it is much more rewarding for me though. It
always brings a smile on my face when I see beginners holding each other so
sensitively and being very careful an caring with each other.
Jan Dirk van Abshoven
ps
Next saterday March 20 everybody is welcome in Amsterdam to dance at
Boksschool Albert Cuyp with me as stand-in DJ. 22:00-04:00, entrance $ 5
(Euro 4,5).
Date: Wed, 10 Mar 1999 08:57:19 -0500
From: "L: Anne-Sophie Ville" <Aville @WORLDBANK.ORG>
Subject: CITA - Accomodation needed
A friend of mine from Washington DC is trying to find accomodation in B=
uenos
Aires during the tango congres. Would anyone have information? Anyone=
looking
for a roommate? Do you know of any cancellation? Please contact me an=
d I will
let her know.
Thanks for your help.
Anne-Sophie Vill=E9, AFTH4
Room # J9-237
Tel # 202-473-4088
Fax # 202-473-8107
=
Date: Wed, 10 Mar 1999 10:58:54 -0500
From: Sharon Pedersen <pedersen @BOWDOIN.EDU>
Subject: Re: Crime in Buenos Aires [English translation]
This is a translation into English of Lidia Ferrari's recent posting
in Spanish. I hope that I have managed to convey the sense of Lidia's
words, without mangling them too much by my beginning Spanish skills.
I have enclosed in curly braces {...} parts of the translation where
I'm particularly unsure of the accuracy or felicity of my translation.
--Sharon Pedersen pedersen @bowdoin.edu
Brunswick, Maine USA
Here is the English translation --------
Hello Tango-L Tangueros,
On Johannes' question, I want to say the following:
A journalistic article might possibly say that Buenos Aires is more
dangerous than Rio. Evidently it is {a schematic form} to compete
with the worst of a society. We already have enough with rivalries in
the market, the exchanges and the IMF. Publicity campaigns for
Tourism are many times made with that type of message. It is certain
that Buenos Aires has transformed into a more dangerous city than some
years ago, when it was one of the most tranquil on the planet, there
is no doubt about this.
It has transformed into a city more similar to all the big cities of
the planet.
The globalization of misery arrives on all sides very rapidly, and is
noticed in the big cities, obviously.
But the danger in Buenos Aires must be like that of other big cities,
including those of the First World. There has always been talk of the
violence of New York, and fortunately, I don't know anyone who has
suffered from it.
I was in Rio de Janeiro two weeks ago for 15 days. I was afraid, more
because of everything that is said about it than because of what I saw
directly. And nothing happened to me. Evidently you have to take the
cautions that one takes faced with a possibility of risk. There is
much poverty and poverty engenders violence. But I know that I would
have enjoyed this marvellous city more if I had not felt apprehensive,
had not had a phobia from all that is said, because that fear did not
make me take more care or precautions, it made me suffer fear and with
fear you can neither enjoy nor do anything. That fear which arises
from what others say does not have to see {real dangers in front of
it, if instead} it envelops one in one's own terrors.
To begin by saying that in Buenos Aires there are more crimes than in
Rio, is to stigmatize two marvellous cities. (I don't say with this
that they are paradise.)
Recently in Buenos Aires there appeared in the newspapers an article
about the disappearance of an Argentine woman and two American women
in a forest in California, and they are calling it the perfect crime
because {no traces were left}. Would I be correct if I thought:
California is becoming as dangerous as Rio? I don't know that, but it
is a bad question. Because if anyone tells me that then for sure when
I travel I will be very afraid and I simply won't go. A pity, for me
and for California.
Greeetings from Buenos Aires.
I would be grateful if someone feels like translating this email into
English.
Lidia Ferrari
lferrari @buenosairestango.com
visit www.buenosairestango.com
Here is the Spanish original --------
Lidia Ferrari wrote:
>
> Hola Tangueros de Tango-L,
>
> Sobre la pregunta de Johannes quiero decir lo siguiente:
> Un artmculo periodmstico posiblemente pueda decir que Buenos Aires
> es mas peligroso que Rio. Evidentemente es una forma esquematica
> de hacer competencia con lo peor de una sociedad. Ya tenemos bastante
> con las competencias por el mercado, las bolsas y el FMI. Campaqas
> publicitarias para Turismo muchas veces se hacen con ese tipo de mensajes.
> Es cierto que Buenos Aires se esta transformando en una ciudad mas peligrosa
> que
> hace unos aqos, que era de las mas tranquilas del planeta, no hay duda sobre
> esto.
> Se esta convirtiendo en una ciudad mas parecida a todas las grandes del
> planeta.
> La globalizacisn de la miseria llega a todos lados muy rapidamente, y en las
> grandes ciudades se nota, obviamente.
> Pero el peligro en Buenos Aires debe ser como el de otras grandes ciudades,
> inclumdas las del primer mundo. Siempre han hablado de la violencia de Nueva
> York, y por suerte, no conozco a nadie que la haya sufrido.
> Estuve en Rio de Janeiro hace dos semanas durante 15 dmas. Y tenma miedo,
> mas por todo lo que se dice que por lo que se ve directamente. Y no me pass
> nada. Evidentemente hay que tener el cuidado que uno tiene frente a un
> posibilidad de riesgo. Hay mucha pobreza y la pobreza engendra violencia.
> Pero si que hubiera disfrutado mas de esta ciudad maravillosa si
> no hubiera tenido el temor psicolsgico, la fobia por todo lo que se dice,
> Porque ese miedo no me hace tener mas cuidado o precuacisn, me hace
> padecer el miedo y con el miedo no se puede disfrutar ni hacer nada.
> Ese miedo que surge de lo que otros dicen no tiene que ver con
> enfrentar los peligros reales si no que lo envuelve a uno en sus propios
> terrores.
> Que comience a hablarse que en Buenos Aires hay mas crimenes que en Rio,
> es estigmatizar a dos ciudades maravillosas. (no digo con esto que son el
> paramso)
>
> Recientemente en Buenos Aires aparecis en los diarios la noticia de la
> desaparicisn de una argentina
> y dos americanas en un bosque de California, y lo llaman el crimen perfecto
> porque no han dejado huellas. Serma correcto que yo pensara:
> California se esta volviendo tan peligrosa como Rmo?
> No lo si, pero es una mala pregunta. Porque si alguien me lo dice
> seguramente cuando viaje tendri
> mucho miedo o simplemente no iri. Una lastima, para mm y para California.
> Saludos desde Buenos Aires.
>
> Agradeceri si alguien tiene ganas de traducir al inglis este email.
>
> Lidia Ferrari
>
> lferrari @buenosairestango.com
> visit www.buenosairestango.com
>
> >Hola muchachos,
> >
> >There is an artikel about crime in Buenos Aires in a german newspaper
> >and
> >the contents is, that Buenos Aires is more dangerous than Rio. A friend
> >of
> >me was last october in Buenos Aires and she had no trouble. On the
> >opposite
> >a bandoneon player told me,that he was involved last year four times in
> >robberies. Is it true that the crime is risen in the last year and that
> >you have
> >to be very careful in Buenos Aires?
> >
> >Ciao
> >
> >Johannes
Date: Wed, 10 Mar 1999 12:23:56 -0800
From: ramiro garcia <ramiro9 @YAHOO.COM>
Subject: Re: Question for Followers/Comments re: tango milonguero-long reply
Gigi,
> What are some practical ways you hold the rhythm ? (i.e., not be
rushed or
> slowed, but preserve the tempo no matter what)
You have my sympathies, following someone with only a distant
acquaintance
with the beat must be a real, er, "drag."
> ... as has been pointed out on the list, you may be led to different
rhythms
I missed that discussion, but here's my 2". I have studied with
different
teachers, and following their tempo has sometimes proved a challenging
exercise. Most insist that we dance "on the beat," yet what that means,
exactly, seems to vary.
To some, it means initiate the step, (lift the foot, begin the weight
change) on the beat. To others, it means touch the floor with the
leading
foot, on the beat. To another, complete the weight change (if any) on
the
beat. Yet another insists that you complete a subset of your step
pattern on
each measure, at the end of four beats: you can slip and slide through
the
tempo during the measure, but must end solidly and firmly on the beat
at the
end of each musical phrase.
It sometimes takes a bit of doing to figure out how a given teacher is
"following the beat." I have to kinesthetically attune myself to their
rhythmic patterns, and only later, after class, can I think about their
tempo. I can't analyze and drag my stumbling steps after them in sync
simultaneously. To have a chance at success, I have to "blindly" follow
their rhythm, and hope to understand later.
I can play Chopin and Bach; no one call tell me I am clueless about
tempo.
But when an instructor starts chewing on me for not following the
beat, I do
my best to listen. If I have no idea what they want, I'll tell them
so, and
I don't feel dumb. Reasonable people can differ in interpretation, and
still
work together for mutual comprehension.
I rather suspect that the leaders you struggle with are, in fact,
clueless.
But it's possible that they *are* actually following the beat, just in
a way
that is not immediately obvious to you.
> Another tango instructor said he progressed rapidly because he kept
dancing
> with followers who danced to the rhythm -he couldn't rush or slow
them --
> how do followers do that gracefully?
I believe we dance like this:
1) The leader initiates a movement-chest lead, frame lead, whatever.
He establishes the initial impulse. Then he pauses. It can be a very
little pause, but it's there.
2) The follower starts moving in the led direction.
3) The leader follows the follower.
4) With a particularly felicitous pairing of dancers, the leader can
adjust
the length of the follower's step at this point. (I haven't had much
luck here.)
5) The follower and leader end the step. The leader can advance or
retard
his step here to end before, after, or simultaneously with the
follower.
You have a little bit of leeway about when to move between #1 and #2,
receiving the lead and moving. Although that will have a profound
effect on
what it feels like to dance with you, it is not a practical point in
which
to alter the tempo.
That opportunity occurs between #2 and #3. You can change the tempo
right
there, without artifice, .
Beginners often rush to the cross, and snap the left foot towards the
right
in a sharp, crisp cross step, regardless of how steadily,
deliberately, and
slowly the other steps may have been made. They must learn to slow it
down.
Well extend that idea. Sloow down other steps, too. Occasionally, I find
myself with followers that are simply slow, or can't execute the step
being
taught at the speed of the music that's playing. It takes a few
moments of
disorientation to figure out what isn't working. Then, I simply adjust
to
their speed and ignore the music. Although there is a disconnect from
the
music, it still feels somewhat like a tango, because the lead-follow
element
is still intact.
The man really has no other choice but to slow down, unless he's going
to
muscle his partner through the steps. Of course, if he does that, she
might
lose her balance and step on him. Shucks.
You could start with a little tiny delay in your step, and over time,
gradually extended it until you and your partner are moving in accord
with
the music. You could subtly and gently train your male partner(s) in
following the tempo the way you hear it. The other ladies in the class
might
even come to be grateful to you, If They Only Knew.
When the man is leading too slowly is tougher to deal with.
As a leader, almost every beginner I've danced with tears ahead,
motoring
through her ochos, her cruzada, racing away from me. It takes time to
work
out a connected rhythm, to get them to wait for my lead. When a
follower run
ahead of me like that, it feels like the essential tango connection
has been
lost. I am no longer leading, she is. The 1-2-3-4-5 sequence is gone.
From your side, if you wait for the lead, but once you get it, you step
lively... again, making your adjustment between 2 & 3...that might work.
> Couldn't ornaments be used to emphasize or ground the tempo a little
bit if
> the lead is rushed or dragging?
As a corrective measure, I prefer a slower step to ornaments. In that
situation, I experience the ornaments as a jar, a disruption of the
dance
flow. I can sync more easily with slower follower's step. That results
in
more of a tapering off, a gentling of my movement energy. I like simpler
solutions, anyway.
---faera <faera @XTRA.CO.NZ> wrote:
> ...
>
> >what are practical ways to dance with less experienced dancers?
>
> sometimes by not dancing with them -- if the difference is too great
--
I second that. Give the men a reason to improve their dancing. I
would advise against a 100% boycott, however. Many good dancers
start out as crummy ones, and they might remember the women who
were "too good" to dance with them when they were struggling.
> and always with kindness and respect for the man who is struggling to
> learn to lead sensitively --
And if your leaders are not sensitive, muscling and rushing you through
steps, well, accidents happen. You can't help it if you lose your
balance
and accidentally plant those pointy heels on his toes, or, if he's in
hard
shoes, slash them across his shins. "Gosh, I'm sorry. I couldn't keep
up and
I lost my balance." Use the wide-eyed look.
I think that will get you better results than demanding he dance
according
to your strict instructions. There's an intrinsic logic to the
quick-step/getting-kicked-"accidentally" sequence. It feels like running
too fast, losing your balance, and tripping. The situation has an
inarguable
logic.
(Try to avoid kneecapping them and other sorts of permanent damage.
You want
them chastened and cautious, not crippled. 'Remember, Grasshopper, avoid
rather than check. Check rather cripple. Cripple rather than kill.')
On the other hand, when a follower lets you know exactly what she thinks
and makes demands, well, she may be right, she may be wrong. And she can
go dance with someone else, too. I find ultimatums from beginners quite
unpleasant.
There's a reason we're tangoing instead of "chatting online." We're
doers
here, not talkers.
And as a guy, physical combat makes more sense than talking things out
anyway. Better our shins take a hit than our delicate egos.
> One must also ask what is good for social dancing? -- and strive
> toward a celebration of the need to absolutely enjoy the dance
> experience even if it is flawed by being out of rhythm.
You must choose -- dance with the music "by yourself," or block out the
music and dance with your partner. An awkward dilemma, and I can't
blame a
woman who chooses the music. Yet, I think choosing to dance with your
partner is closer to "tango."
> >>About milonguero style :
>> We had a discussion about tango milonguero a while back...
>> ...
>> I am beginning to like it a lot, for its intimacy, subtlety and play.
>> ... in the first few months of classes, I was quaking in my
>> mary janes to be so close to someone.
>> ...
>> Gigi
> Yes it can be frightening to be so physically close to someone --
and to
> communicate all that one needs to without words -- but when the gender
> safety issues are secure & unquestioned -- the tenderness between
dance
> partners can be exquisite. One crosses new thresholds of respect and
> understanding for other human beings.
Er... "No cross, no crown"?
"This is the Express elevator: First stop, Tango Heaven."
> With favourite dance
partners --
> one can amuse and delight in a range of ways -- leading into a very
standard
> opening and carrying through with quite a different sequence to the
close -
> or by occasionally refusing the offer of a leader and responding
with a
> `cheeky' or amusing and unexpected but totally possible option.
Some of my very favorite followers do surprise me occasionally. It is an
utter delight, especially when not overdone. They "push the envelope" of
"the relationship." (Uk. Psychobabble.)
Dancing with those that don't surprise me, is also quite nice-it's
very safe
and comfortable. I can relax. Both are fine.
> Sometimes I give myself so totally to following that I follow body
movements
> that the leader was not aware of -- often enough I `follow' a dip
lead that
> surprises my partner who then has to act quickly to keep me from
hitting the
> floor. Don't know how this happens really -- but I haven't hit the
floor yet as
> a result -- I have been warned to be careful several times however.
So saying,
> I have been entirely dropped once and head banged (on the floor)
once but
Have you any idea how much work it is removing those dents from the
floor?
> those were truly shoddy leads and not my fault at all.
>
> How often in life are the practical and the poetic combined so
sensuously?
Sounds more like the Marx Brothers or the Three Stooges.
> ...
> faera
I'll bring you a helmet if we dance.
ramiro
garram @wellsfargo.com
_________________________________________________________
DO YOU YAHOO!?
Get your free @yahoo.com address at http://mail.yahoo.com
Date: Wed, 10 Mar 1999 15:39:37 -0600
From: Stephen P Brown <Stephen.P.Brown @DAL.FRB.ORG>
Subject: Re: Question for Followers/Comments
Ramiro wrote:
>I have studied with different teachers, and ... most insist that we dance
>"on the beat," yet what that means, exactly, seems to vary.
>To some, it means initiate the step, ... To others, it means touch
>the floor with the leading foot, on the beat. To another, complete
>the weight change (if any) on the beat.
Of these three only the third option guarantees a lack of movement
after the music ends on the last beat.
>Yet another insists that you complete a subset of your step pattern on
>each measure, at the end of four beats: you can slip and slide through
>the tempo during the measure, but must end solidly and firmly on the beat
>at the end of each musical phrase.
This option will produce musical dancing only if the movement is supported
by rhythmic elements other than the beat to be found in the passage.
Because well-danced tango is silent (unlike tap dance), the dancers cannot
provide the sound accompaniment that gives the steps a musical foundation.
>With a particularly felicitous pairing of dancers, the leader can
>adjust the length of the follower's step at this point. (I haven't
>had much luck here.)
This example shows why going to a practice can be important to developing
skills. Few teachers explicitly work on leading step length in their
classes, and a milonga is not really the best time to develop new skills.
>When the man is leading too slowly is tougher to deal with.
An option here is to treat the delay as a pause and a step that taken
together are being executed too quickly. The woman slows down so
that her pause and step are each on the beat.
--Steve de Tejas
Date: Wed, 10 Mar 1999 17:10:16 PST
From: rosita marie <rositamarie @HOTMAIL.COM>
Subject: Re: Practica (was Question for Followers/Comments)
Steve wrote:
>This example shows why going to a practice can be important to
developing
>skills. Few teachers explicitly work on leading step length in their
>classes, and a milonga is not really the best time to develop new
skills.
Steve touchs on a very good point, that is, a practica is for practice
and the milonga is for dancing! Do many cities hold practicas? Do
people go to them? So often at a milonga dance traffic is stopped
because one couple is going to work on that gancho/sweep combo
till they get it right! Or just as unnerving is the guy who is going to
teach the beginner a new step and is heard above the music
saying "PUT YOUR LEG THERE!" Doesn't he know that is
awkward and embaressing for the woman. Of course these
"teachers" are never in classes or at practicas.
If there is a practica in your city please make use of it. As Steve
said, it is the best place to work on your dance skills and steps.
Even if there is no partner to dance with, it is a usefull place to
work on your walking, ochos and boleos without bumping into a
kitchen chair!
Practice more Tango,
Rosita
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Date: Wed, 10 Mar 1999 21:01:02 -0500
From: "Gamble, Gigi" <Gigi.Gamble @SCHWAB.COM>
Subject: Question for followers/Comments re: milonguero
Thanks for the responses, everyone.
As Oscar Wright said:
>>I counsel patience, dance till you drop every day, love the music and
don't try too hard.
And faera said
>>strive toward a celebration of the need to absolutely enjoy the dance
experience even if it is flawed by being out of rhythm.
Also, these responses to the post prompt me to say that it's great to have
littermates -- one of the best things about learning tango this year has
been dancing with my fellow yearlings, feeling and seeing the improvements
in the leaders, and my fellow followers.
Its encouraging.
Thanks for the reference to Susana Miller -- She's reccomended very highly
by others I've learned from. Am keeping an ear to the ground for her
Gigi Gamble
Voice mail 415/636-8520
Pager 415/636-0266
Employee Branch Services
Phone 415/636-8191
Toll Free 800/833-0444
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End of TANGO-L Digest - 10 Mar 1999 to 11 Mar 1999
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