[TANGO-L] Milongas in barcelona, spain

[Janette Mandanus <foremast @GMX.NET>]

Hello from Barcelona, Ciao Tutti quelli che fanno tango...

Have u already seen our pics from our last milonga in Barcelona?

Go to
http://personales.ya.com/milonguita/barnatango.zip

and see them!!

our other link is www.barnatango.com

ciao, Juan from Barcelona
foremast @gmx.net









> Manuel
> >In response to Tom's post, Korey says:
> >
> >>>This gives the dancer a freer and more "subtle" experience. You have
> >>>multiple ways to interpret the same music. The dancers become an
> >>>integral PART of the orchestra, interpreters with their own voice.
> >
> >>fascinating.  I often describe the exact same sensation dancing to
> >>contemporary music.  For me, there is actually more room to interpret,
> >>especial in the small ensemble music.  Hugo Diaz Trio, Trio Gomina,
> >>Quinteto Real...(all of which show a good deal of jazz influence) with
> >>these ensembles I often feel like I can alternate between rhythm
> >>section, and melodic, lyrical gestures because the divisions are so
> >>clear within the ensemble...Again, I think its just a matter of taste
> >>and perspective, not anything inherent in the music itself.
> >
> >I have to agree with Tom completely. All these musical ensembles that
> Korey
> >quotes are extremely difficult to dance tango to. The "freedom" and "room
> to
> >interpret" which Korey speaks about is basically a myth for the average
> >dancer. The only dancers (IMHO) who can dance well to those orquestras
> are
> >very experienced and gifted dancers. The reason so many beginners or
> >non-dancers like that music is because they can more easily ignore it and
> >move around as though they are dancing.
>
> Manuel points remind me that the original topic was Community Growth.
>
> There are two arguments going on at the same time...sort of at
> cross-purposes.
>
> (1) Yes, it is possible to dance to different kinds of music, and yes
> we have different preferences.
>
> (2) What kind of music is best for Community Growth and teaching
> newcomers?
>
> You can make a good case that a newcomer finds it easier to hear
> music with a more familiar beat (drums?) or a more modern
> arrangement, such as the big concert sound of 1950s tango, Piazzola,
> or even non-tango.
>
> I don't think this is the best way to train up their understanding of
> tango.
>
> My position is that the rhythms of traditional 1930s & 1940s tango
> are the most important foundation for a dancer, and the most
> important basis for community development.  Musicality sits on top of
> rhythm and phrasing, and the "real" feel of tango is contained in
> this older music.
>
>
> Tango has interesting and complex vocabulary which in the hands of a
> great dancer can become truly exciting, but it isn't the figures and
> steps that really make up the essence of tango.
>
> A beginner guy can dance with rhythm, feeling and musicality with a
> small vocabulary. He can navigate the room, hold a beautiful woman in
> his arms and dance to the music in just a few lessons, if he knows a
> few walking steps and understands the beat...IF YOU PLAY FOR HIM
> TANGOS THAT ARE EASY TO DANCE TO.
>
> He has a lifetime to learn more vocabulary.
>
> Our communities are still very small and very young. A smaller
> repertoire of music emphasizing simpler rhythms will give us a better
> shared basis. Festivals with more experienced dancers is a different
> matter.
>
>
> --
>
> Tom Stermitz
> http://www.tango.org/
> stermitz @tango.org
> 303-388-2560
>
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