The Tango-L mailing list archive
Digest from 28 Apr 1999
to 29 Apr 1999
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Date: Thu, 29 Apr 1999 03:00:05 -0400
Sender: Discussion of Any Aspect of the Argentine Tango <TANGO-L @MITVMA.MIT.EDU>
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Subject: TANGO-L Digest - 28 Apr 1999 to 29 Apr 1999
There are 7 messages totalling 279 lines in this issue.
Topics of the day:
1. Lausanne/CH Workshop Bettie and Stevan
2. Dremel drill
3. Japan Tango (2)
4. The Intuitive Lead
5. Orthotics resource for bunions and most foot problems (2)
Date: Wed, 28 Apr 1999 19:33:00 +0200
From: el Suizo <milonguero @CHEERFUL.COM>
Subject: Lausanne/CH Workshop Bettie and Stevan
Information "TANGO"
SUISSE - Vaud - Lausanne - Flon
L'Association ALEGR=EDA, de Tango-argentin, accueille =E0 Lausanne, pend=
ant le
week-end des 8/9 Mai 1999, Bettie et Stefan de Nijmegen. En plus des
ateliers pr=E9vus tout au long de ce week-end, un cours d'initiation sera
donn=E9 vendredi soir et une soir=E9e est pr=E9vue samedi soir au Centre =
chilien,
6 av. Jean-Jacques Mercier, =E0 Lausanne, d=E8s 21 heures. Pour tout
renseignement: t=E9l. 079.637 64 54 email alegria @gotan.ch. R=E9servez =
vos
places d=E8s maintenant.
http://www.gotan.ch
Date: Wed, 28 Apr 1999 12:35:57 -0500
From: Karen Whitesell <kglass @IPA.NET>
Subject: Dremel drill
Sorry, I misspelled the Dremel drill. I don't know if this is right.
The Dremel is a tiny, high-powered electric drill with all sorts of
attachments to drill, cut, sand, buff, etc., for doing detailing in tiny
places. It's usually advertised around Christmas or Father's Day. At
the end, it says, Did we mention it cuts? (cuts a nail into). The
"calluse" attachment is a bit with a cone-shape on the end made of
sandpaper.
now, enough of this, Karen
Date: Thu, 29 Apr 1999 03:52:42 +0900
From: Chang Sang Hyeon <schang @TUHEP.PHYS.TOHOKU.AC.JP>
Subject: Re: Japan Tango
Hello, I'm glad that Kate could find Tango places in Japan.
Most of her impressions about Japan tango are same as mine.
Yes, I also noticed that almost every people doing gancho and
boleos, sometimes women doing it without man's lead.
Now there is a small tango boom in Japan. It is just a coincidence..
First Piazzolla boom lead by two most popular classic musicians
Gidon Kremer and Yo Yo Ma... they visited Japan and knocked out
audiences with Piazzolla.. and suddenly you can find all the Piazzolla
CDs in local cd shops.. you can here Piazzolla everyday.. from coffee
ad. to background music. Then Carlos Buono band/singer/dancer
tour for almost all major cities in Japan. Last month, Forever Tango
hit Tokyo.. it was such a hit so they will come again next month.
Now Carlos Saura's TANGO will open in Tokyo..
I found out Saura is more popular director in Japan than US.
Don't underestimate his influence, he is one of main reason that
Flamenco became one of most popular dance in Japan just in a couple
of years.
And yes... the smash hit of the song "3 Dango brothers"
this is really unbelivable story.. even Japanese themselve could not
belive it.. early this year, there was a song in a TV program for
kids (like sesame street).. which is about japanese dumpling
usually they put 3 golf ball size dumpling on one stick and sell.
This is called "Dango" and 3 brothers means this 3 Dangos on
stick. This is some parody of European Tango rythm.
First kids like it, then parents.. its amazing popularity makes
them print this song as a single CD.. suprisingly they sold out as soon
as released. It looks like more than 5 million CDs have been sold.
No wonder Kate's CD doesn't work.. if they printed several million
the original frame would worn out.
Even though Kate wrote it is not danceable, I actually saw one local
argentine dancers danced AT while this music was played on TV show.
Now that was the first time I saw AT on the major TV show (US, Japan
and Korea..) then the next week some local AT teacher appeared
on TV show and showed some basic steps while she explains about
AT.. (they were talking about Japan dance boom and the related movies..
like Disco - Saturday night fever
Ballroom dance - Shall we dance. etc.
Then they predict it might be AT for next time.)
It was a peak when last week one hour TV show was entirely devoted
for AT lesson for beginners (I am not kidding, one hour national TV
program for AT lesson only.)
It covered basic, and forward/backward ocho and sandwich.
That point I understood why all Japanese dancers doing gancho.
When they taught basic sandwich, that step end with gancho..
so it is in basic step.. I noticed that all women automatically
do gancho when I lead sandwich..
All I hope this tango boom will reach to where I live (Sendai) in near
future so I can learn and dance some tango here...
Sanghyeon
Date: Thu, 29 Apr 1999 04:00:23 +0900
From: Chang Sang Hyeon <schang @TUHEP.PHYS.TOHOKU.AC.JP>
Subject: Re: Japan Tango
One more thing, the Kyoto tango band kate wrote must be
Orquesta Astrorico.
most famous Japanese tango band. They recently updated their
homepage (now they have Japanese/English/Spanish version)
I found out the homepage is not the only thing they upgraded
they now have dancers Lucia y Alvaro and singer Roberto de Lozano
they have e-mail addresses too.
Lucia y Alvaro sab11 @pearl.ocn.ne.jp
Roberto rion @ea.mbn.or.jp
Anybody who plan to visit Kyoto (One of nicest city in Japan) check
this homepage
http://mirror.nucba.ac.jp/~escualo/astrorico/
Sanghyeon
Date: Wed, 28 Apr 1999 11:18:21 -0800
From: Eric Larson <aneml @UAA.ALASKA.EDU>
Subject: The Intuitive Lead
In a tango class last week, an instructor suggested an interesting exercise that
helped the leads be more attentive to their partner. The exercise seems applicable to
any improvisational dance form that is led and followed.
The instructor suggested that the leads try to notice any particular mannerisms,
gestures, or body motions that distinguish the follow they are dancing with at that
moment. He encouraged the leads to try to embody and to incorporate some of those
qualities of the follow in his own dance movement. In effect, the lead reflects back
to the follow a piece of her dancing.
In this way, the lead behaves in ways similar to the follow. His awareness is
drawn out of thinking about moves, steps, and his lead. He is encouraged to be more
aware of his partner. By incorporating a piece of his partner within himself, he
becomes closer and more atuned to his follow. In order to lead better, the leader
attunes himself _as a follower_ to his partner.
The skills required to respond to the follow in this way seem similar to the skills
of a good follow. A skilled follow is open, aware, and attentive to all that is going
on around her. She is responding and incorporating the intentions of the lead in her
own body. She uses broad, intuitive awareness to respond to the motions of her lead
and to add her own interpretations.
I've found that when the lead begins to use this same type of broad, intuitive,
receptive awareness to respond and incorporate the motions of the follow, the dance
moves to another level of enjoyment.
When I'm most absorbed in this intutive state of leading, I become non-judgemental
about whether my follow is experienced or a beginner. The challenge and enjoyment
comes from sensing what my follow is feeling at that moment, how she is moving her
body, and what life experiences have brought her here to hold her body in the way that
she does:
Where is her center of gravity?
Where is she fluid?
Where is she stiff?
How can she bend and not bend?
What motions are comfortable and joyous for her?
What feelings and emotional memories lead her to occupy her body as she does?
Instead of trying to learn to be the "dominant one" who directs and controls how my
follow moves, I try to become the one who is receptive and open -- trying to absorb,
feel, and intuit where my follow's body would _like_ to move. I try to offer leads
that let her body move so that it can speak freely of the hidden feelings that can,
perhaps, only be spoken through her body on dance floor.
It is as though my lead is an offering to listen to what her body has to say. In
response, my leads can offer empathy, understanding, and compassion to what her body
tells me. I'm not always in this intuitive state of leading, but it is a place that I
would like to know more often. For me, learning to dance as a good lead is a lesson
in being receptive, open, and intuitive.
Eric
aneml @uaa.alaska.edu
Date: Thu, 29 Apr 1999 03:39:47 +0200
From: Helaine Treitman <treitman @GIOTTO.ORG>
Subject: Orthotics resource for bunions and most foot problems
Hello friends of the List,
I've gotten many private emails today asking me how to contact my orthotics
manufacturer. Viki Jeffery in Tacoma, WA, is very knowledgeable, having 17
years in the industry. I recommend that you call or write to her with your
questions about whether orthotics can help with your specific foot problem.
She impressed me with her understanding of many problems of dancers' feet.
Contact Viki Jeffery FootLady1 @aol.com
Or call her at +1- 253 - 537 - 6518
Her company is:
Advance Tech Orthotics
Box 45409
Tacoma, Washington 98445-0400
As I mentioned yesterday, my orthotics immediately relieved my foot pain
and the pressure on my bunions throughout the day, and I believe that they
can heal, as Viki says they will over time, as I continue to use the
orthotics. However, dancing long and hard always gets the bunions severely
inflamed again, so I think I may need to find additional help to teach me
how to use my foot muscles and bones differently. (Acupuncture? Alexander
Technique? Rolfing, Greg?) Or do I need more extreme orthotics? Viki says
I just need more healing time.
Thanks. Healthy feet to everyone!
Helaine
--The International School of Art in Umbria, Italy
06057 Montecastello di Vibio (PG), Italy
Tel / Fax +39-075-8780223 US Voicemail 212-386-2705
http://www.giotto.org/ email: treitman @giotto.org
Date: Wed, 28 Apr 1999 21:24:28 -0700
From: Greg Olsen at Work <golsen @NONSTOP.COM>
Subject: Re: Orthotics resource for bunions and most foot problems
As some on the list know, I completed a 10 series with a Rolfer last
year and I have become a big proponent of it to treat musculoskelatal
problems that are a consequence of incorrect use of your body. I also
do Pilates and it complements the Rolfing. It has helped me to regain
my kinaethetic sense in my new post-Rolfing body. The main side
effect of the Rolfing is that you feel like you are in someone else's
body.
A Rolfer may be able to do something about your feet. My feet were
poorly aligned (eversion and pronation) before being Rolfed. The alignment
is much better now. (Really improved my footwork in the smooth ballroom
dances.) Also, I got specific exercises for my feet from my Pilates
instructor. We also do exercises in every session to strengthen the
longitudinal arch: prehensile plie's and flex releve'.
Happy trails,
Greg Olsen
>
>As I mentioned yesterday, my orthotics immediately relieved my foot pain
>and the pressure on my bunions throughout the day, and I believe that they
>can heal, as Viki says they will over time, as I continue to use the
>orthotics. However, dancing long and hard always gets the bunions severely
>inflamed again, so I think I may need to find additional help to teach me
>how to use my foot muscles and bones differently. (Acupuncture? Alexander
>Technique? Rolfing, Greg?) Or do I need more extreme orthotics? Viki says
>I just need more healing time.
>
>Thanks. Healthy feet to everyone!
>
>Helaine
>
>--The International School of Art in Umbria, Italy
> 06057 Montecastello di Vibio (PG), Italy
>Tel / Fax +39-075-8780223 US Voicemail 212-386-2705
>http://www.giotto.org/ email: treitman @giotto.org
>
End of TANGO-L Digest - 28 Apr 1999 to 29 Apr 1999
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