The Tango-L mailing list archive
Digest from 31 Aug 1999
to 1 Sep 1999
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There are 18 messages totalling 943 lines in this issue.
Topics of the day:
1. Size of side step in grapevine (2)
2. Festival PBTa (Paris 10-11.1999)
3. size of steps (was: size of side step in grapevine) (2)
4. [Argentine-Tango] Re: Status of Jacques Dermar
5. Interesting Article from Clarin
6. Respect for particular teachers' dancing abilities (4)
7. Kely and Facundo Posadas workshops in Detroit
8. swango
9. EL COMPADRITO
10. PUTTING WEIGHT ON YOUR PARTNER
11. TANGO REVIEW-Orquesta de las Estrellas
12. Tango Sheet Music
13. "SENSUAL TANGO REVIEW"
Date: Mon, 30 Aug 1999 12:49:42 -0700
From: J Lane <jlane @POP.NWNEXUS.COM>
Subject: Re: Size of side step in grapevine
From: Jack Karako <JKarako @AOL.COM>
>Regarding the grapevie: why is it not possible to lead & follow the
>size of the steps as well as the direction ?
It is possible, at least with follows who have learned to follow
size-of-step leads.
Many Argentines teach "chairwork": put a normal-sized folding chair
on the dance floor. Start at one corner, and do a giro/grapevine
around it in four steps, with placing each step at the next corner
of the chair.
In a similar way, it should usually be possible for the follow to
travel all the way around the lead in four steps. In social
dancing, the lead might ask the follow to take larger or smaller
steps, but chairwork is still good practice.
From: Mike Hamilton <mikeh @MPL.UCSD.EDU>
>It is useful when all your steps are about the same size; that is,
>your side step isn't much shorter than the front and back steps.
Most Argentine teachers I've taken lessons from teach this, too.
Note that making the steps roughly the same size does *not* mean
necessarily taking them at the same speed; it's common for some
steps to be with the beat, and for others to be a twice the speed
of the beat. Which steps are done slowly or quickly is often lead.
Jim
Date: Tue, 31 Aug 1999 10:07:04 +0100
From: Victor Scarabino <v.scarabino @UNESCO.ORG>
Subject: Festival PBTa (Paris 10-11.1999)
Dear Friends,
Recently I become involed on the organization of a large tango festival
that will be held in Paris and several neighbour cities, from September
28 up to December 2 / 1999.
Its home page is : http://pbta.free.fr/index.htm
The acronym PBTa means "Paris-Banlieues-Tango", but phonetically (in
Spanish) also remember "pebeta", a significative lunfardo nomination for
a nice girl, very often included in tango lyrics.
Please take note that the page (in French, but synthesis will be
included in English and Spanish) gives, at present, only basic info,
preliminar in some events or adresses, and also has some typing errors,
etc, but it will be actualize very often...
Maybe the Festival will give the opportunity to meet some of you in
Paris (?)
Feel free to forward this message to your tango friends or tango sound
environments, and advices, suggestions etc, will be highly appreciated.
Cordially yours
Victor
Date: Tue, 31 Aug 1999 12:18:27 +0200
From: Sabine Fuchs <Sabine.Fuchs @SBG.AC.AT>
Subject: size of steps (was: size of side step in grapevine)
>It is useful when all your steps are about the same size; that is,
>your side step isn't much shorter than the front and back steps.
>Most Argentine teachers I've taken lessons from teach this, too.
I just asked myself if this is a statement in general. Doesn't have the size
of steps also have to do with the rythm of the music? For example: quick and
tiny ochos in a milonga, slow and large ochos in slower parts of a tango? Of
course the leader has to be able to adjust his steps to the rythm first to
dance that way.
(Or did I misunderstand something and the 'same size rule' is just for
grapevines and giros?)
Sabine
Date: Tue, 31 Aug 1999 06:56:50 EDT
From: Frank Sasson <FRSASSON @AOL.COM>
Subject: Re: [Argentine-Tango] Re: Status of Jacques Dermar
Alberto:
Even though I don't know Jacques personally, he is part of our Tango Family,
and I join you and the thousands of tangueros world wide who are now praying
for his prompt recovery.
Frank Sasson,
Miami Florida
Date: Tue, 31 Aug 1999 07:53:30 -0600
From: Tom Stermitz <stermitz @CSN.NET>
Subject: Re: Size of side step in grapevine
>From: Jack Karako <JKarako @AOL.COM>
> >Regarding the grapevie: why is it not possible to lead & follow the
> >size of the steps as well as the direction ?
>
>It is possible, at least with follows who have learned to follow
>size-of-step leads.
>From: Mike Hamilton <mikeh @MPL.UCSD.EDU>
> >It is useful when all your steps are about the same size; that is,
> >your side step isn't much shorter than the front and back steps.
>
>Most Argentine teachers I've taken lessons from teach this, too.
>Note that making the steps roughly the same size does *not* mean
>necessarily taking them at the same speed; it's common for some
>steps to be with the beat, and for others to be a twice the speed
>of the beat. Which steps are done slowly or quickly is often lead.
>
>Jim
There is a common practice among beginner followers to shorten the
side step of the grapevine, especially when it is the quick side step
following the difficult back step, to yhe point where it becomes a
together step. Correct me if I'm wrong, but it might be a normal
thing to do in some ballroom or folk dance grapevines. Also there is
a tendency in ballroom to shorten the quick steps compared to the
slow steps. This would cause problems in tango.
The disaster is when the short side step never gets corrected and it
becomes habitual.
It is even more common for steps in general to be too small, and this
one is a shared responsibility. The women take small steps and the
leaders lead small steps, and pretty soon you can't take big steps.
It is so much easier to practice BIG and later on do things SMALL.
Yes, Jak is correct in suggesting that you should be able to follow
long and small steps.
Tom Stermitz
2612 Clermont St
Denver, CO 80207
Chautauqua Publishing / Ragtime Interiors
"On-Line Arts & Crafts Movement Resource Directory."
(303) 388 - 2560
stermitz @ragtime.org
http://www.ragtime.org/ragtime/
http://www.tango.org/dance/
Date: Tue, 31 Aug 1999 10:05:34 -0700
From: Bruss Bowman <Bruss @QMACS.COM>
Subject: Interesting Article from Clarin
This article from Clarin was posted on the "other" list. I found it =
very
interesting espcecially the comments by Horacio Godoy. Comments that I
happen to strongly agree with.
Enjoy,
Bruss
NEW STYLES OF DANCE GENERATE CONFRONTATIONS AND POLEMICS BETWEEN =
MILONGUEROS
For ten years, the proliferation of teachers and schools have been =
modifying
the way to dance tango. Although the change is evident, it has =
heterogeneous
forms. As a result of that, there is a new paradigm: today, anyone can
dance.=20
The static postcard of the milongas today, with its colorful mixture of =
"hip
youngsters " and "old time historical habitu=E9s " united in the" =
ritual " of
the dance, is not more than that: a flat image that rarely reveals =
something
more than a repertoire of archetypes. Behind that frozen scene,
nevertheless, an unsuspected and burning world exists where the old can =
be
new, the novelty can be obsolete, a simple thing can be difficult, and =
the
excessive is insufficient. And in that, on the other hand, all these =
values
are in permanent change.=20
Ten years ago, and in a symptomatic coincidence with the world-wide =
triumph
of the musical review Tango Argentino, the social dance of tango began =
to
rise from the ashes in which it had been almost buried for decades.=20
It is known that throughout these last ten years, the panorama was =
modified
completely.
Today, hundreds of instructors shape thousands of dancers who attend =
tens of
milongas. In order to have an idea, it is enough to take a look at =
anyone of
the specialized publications (Tangauta, B.A. Tango), or to consider =
that at
a single school (Estrella-LaViruta) there is an enrollment of 600 =
students.
But beyond the numbers factor, the phenomenon of the contemporary =
milongas
marks a historical change in another sense: a new change of direction =
in the
continuous transformation of the styles of dance throughout the =
century.=20
What is being favored today on the dance floor? If it is what can be
observed with more frequency, one would say that three tendencies are
disputing for supremacy: the Urquiza style, the Almagro style and the
Naveira style, as the fans know them, - implying a neighborhood, a club =
and
a teacher.=20
They are not difficult to distinguish. Make yourself comfortable on a =
stool
by the bar and you will see them move over the waxed surface: a couple =
that
advances with long steps, touching the floor as if they are wearing =
gloves
on their feet (Urquiza), is followed by other couple closely embraced =
and
whose short steps adjust synchronously to the beat (Almagro), and =
behind, a
third couple that unfolds all the imaginable variety of figures which =
the
previous couples can do without (Naveira). Adding to that, there will =
be
another couple schooled in the style of Antonio Todaro and belonging to =
an
elite with technical formation, that alternates between the social =
dancing
at the milongas and the professional stage performances.
The fans are simultaneously protagonists and judges of the prevailing
tendencies. In some halls, one or another one dominates. But on several
"pistas" the practitioners of different styles mix with each other, =
they
watch each other out, they appraise each other, they admire themselves =
or
they condemn the others. The commentaries can be listened to between =
the
tables, but they can be tracked all the way down to the Internet =
(currently
a Tangolist site burns with opinions like: " So and so's dancing, looks =
like
a cowboy with hemorrhoids ").=20
Miguel Angel Zotto and Milena Plebs led the first changes at the =
beginning
of the 90's. When they reconstructed in their spectacle Tango x 2 =
elements
of style of the popular dance, they revealed to inadvertent eyes of the
public, the wealth of the world of the milonga. Then, the halls, and =
the
classes of Antonio Todaro, bricklayer and milonguero, with whom Zotto =
and
Plebs had made their meticulous work of stylistic archaeology, began to =
fill
with new customers.
A little later, Susana Miller began her classes at the traditional Club
Almagro. Miller (of academic extraction) associated with Cacho Dante (a
veteran aficionado) begun from her classes the propagation of which =
usually
is known as the Almagro style - very similar to the typical style of =
the
downtown night clubs of the 40's. Its less demanding requirements gave
access even to those who were less fitted naturally, technically or
sensitively. And it quickly put on the dance floor an enormous amount =
of new
fans, generating a true leveling off of the dance.=20
Right now, the influence that registers greater growth is, perhaps, the =
one
of dancer and teacher Gustavo Naveira. The faithful followers of his =
method
of combination of steps and figures consider it "the acme of creative
improvisation ". The detractors, who detest the way in which the =
Naveira
dancers move around the floor looking for space for their movements, =
define
them as "the patrol cars of the dance floor."=20
Naveira himself affirms: "a single person cannot be determining in the
evolution of the dance. That's been happening from the beginning of the
tango, and without stop, always because of a conjunction of factors. =
Now,
what is arising is a system of improvisation of an even greater variety =
of
combinations. And these changes are also transferred to the marking
techniques to lead the woman".=20
However, for disc jockey Horacio Godoy the future is in Villa Urquiza.
Teachers Vilma Heredia and Gabriel Angi=F3 also agree that many young =
people
are focusing their attention to the floor of the old Sunderland Club of
Villa Urquiza, where they still can watch the habitu=E9s of half =
century ago.
"Urquiza is what it's coming," prophesies Godoy. "There is a group of =
kids
that realized that the maximum wealth is there. I am not talking about
figures, it's about the musicality and the quality of the movement. =
It's
about a wealth of knowledge so subtle and complex that for the ordinary =
eye
is imperceptible. "
The trends, in any case, hardly draw up general lines: common
characteristics, airs of familiarity. As it has always happened with =
tango,
there are so many ways to dance as there are dancers (it is what highly
distinguishes it from almost all other forms of popular social dance). =
And
in the same way, there will be so many opinions on the question as the
number of people on the dance floor.
By Irene Amuchastegui and Laura Falcoff
Clarin Nespaper
Sunday, August 8, 1999=20
Date: Tue, 31 Aug 1999 10:27:28 -0700
From: Mike Hamilton <mikeh @MPL.UCSD.EDU>
Subject: Re: size of steps (was: size of side step in grapevine)
On Tue, 31 Aug 1999, Sabine Fuchs wrote:
> >It is useful when all your steps are about the same size; that is,
> >your side step isn't much shorter than the front and back steps.
>
> >Most Argentine teachers I've taken lessons from teach this, too.
>
> I just asked myself if this is a statement in general. Doesn't have the size
> of steps also have to do with the rythm of the music? For example: quick and
> tiny ochos in a milonga, slow and large ochos in slower parts of a tango? Of
> course the leader has to be able to adjust his steps to the rythm first to
> dance that way.
Yes and no. As far as the rhythm goes, the rhythm of a milonga is
indeed faster and one tends to take small, tight ochos. But, even in
milonga if you're in an giro, the molinette (grapevine) steps, while
*perhaps* (not necessarily) smaller than they are in a tango, are
still all the same size between themselves. That is, a side step is
the same size as a back or front step. They're also larger than the
little ochos (ochoitos? ;-) ) one would take in milonga, because you
still have to get all the way around the lead.
So, I suppose that....
> (Or did I misunderstand something and the 'same size rule' is just for
> grapevines and giros?)
...the "same size guideline" applies particularly to the molinette
done in an giro. Of course, there are exceptions to every rule... do
it because it works, not because someone told you so.
abrazos,
Mike
San Diego
Date: Tue, 31 Aug 1999 10:16:42 -0800
From: Steve Hoffman <DrSteveH @IBM.NET>
Subject: Respect for particular teachers' dancing abilities
There are many on-going debates about manners on this list, but I think
there is another facet that warrants thinking about:
There has recently been a series of exchanges about the skills of
individual dancers and teachers, and what it is like to dance with them.
Names like Daniela Arcuri, Florencia Taccetti, etc. are being discussed,
and some of the postings are downright critical of the *following* of these
women; they are being called *heavy*, no fun, lifeless, and quite a few
other terms with negative connotations.
All these recent postings on this subject are from men (I gather: American
men), who state they have danced with this well-known Argentine tanguera or
that professional dancer/teacher, and she is *this* or *that*, and is a
*good follower* or a *bad follower*, and the like.
I think this is inappropriate, rude, and unnecessary. We do not need to
discuss the dancing of particular individuals in this public forum,
especially when the comments are critical. To comment on a person's stage
performance, for an audience - is one thing. To comment on their abilities
as teachers - is one thing. To say you danced with them, and they are no
good, or unpleasant to dance with - this another thing. A bad and unkind
thing.
And who are these people, to criticize a professional dancer and teacher,
anyway?? Even if these men were right (which is all subjective anyway),
who are they to knock an individual person's dancing? Dancing is very
close to the heart, to centers of hope, self-esteem, and self-expression.
You don't criticize these deep chords in a public forum, much less in front
of the person herself. How would these men react if women were discussing
their dancing abilities in public, and saying that the guy was clumsy,
unimaginative, boring, or whatever?
The fact that the women being recently criticized are teachers does not
mean they should be subject to criticism of their personal dancing style,
according to some American male who may or may not even know what he is
talking about. You may discuss their teaching, or their stage
performance, because this is their economic activity and their professional
area, and it will be open to evaluation and choice on the part of
consumers; but their own dancing with you, no. You men may be the
problem, not them. Among the thousands of women dancers in Argentina, do
you think these woman mentioned in the postings are considered
professionals, dancers, teachers... for nothing? Do the opinions of
hundreds of real tangueros who have danced with them, and the thousands of
men who have admired them, account for nothing? I am amazed at the hubris
of the American men who are criticizing these women.
If you don't care for someone's dancing, don't dance with them; but please
don't spread your attitude around. Let us have our own experiences with
other dancers, if we are so bold as to dance with professionals and
teachers.
Steve Hoffman
Date: Tue, 31 Aug 1999 15:10:56 -0400
From: Lorettal Burton <LnBrtn @COMPSERV.NET>
Subject: Kely and Facundo Posadas workshops in Detroit
This is a multi-part message in MIME format.
=_NextPart_000_0084_01BEF3C3.0678B9A0
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Hola Fellow Tango Enthusiasts,
I am pleased to announce the up coming workshops of Kely and Facundo =
Posadas in Detroit Michigan.
For those few of you whom haven't had the wonderful experience of =
classes with them, they are one of the most wonderful, authentic, =
milonguero couples of Argentina, with a wonderful teaching style and a =
wealth of knowledge.
We of the Detroit area enjoy having visitors from far away places and =
take pleasure making your trip here one of special memories. The =
following is the schedule of events:
Friday September 24th=20
Welcome milonga- A fun way to begin our weekend, and get to know all of =
our guests 9:00-?.....................$5.00
Saturday September 25th
11:00am-12:20..........Vals..............................................=
.......................................................................$2=
0.00
12:30-2:00.................Tango.........................................=
.........................................................................=
$20.00
2:10-3:30...................Milonga......................................=
.........................................................................=
.$20.00
Join us Saturday evening for a night out with dinner and dancing
Sunday September 26th
11:00am12:20..............Vals...........................................=
.......................................................................$2=
0.00 =20
12:30-2:00...................Tango.......................................=
.........................................................................=
$20.00
2:10-3:30.....................Milonga....................................=
.........................................................................=
.$20.00
3:30-5:00.....................Pratica....................................=
.........................................................................=
..$5.00
$10.00 discount for full class participation
7:00-11:00 Join us for an evening out dancing at the =
Brickhouse...............................................................=
.$7.00
includes one free drink and mini lesson taught by Lori Burton
Kely and Facundo are part of the teaching staff at the Tango Congresso =
in Buenos A. Argentina
I plan on returning for my fifth trip to attend the wonderful congress =
March 12-19. I am hosting a group for the tango event of the year 2000. =
If you are interested in going with me and my friendly group, contact me =
and let me make your trip more enjoyable.
For more information on this event or any other questions contact me at =
LnBrtn @compserv.net
Or look on my web pages for full details: =
http://www.argentinetangodetroit.com
Also coming October 30th and 31st Gachi Fernandez and Sergio Cortazzo
I look forward to seeing old friends and meeting new ones.
Tangoly yours,
Lori Burton
=_NextPart_000_0084_01BEF3C3.0678B9A0
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charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
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<META content=3D"text/html; charset=3Diso-8859-1" =
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<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT size=3D2>Hola Fellow Tango Enthusiasts,</FONT></DIV>
<DIV><FONT size=3D2>I am pleased to announce the up coming workshops of =
Kely and=20
Facundo Posadas in Detroit Michigan.</FONT></DIV>
<DIV><FONT size=3D2>For those few of you whom haven't had the wonderful =
experience=20
of classes with them, they are one of the most wonderful, authentic, =
milonguero=20
couples of Argentina, with a wonderful teaching style and a wealth of=20
knowledge.</FONT></DIV>
<DIV><FONT size=3D2>We of the Detroit area enjoy having visitors from =
far away=20
places and take pleasure making your trip here one of special =
memories.=20
The following is the schedule of events:</FONT></DIV>
<DIV> </DIV>
<DIV><FONT size=3D2>Friday September 24th </FONT></DIV>
<DIV><FONT size=3D2>Welcome milonga- A fun way to begin our =
weekend, and get=20
to know all of our guests 9:00-?.....................$5.00</FONT></DIV>
<DIV> </DIV>
<DIV><FONT size=3D2>Saturday September 25th</FONT></DIV>
<DIV><FONT=20
size=3D2>11:00am-12:20..........Vals.....................................=
.........................................................................=
.......$20.00</FONT></DIV>
<DIV><FONT=20
size=3D2>12:30-2:00.................Tango................................=
.........................................................................=
.........$20.00</FONT></DIV>
<DIV><FONT=20
size=3D2>2:10-3:30...................Milonga.............................=
.........................................................................=
..........$20.00</FONT></DIV>
<DIV><FONT size=3D2>Join us Saturday evening for a night out with dinner =
and=20
dancing</FONT></DIV>
<DIV> </DIV>
<DIV><FONT size=3D2>Sunday September 26th</FONT></DIV>
<DIV><FONT=20
size=3D2>11:00am12:20..............Vals..................................=
.........................................................................=
.......$20.00 =20
</FONT></DIV>
<DIV><FONT=20
size=3D2>12:30-2:00...................Tango..............................=
.........................................................................=
.........$20.00</FONT></DIV>
<DIV><FONT=20
size=3D2>2:10-3:30.....................Milonga...........................=
.........................................................................=
..........$20.00</FONT></DIV>
<DIV><FONT=20
size=3D2>3:30-5:00.....................Pratica...........................=
.........................................................................=
...........$5.00</FONT></DIV>
<DIV><FONT=20
size=3D2> &nbs=
p; =20
$10.00 discount for full class participation</FONT></DIV>
<DIV> </DIV>
<DIV><FONT size=3D2>7:00-11:00 Join us for an evening out dancing at the =
Brickhouse...............................................................=
.$7.00</FONT></DIV>
<DIV><FONT size=3D2>includes one free drink and mini lesson taught by =
Lori=20
Burton</FONT></DIV>
<DIV> </DIV>
<DIV><FONT size=3D2>Kely and Facundo are part of the teaching staff at =
the Tango=20
Congresso in Buenos A. Argentina</FONT></DIV>
<DIV><FONT size=3D2>I plan on returning for my fifth trip to attend the =
wonderful=20
congress March 12-19. I am hosting a group for the tango event of the =
year 2000.=20
If you are interested in going with me and my friendly group, =
contact me=20
and let me make your trip more enjoyable.</FONT></DIV>
<DIV><FONT size=3D2>For more information on this event or any other =
questions=20
contact me at <A=20
href=3D"mailto:LnBrtn @compserv.net">LnBrtn @compserv.net</A></FONT></DIV>
<DIV><FONT size=3D2>Or look on my web pages for full details: <A=20
href=3D"http://www.argentinetangodetroit.com">http://www.argentinetangode=
troit.com</A></FONT></DIV>
<DIV> </DIV>
<DIV><FONT size=3D2>Also coming October 30th and 31st Gachi Fernandez =
and Sergio=20
Cortazzo</FONT></DIV>
<DIV> </DIV>
<DIV><FONT size=3D2>I look forward to seeing old friends and meeting new =
ones.</FONT></DIV>
<DIV><FONT size=3D2>Tangoly yours,</FONT></DIV>
<DIV><FONT size=3D2>Lori Burton</FONT></DIV>
<DIV> </DIV></BODY></HTML>
=_NextPart_000_0084_01BEF3C3.0678B9A0--
Date: Tue, 31 Aug 1999 15:22:49 EDT
From: Victor Crichton <victor_vsc @HOTMAIL.COM>
Subject: Re: Respect for particular teachers' dancing abilities
Steve Hoffman wrote:
>There has recently been a series of exchanges about the skills of
>individual dancers and teachers, and what it is like to dance with them.
>Names like Daniela Arcuri, Florencia Taccetti, etc. are being discussed,
>and some of the postings are downright critical of the *following* of these
>women;
..snip..
>
>All these recent postings on this subject are from men (I gather: American
>men
******************************
Though I agree with what you say in general, I believe that your focus is a
little fuzzy in two areas.
First, it is not only women professionals that are being dealt a low blow.
Gustavo Naveira, Fabian Salas, Chicho, Pablo Veron, Alberto Paz and other
males have also been treated in an unnecessarily rude manner. Some of the
members of this list are willing to show their lack of upbringing towards
anyone regardless of their gender or their profession. There have been
quite a number of nasty posts aimed towards non-professional dancers as
well.
Second, I think it is very presumptuous of you to single out male list
members, and in particular American males for this rude behavior. (and NO, I
am not American, I am Canadian). It is not clear who on this list is
American or who is male for that matter. As has been brought up in the
past, many members of this list feel it is necessary to hide behind secret
identities in order to subject us to various statements that they aren't
willing to admit to. This is one of the reasons that some of the list's
members have started the new discussion group where the only rule is that
you must use your true identity.
At any rate, since there are almost 1000 members on this list, it would not
possible that they all think alike or express themselves with the same
degree of sensitivity towards others. Rudeness, however unpleasant, is a
fact of life and we must be able to deal with it. As far as this list goes,
everyone is free to use their delete key or to unsubscribe if it is more
than they personally wish to deal with. I too, would like to see less of
these nasty postings but, just like in the real world, I wouldn't bet on it.
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
Date: Tue, 31 Aug 1999 16:40:06 -0400
From: chris humphrey <humphrey @MAIL.UTEXAS.EDU>
Subject: swango
Can anybody tell me anything about 'swango' --
apparently Daniel Trenner and his lindy hopping partner
will be teaching this hybrid of Argentine tango/Lindy
Hop at a conference in Atlanta this weekend. Anybody
have any details? Inquiring minds want to know.
chris
Date: Tue, 31 Aug 1999 22:27:18 -0400
From: SERGIO <SERGIO @NCINTER.NET>
Subject: EL COMPADRITO
TOM STERMITZ WROTE:
>Wasn't the compadrito an 1920s or 1930s character? A kind of bum or
>gangster, but a loner.
>You mention depictions of the compadrito in film, which would lend
>weight to my suggestion, since films were not made until the 1920s.
>Films (Hollywood) has a tendency to romanticize the past, and to
>recast it with details of the present.
>The little history of the Gaucho turning into a Compadrito that is
>told by the folk dancers is a little bith mythological if you ask me.
The word COMPADRITO, describes in Argentina a man that has certain
personality traits; as those described in a previous note. INITIALLY
referred, not to the wandering gaucho of The Pampas, mythically free, nor
the one dedicated to cattle raising in the estancias (ranches);(person of
mythical kindness, honesty and generosity); but to the one, that comes in
contact with the big city due to his occupation. (He brings cattle and goods
to the markets and the port). This semi-urban cowboy develops then, a
peculiar personality. This changes are easily noticed in many immigrants
that come from rural areas to any big metropolis.
The word COMPADRITO is a diminutive of COMPADRE; compadre in an ample sense
is a buddy, somebody in whom you can trust, a good friend. The compadrito
has some of those good traits but becomes arrogant and prone to fight for no
other reason than to exhibit courage; in this sense I agree, he is like the
good/bad Cow-boy in a western movie.
This is pure history, no myth, no romantic ideation; there are still
compadritos around us and while we are talking new ones are being created.
Milongueando en el 2000.
Date: Tue, 31 Aug 1999 22:42:47 -0400
From: SERGIO <SERGIO @NCINTER.NET>
Subject: PUTTING WEIGHT ON YOUR PARTNER
SANDY SMITH WROTE:
>As a woman who is constantly nagged
>by my teacher to put more weight on my partner, it is indeed informative to
>discover that many men do not like to dance this way. I also like to hear
>other views on this and other matters.
I think that one has to differentiate having a strong frame from putting
weight on his partner.
Frame refers to the posture of your body and your arms, they offer a certain
resistance, which facilitates the lead.
Tango Salon requires that you keep your axis, and support your entire weight
without putting weight on your partner.
This way you are light to dance with.
One of the worse habits a lady can develop is to -put weight on her partner-
becoming heavy and tiring to dance with.
Some figures like EL PUENTE (THE BRIDGE) REQUIRES some weight of the chest
of the lady applied to the chest of the man.
Milonguero style calls for a different frame that requires certain pressure
of the chest against the chest, but again, no weight. May you be very light
to dance with.
Date: Tue, 31 Aug 1999 20:41:30 -0400
From: Stella Robinson <stella_robinson @EMAIL.COM>
Subject: Re: Respect for particular teachers' dancing abilities
Steve Hoffman <DrSteveH @IBM.NET> wrote:
>We do not need to discuss the dancing of particular individuals >in this
public forum, especially when the comments are >critical.
"Critical" is not always rude, Steve. How else would we know what various
teachers are like? Only from positive comments that come from only a few
subscribers to the List?
I suspect that not every teacher out there is great. Just because someone
falls in love with their particular style of dancing or way of teaching,
does not mean that we all should do the same or that someone should not
express their critical opinion.
Are we required to treat all the teachers as perfect?
Final question to the List: is there an objective set of criteria to judge a
teacher?
Many thanks,
Stella.
FREE! The World's Best Email Address @email.com
Reserve your name now at http://www.email.com
Date: Tue, 31 Aug 1999 18:22:05 -0400
From: Jorge Navarro <jorge @XMAIL.COM>
Subject: Re: Respect for particular teachers' dancing abilities
Without naming any names, as to not offend sensitive souls and not to break any rules, many Argentine men (like me) and Argentine women are much more critical of teachers and dancers that you would ever imagine.
If a woman feels heavy, everyone will know about it in Buenos Aires very quickly. If a man "breaks" her back with his poor lead, again everyone will soon know about it.
Another point to consider is: what makes an Argentine or non-Argentine person a professional teacher? There is no agency that issues professional licenses for tango teachers. There are no schools accredited by some absolute authority that graduate qualified Tango teachers. It is not sufficient to be a talented stage dancer or an authentic milonguero to be a professional Tango teacher. The reality is such that people get into this profession in many different ways. But what makes truly professional teachers is their students. If a person is good enough, he or she will get enough students to make a decent living in Buenos Aires. That seems to be the minimum requirement. Also, what separates great teachers from not so great is again who their students are. When shows like "Tango X 2" or "Forever Tango" visit your city and you go see them, please read the playbill carefully. In the dancers' short bigraphies, they will tell you who their teachers are. Those are truly professional teachers
Date: Sun, 29 Aug 1999 10:12:54 -0700
From: Jorge Gonzalez-Becerra <jlgb22 @PACBELL.NET>
Subject: Re: TANGO REVIEW-Orquesta de las Estrellas
Hi,
> In reference to the information requested by me about the upcoming event
> in September TANGO REVIEW in Miami, I failed to receive your response my
> PC system crashed. Would you be so kind to send it to me again?
>
> Regards,
> JLGB
> jlgb22 @pacbell.net
Date: Tue, 31 Aug 1999 11:08:28 -0700
From: Kathleen Bober <kbober @FLASH.NET>
Subject: Tango Sheet Music
Does anyone have a source for tango sheet music... preferably arranged for
just piano and cello (or for a few instruments that we can arrange for just
two)? I'm not interested in performing, just for enjoyment with a fellow
musician.
Thanks in advance!
Kathleen Bober
Tucson, AZ
Date: Tue, 31 Aug 1999 15:14:02 -0400
From: Alberto Hoyos <TANGOCENTRAL @WEBTV.NET>
Subject: "SENSUAL TANGO REVIEW"
Attention Tango Lovers:
Exciting news! Orlando is finally hosting an incredible Argentine Tango
show on Sunday, Sept. 19 at the BOB CARR Auditorium. Here is the
information regarding the show:
SENSUAL TANGO REVIEW
35 Dancers and Musicians on the Stage
"A silent, physical encounter where men and women embrace in a frenzied
dance as they begin to experience wild passion, desire and sensuality."
Two performances only - Sunday, Sept. 19 at 2pm and 7pm.
BOB CARR PERFORMING ARTS CENTRE, Orlando, FL
PROMOTIONS OF AMERICA PRESENTS: SENSUAL TANGO REVIEW!
Two hours of the world's most passionate and sensual dancing. Come and
feel the romance, the strength, the power and the obsession of the Tango
as it was meant to be performed.
The audience is electrified and captured by the atmosphere of the TANGO
MUSIC and the fascinating display of emotion where love, hate, ecstasy
and great passion is unleashed. SENSUAL TANGO REVIEW has fascinated
audiences throughout South America and Europe.
Critics call SENSUAL TANGO REVIEW, "The best ever seen in Tango."
Reowned Maestro Miguel Arrabal and his sensational 10-piece orchestra
play the best works of Piazzola, Carlos Gardel, Mariano Mores and other
greats of the Tango.
Tickets available at: Orlando Arena Box Office and all Ticketmaster
locations.
To charge by phone: 407-839-3900.
Box Office Information: 407-849-2020 - $35; $25; $15.
Groups of 20 or more, call 407-849-2014 - $22 and $12
SPONSORED BY:
International Mortgage Banker of Florida, Inc.
PAYAS, PAYAS & PAYAS, Professional Association
Downtown Orlando Marriott
End of TANGO-L Digest - 31 Aug 1999 to 1 Sep 1999
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