The Tango-L mailing list archive
Digest from 11 Mar 1999
to 12 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: Fri, 12 Mar 1999 03:00:01 -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 - 11 Mar 1999 to 12 Mar 1999
There are 9 messages totalling 720 lines in this issue.
Topics of the day:
1. dance in Buenos Aires - Help!
2. Brigitte Winkler
3. Hotels in BsAs
4. LAUSANNE - TANGOFOLIE fete ses 5 ans ...
5. Any NYC tango Afternoon of Thurs March 18?
6. newspaper clipping (2)
7. Question for followers/Comments re: milonguero
8. Tango and Jazz
Date: Thu, 11 Mar 1999 15:34:57 MEZ
From: Rolf Schramek <schramek @HPBIO1.BIOLOGIE.HU-BERLIN.DE>
Subject: dance in Buenos Aires - Help!
Hallo list members,
the last time I asked about CONTACT IMPROVISATION in Buenos Aires.
This is a dance form in duest (mostly) or in trios and groups
foundet in the 70th from Steve Paxton in the US. (Someone asked me.)
Unfortunately there was no responce.
So I want to ask again and a bit more generaly.
Can someone give me some hints where to do
Modern Dance, New Dance and CI (contact impr.) in Buenos Aires.
And - yes - there is a conection to argentine tango, which is
mostly the art of leading one another and feeling and "listening"
what the other person(s) are doing.
So, ok, I am looking forward for some helpfull hints
Greetings
Rolf
Date: Thu, 11 Mar 1999 09:36:54 EST
From: Candy Korman <Milonga @AOL.COM>
Subject: Brigitte Winkler
Dear Tango Folks:
I know that Brigitte Winkler is on the road right now, in New Mexico etc,
teaching Tango. Could someone tell her to call me? Candy Korman (she has the
number)
Thanks,
Candy
Date: Thu, 11 Mar 1999 10:13:01 -0500
From: robin tara <rtara @MAINE.RR.COM>
Subject: Hotels in BsAs
I'm off to BsAs next week and I'm looking for information on
inexpensive, centrally located hotlls in Buenos Aires. Anyone have any
advice? Best deals? Best locations? And if so, do you have phone numbers
or e-mail addresses?
Thanks so much,
Robin
Date: Thu, 11 Mar 1999 18:27:36 +0100
From: marie-lorraine bontron <mlb @DMTSUN2.EPFL.CH>
Subject: LAUSANNE - TANGOFOLIE fete ses 5 ans ...
Grand week-end Tango Argentin du 18 au 21 Mars 99 =E0 Lausanne
avec Claudia Codega et Esteban Moreno
Claudia et Esteban dansent un tango de salon elegant dans la pure =
tradition
des grands milongueros de Buenos Aires.
Pour feter ses 5 ans, l=92association Tangofolie vous convie a passer un
week-end avec eux, et tout specialemenent a un grand bal le samedi 20 =
mars
anime par l=92orchestre La Revancha, avec demo et surprises=85 Le =
week-end se
terminera le dimanche 21 par une soiree argentine au Bleu lezard : menu
special, video, concert et bal sont au programme.=20
La soiree de fin des cours le jeudi 18 mars, commencera a 20h par un =
expose
d=92Esteban sur la musique. Comme d=92habitude, vos specialites =
culinaires sont
les bienvenues=85 et nous nous chargeons des boissons. =20
Programme des soirees
Jeudi 18 mars 99 =E0 la salle St-Marc
20h00: Expos=E9 sur la musique par Esteban Moreno
(entr=E9e libre pour les membres de TF, 20.- pour les non-membres)
21h15: F=EAte de fin des cours
entr=E9e libre pour tous, boissons offertes par l'association
Samedi 20 mars 99 =E0 la salle Saint-Marc
des 21h00 (jusqu'=E0 3h00 au minimum ...)
Concert =96 Bal
Avec l=92orchestre La Revancha
(Entr=E9e 30.- ; 20.- pour membre TF)
Cours d=92initiation gratuit =E0 20h00
Dimanche 21 mars a la cave du Bleu Lezard
des 19h00 (jusqu=92=E0 1h)
Soiree argentine=20
Repas (reservation au 3213838), concert (La Revancha), bal=09
Programme du stage
=09
Tango I samedi 19 18h30-20h00 au studio Lieber
(< =E0 1 an) =09
Tango II samedi 19 14h30-16h00 au studio Lieber
(de 1 =E0 3 ans) dimanche 20 13h00-14h30 au studio Lieber
Tango III vendredi 18 20h00-21h30 a la salle St-Marc=09
(4ans et plus) dimanche 20 17h00-18h30 au studio Lieber
Milonga I samedi 19 16h30-18h00 au studio Lieber
(< 2 ans tango) =09
Milonga II dimanche 20 15h00-16h30 au studio Lieber
(> 2ans tango) =09
Valse III vendredi 18 22h00-22h30 a la salle St-Marc=09
( 4 ans tango)=09
ATTENTION: Les cours seront strictement limit=E9s =E0 12 couples. Pensez =
=E0 vous
inscrire =E0 l'avance !!!=20
Il est possible de prendre des cours priv=E9s jeudi 18 ou vendredi 19,
appelez-nous ... =09
Les cours de samedi et dimanche ont lieu au Studio de danse Nicole =
Lieber.
Prix en FS: 1 cours: 40.- (30.- pour membre TF)
4 cours: 130.- (100.- pour membre TF)
Adresses des salles a Lausanne
Salle de la paroisse St-Marc - Ch de Renens/Av. de Severy
Studio Nicole Lieber - Rue Caroline 7
La Cave du Bleu L=E9zard - Rue Ening 10
Informations et inscriptions:=20
Tangofolie, CP92, CH -1015 Lausanne
T=E9l: 079/6586470, Fax: 0790/6586470
email:tangofolie @dmtsun2.epfl.ch
Inscription par email a tangofolie @dmtsun2.epfl.ch
Nom:
Pr=E9nom:=09
Adresse:
=09
T=E9l:
Fax:=20
email: =09
Cours choisis: =09
Prix total:=20
A vos agendas:
Les Tangofolies de Lausanne 99, du 21 au 24 mai 99
avec Claudia Codega et Esteban Moreno, Corina de la Rosa et Julio =
Balmaceda,
Kely et Facundo Posadas, Lorena Ermocida et Osvaldo Zotto, Silvia et =
Tete,
Veronica Alvarenga et Pablo Inza,... et le Sexteto Canyengue.=20
A bientot a Lausanne,
Un abrazo
Marie-Lorraine
Date: Thu, 11 Mar 1999 13:50:44 -0500
From: Sharon Pedersen <pedersen @BOWDOIN.EDU>
Subject: Any NYC tango Afternoon of Thurs March 18?
Does anyone know of any Argentine tango in New York City on the
afternoon/early evening of Thursday March 18?
I'm looking for tango in the slot of 3 p.m. to 8 p.m.
Richard's NYC web page at http://www.erols.com/ezie/ shows three
events on that date, but they all start at 9 p.m. or later. (Il
Campanello milonga 9:30 p.m., Sandra Cameron practice 9:30 p.m.,
Stepping Out practice 9 p.m.) I've tried Alta Vista ("argentine
tango" and "new york" and "thurs") but it didn't turn up anything
else.
Thanks!
--Sharon Pedersen pedersen @bowdoin.edu
Brunswick, Maine USA
Date: Thu, 11 Mar 1999 14:49:57 -0500
From: chris humphrey <humphrey @MAIL.UTEXAS.EDU>
Subject: newspaper clipping
Last Tango In Buenos Aires?
LONDON (Reuters) - Britain's Prince Charles, at the center of a political
storm in
Argentina, caused a sensation in the British press Wednesday after dancing
the tango
with two beautiful women during his first visit to Buenos Aires.
Charles' plea for an end to hostility with the disputed Falkland Islands
may have
angered many Argentines, but the newspapers had eyes for passion of a different
kind.
Many British newspapers devoted their front pages to pictures to the prince and
Adreana Vasile, a professional dancer who hooked her stockinged leg around the
heir to the British throne just as they finished dancing to loud applause.
The prince then took Argentine President Carlos Menem's 28-year-old daughter
Zulemita for a spin across the floor.
"He seems to be a very passionate man. He said he enjoyed himself," the dancer
Vesile was quoted as saying.
"I was surprised he wasn't timid at all. Although he didn't know the steps
he was
very creative. He was whispering to me but I could not understand what he was
saying," she said.
===============================================
For the good are always the merry
Save by an evil chance
And the merry love the fiddle
And the merry love to dance.
(The Fiddler of Dooney -- William Butler Yeats)
Chris Humphrey/Biomedical Engineering Program
The University of Texas at Austin/Austin, TX 78712
512-471-1826/512-471-0616 (fax)
humphrey @mail.utexas.edu
===============================================
Date: Thu, 11 Mar 1999 20:26:43 -0500
From: Danny Waggoner <dwag @MINDSPRING.COM>
Subject: Question for followers/Comments re: milonguero
This is a multi-part message in MIME format.
=_NextPart_000_051A_01BE6BFD.7A545E40
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
In further reponse to Gigi Gamble's post of March 10 referencing Susana =
Miller, here are a couple of items of interest from Barbara Durr, =
Susana's North American organizer
First:=20
Danny,
Here's a message for Tango-L:
For those of you who may be in Buenos Aires this month, consider this =
unique
learning opportunity:
Two of the greatest master teachers of the close embrace, or milonguero, =
style
tango are cooperating this month in a joint class in Buenos Aires. =
Every
Thursday this month, Susana Miller is explaining and interpreting the
remarkable choreography and style of Tete.
The class is every Thursday in March, 9-11 pm at the Club Juvenil =
located at
Corrientes, 4534. In Buenos Aires, call 823-1876 or 981-6869 for =
further
information.
Second:
Susana will be arriving in the U.S. in late April for her Spring/Summer =
tour of N.A. She's already booked for San Francisco, Seattle, Portland, =
Boston and Atlanta. We'll soon be posting schedules for those cities for =
those interested in studying with her during this tour. Several open =
dates still exist during her stay - interested organizers or groups may =
contact Barbara at durr @care.org for more information re:scheduling =
Susana for a workshop.
<SNIP>
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
FAX 415/636-8140
http://schweb.schwab.com/finance/empl_br/
<SNIP>
=_NextPart_000_051A_01BE6BFD.7A545E40
Content-Type: text/html;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
<!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 HTML//EN">
<HTML>
<HEAD>
<META content=3Dtext/html;charset=3Diso-8859-1 =
http-equiv=3DContent-Type>
<META content=3D'"MSHTML 4.72.2106.6"' name=3DGENERATOR>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT color=3D#000000 size=3D2>In further reponse to Gigi Gamble's =
post of=20
March 10 referencing Susana Miller, here are a couple of items of =
interest from=20
Barbara Durr, Susana's North American organizer</FONT></DIV>
<DIV> </DIV>
<DIV> First: </DIV>
<DIV>Danny,<BR> Here's a message for Tango-L:<BR><BR>For those of =
you who=20
may be in Buenos Aires this month, consider this unique<BR>learning=20
opportunity:<BR><BR>Two of the greatest master teachers of the close =
embrace, or=20
milonguero, style<BR>tango are cooperating this month in a joint class =
in Buenos=20
Aires. Every<BR>Thursday this month, Susana Miller is explaining =
and=20
interpreting the<BR>remarkable choreography and style of =
Tete.<BR><BR>The class=20
is every Thursday in March, 9-11 pm at the Club Juvenil located=20
at<BR>Corrientes, 4534. In Buenos Aires, call 823-1876 or 981-6869 =
for=20
further<BR>information.</DIV>
<DIV> </DIV>
<DIV>Second:</DIV>
<DIV><FONT color=3D#000000 face=3D"" size=3D3>Susana will be arriving in =
the U.S. in=20
late April for her Spring/Summer tour of N.A. She's already booked for =
San=20
Francisco, Seattle, Portland, Boston and Atlanta. We'll soon be posting=20
schedules for those cities for those interested in studying with her =
during this=20
tour. Several open dates still exist during her stay - interested =
organizers or=20
groups may contact Barbara at <A =
href=3D"mailto:durr @care.org">durr @care.org</A>=20
for more information re:scheduling Susana for a workshop.</FONT></DIV>
<DIV> </DIV>
<DIV> </DIV>
<DIV><SNIP><BR>Thanks for the responses, everyone.<BR><BR>As Oscar =
Wright=20
said:<BR>>>I counsel patience, dance till you drop every day, love =
the=20
music and<BR>don't try too hard.<BR>And faera said<BR>>>strive =
toward a=20
celebration of the need to absolutely enjoy the dance<BR>experience even =
if it=20
is flawed by being out of rhythm.<BR><BR><BR>Also, these responses to =
the post=20
prompt me to say that it's great to have<BR>littermates -- =
one of=20
the best things about learning tango this year has<BR>been dancing =
with my=20
fellow yearlings, feeling and seeing the improvements<BR>in the leaders, =
and my=20
fellow followers.<BR>Its encouraging.<BR><BR>Thanks for the reference to =
Susana=20
Miller -- She's reccomended very highly<BR>by others I've learned from. =
Am=20
keeping an ear to the ground for her<BR>Gigi Gamble<BR>Voice mail=20
415/636-8520<BR>Pager 415/636-0266<BR><BR>Employee Branch =
Services<BR>Phone=20
415/636-8191<BR>Toll Free 800/833-0444<BR>FAX 415/636-8140<BR><A=20
href=3D"http://schweb.schwab.com/finance/empl_br/">http://schweb.schwab.c=
om/finance/empl_br/</A><BR><SNIP></DIV></BODY></HTML>
=_NextPart_000_051A_01BE6BFD.7A545E40--
Date: Thu, 11 Mar 1999 19:00:00 -0900
From: Eric Larson <aneml @UAA.ALASKA.EDU>
Subject: Tango and Jazz
I=92ve just started reading about the history of tango music and danc=
e and
noticed several parallels with jazz. I wonder if anyone has seen or
read studies that compare the origins and evolution of jazz and tango=
.
In particular, I=92m curious about several issues:
1. African Influences
Both jazz and tango were influenced by Africans who were brought to
America as slaves. I=92ve read that one of the several possible orig=
ins
of the word =93tango=94 is a =93gathering place for blacks.=94 Simi=
larly, jazz
music and dance finds some of its roots in =93congo square,=94 a gath=
ering
place where blacks danced to their traditional African music in 19th
century New Orleans. From what I've read, African slaves brought to =
the
U.S. were from different areas of Africa than slaves brought to
Argentina, yet I wonder if they shared some similar African tradition=
s
that ended up in both Argentina and the U.S.
2. Imitation of Styles
The earliest forms of jazz dance were created by blacks imitating and
making fun of whites doing their formal minuets and waltzes. Blacks
called one of their first imitative dances the Cake Walk, a sort of
prancing, strutting dance that breaks out into exhuberant release. T=
hey
proceeded to invent a host of vernacular jazz moves like snake hips,
black bottom, suzy Q, turkey trot, and other motions that many
considered lewd. Eventually white dancers imitated these dance steps=
.
Whites danced the Cake Walk themselves and created dances like the
Charleston, Lindy Hop, and jitterbug -- some of the most popular form=
s
of vernacular jazz dance.
I=92m curious if tango dance grew out of similar, mutual imitation by
different ethnic groups in Buenos Aries in the late 1800's. Did
different ethnic groups watch and try to imitate what the others were
doing in Buenos Aries? Or did different ethnic groups dance with ea=
ch
other and create something together?
3. Ethnic Mixing
Tango was fed by a mix of ethnic traditions -- including Spanish,
Italian, African, and Eastern European -- all of whom co-mingled in
Buenos Aries. Jazz was a similar melding of ethnic traditions includ=
ing
African, Irish, British, and French who lived in New Orleans. Blues
music merged with ragtime, Irish melodies, and other traditions to
create the syncopated, swinging, improvised sound of jazz. I=92m
wondering if there are other major port cities that experienced a
similar melding of ethnic traditions. What was it about New Orleans =
and
Buenos Aries that made them ripe for the creation of whole new music =
and
dance forms?
4. Dancing out of the Pits
My understanding is that early tango was associated with sad, lonely,
and sometimes despairing themes. Jazz has similar origins. One of t=
he
prime ingredients of jazz is blues -- a music that grew out of
spirituals sung by black slaves while working in the fields to carry
them through the hopelessness of slavery. It seems as though both bl=
ues
and tango are expressions of very strong desires that refused to die
despite adverse and hopeless conditions. Both blues and tango seem t=
o
captivate and inspire because they encourage us to keep dancing and
making music in the darkest of times.
In contrast, some forms of jazz (Bebop, boogie woogie, Dixieland, swi=
ng)
are more exuberant releases -- a sort of celebration after being free=
d
=66rom slavery. Some improvisational forms of jazz music indulge the=
rush
of creativity and release that comes after the shackles of slavery ar=
e
taken off. Is there a similar tradition in Tango? For tango music a=
nd
dance, what comes after the passage through the darkness of lonelines=
s
and sadness?
5. A Music of the Disenfranchised
The histories I've read describe tango in it=92s early days as a musi=
c and
dance of the disenfranchised and marginalized members of society.
According to these histories, it was a music of the street and closel=
y
associated with sexually charged, and sometimes violent, situations.
Jazz is a close cousin. The earliest jazz musicians were street playe=
rs
living on the edge of society with their own street vernacular that t=
hey
invented so they could tell who was part of their group of compatriot=
s.
The word =93jazz=94 in this street vernacular means to fornicate. Wh=
o, I
wonder, are the disenfranchised and marginalized members of our socie=
ty
now, and what is their music and dance?
6. The Sound of the Music
The distinctive sound of blues music is a mix of both minor and major
chord sounds that blends European and African musical scales. A mix =
of
dominant 7th chords mixed with thirds and flatted thirds give blues i=
t=92s
melancholic sound. Several distinctive chord progressions in jazz gi=
ve
it a sense of tension, change, motion, and resolution that distinguis=
hes
it from earlier musical forms. Swinging eighth notes and synchopatio=
n
fill out the early jazz style.
I=92m wondering what musical elements in tango give it it=92s distinc=
tive
sound -- are there particular keys, scales, chord progressions, or ot=
her
elements that make it "sound" like tango?
7. Cleansing
Jazz and Tango went through similar passages when their original orig=
ins
were =93cleaned-up=94 or =93sanitized.=94 At about the same time Ga=
rdel and
numerous tango orchestras were popularizing tango in Argentina and
Europe, Louis Armstrong, Duke Ellington, Benny Goodman, and a host =
of
other big bands were popularizing =93swing,=94 a form of jazz music. =
Soon
after the tango become a dance craze, the Charleston, Lindy Hop, and
Jitterbug became popular forms of jazz dance.
What was it about this time that made it ripe for dancing -- all form=
s
of dancing? Was this a time of economic prosperity that let the
marginalized and disenfanchised members of society bring their dances
and music into the mainstream? Or was this a time when the upper
classes absorbed the music and dance of the lower classes without rea=
lly
incorporating the lower classes into full membership in society?
8. A breach between Dancers and Musicians
In the 1950=92s, jazz musicians took a turn away from dancers. Bebop=
jazz
had a fast tempo, ever-changing chord progressions, and complex rhyth=
ms
that made it nearly impossible for jazz dancers (using traditional
movements) to move with the music. Modal jazz, Fusion jazz, and a ho=
st
of other inventions were not friendly to dancers -- they were intende=
d
for musicians to interact with other musicians and an audience, but n=
ot
dancers.
Similarly, some forms of tango music I=92ve heard from the 1950=92s =
mix
tango, jazz, and classical styles in ways that make the music more
challenging to dance to (using traditional movements). Piazzolla=
=92s
music, for example, is a wonderful innovation, but is more challengin=
g
to dance to with traditional tango movements.
What happened between dancers and musicians in the 1950=92s and 1960=
=92s
that created this breach? Were the musicians discouraged by all the
throngs of dancers going out dancing to rock and roll and ignoring th=
e
musicians they used to dance to? Perhaps the musicians decided to
listen to each other to keep their music alive.
9. Innovation
Both tango and jazz are improvisational dances. Perhaps they both
reflect a feeling felt strongly by many people earlier this century:
That the unique expressions of individuals were important, significan=
t,
and worth showing to the world. Both dances directly challenge
conformity, uniformity, and homogeneity. They rebuff the status quo.
Why then, I wonder, is there a resurgence of both tango and swing in
their original forms? Large numbers of dancers in the US are gleeful=
ly
learning swing dance from the 1930=92s. Meanwhile, dancers around th=
e
world are learning early forms of the tango. We are learning the
traditional forms of dances of previous generations. It=92s wonderfu=
l to
keep these traditions alive; but what is our generation's innovation,
our creation, or our distinctive improvisational contribution to thes=
e
dances? Is our role primarily to sustain the traditions, or to inven=
t
something wholely different out of these traditions?
Eric
aneml @uaa.alaska.edu
Date: Thu, 11 Mar 1999 23:36:00 -0800
From: Tanya Chou <toastercat @YAHOO.COM>
Subject: Re: newspaper clipping
well just in case if any of you ever wonder how that must have look
like, there's a photo on the BBC website:
http://news.bbc.co.uk/hi/english/uk/newsid_294000/294840.stm
---chris humphrey <humphrey @MAIL.UTEXAS.EDU> wrote:
>
> Last Tango In Buenos Aires?
>
>
> LONDON (Reuters) - Britain's Prince Charles, at the center of a
political
> storm in
> Argentina, caused a sensation in the British press Wednesday after
dancing
> the tango
> with two beautiful women during his first visit to Buenos Aires.
>
> Charles' plea for an end to hostility with the disputed Falkland
Islands
> may have
> angered many Argentines, but the newspapers had eyes for passion of
a different
> kind.
>
> Many British newspapers devoted their front pages to pictures to the
prince and
> Adreana Vasile, a professional dancer who hooked her stockinged leg
around the
> heir to the British throne just as they finished dancing to loud
applause.
>
> The prince then took Argentine President Carlos Menem's 28-year-old
daughter
> Zulemita for a spin across the floor.
>
> "He seems to be a very passionate man. He said he enjoyed himself,"
the dancer
> Vesile was quoted as saying.
>
> "I was surprised he wasn't timid at all. Although he didn't know the
steps
> he was
> very creative. He was whispering to me but I could not understand
what he was
> saying," she said.
>
>
>
>
> ===============================================
> For the good are always the merry
> Save by an evil chance
> And the merry love the fiddle
> And the merry love to dance.
> (The Fiddler of Dooney -- William Butler Yeats)
>
> Chris Humphrey/Biomedical Engineering Program
> The University of Texas at Austin/Austin, TX 78712
> 512-471-1826/512-471-0616 (fax)
> humphrey @mail.utexas.edu
> ===============================================
>
_________________________________________________________
DO YOU YAHOO!?
Get your free @yahoo.com address at http://mail.yahoo.com
End of TANGO-L Digest - 11 Mar 1999 to 12 Mar 1999
**************************************************