The Tango-L mailing list archive
Digest from 25 May 1999
to 26 May 1999
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Reply-To: Discussion of Any Aspect of the Argentine Tango <TANGO-L @MITVMA.MIT.EDU>
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Date: Wed, 26 May 1999 03:00:02 -0400
Sender: Discussion of Any Aspect of the Argentine Tango <TANGO-L @MITVMA.MIT.EDU>
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Subject: TANGO-L Digest - 25 May 1999 to 26 May 1999
There are 11 messages totalling 461 lines in this issue.
Topics of the day:
1. UPWARDS...
2. my nicest holiday experience ... (was Re: Are dancers
Tango-concert muzzle?)
3. Manuel Ortiz
4. Inquiry
5. May 29, 1999-Smithsonian Tango Event, Washington, D.C.
6. 'Defying gravity' in life and tango
7. Tips for BsAs
8. Argentino Ledesma:
9. Dancers at concerts?
10. Weight being UPWARD
11. skill levels
Date: Tue, 25 May 1999 05:43:48 -0400
From: "Andre G. Samson" <andre_gs @COMPUSERVE.COM>
Subject: Re: UPWARDS...
Walter wrote:
>>two teachers who are
even more famous, Isaac Newton and Galileo Galilei
Realists 1
Idealists 0
>>who have
> demonstrated with
> well-designed experiments, and explained with
> irrefutable logic
Realists 1+1
Idealists 0+0
>>weight, a consequence of gravity, is always down
Realists 1+1+1
Idealists 0+0+0
Tango
Realists 1+1+1=3D0
Idealists 0+0+0=3D1
Andre
Seattle
Date: Tue, 25 May 1999 11:10:52 +0200
From: Jan Dirk van Abshoven <cadena @KNOWARE.NL>
Subject: Re: my nicest holiday experience ... (was Re: Are dancers
Tango-concert muzzle?)
Peter,
Not only the Sexteto are lucky...
She happens to be the wife of the first bandoneon player and arranger Mr
Karel Kraayenhof!
Some are luckier than others.
Hard to believe it was shere luck that brought the two of you together....
>
>Results of the brief chat afterwards:
>
>(a) she is DUTCH.
>
> I think, ahhh, so this explains in part, why it was "very nice" :-)
> Dutch women, they really have something. :-)
>
>(b) she is the MANAGER of the Sexteto Canyengue (Thirza Lourens, I guess).
>
> Do I need to say more?
>
>So here is a manager who really appreciates - loves - her clients'
>work!!!
>
>
>Lucky Sexteto ...
>
>Peter
>
Date: Mon, 24 May 1999 11:46:27 EDT
From: "(Chika Mashio)" <flight785 @USA.NET>
Subject: Manuel Ortiz
Does anyone know anything about Manuel Ortiz from Argentina?
Where is he? What's he doing? How can we contact him?
Thanks.
____________________________________________________________________
Get free e-mail and a permanent address at http://www.amexmail.com/?A=3D1=
Date: Mon, 24 May 1999 13:33:17 -0400
From: "Ozeng, Gulden" <ozeng @NEURO.DUKE.EDU>
Subject: Re: Inquiry
You might have heard it either in Turkish or Greek since there are
lyrics written in both languages to Loreena's music. The Turkish version
was sung by Nil|fer as "Gok Uzaklarda"
Cheers,
G|lden
Colette Jacquet wrote:
> I recently heard "Tango for Evora" (the somewhat tepid
> song of Loreena
> McKennitt...) sung in Greek or Turkish, by a female
> singer. I know it's
> not a pure tango piece but the circumstances made it
> quite pleasant.
> The ones who attended the tango night at "Bayamo" in
> New York, where
> the song was played, will appreciate. If anyone out
> there has some info
> on this female vocalist, please kindly let me know.
> Jean-Pierre Jacquet
>
> _____________________________________________________________
> Do You Yahoo!?
> Free instant messaging and more at http://messenger.yahoo.com
Date: Mon, 24 May 1999 10:32:16 -0400
From: John HUERTA <jhuerta @OGC.SI.EDU>
Subject: Re: May 29, 1999-Smithsonian Tango Event, Washington, D.C.
Can you please spread the word to the e-mail list that the Smithsonian
is having a tango program this coming Saturday. There is a discussion
in the morning @ 10am (see below) and a concert in the evening (see
below). Dancing in the aisles will be permitted at the concert.
Musica de las Americas: Tango Panel Discussion
In this panel discussion, band leader and bass player for the New
York Tango Trio Pablo Aslan and Vanderbilt University professor of
history and co-author of Tango! The Dance, The Song, The Story Simon
Collier discuss perhaps the world's best-known dance.
Saturday, May 29, 1999. Time: 10 AM-1 PM Location: S. Dillon Ripley
Center, Lecture Hall Cost: Free, but reservations required; call
202/357-3030
Musica de las Americas: Tango
Concert
Resident Associate Program
As part of the Musica de las Americas series the evening performance
features The New York Trio. Also featuring Tango Duo Anibal Arias &
Osvaldo Montes, and special artist, Pablo Ziegler. Special
introduction will be by Maria Susana Azzi, Social Anthropologist,
Academia Nacional del Tango
Time: 7:30 PM
Location: Natural History, Baird Auditorium
Cost: $20
Date: Mon, 24 May 1999 19:49:42 +0200
From: Mitra Martin <mitra.martin @BSUN.COM>
Subject: 'Defying gravity' in life and tango
Hi, everyone, I wanted to share an experience I've had as I've begun to
learn tango that speaks to this idea of weight being "upwards". What Frank
said about posture and anatomy is so true. I've recently started taking
classes in Alexander technique, and I've been totally amazed at how much is
applicable to my experience of tango. Alexander Technique is all about
becoming aware of and getting rid of the "bad habits" we tend to have in
using our bodies - the unnecessary tension people tend to keep in their
bodies - shoulders - and backs - that interferes with free, easeful movement
(which is so necessary in tango).
The basic truth is that for some reason, (and probably partly BECAUSE of our
understanding of Newton's legacy) most people tend to *pull their bodies
DOWN* in a completely unnecessary way as they go through normal, everyday
movements int he course of a day. We crunch up our shoulders, pull in our
heads, and do a zillion other things that compress and collapse the spine.
And since the spine is connected (through lots of different muscular and
nevous systems) to basically every other part of the body, this causes
patterns of tension, rigidity and inflexibility in our limbs and joints.
But our human bodies ARE designed to be walking upright. Our skeletons are
incredible, magical miracles of evolution - thin, light bones that support
very very heavy heads. The major principle of Alexander Technique
(coincidentally, another "AT" :-) is that if we can become aware of the way
our bdoies are naturally designed to work, and of these subconscious bad
habits we have developed which interfere with this natural movement we can
gradually correct them. Our bodies are natural Anti-Gravity machines!
The first thing you'll learn if you do anythign in Alexander technique (and
I heartily recommend it for any tango dancer and any human being) is that
the first three steps to using your body well are:
1. Allowing the muscles in your neck to relax
2. Allowing you head to go forward and UP
3. Allowing your back to 'lengthen' and 'widen'.
The key word is "ALLOW". You're not PUSHING your head up *against*
gravity...you're relaxing the msucles that interfere with its being in the
right place ("UP"). And at the same time, you learn to keep your feet on the
floor - where THEY should be. And when you get rid of all the interfering
patetrns of tension, it's an incredible feeling - you really do feel more
buoyant, less constricted, less affected - liek you can move more easily,
freely, danceably...
Anyway, that's my 2cents. Of COURSE gravity exists, but let's not let the
concept of it crush us...After all, Newton was a very unhappy man.
Cheers,
Mitra
PS I read an interesting chapter on Newton and the impact of his discoveries
on his own life in a book called "Reenchantment of the World" by Moris
Berman. I think it is relevant to this. Also the book that got me into
Alexander Technique in the first place is called "Body Learning" by Michael
Gelb, if anyone's interested.
"here's to opening and upward,to leaf and to sap
and to your (in my arms flowering so new)
self whose eyes smell of the sound of rain"
--e.e.cummings
Walter wrote:
>...Isaac Newton and Galileo Galilei, who have demonstrated with
>well-designed experiments, and explained with irrefutable logic, that
>weight, a consequence of gravity, is always down.
Eva wrote,
>>If the weight in your feet goes downwards, and you
>>allow the weight in your upper-body to go uppwards,
>>then you will be free and happy around you hips, your
>>body movements will be much more easy, dynamic.
Date: Tue, 25 May 1999 12:29:51 +1000
From: Sandy Smith <sg.smith @QUT.EDU.AU>
Subject: Tips for BsAs
Hi!
I am new to this list so please forgive if my questions have recently been
asked & answered.
I am going to BsAs for 3 weeks over Nov-dec this year so I can take tango
(& maybe Spanish) classes.
I'd like any information/tips you might have about:
1. Classes: Teachers, Costs, (I am going alone)
2. Going out at night to dance
3. Places to stay which are affordable, pleasant, central (?is this near
where I'd be going out?).
4. Being a lone female in BsAs
I'm interested in staying with locals as I am going to need to improve my
Spanish.
Thanks
sandy
Date: Tue, 25 May 1999 10:28:33 EDT
From: "Carlos G. Groppa" <Tango4You @AOL.COM>
Subject: Argentino Ledesma:
Hola!
Hace mucho que no oigo nada sobre el cantor Argentino Ledesma. Alguien podria
darme datos biograficos sobre el?
Gracias.
Un abrazo,
Carlos
Date: Tue, 25 May 1999 10:48:25 -0700
From: Eva Swingo <eva_swingo @YAHOO.COM>
Subject: Re: Dancers at concerts?
Hello again!
To ME every kind of music IS danceable! I cannot keep
still, if the music is good.
No matter what dance, what type of music. Different
types of music has different messages to my boy.
Even though the movements that my body produces do not
follow the social rules of a certain dance, like for
instance AT.
I Love listening to Piazzolla. His music is
extraordinarily ingenous. But it is not 'comme il
faut' to dance it. It does not follow the social
rules. So I am forced to listen to it mainly at
home, where I can move along to the music, the way it
inspires me, without being inhibited.
I DO go to concerts. But it IS torture!
DANCE is a opportunity to participate,
wholeheartedly.
Best Wishes from Stockholm,
EVA
> --- Schulz Johannes <j.schulz @str.daimler-benz.com>
> wrote:
> > Hallo Eva !
> >
> > How do you want to dance to Piazzolla or Quinteto
> > Real.
> > There are many group which play only concert
> music
> > and there is
> > no change to dancer to there music. I mean this
> kind
> > of concert.
> > Sure, if the music is danceable, it is very hard
> to
> > sit on the chair.
> >
> > Greetings
> >
> > Johannes
> >
> >
> >
>
> ===
> =
> People do not stop dancing because they get old,
> They get old because they stop dancing!
> =
>
_________________________________________________________
> Do You Yahoo!?
> Get your free @yahoo.com address at
> http://mail.yahoo.com
>
>
===
"Dancers are not great because of their technique,
but becuase of their passion." MARTHA GRAHAM
"People do not stop dancing because they get old,
They get old because they stop dancing!" Anonymous
_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com
Date: Tue, 25 May 1999 20:19:28 +0200
From: Alexis Cousein <al @BRUSSELS.SGI.COM>
Subject: Re: Weight being UPWARD
Eva Swingo wrote:
>
> Hello!
> Here comes a late comment (due to server problems)
>
> Mail Date: Wed, 28 Apr 1999
>
> > > ... weight does NOT have to be downward. =20
> > Daniel Trenner does an exercise in which=20
> > both partners focus on the weight you give
> > > your partner being UPWARD.
> >
> > Forgive me Kate, but I have to ask this:
> >
> > Can you fly? ;-)
> >
> > Tangringo
> > ---
> Well, forgive ME, Tangringo, But Daniel Trenner is
> not the only famous teacher who speaks about a
> UPWARD-going weight, movement.
>
> Eric Jorissen and Susana Miller does the same. They
> talk about being heavy as an elephant in your feet, so
> as to be able to "fly" with your upper-body.
They are probably talking about how you feel about *your* weight, i.e.,
they are talking about not letting the pull of gravity exert its work on
your upper body, and are using a metaphor (at least, I can only speak
about what I remember form Eric's lessons) -- if you *resist* the pull
of gravity by using your muscle tension, it feels more 'upwards' than if
you just collapse your plexus and hang your head -- but of course,
physically, your weight is still pulling you down ;). But it's a
metaphor that does work well in this context.
The beginning of this thread was about weight *projected* to your
partner, which is quite a different issue. As far as I can see it, there
is a similar effect when the leader offers *support* for the follower
(that's also `upwards'; even if it's `virtual' support, the intention is
there), but if I remember correctly, while Eric advised the follower to
"fly with the body" as far as the follower with respect to herself is
concerned, he does not advocate losing contact with the leader, which
supposes a *very* light intention of keeping in contact "down" with the
leader (as both arms are above those of the leader).
For this `interaction' kind of weight "projected to the partner",
another teacher had a metaphor of the follower being like a wet towel
wrapped around a set of bars: no active pressing down (having had the
"pleasure" of enduring such experiences, I can tell you that it's no fun
to support more than your own weight ;) ), but just letting the pull of
gravity make you kindly `envelop' the leader. It seemed to work wonders
on many followers who were present (but of course, I'm sure there are
other metaphors that work just as well, or better, with a different set
of people).
--
Alexis Cousein
Systems Engineer
SGI Belgium
al @brussels.sgi.com
Date: Tue, 25 May 1999 15:00:38 EDT
From: Candy Korman <Milonga @AOL.COM>
Subject: skill levels
I don't think there is a truly objective system for determining skill levels.
As a follower I've often had a wonderful time dancing with a leader of
limited Tango schooling who has a sense of the music and appreciation for his
partner. Just walking beautifully is preferable to the self-described master
who must dance every trick in his book regardless of the music, the mood, his
partner, etc.
Objectively the first man would consider himself a beginner and the second an
advanced dancer -- and yet...
Milonga @aol.com
End of TANGO-L Digest - 25 May 1999 to 26 May 1999
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