The Tango-L mailing list archive
Digest from 7 Oct 2000
to 8 Oct 2000
Reply-To: Discussion of Any Aspect of the Argentine Tango <TANGO-L @MITVMA.MIT.EDU>
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Date: Sun, 8 Oct 2000 03:00:06 -0400
Sender: Discussion of Any Aspect of the Argentine Tango <TANGO-L @MITVMA.MIT.EDU>
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Subject: TANGO-L Digest - 7 Oct 2000 to 8 Oct 2000 (#2000-272)
There are 2 messages totalling 75 lines in this issue.
Topics of the day:
1. COMMENTS ON interaction of bodies and souls
2. COMMENTS ON CHICHO & LUCIA
Date: Sat, 7 Oct 2000 19:36:22 +0900
From: astrid <astrid @RUBY.PLALA.OR.JP>
Subject: Re: COMMENTS ON interaction of bodies and souls
How can one
> dance and experience the" interaction and relationship of their hearts and
> souls" without "interaction and relationship"between the 2 dancing
> bodies...connectivity...as one.. They both make up for fulfillment and
> satisfaction on the milonga floor. Rick-
I completely agree with Rick. There are men with whom I get along very well
off the dance floor but not on it, due to mainly "technical" problems. The
other way round- a fascinating dancer who I would not want anything to do
with off the dance floor is a lot rarer (take heart, guys !), but again, the
feelings created have a lot to do with his technical skill.
Does this make me into a technofreak ? I don't think so. Men who seriously
dedicate themselves to learning the tango have their reasons. And this
sincerity and the temperament that goes with it is something I can relate
to. They care. They also care about the woman a lot, that is another reason
why they are good leaders. All of this sets the necessary conditions for the
emotional relationship Tom talked about. On the other hand, great emotions
and little ambition to learn is not going to make two people into a good
dancing couple, dancing with a partner under these conditions can get boring
after a while, believe it or not.
Astrid
Date: Sat, 7 Oct 2000 13:24:06 +0000
From: Larry Carroll <larrydla @JUNO.COM>
Subject: COMMENTS ON CHICHO & LUCIA
Dance classes are like language classes. They can help you improve your
pronunciation, vocabulary & grammar. But it's up to you to develop your
own style. It's up to you to have emotion & convey it -- AND to listen
to other's messages.
I share Tom's concern that we (students) get so wrapped up in technique
that we lose sight of what that technique is supposed to express. To
focus on means & forget the ends.
Focusing on the physical side of tango is fine. There's exquisite
satisfaction in the sensuous joy of doing a sacada or boleo just right.
But I have to wonder about the people I see who seem ONLY to want to do
acrobatics. Are they really as hollow, as shallow as they seem?
But I'm not sure what teachers can do about this. Hollow people have to
learn to fill themselves up. Artistic lackwits have to nurture their own
creativity.
The only thing I can think of is for teachers to spend part of their
classes focusing on expressing emotion. And spend other parts focusing
on improvisation. (If they spent all their time on these subjects my
guess is that students would stay away in droves.) That at least would
get the point across that there is more to tango than acrobatics, as
much fun as they are.
With that said, I want emphasize that (with Richard Heath) we're not
talking about an either/or situation. A speaker needs both grammar and
sentiment. A dancer needs both technique and heart. Body AND soul.
Larry de Los Angeles
http://home.att.net/~larrydla
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End of TANGO-L Digest - 7 Oct 2000 to 8 Oct 2000 (#2000-272)
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