Re: [TANGO-L] Community Growth - The Next Generation

[Korey Ireland <korey @KODAIR.COM>]

Thanks to Tom for this articulate reply.

>
>
> Rick clearly likes the the BIG DRAMA and ENERGY of modern tangos. He
> doesn't hear that in the older music. Traditional tango dancers love
> the subtle RHYTHMIC COMPLEXITY and PLAYFULNESS of older tango music,
> which just doesn't appeal to Rick. The big energy of modern tango is
> oppressive, and takes away our freedom to play and interpret.

viva la difference...but, Tom, of course you would want to qualify this
statement by saying the big energy tango takes away *your* freedom to
play and interpret.  I think other dancers have just the opposite
experience, that they are inspired to be more playful, and have more to
say in thier dance with the "big" tangos.  Its just a preference, not an
absolute.  I think its ok to charecterize these dancers as traditional,
or contemporary, as long as there is no implicit value judgement in
those terms.  But how often is that the case?

>
> This gives the dancer a freer and more "subtle" experience. You have
> multiple ways to interpret the same music. The dancers become an
> integral PART of the orchestra, interpreters with their own voice.

fascinating.  I often describe the exact same sensation dancing to
contemporary music.  For me, there is actually more room to interpret,
especial in the small ensemble music.  Hugo Diaz Trio, Trio Gomina,
Quinteto Real...(all of which show a good deal of jazz influence) with
these ensembles I often feel like I can alternate between rhythm
section, and melodic, lyrical gestures because the divisions are so
clear within the ensemble...Again, I think its just a matter of taste
and perspective, not anything inherent in the music itself.

>
> Piazzolla is so difficult because the near constant 3-3-2 doesn't
> permit much rhythmic freedom.

Tell that to latin or african percussionists who spend a lifetime
"playing" within rhythmic strutures that mix 2's and 3's (3-3-4-2-4 is a
common structure).  Perhaps its less accessible to our ears because its
not symmetrical, but again, the difficulty is not embedded in the music,
theres at least as much room to play here, it just takes a different
perspective.  If you have a vocabulary of symmetrical "syncopations"
(Quick, Quick, Slow) these are going to play against the Piazzola
groove.  But thats ok too.

>
>
>
> I find modern tangos more oppressive to me as a dancer precisely
> because the clarity in beat, drama and emotion are so compelling.
> This makes me feel like a slave to the orchestra's interpretation.
> "Libertango" vs "Azabache". The beat of the first is constant and
> insistent "You must do it THIS way!"; the second is so free and
> playful.
>
>
This fascinates me.  It seems that you prefer the rhythmic drive and
drama (the inner rhythms) to come from the dancers.  When those elements
are more present in the music, you find less room for yourself.  I think
this is a testament to your musicality as a dancer; but please
understand, different dancers experience the music differently.  It is
certain that for some, Azabache is the unrelenting beat that inhibits
their creativity, while the driving syncopation of Libertango frees them
to explore.  For me, well, you've picked two of my favorites, I feel
compelled to dance very differently to each, and I feel like each has a
better moment in a dance evening (the moment for Libertango is rather
rare in my view), but I'd hate to have to endorse one as danceable, at
the expense of the other.

In any case, I think this is a valuable discussion and I look forward to
hearing more perspectives.
-Korey