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

[Tom Stermitz <Stermitz @RAGTIME.ORG>]

Manuel
>In response to Tom's post, Korey says:
>
>>>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.
>
>I have to agree with Tom completely. All these musical ensembles that Korey
>quotes are extremely difficult to dance tango to. The "freedom" and "room to
>interpret" which Korey speaks about is basically a myth for the average
>dancer. The only dancers (IMHO) who can dance well to those orquestras are
>very experienced and gifted dancers. The reason so many beginners or
>non-dancers like that music is because they can more easily ignore it and
>move around as though they are dancing.

Manuel points remind me that the original topic was Community Growth.

There are two arguments going on at the same time...sort of at cross-purposes.

(1) Yes, it is possible to dance to different kinds of music, and yes
we have different preferences.

(2) What kind of music is best for Community Growth and teaching newcomers?

You can make a good case that a newcomer finds it easier to hear
music with a more familiar beat (drums?) or a more modern
arrangement, such as the big concert sound of 1950s tango, Piazzola,
or even non-tango.

I don't think this is the best way to train up their understanding of tango.

My position is that the rhythms of traditional 1930s & 1940s tango
are the most important foundation for a dancer, and the most
important basis for community development.  Musicality sits on top of
rhythm and phrasing, and the "real" feel of tango is contained in
this older music.


Tango has interesting and complex vocabulary which in the hands of a
great dancer can become truly exciting, but it isn't the figures and
steps that really make up the essence of tango.

A beginner guy can dance with rhythm, feeling and musicality with a
small vocabulary. He can navigate the room, hold a beautiful woman in
his arms and dance to the music in just a few lessons, if he knows a
few walking steps and understands the beat...IF YOU PLAY FOR HIM
TANGOS THAT ARE EASY TO DANCE TO.

He has a lifetime to learn more vocabulary.

Our communities are still very small and very young. A smaller
repertoire of music emphasizing simpler rhythms will give us a better
shared basis. Festivals with more experienced dancers is a different
matter.


--

Tom Stermitz
http://www.tango.org/
stermitz @tango.org
303-388-2560

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