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Re: [TANGO-L] Community Growth - The Next Generation
Greetings friends,
...just a few snippets of opinion...
Stephen Brown wrote:
>
> Tom wrote:
> >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.
>
> The rhythmic feeling of tango is more clearly expressed in the older
> music. The beat is more submerged in the newer music, but it was created
> by musicians who have understanding of the music that precedes their own.
> For the dancer to succeed in dancing to the newer music requires an
> understanding of the older music. When I watch people dancing to modern
> tango music who have not first developed their rhythmic skills with the
> older music, I usually see people dancing without any sense of the beat.
Steve is spot-on in his observation. When I play new music (usually by
request) for the locals, much of the dancing can get hard to watch! ;-)
By some of the most accomplished (visiting) tango teachers and
performers, I've heard 'non-rhythmic' tangos referred to as "pivot
candy". Even though their improvised figures for such music may not
mirror a dominating rhythmic drive, I appreciate that there is a
rhythmic foundation to the figures, without which the energy and flow
simply don't speak "Tango".
Notwithstanding this opinion, it seems like an oversimplification for
Tom to comment, "...the "real" feel of tango is contained in this older
music". [Speaking only for myself] Clearly, we each decide what's
REAL. We each value 'this' and not 'that'. IMHO, there is great
golden-age music and there's a sizable body of very danceable golden-age
music that is not nearly as inspiring as less rhythmic new music! The
latter can inject lots of energy - much needed 'spice' in an evening's entertainment.
Even though the dancing can be hard to watch, as DJ I go ahead and play
some 'pivot candy'. It's 'real' for those who've requested it. Do they
feel the music the same way the recording artists felt when they played
it? Pffffffff! Do they feel it the same way that fine Argentine
dancers or choreographers feel it? Probably not - how could they?
Still, that is not a requirement to enjoy it. It becomes a matter of
community-building to accept this. The cultural context of tango imbues
both the music and the dance, and one doesn't learn much about culture
in a dance studio. It's easy to have the elitist attitude that those
with less experience and insight should agree with our personal,
(presumably) more informed or developed artistic sense. I confess to
sometimes feeling that way myself when personalities clash. Yet, if the
'Authenticity' argument can justify questioning someone's preferences,
then one's energy is channeled into being separate and/or different. At
the very highest levels of artistic 'authenticity', there has never been
much agreement nor tolerance in tango. [We needn't get into
name-dropping gossip here to support this statement...] For building
tango communities, positive energy is needed. "Authenticity" is a
double-edged sword and we have to watch out for the negative side. It's sharp!
I agree with Tom's statement that "the rhythms of traditional 1930s &
1940s tango are the most important foundation for a (tango) dancer..."
I just wanted to add that if there is one component of 'The Tango' that
is addictive, it's the feelings for which the music is responsible.
These can be very abstract in themselves, or if not, the figures they
make us create are certainly an abstraction of the feelings. If there
is inspiration in the newer music, then it should be played. Whether we
are inside or outside of Tango's cultural birthplace (but especially
outside), we should remember that knowing and following the 'real feel
of tango' is difficult and elusive. It is unique to each individual,
and we should each pursue it our own way.
Have fun doing that in '03!
Frank in Minneapolis
--
Frank G. Williams, Ph.D.
University of Minnesota
612-625-6441
Department of Neuroscience
6-145 Jackson Hall
321 Church Street SE
Minneapolis, MN 55455
Department of Veterinary Pathobiology
205 Veterinary Science
1971 Commonwealth Ave.
St. Paul, MN 55108
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