OPEN HOUSE MONDAY AND SALSA SOCIAL SUNDAYS
Argentine Tango Detroit Invites you to our Open House-Ribbon Cutting event
This Monday Sept. 15th 4:30-6:00
Join us this Friday night for the wonderful music selection of our guest DJ HELEN CORRIGAN 9:00-11:30
Sponcered by the Chamber of Commerce
FREE Food-Lesson-
Prizes and more
NEW SALSA SOCIALS AT ATD
ATD is excited to announce our new Monthly Salsa Mixer! This is a great chance for salsa students to meet new friends, practice what you learn, or if your already a hot Salsero/a a chance to show off what you can do. ATD provides a friendly and comfortable atmosphere, in a great location in Downtown Utica. Stacey and I would love for you to join us in our brand new Salsa Mixer. Opening night is Sunday, October 19, 2008. We will be having the monthly Mixer on the 3rd Sunday of each month. Stacey will be teaching a mini salsa lesson starting at 8:30pm, and the dance floor opens at 9pm until about 11pm or whenever we feel like stopping!Details:What: Salsa Sunday's at ATD--Salsa MixerWhen: October 19, 2008 and every 3rd Sunday of each monthTime: 8:30pm mini-lesson/ 9pm open dance/mixerCost: $10 or one class from your ATD package punch cardLocation: Argentine Tango Detroit7758 Auburn Road Utica, MI 48317 586-254-0560www.ArgentineTangoDetroit.comAs always, full one hour group classes are each Wednesday at ATDWednesdays7pm--beginner salsa 8pm--intermediate salsaPrivate lessons are available by appointmentWe hope to see you there!Health facts:Salsa dancing is a great way to have fun and relieve stress. It has several health benefits as well.Mayo Clinic researchers have found that social dancing helps to:Reduce stress Increase energy Improve strength Increase muscle tone and coordination Builds endurance and stamina Helps with weight loss Relieves stress Helps you release toxins via sweating May help lower blood pressure and improve cholesterol levels Can lead to a reduced heart rate over time
Sincerely,
Lori BurtonArgentine Tango Detroit
About Argentine Tango Detroit
Read about what a wonderful visiting couple from Toronto had to say about ATD
CLICK TO READ
http://ireneandmanyung.blogspot.com/2008/05/what-toronto-can-learn-from-detroit.html
We are a warm, friendly and very enthusiastic community of dancers located in the Detroit Metropolitan area. Whether you are beginning or advanced, we welcome you to come join us. Group classes and milongas are offered each week where you can enjoy the fun and excitement of learning to dance while socializing with new friends. While we're renowned for teaching Argentine Tango, we also teach the best of Salsa, Latin, and Ballroom. You do not need a partner in order to take group or private lessons. Even if you think you have two left feet, we can teach you to dance! 7758 Auburn RoadUtica-Metro Detroit, Michigan 48317Argentine Tango Detroit
Lori@argentinetangodetroit.comhttp://www.argentinetangodetroit.comArgentine Tango Detroit7758 Auburn RoadUtica, MI 48317 586-254-0560
Wednesday, September 10, 2008
Monday, September 1, 2008
Check out what a lovely visiting couple had to say
Monday, May 19, 2008
What Toronto can learn from Detroit
Argentine Tango Detroit - Lori Burton's studioWe were at Martha and Manolo's workshops this past weekend in Lori Burton's studio in Utica, Michigan. We had a wonderful time. I will post about our experiences a little later, but for now, here's what we observed about tango dancing in Utica that Toronto dancers would be advised to pay attention to:1. In Utica, the majority of the dancers dance to the music.In fact, Lori has taught her students to distinguish between merely "dancing to the beat" and "dancing to the music". I found that out from a comment made by one of Lori's female students who was leading me in class - she said "Oops, I was just dancing to the beat just now - I wasn't dancing to the music!"Yes, there is a difference between dancing just "to the beat" and dancing "to the music". In Toronto, quite a lot of dancers can't even dance to the beat, let alone the music - they are too busy trying to complete figures or show off movements. Leaders who could dance to the beat here are considered "Advanced Leaders"!We noticed that Lori only plays traditional music at her milongas, and it is important to her for her students to know how to dance traditional tango to traditional music. I danced with several of the leaders in Utica, and they were a pleasure to dance with because the music was in their dance. Coincidence? To all of you tango gurus and milonga organizers in Toronto who think there's no harm in a big dose of alternative music for newbies and intermediates in Tango - did you ever notice that your events have the worst non-musical dancing per capita?2. In Utica, the followers actually follow.Yes, we saw that the followers in Utica were not anticipating, not in their own little fantasy world of "adornment making", not face-dancing, not listening and interpreting the music themselves instead of listening to the man's lead and interpretation of the music! Yes, they were actually FOLLOWING! In Toronto, except for the "face-dancing" (that's more a Buenos Aires phenomenon as far as I know), we have followers who are not really following because they have fallen into all of the aforementioned traps. We even have followers who are so used to "Standard Argentine Tango" leading (did you ever notice that a lot of dancers outside of Buenos Aires lead and follow a certain standard way - looks like improvisation, but it is not really improvisation because you know exactly what is coming next) - that they would look absolutely fabulous dancing with other "Standard Argentine Tango" dancers, but then trip all over their feet when they are dancing with a "non-Standard" leader.In Utica, the majority of the followers are not getting ahead of the leaders, and they have good posture and frames to be able to follow right and/or left handed and chest leading from the leaders. Sorry Toronto - most of the followers here are still working on not anticipating. Don't even get me started on posture and frames and the mega-adorning.3. In Utica, dancers actually respect each other on the dance floor.Except for one couple who were channeling the essence of the entire cast of Cosmotango at once (They weren't Lori's students. And there's a Toronto connection - I don't know where the man came from but the woman said she used to live in Toronto) and bumped into us not once but twice during the Friday night milonga (and didn't even stop to apologize) - the dancers in Utica actually respect the other dancers on the dance floor. They were all mostly dancing open embrace too, but we didn't see or experience the same kind of ridiculous collisions we have sometimes here in Toronto.Pay attention, all you wannabe "Forever Tango" auditionee leaders - you are not the only person on the dance floor, and you are quite deluded if you think you have the god-given right to complete the fancy step combination you appropriated from Youtube while you are on a crowded dance floor. Especially if it means that you are going to decapitate all the people within a 2 metre radius with your partner's stiletto.Close embrace leaders - don't think that you aren't guilty of dance floor atrocities just because you are hugging your partner real tight and you are making yourself as teeny-tiny as possible. If you love to surprise the people behind and next to you with unexpected "Crazy Ivans" (anyone who has watched "The Hunt for Red October" will know what I'm talking about), or if you are not looking where you are going because you have closed your eyes to better "become one with the music" - you too are a hazard. No matter if you are in a boa-constrictor embrace, there's still enough of you left to feel like a Mack truck upon collision. Please, please learn how to navigate - trust me, navigation is a much more handy skill than learning how to apologize every twenty seconds.4. In Utica, people can actually learn something new in tangoWe've gone to Martha and Manolo's workshops here when they were in Toronto in 2006. We saw lots of struggling here by Toronto dancers to learn what Martha and Manolo were teaching - and that included us - simply because the level of basics here is not the greatest. For example, most of the leaders here can't lead more than one rotation for a giro, let along do sacadas during the said rotation. Changing directions during a giro? Forget about it.Utica dancers were learning the same steps from Martha and Manolo at least twice or three times as fast as Toronto dancers - and why? Because they are really leading and really following for one, and because they have the basics to be able do and absorb more. This has a lot to do with what Lori has taught her students, and with the quality of teachers she has been able to bring to Detroit over the past decade - Osvaldo Zotto, Rudolfo and Maria Cieri, Facundo and Kelly Posadas, Fabian Salas, etc. etc. Yes, the types of teachers and guest teachers we can get here is a question of economics - however, whether a student can actually learn something also goes to a question of attitude.The students taking Martha and Manolo's workshops in Utica were respectful, patient, and willing to learn and practice the steps. There were beginners, intermediates and advanced dancers in the classes, but none of them thought it was beneath them to learn how to do a 50's style salida. Yes, Utica dancers may have studied with the "greats" like Zotto, Cieri, Posadas, but that doesn't mean that they approach learning with a super-sized ego.A lot of Toronto dancers would be asking for their money back if the guest instructors taught anything that looked or smelled like a "basic" - e.g. lots of leaders in Toronto can't walk but they feel they are too good for walking because obviously, Tango should be all about flashy moves and dramatic posing.One other thing - I'm usually not a big fan of women leading, but in Utica, lots of women can actually lead. That double turn giro with sacada combination that would tie most leaders here in knots? For the women leaders in Utica - NOT A PROBLEM.5. In Utica, they dance Tango.I'm not saying that Utica has the best tango dancers in the tango universe, but what we observed is that most of the dancers in Utica are actually dancing Tango - that means leading, following, connecting with the music and each other during the dance, dancing for yourself and your partner and dancing for the pleasure of dancing. Simple things.Dear Toronto dancers, if you are: Trolling for compliments with your fancy steps and adornments while in a milonga/Trying to prove that you exist by doing attention-grabbing moves/Obsessing over doing everything ABSOLUTELY CORRECTLY while you are dancing because you want to prove that you are the proponent of the "true" Tango - please ask yourself, what are you dancing for? If you are dancing mainly so that people will look at you, admire you, believe you - I don't know what you think you are "dancing", but in our books, you are no longer dancing Tango.
Posted by Irene and Man Yung at 3:50 PM
Labels: Argentine Tango Detroit, Dance Styles, Following, Martha and Manolo, Tango Styles
What Toronto can learn from Detroit
Argentine Tango Detroit - Lori Burton's studioWe were at Martha and Manolo's workshops this past weekend in Lori Burton's studio in Utica, Michigan. We had a wonderful time. I will post about our experiences a little later, but for now, here's what we observed about tango dancing in Utica that Toronto dancers would be advised to pay attention to:1. In Utica, the majority of the dancers dance to the music.In fact, Lori has taught her students to distinguish between merely "dancing to the beat" and "dancing to the music". I found that out from a comment made by one of Lori's female students who was leading me in class - she said "Oops, I was just dancing to the beat just now - I wasn't dancing to the music!"Yes, there is a difference between dancing just "to the beat" and dancing "to the music". In Toronto, quite a lot of dancers can't even dance to the beat, let alone the music - they are too busy trying to complete figures or show off movements. Leaders who could dance to the beat here are considered "Advanced Leaders"!We noticed that Lori only plays traditional music at her milongas, and it is important to her for her students to know how to dance traditional tango to traditional music. I danced with several of the leaders in Utica, and they were a pleasure to dance with because the music was in their dance. Coincidence? To all of you tango gurus and milonga organizers in Toronto who think there's no harm in a big dose of alternative music for newbies and intermediates in Tango - did you ever notice that your events have the worst non-musical dancing per capita?2. In Utica, the followers actually follow.Yes, we saw that the followers in Utica were not anticipating, not in their own little fantasy world of "adornment making", not face-dancing, not listening and interpreting the music themselves instead of listening to the man's lead and interpretation of the music! Yes, they were actually FOLLOWING! In Toronto, except for the "face-dancing" (that's more a Buenos Aires phenomenon as far as I know), we have followers who are not really following because they have fallen into all of the aforementioned traps. We even have followers who are so used to "Standard Argentine Tango" leading (did you ever notice that a lot of dancers outside of Buenos Aires lead and follow a certain standard way - looks like improvisation, but it is not really improvisation because you know exactly what is coming next) - that they would look absolutely fabulous dancing with other "Standard Argentine Tango" dancers, but then trip all over their feet when they are dancing with a "non-Standard" leader.In Utica, the majority of the followers are not getting ahead of the leaders, and they have good posture and frames to be able to follow right and/or left handed and chest leading from the leaders. Sorry Toronto - most of the followers here are still working on not anticipating. Don't even get me started on posture and frames and the mega-adorning.3. In Utica, dancers actually respect each other on the dance floor.Except for one couple who were channeling the essence of the entire cast of Cosmotango at once (They weren't Lori's students. And there's a Toronto connection - I don't know where the man came from but the woman said she used to live in Toronto) and bumped into us not once but twice during the Friday night milonga (and didn't even stop to apologize) - the dancers in Utica actually respect the other dancers on the dance floor. They were all mostly dancing open embrace too, but we didn't see or experience the same kind of ridiculous collisions we have sometimes here in Toronto.Pay attention, all you wannabe "Forever Tango" auditionee leaders - you are not the only person on the dance floor, and you are quite deluded if you think you have the god-given right to complete the fancy step combination you appropriated from Youtube while you are on a crowded dance floor. Especially if it means that you are going to decapitate all the people within a 2 metre radius with your partner's stiletto.Close embrace leaders - don't think that you aren't guilty of dance floor atrocities just because you are hugging your partner real tight and you are making yourself as teeny-tiny as possible. If you love to surprise the people behind and next to you with unexpected "Crazy Ivans" (anyone who has watched "The Hunt for Red October" will know what I'm talking about), or if you are not looking where you are going because you have closed your eyes to better "become one with the music" - you too are a hazard. No matter if you are in a boa-constrictor embrace, there's still enough of you left to feel like a Mack truck upon collision. Please, please learn how to navigate - trust me, navigation is a much more handy skill than learning how to apologize every twenty seconds.4. In Utica, people can actually learn something new in tangoWe've gone to Martha and Manolo's workshops here when they were in Toronto in 2006. We saw lots of struggling here by Toronto dancers to learn what Martha and Manolo were teaching - and that included us - simply because the level of basics here is not the greatest. For example, most of the leaders here can't lead more than one rotation for a giro, let along do sacadas during the said rotation. Changing directions during a giro? Forget about it.Utica dancers were learning the same steps from Martha and Manolo at least twice or three times as fast as Toronto dancers - and why? Because they are really leading and really following for one, and because they have the basics to be able do and absorb more. This has a lot to do with what Lori has taught her students, and with the quality of teachers she has been able to bring to Detroit over the past decade - Osvaldo Zotto, Rudolfo and Maria Cieri, Facundo and Kelly Posadas, Fabian Salas, etc. etc. Yes, the types of teachers and guest teachers we can get here is a question of economics - however, whether a student can actually learn something also goes to a question of attitude.The students taking Martha and Manolo's workshops in Utica were respectful, patient, and willing to learn and practice the steps. There were beginners, intermediates and advanced dancers in the classes, but none of them thought it was beneath them to learn how to do a 50's style salida. Yes, Utica dancers may have studied with the "greats" like Zotto, Cieri, Posadas, but that doesn't mean that they approach learning with a super-sized ego.A lot of Toronto dancers would be asking for their money back if the guest instructors taught anything that looked or smelled like a "basic" - e.g. lots of leaders in Toronto can't walk but they feel they are too good for walking because obviously, Tango should be all about flashy moves and dramatic posing.One other thing - I'm usually not a big fan of women leading, but in Utica, lots of women can actually lead. That double turn giro with sacada combination that would tie most leaders here in knots? For the women leaders in Utica - NOT A PROBLEM.5. In Utica, they dance Tango.I'm not saying that Utica has the best tango dancers in the tango universe, but what we observed is that most of the dancers in Utica are actually dancing Tango - that means leading, following, connecting with the music and each other during the dance, dancing for yourself and your partner and dancing for the pleasure of dancing. Simple things.Dear Toronto dancers, if you are: Trolling for compliments with your fancy steps and adornments while in a milonga/Trying to prove that you exist by doing attention-grabbing moves/Obsessing over doing everything ABSOLUTELY CORRECTLY while you are dancing because you want to prove that you are the proponent of the "true" Tango - please ask yourself, what are you dancing for? If you are dancing mainly so that people will look at you, admire you, believe you - I don't know what you think you are "dancing", but in our books, you are no longer dancing Tango.
Posted by Irene and Man Yung at 3:50 PM
Labels: Argentine Tango Detroit, Dance Styles, Following, Martha and Manolo, Tango Styles
Sunday, August 17, 2008
Saturday, August 16, 2008
Styles of Argentine tango
Tango canyengue
"Tango canyengue" refers to a style of Tango danced until the 1920s. Reportedly, the long tight fashion in dresses of that era restricted the follower's movements. Consequently, the style involves short steps. The dancers tend to move with knees slightly bent, the partners slightly offset, and in a closed embrace. The style tends to be danced to a 2/4 time signature.
Tango orillero
Tango orillero refers to the style of dance that developed away from the town centers, in the outskirts and suburbs where there was more freedom due to more available space on the dance floor. The style is danced in an upright position and uses various embellishments including rapid foot moves, kicks, and even some acrobatics, though this is a more recent development.
Salon Tango
Salon Tango was the most popular style of tango danced up through the Golden Era of the dance (1950's) when milongas (tango parties) were held in large dance venues and full tango orchestras performed. Later, when the Argentine youth started dancing rock & roll and tango's popularity declined, the milongas moved to the smaller confiterias in the center of the city, resulting in the birth of the "milonguero/apilado/Petitero/caquero" style.
Salon Tango is characterized by slow, measured, and smoothly executed moves. It includes all of the basic tango steps and figures plus sacadas, barridas, and boleos. The emphasis is on precision, smoothness, and musicality. The couple embraces closely but the embrace is flexible, opening slightly to make room for various figures and closing again for support and poise. The walk is the most important element, and dancers usually walk 60%-70% of the time during a tango song.
When tango became popular again after the end of the Argentine military dictatorships in 1983, this style was resurrected by dancers from the Golden Era:
El Turco Jose Brahemcha
Gerardo Portalea (deceased)
Luis "Milonguita" Lemos (deceased)
"Finito" Ramón Rivera (deceased)
"Lampazo" Jose Vazquez (deceased)
Virulazo (deceased)
Miguel Balmaceda (deceased)
in the milongas at Club Sin Rumbo, Sunderland, and Canning.
One of the most famous examples of the elegant Salon style is the Villa Urquiza style, named after the northern barrio of Buenos Aires where the clubs Sin Rumbo and Sunderland are located. Dancers who are currently leading the wave of Villa Urquiza Style tango are:
Carlos Perez y Rosa
Jorge Dispari y La Turca
Miguel Angel Zotto y Milena Plebs
Osvaldo Zotto y Lorena Ermocida
El Chino Perico
Javier Rodriguez y Andrea Misse
Alejandro Aquino
Andres Laza Moreno y Samantha Dispari
Fabian Peralta y Natacha Poberaj
the Misse family (Andrea, Sebastian, Gabriel, y Stella).
To this day, tango classes that teach the "Villa Urquiza style" are held in Club Sunderland every Monday and Wednesday nights around 8pm.
"Tango canyengue" refers to a style of Tango danced until the 1920s. Reportedly, the long tight fashion in dresses of that era restricted the follower's movements. Consequently, the style involves short steps. The dancers tend to move with knees slightly bent, the partners slightly offset, and in a closed embrace. The style tends to be danced to a 2/4 time signature.
Tango orillero
Tango orillero refers to the style of dance that developed away from the town centers, in the outskirts and suburbs where there was more freedom due to more available space on the dance floor. The style is danced in an upright position and uses various embellishments including rapid foot moves, kicks, and even some acrobatics, though this is a more recent development.
Salon Tango
Salon Tango was the most popular style of tango danced up through the Golden Era of the dance (1950's) when milongas (tango parties) were held in large dance venues and full tango orchestras performed. Later, when the Argentine youth started dancing rock & roll and tango's popularity declined, the milongas moved to the smaller confiterias in the center of the city, resulting in the birth of the "milonguero/apilado/Petitero/caquero" style.
Salon Tango is characterized by slow, measured, and smoothly executed moves. It includes all of the basic tango steps and figures plus sacadas, barridas, and boleos. The emphasis is on precision, smoothness, and musicality. The couple embraces closely but the embrace is flexible, opening slightly to make room for various figures and closing again for support and poise. The walk is the most important element, and dancers usually walk 60%-70% of the time during a tango song.
When tango became popular again after the end of the Argentine military dictatorships in 1983, this style was resurrected by dancers from the Golden Era:
El Turco Jose Brahemcha
Gerardo Portalea (deceased)
Luis "Milonguita" Lemos (deceased)
"Finito" Ramón Rivera (deceased)
"Lampazo" Jose Vazquez (deceased)
Virulazo (deceased)
Miguel Balmaceda (deceased)
in the milongas at Club Sin Rumbo, Sunderland, and Canning.
One of the most famous examples of the elegant Salon style is the Villa Urquiza style, named after the northern barrio of Buenos Aires where the clubs Sin Rumbo and Sunderland are located. Dancers who are currently leading the wave of Villa Urquiza Style tango are:
Carlos Perez y Rosa
Jorge Dispari y La Turca
Miguel Angel Zotto y Milena Plebs
Osvaldo Zotto y Lorena Ermocida
El Chino Perico
Javier Rodriguez y Andrea Misse
Alejandro Aquino
Andres Laza Moreno y Samantha Dispari
Fabian Peralta y Natacha Poberaj
the Misse family (Andrea, Sebastian, Gabriel, y Stella).
To this day, tango classes that teach the "Villa Urquiza style" are held in Club Sunderland every Monday and Wednesday nights around 8pm.
"Estilo milonguero" (tango apilado/confiteria style)
This style originated as the 'petitero' or 'caquero' style in the 1940s and 50s in closely packed dance halls and "confiterias", so it is danced in close embrace, chest-to chest, with the partners leaning - or appearing to lean - slightly towards each other to allow space for the feet to move. There are not many embellishments or firuletes or complicated figures for the lack of space in the original milonguero style but now also those figures are danced, which only at first glance seem impossible in close embrace. Actually, a lot of complicated figures are possible even in milonguero.
Although the rhythmic, close-embrace style of dancing has existed for decades, the term "Milonguero Style" only surfaced in the mid- '90s when the name was created by Susana Miller, who had been the assistant to Pedro 'Tete' Rusconi. Many of the older dancers who are exponents of this style (including 'Tete') prefer not to use the label.
Tango Nuevo
Tango Nuevo is a dancing and teaching style. Tango nuevo as a teaching style emphasizes a structural analysis of the dance. It is a result of the work of the "Tango Investigation Group" (later transformed into the "Cosmotango" organization) pioneered by Gustavo Naveira and Fabian Salas in the 1990's in Buenos Aires. By taking tango down to the physics of the movements in a systematic way, they have created a method of analyzing the complete set of possibilities of tango movements, defined by two bodies and four legs moving in walks or circles. This investigation provided a view of a structure to the dance that was expressed in a systematic way.
In walks, their explorations pioneered what were once called "alterations" and are now called "changes of direction" or "cambios". In turns, they focus on being very aware of where the axis of the turn is (in the follower/in the leader/in between them). This tends to produce a flowing style, with the partners rotating around each other on a constantly shifting axis, or else incorporating novel changes of direction.
Many of the recent popular elements in tango vocabulary, such as Colgadas, owe their debut on the tango scene to the popularity of Gustavo's and Fabian's approach.
From this teaching style, a new and unique style of dancing has developed, called by many a "tango nuevo" style. The most famous practitioners of "Tango Nuevo" are Gustavo Naveira, Norberto "El Pulpo" Esbrés, Fabián Salas, Esteban Moreno, Claudia Codega, Sebastian Arce, Mariana Montes, Chicho Frumboli, and Pablo Verón. Interestingly enough, all of these dancers have highly individual styles that cannot be confused with each other's, yet can be easily recognized as Tango Nuevo.
Tango Nuevo is often misunderstood and mislabeled as "Show Tango" because a large percentage of today's stage dancers have adopted "tango nuevo" elements in their choreographies.
This style originated as the 'petitero' or 'caquero' style in the 1940s and 50s in closely packed dance halls and "confiterias", so it is danced in close embrace, chest-to chest, with the partners leaning - or appearing to lean - slightly towards each other to allow space for the feet to move. There are not many embellishments or firuletes or complicated figures for the lack of space in the original milonguero style but now also those figures are danced, which only at first glance seem impossible in close embrace. Actually, a lot of complicated figures are possible even in milonguero.
Although the rhythmic, close-embrace style of dancing has existed for decades, the term "Milonguero Style" only surfaced in the mid- '90s when the name was created by Susana Miller, who had been the assistant to Pedro 'Tete' Rusconi. Many of the older dancers who are exponents of this style (including 'Tete') prefer not to use the label.
Tango Nuevo
Tango Nuevo is a dancing and teaching style. Tango nuevo as a teaching style emphasizes a structural analysis of the dance. It is a result of the work of the "Tango Investigation Group" (later transformed into the "Cosmotango" organization) pioneered by Gustavo Naveira and Fabian Salas in the 1990's in Buenos Aires. By taking tango down to the physics of the movements in a systematic way, they have created a method of analyzing the complete set of possibilities of tango movements, defined by two bodies and four legs moving in walks or circles. This investigation provided a view of a structure to the dance that was expressed in a systematic way.
In walks, their explorations pioneered what were once called "alterations" and are now called "changes of direction" or "cambios". In turns, they focus on being very aware of where the axis of the turn is (in the follower/in the leader/in between them). This tends to produce a flowing style, with the partners rotating around each other on a constantly shifting axis, or else incorporating novel changes of direction.
Many of the recent popular elements in tango vocabulary, such as Colgadas, owe their debut on the tango scene to the popularity of Gustavo's and Fabian's approach.
From this teaching style, a new and unique style of dancing has developed, called by many a "tango nuevo" style. The most famous practitioners of "Tango Nuevo" are Gustavo Naveira, Norberto "El Pulpo" Esbrés, Fabián Salas, Esteban Moreno, Claudia Codega, Sebastian Arce, Mariana Montes, Chicho Frumboli, and Pablo Verón. Interestingly enough, all of these dancers have highly individual styles that cannot be confused with each other's, yet can be easily recognized as Tango Nuevo.
Tango Nuevo is often misunderstood and mislabeled as "Show Tango" because a large percentage of today's stage dancers have adopted "tango nuevo" elements in their choreographies.
Show tango
Show tango, also called Fantasia, is a more theatrical and exaggerated form of Argentine tango developed to suit the stage. It includes many embellishments, acrobatics, and solo moves. Unlike other forms of tango, stage tango is not improvised and is rather choreographed and practised to a predetermined piece of music. This means that often moves are shown that cannot be led.
Show tango, also called Fantasia, is a more theatrical and exaggerated form of Argentine tango developed to suit the stage. It includes many embellishments, acrobatics, and solo moves. Unlike other forms of tango, stage tango is not improvised and is rather choreographed and practised to a predetermined piece of music. This means that often moves are shown that cannot be led.
resource:
Thursday, August 14, 2008
Monday, August 11, 2008
DANCING LIKE THE STARS
It could be you...............
Crowded room, spotlight is on you......
Impressing the one in your arms...................
Meet new people!!!
NO PARTNER NEEDED
NEW CLASSES FORMING
Learn how...try one for FREE with any purchase
I can take you there...................
Argentine Tango Detroit
7758 Auburn RoadUtica, MI 48317
586-254-0560
Sunday, August 10, 2008
Welcome to my blog-Argentine Tango Detroit
Welcome!We are a warm, friendly and very enthusiastic community of dancers located in the Detroit Metropolitan area. Whether you are beginning or advanced, we welcome you to come join us. Group classes and milongas are offered each week where you can enjoy the fun and excitement of learning to dance while socializing with new friends. While we're renowned for teaching Argentine Tango, we also teach the best of Salsa, Latin, and Ballroom. You do not need a partner in order to take group or private lessons. Even if you think you have two left feet, we can teach you to dance! ~Lori Burton, owner and instructor
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