Thursday, March 12, 2015

Choosing A Good Instructor



Choosing A Good Instructor

Many times people have asked for an opinion, and many times they have not. I have seen the results from both. As an instructor of over 30 plus years, let’s say more than I would like to admit to at this time in my life, I have come to many conclusions about this matter. The most important is to wait for someone to seek my advice before going with my heart and giving it.

Most importantly an instructor should be well trained, that doesn’t mean watching videos, or taking a few workshops. That means devoting their lives to the form of material they choose to become an expert at and anything related to the expression of said material and the dissection, history, influence and any other related information on their subject. They should also know and study how to express the sharing and processing of the information.

Another good indication would be someone that has studied under master instructors and or had a period as an apprentice. Partnering master instructors and aiding in classes is a good indicator. Years of accomplishments create the right mix of experimentation to know what works for each individual situation.

If a “teacher” has canned answers for questions, or says you will get it with practice, to most questions, chances are they haven’t developed the depth of experience to know the answers and are making up the answers instead of answering from learned knowledge.

Many make choices that are emotional. They are based on the looks, or abilities of their teachers on the surface, this is sometimes dangerous. Instead they should be based on the results of the students they have trained.

In the end, each person has different desires, and learning languages, that the instructors need to blend with. After finding out that you are going to a reputable, instructor, you still should have a good connection, and ability to understand and communicate together.



Friday, February 27, 2015

Why I Travel To Argentina To Dance Tango

Why I Travel To Argentina To Dance Tango

This seems logical if you are passionate about Argentine Tango. You would want to learn about the history, the music, the culture, you would want to consume everything and anything about the dance that has captured your soul. That is only the obvious, there are so many depths and layers to unfold that it has been 20 years of return visits full of new discoveries and wonders that keep bringing me back.

There is something about stepping into the vast array of Milongas , Practicas, Matinees and experiencing the ambiance and codes. From dancing with the experienced elderly Tangueros that have spent most of their lives dancing Tango, to the professional young dancers looking to break into the scene. Each bringing their special character and charm to share.

The classes taught to the locals are offered before most Milongas and can be found at many locations at almost any hour of the day. The classes are taught by instructors with genuine knowledge, especially if you know where to look. Rather than what is taught for export.

The value of the dollar is another matter to consider when you walk into the many locations to purchase your Tango shoes or clothing. Many feel the euphoria of the shopping spree that is hard to discover anywhere else in the world.


There have been so many different experiences and encounters I would have to write a book to describe, but they can only be found in the motherland of the dance and country I am drawn to.




Tuesday, February 17, 2015

What Is Tanda Etiquette?

What Is Tanda Etiquette?

Let us first understand what a Tanda is in terms of it’s significance at a Milonga. The Tanda is a group of musical pieces, normally three or four, played together, which are of similar timing, structure, and most often from the same orchestra.
The DJ plays the music in these sets to give the dancers clear choices of styles or preferences and to allow them time to dance together and create a connection. In between the Tandas the DJ will traditionally play a short, approximately, thirty-second clip of music that is completely irrelevant to signal the end of the Tanda. This gives the dancers a chance to change partners, or have conversations, etc.

What role then do we have that is proper in terms of etiquette? We do have definitive ways of engaging a partner to the dance, floor that I have covered in previous Blogs. In Tango we call this “La Cabeza”. 

Since a Tanda is three or four songs it is respectful to invite someone on the first song. This gives the couple a proper time to feel comfortable and enjoy the connection, which sometimes takes a song or two to bloom. Perhaps the second song is acceptable depending on circumstances. Asking on the third or last song may appear to be more of an obligation, and a quick way to get your dance with that partner out of the way.

During the Cortina the polite thing to do is walk off the floor with your partner and give others a chance to enjoy your dancing prowess, as well as allowing your partner freedom to make their decisions. There are always more Tandas together if they are meant to be. Most importantly enjoy each other, the music and celebrate the dance.


http://www.argentinetangodetroit.com



Friday, February 13, 2015

When To Embellish

When To Embellish

I am often asked to teach embellishments, which are normally the expressive foot or leg movements used by the dancer to express an interpretation of a musical element felt in a moment between the couple and the music.

There are many beautiful and elegant drawings we can create with our feet, kicks and jumps we can seamlessly do while our partner pauses and gives us the space and time to demonstrate our artistry, but without the proper ingredients they can look like a fish out of water.

So when would those magical moments occur? Certainly I may do a quick slight enhancement anytime I hear or feel I have a chance, but I may not linger unless there are ample signs and enticements.

My partner may pause and give me space or hold a position, which would indicate an invitation to express myself with some artwork. He may even try to lead me into an exaggerated version, but this may be felt as more of an imposition.

Truthfully the embellishment should be a movement that is an individual expression of the music, the couple, and the moment. It should be done spontaneously, and
seamlessly. It should be something that feels personal and right for your body and your level.

http://www.argentinetangodetroit.com



Saturday, February 7, 2015

Tango Music-Contributed by a Ghost Writter

What would dance be without music? First comes a beat, a rhythm that compels us to move.
Argentine tango music is unique. It uses distinctive instruments and syncopation that identifies it. Tango dancing is wedded to the special music. You can put the steps to anything, like we do with alternative music, but to capture the joy of Argentine tango dancing, it helps to be familiar with how tango music is organized and presented at milongas all over the world. You can walk into a milonga in Tokyo or Copenhagen, Paris or Buenos Aires and hear pretty much the same recordings, the same groupings that we hear in the best programs in San Diego or Southeast Michigan.

Tango music is centered in the Golden Classics that go back historically to the early orchestras of the 1920's onward. Nuevo music, sometimes included, as a short change of pace, is still identifiably tango, but works with a different arrangement, a stronger beat, or electronic instruments, but the music is identifiably Argentine tango. Alternative music is using pop, swing, blues, rock and latin music and while it is interesting and challenging, for a change of pace, it is outside the genre. You can put tango steps into anything but it won't be Argentine tango but a modern dance form. I am confining my discussion here to the classic universal form.

The music programmer, or dj) arranges music in tandas or sets of three or four pieces by the same orchestra, the same tempo, either a tango, vals or milonga. In between these tandas, a cortina is played to signal the set is over and to regroup, say “thank you” to your partner and walk back to the sidelines. Cortinas are usually non-danceable music so one is not confused if the set is over or not. Cortinas are anywhere from 15 seconds to a minute long.

Tandas and cortinas came into being to keep partners circulating. They also make it easier for leads to determine what they will dance to by hearing an orchestra or familiar music in choosing a partner. They bring clarity to the flow of the evening's experience.

Contributed by a Ghost Writter


Monday, February 2, 2015

Dancing To The Music


Dancing To The Music

There has been a lot said lately about dancing to the music. In Tango we have many options, and that can cause some people great trepidation. The main thing is to listen to and peruse a great library of orchestras so you know and understand the music. The more subtleties you know, the more comfortable you are to interpret the music into your dance.

Each orchestra has a different style, and each seasoned dancer whom has chosen their style, may prefer one rather than the other because they fit their movements, or tastes. For example, a more rhythmic orchestra may be preferred over a more melodic, or dramatic ensemble.

Without getting to technical, what are our choices of dancing to a piece of music? I like to break it down as follows. First the beat, which should be obvious, but may need further explanation at a later time. Another would be the melody or phrasing of the music. Some may call this the musical structure, or sentencing of the piece. We may also dance to the lyrics or poetry. If we do not understand the language this can be difficult. There are ways to overcome this problem. We do have resources to look up any piece, and get a translation of the words to your native language. Without that, you may be able to feel the sentiment of the words or the emotion of the singer. Another avenue to consider when interpreting the music to your style is the instrumentation. For example, if the violin is crying out to you, what would it move you to do? How about a run of the piano, or the breathing of the Bandoneon?

Whatever it is that you dance to, there must be a musical choice in each step you take, you must allow the music to move through your body in some way and convey it to your partner. If this is intimidating at first, perhaps you are too focused on the steps. Make the music a priority. You, the music, your partner all become the dance.