Wednesday, November 11, 2015
Tuesday, September 15, 2015
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.
Monday, February 23, 2015
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
Monday, February 16, 2015
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
Monday, February 9, 2015
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.
Subscribe to:
Posts (Atom)
