Argentina – Tango Argentino – A World United – Masters of Traditional Dance 2
La Ivolution – “A World United – Masters of Traditional Dance”
“Dancing with the feet is one thing.
But dancing with the heart is another”
Argentine Tango may be described as
“conversation on the dance floor”
or some even say “a way of life“.
I personally would describe Tango
as “the idea of dancing – not alone“.
In the following I have tried to break down what I believe
what makes Argentine Tango so special and passionate:
Concept of leading and following
The concept of leading and following is radically different from the one in any other dance.
There is virtually no pushing or pulling.
The lady follows by “feeling” the shoulders or the space between them
– essentially trying to keep them parallel and in front of her partner’s.
This requires her permanent attention (connection)
– the man needs to be her focus – otherwise she cannot follow.
Likewise, the man has to be very clear and decisive with what he is doing or is intending to do
– otherwise the lady has no chance to follow.
He also must listen and respond to the way the lady moves
– and every lady moves and feels differently.
Thus, dancing Tango is really more like a conversation
that requires the full attention of both dancers.
Tango music does not follow strict rules
like e.g. Viennese waltz or Cha Cha music which have a clear repetetive pattern.
Especially the more contemporary Tango music tends to have no constant rhythmic pattern at all (e.g. Piazolla).
Thus, the music is usually very colourful full of unexpected variations and surprises.
Rhythm is created using “melodic” instruments rather than percussion instruments
– a bit like in most classical music.
Typical Tango instruments are the bass, cello, violin, piano, flute
and of course the soul of traditional Tango music the Bandoneon,
an accordion like instrument but with more keys and much harder to play.
No Basic Step for the dancers – Tango Moves
Because of the nature of the music, there is no basic step for the dancers.
Beginners often learn sequences of moves for didactic purposes.
However, 99% of all Tango moves may be separated into six categories:
cuts (saccadas), hooks (ganchos), foot sweeps (barridas),
circles (giros), ochos and walks .
Many movements are difficult to translate in English or other languages
so that they are better known in their original Spanish name which I put in brackets.
Dancers Can Choose
Dancers can choose whether they move with the rhythm
or the melody or whatever they hear.
It is not rare to see one dance couple to move slowly
while another is more than twice
as fast trying to follow a faster phrase listening to the same piece of music.
The way dancers interpret the music is affected by many things:
mood, age, skills & experience, relationship and compatibility with the partner etc..
3 sub-categories of both Tango music and dance
There are three sub-categories of both Tango music and dance:
Tango-tango, Tango-waltz and Tango-milonga.
The Tango-waltz is essentially written in 3 beats/bar –
but unlike classical waltz music it can vary speed and rhythm considerably.
Tango-milonga is a bit more march like sounding faster
whereas anything else is Tango-tango.
Because Tango Argentino is such a universal partner dance-concept,
it is increasingly used to dance to “non-Tango” music
showing that virtually any kind of music may be interpreted
using the leading/following concept of Tango and it’s variety of movements.
Particularly classical pieces of music
but also operas or musicals can be very nice to dance to using the Tango-concept.
text by http://www.solarpassion.com/
Dani ‘El Flaco’ Garcia y Silvina Valz bailan ‘Tango Negro’.
Tango Apasionado – Sergio Villarroel & Black Tango
Pablo Veron & Sally Potter
Flavia Cacace & Vincent Simone
Gustavo Naveira y Giselle Anne
The masked parade of endless miseries
promenades around that sick being
that soon will die of sorrow.
That’s why in its bed
cries mournfully remembering the past
that makes it suffer.