Thursday, 15 September 2016

Welcome stranger!


Visiting foreign milongas can be hit and miss.  Often, it's more miss than hit!  In our experience tango communities can be - shall we say - rather insular when newcomers appear at a milonga.  Lack of familiarity with the cabeceo can be a factor.  If people aren't using or are not alert to the non-verbal "I'd like to dance with you" signals, they will probably stick with the safe option, and just dance with their friends - despite having observed that the newcomers dance well.  That's their choice, of course. But it seems a pity.  They'll never know what they missed.

So, it was with no high expectations that we went to The Counting House, Edinburgh Tango Society's Tuesday evening milonga.  What a pleasant surprise to be warmly welcomed by their tango community not only on arrival, but throughout the evening.  Most dancers used the cabeceo effectively,  and we were both kept busy dancing to DJ Mike's good music with lots of  lovely Edinburgh people.  (Coincidentally, DJ Mike mentioned that he had attended our Comme il faut milonga when visiting Adelaide seven years ago, and remarked several times what a welcoming tango community he had encountered.)

Thanks for the great night, Edinburgh. Hope we can reciprocate your hospitality in Adelaide soon.

Saturday, 23 July 2016

Intention


If you've learned to dance the man's role in tango, you may have been urged to dance with more intention. Especially as a beginner dancer, any tentativeness or indecision would probably have been identified. You would have been reminded that even a hint of uncertainty is immediately apparent in your partner's response .... or lack of it!

As a consequence, you may have also formed the impression that dancing with intention is only important in the man's role. That the woman simply follows what the man proposes in the dance. And perhaps this is so ... in the early stages.

However, most experienced dancers will confirm that there is much more to the woman's role than "just following".

Dancing well in the woman's role means responding to the music and to the man's proposal without anticipation and haste. When she moves to the music it is with conviction, commitment and confidence.

Perhaps not so different to the intention required in the man's role??

Here are two performance treats, both embodying intention.
PP



Thursday, 2 June 2016

Woman's role in tango


Some interesting comments appeared on the previous post: Just follow the leader.

Andy highlighted the challenge of the woman's role and the timing of her response to the lead. Indeed the woman must contribute her interpretation of the man's lead and the music to the dance, otherwise she is merely a puppet being dragged around in his arms.

A very good female tango dancer achieves a sensitive balance between the lead and her personal expression, with the outcome being a beautiful unity of music and movement.  Two individuals dance as one in the embrace. Lidia Ferrari's article The place of woman in tango (or Is tango macho?) elaborates on what is required of the woman, as well as perhaps challenging some macho men who may see themselves as good tango dancers.  Thanks for sharing these articles, Andy!

Just take a look at Adela dancing with Gaston at the start of Dany and Lucy's milonga.
PP

Tuesday, 3 May 2016

Just follow the leader


Have your ever heard the expression: Ladies, all you need to do is follow the lead ?  In this day and age of gender equality you might perhaps sense that the woman's role in the dance is diminished through this terminology - such an inadequate descriptor of the woman's role in tango, which is quite different to the man's role, but no less significant.  (By the way, I do believe that the complementary [man-woman] roles in tango may be a major factor in the popularity of the dance.  Perhaps western society's political correctness and inclination towards gender neutrality may be nudging people to the traditional gender roles in tango, as described by Paul Yang.)

Probably not all women in tango will agree with me, but when the music calls, and I'm in the embrace of a dance partner whom I trust, I love being taken on a short but memorable journey courtesy of my partner.  He is the principal guide to the music, while I contribute to that tour in my response to him and to the music.  But for him to treat me to his personalised insider's tour, he needs to feel my appreciation of his efforts by relaxing in his embrace, and by being present just for him and the music.  A delightful quality of Golden Age tango music is that it is multi-layered, so, each tour guide will show me different highlights of his appreciation of the music and perhaps some hidden surprises.  How good is that?  Every tanda offers the potential for a new journey.  Why wouldn't I enjoy the woman's role?

I am curious to know what men feel about their role in the dance.

PP

Thursday, 7 April 2016

More higher order skills for men


Dancing in El Beso can be challenging, but need not be, provided yet another higher order skill for men is employed.

Yes, the floor gets crowded, with couples closely sandwiching you at front, back and side, but the standard of dancing is high, so navigation skills are fairly well refined.  In fact, it’s this knowledge that gives me confidence – I rarely have to worry about dancers behaving inappropriately or with poor control.

But there is something else that happens – I not only dance with partner, I dance with the couples around me, particularly those directly in front and behind.  We need not be interpreting the music in exactly the same way or utilising the same small batch of figures, but there is and ebb and flow as our movements resonate with each other.  While I’m dancing with my partner, I’m constantly adjusting my position so that the other couples can use their ‘space’ relatively unimpeded; and they afford me the same courtesy.

Certainly, I am ‘in my own world’ with my partner – listening to her, responding to her, picking up the rhythms, cadences & moods of the music and responding to them too.  However, I connect with ‘my other world’ – surrounding couples, by dancing in my space and respecting theirs, which means walking and pausing, ochos cortados, vaya ven, lots of small turns, and whatever else my body (not my head) decides to do.

“Dancing in the ronda" is therefore much more than moving around the floor anti-clockwise parallel to the walls, it’s about dancing with others. 
Bob 

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