1396 Cortes, quebradas and roses
Date: Tue, 10 Jun 2003 10:39:32 -0400
From: Sergio <Cachafaz@ADELPHIA.NET>
Subject: Cortes, quebradas and roses
A nice lady asks :
"Sergio,
I was hoping , you would explain the meaning of "cortes y quebradas". I have
been wondering about that for years, and never found out."
Kace Ong says:
"We have all heard about the cliche of the tanguera dancing
with a stalk of rose between her teeth. This image is so
deeply ingrained in popular culture that in our beginner
classes we have to start by telling them there will be no
roses."
Cortes y quebradas are choreographic figures of tango, they were executed in
Candombe by blacks and remained in the early forms of tango such as
canyengue. They were later removed because it was thought that they were not
elegant or that they could even be somewhat obscene.
The original tango as it was danced by people still alive such as Carmen
Calderon (close to 100 years of age and still dancing) was done with Cortes,
Quebradas and Sentadas.
Corte means 'cut'. It is a sudden stop. The dancer does 'una corrida' - (a
run) - and suddenly puts partial weight on one leg but returns immediately
to the other or else he changes direction suddenly.
Quebrada means to 'break' - it refers to bend at the waist level either to
the sides or to the front or back.
Sentadas mean 'seat' - it refers to the man allowing the lady to seat on his
legs or at times raising her to his waist level, they are still done.
As to the rose between the teeth I think that this comes from one of Rudolph
Valentinos' movies.
The director totally ignorant of real tango fabricated some idealized image
(in his mind) of what an Argentine Gaucho dancing tango was.
This representation greatly pleased the North American public but it seemed
to be a ridiculous caricature to the Argentineans.
Still it feels that way. :)) but we can argue with success can we?
Date: Tue, 10 Jun 2003 10:48:49 -0600
From: Tom Stermitz <Stermitz@RAGTIME.ORG>
Subject: Re: Cortes, quebradas and roses
>As to the rose between the teeth I think that this comes from one of Rudolph
>Valentinos' movies.
>The director totally ignorant of real tango fabricated some idealized image
>(in his mind) of what an Argentine Gaucho dancing tango was.
>This representation greatly pleased the North American public but it seemed
>to be a ridiculous caricature to the Argentineans.
>Still it feels that way. :)) but we can argue with success can we?
The movie is a classic story of the horrors of war. "Four Horseman of
the Apocalypse." Some good reviews are at:
https://www.amazon.com/exec/obidos/tg/detail/-/6304868235/103-8287746-2426222?vi=glance
It is a silent film made in 1921. Our local vintage orchestra played
live for it once. They are so good at playing for dancers, that they
could visually identify the style of dance on the film and find
appropriate music. So in one scene Rudolph Valentino does a waltz (in
the pampas), and in another he does a tango (a bar scene in a seedy
night club, presumably in la Boca).
Obviously, the style of tango in the early 1920s was very different
from the style of tango we know today...that is the main point of the
recent discussion.
Whether it is "real tango" is a different issue.
To our modern eyes, it looks like a caricature of modern tango, but
the question remains whether it is a true or false or exaggerated
version of vintage tango, and by extension whether it has anything to
do with vintage tango in Argentina.
Carmen Calderon's style of tango dates from the 1930s, doesn't it?
Ruben Terbalca refers to a movie from 1933 in an attempt to prove
Richard Powers wrong.
--
Tom Stermitz
https://www.tango.org/
stermitz@tango.org
303-388-2560
Date: Tue, 10 Jun 2003 20:50:17 +0000
From: Jay Rabe <jayrabe@HOTMAIL.COM>
Subject: Re: Cortes, quebradas and roses
Sergio,
I have seen sentadas. No questions.
But Cortes: could you be more specific about the movement? Have they evolved
into ganchos? What was considered inappropriate/obscene about them?
And Quebradas: Is there any movement in today's tango similar to or derived
from them?
Thanks,
J
----Original Message Follows----
Date: Wed, 11 Jun 2003 13:03:22 +0000
From: Jay Rabe <jayrabe@HOTMAIL.COM>
Subject: Re: Cortes, quebradas and roses
Thanks Astrid, but that's not very specific. Could you describe it? Do you
have any idea why it would have been prohibited?
J
----Original Message Follows----
Sent: Wednesday, June 11, 2003 5:50 AM
Subject: Re: [TANGO-L] Cortes, quebradas and roses
> Sergio,
>
> I have seen sentadas. No questions.
>
> But Cortes: could you be more specific about the movement? Have they
evolved
> into ganchos? What was considered inappropriate/obscene about them?
>
> And Quebradas: Is there any movement in today's tango similar to or
derived
> from them?
>
> Thanks,
>
> J
>
> ----Original Message Follows----
> From: Sergio <Cachafaz@ADELPHIA.NET>
> ...
> Cortes y quebradas are choreographic figures of tango, they were executed
in
> Candombe by blacks and remained in the early forms of tango such as
> canyengue. They were later removed because it was thought that they were
not
> elegant or that they could even be somewhat obscene.
> ...
> Corte means 'cut'. It is a sudden stop. The dancer does 'una corrida' -
(a
> run) - and suddenly puts partial weight on one leg but returns
immediately
> to the other or else he changes direction suddenly.
> ...
> Quebrada means to 'break' - it refers to bend at the waist level either
to
> the sides or to the front or back.
>
>
>
Date: Wed, 11 Jun 2003 10:04:03 -0700
From: Ricardo Tanturi <tanturi999@YAHOO.COM>
Subject: Re: Cortes, quebradas and roses
I'm certainly no expert, but it's my understanding
that the reason for the prohibition of some of the
movements is this:
It's not so much that there is anything suggestive
about the movements, but if you are dancing tango
in an embrace (close or not so close), and you stop
moving, then you aren't dancing anymore, you are just
hugging on the dance floor. (Of course the sentada
might be a bit different because of the woman's
butt touching the quy's leg.)
I guess I might add that apparently for tango dances
in the neighborhoods the morals could be pretty
strict.
Young women were always chaperoned. Here's a tango
story that many of us have heard - people in Argentina
don't start dancing at the beginning of each song.
That is the time for a little conversation, and for
many young people that was the only chance for some
conversation away from the chaperones. A wise young
man would try to stand with his back to the
chaperone, blocking the chaperone's view of his
partner, so that the chaperone couldn't read his lips
or see his partner's reaction.
"Ricardo"
Date: Sun, 15 May 2005 09:31:30 -0700
From: Igor Polk <ipolk@VIRTUAR.COM>
Subject: Quebrada
Can somebody explain me what "quebrada" is?
Is there any pictures?
Igor Polk
Date: Sun, 15 May 2005 10:36:12 -0700
From: Igor Polk <ipolk@VIRTUAR.COM>
Subject: Quebrada
Sergio,
Yes, but how to dance quebrada?
The description you have provided is of a scholar who has no idea how to
dance tango. There is nothing descriptive in this description that can be
practical. It is like a journalist explains mathematics. How can it be
trusted?
Describing "corte" as a "sudden suggestive pause" may give something from
observer's point of view, but for a tango dancer it is completely useless
and even misleading.
It would be very useful to know it from internal mechanics. Or at least very
precise visual description, picture, so it can be reproduced. Isn't it so
old that knowbody knows what it actually is?
Igor Polk
Date: Wed, 25 May 2005 16:13:25 +0100
From: John Ward <johnofbristol@TISCALI.CO.UK>
Subject: Corte
Here is my twopennyworth on the Corte.
Gladys Beattie Crozier, in "The Tango and How to Dance it" of 1913, reputedly the first book written in English on the tango, has this to =
say about the corte:
LE CORTÉ (sometimes known as the "Link-Step," because it is often used throughout the dance to link the various figures together). The =
gentleman takes a short step forward with his right foot for step 1, puts his weight on to it, and brings the left foot forward for 2 and =
then swings it back behind the right for 3, with a slight swaying movement of the body, forward and back, and rests on the left foot, =
which is now behind, for 4, with the heel of the right foot resting lightly on the heel, with the toe pointing upwards in the air.
The lady takes a little step back on her left foot for 1, puts her weight on it, swinging her right foot behind the left for 2, and then =
bringing it forward again for 3, with a slight swaying movement of the body, first back, and then forward; she transfers her weight to the =
right foot, and rests on it, for 4, leaving the left foot pointing behind her, toe resting on the ground, heel in the air.
Her steps are in each case, it will be noticed, the exact reverse of his-a rule that holds good throughout almost every figure of the Tango.
On the other side of the Atlantic, Vernon Castle in "Modern Dancing" (1914) says:
The first step to master, and one of the most difficult, is the Cortez.
Let us suppose that the gentleman is walking backward and the lady forward (the position is exactly the same as in the commencement of ail =
the dances I have explained so far). Now when you are ready to do the Cortez you pause for two counts on the left foot, which should he in the =
position shown here. [opposite this page are some tiny and very muddy photographs, probably frames from a movie] Now the right foot passes =
back of the left for one count. The left shifts to the side a few inches for one count, and the right does the same thing for one count (keeping =
behind the left). Thus five counts have been occupied, and the feet should have shifted to the music in this way, provided, of course, that =
the music is very simple.
The lady's part of this step is, of course, just the opposite. She pauses for two counts on her right foot, going forward, her feet =
following the gentleman's as closely as possible without tread ing on him.
You must not he discouraged over this step. It is very difficult to do smoothly, and you will not get it without a great deal of patience and =
trouble. Indeed, many good dancers have never mastered it at all, and probably never will. But that is because they do not appreciate its =
difficulty or are unwilling to give the necessary time to the step. It can he done, and done well, by any one who has patience enough to learn =
it. To get it perfect you should do several steps of the Cortez and then walk, and then go back again into the Cortez. If you can do this you =
have practically mastered the Tango Argentine.
The "reverse corte" is also a figure in the ballroom waltz: it was added to the list of standard figures in 1935.
John Ward
Bristol, UK
Date: Thu, 26 May 2005 10:08:51 -0600
From: Bruno <romerob@TELUSPLANET.NET>
Subject: Re: Corte
Other descriptions on The Corte:
Corte: Is the generic term which designates any figure (firulete) executed
when dancing Tango, especially when crossing one foot over another.
"...that's why when the dance (corrida)....was interrupted in a turn to show
his skills or "para marcar" an astonishing "Quebrada" the "Corte" would take
place. This interruption (in the dance) cut the flow of the dance simply",
Vicente Rossi in "Cosas de Negros", 1939, 1940.
-
The Corte meant simply contoneo (swagger)
Augusto Malaret, Diccionario de Americanismos, 1946.
--
"[The Corte]is a movement or contoneos (swagger) performed with the body in
certain dances".
Tobias Garzon, Diccionario Argentino, 1910.
---
The Baile con Corte is a popular expression porten~a. A dance which is
executed with quiebros (Quebradas) and contoneos (Swagger).
Lisandro Segovia, Diccionario de Argentinismos, 1912.
---
Asicomo in las comparsas
With Masacallas y plumero
Metemos baile con corte
En un tanguito fulero
Likewise in the masquerades
with metal maracas and a featherly stick
We dance with Corte
to a shoddy tanguito.
Florencio Sanchez, Teatro Completo , Canillita, page 240, 1941
---
Firuletes Y Quebradas. These are contorsions and mimicry, which the
compadres embellish their never ending steps and postures in the dance with
Corte. This was a [pattern] which the prostitutes and the French apaches had
brought to France.
Don Manuel Gil de Oto, La Argentina que yo he visto, 1917.
