255  Memorization and Improvisation

Date: Fri, 5 Oct 2001 10:39:06 -0500
From: Stephen Brown <Stephen.P.Brown@DAL.FRB.ORG>
Subject: Memorization and Improvisation

In some past discussions on Tango-L, a few of us (me included) have
characterized tango dancing as falling into one of two approaches--either
the rote execution of memorized figures or dancing by completely
improvisationally by choosing individual steps without regard to any
pre-determined patterns.

In fact, there is a continuum between these two polar cases. One can
improvise to some degree by choosing patterns from a limited set of
previously mastered figures. Choosing patterns from a variety of figures,
some of which are closely related, represents more improvisational freedom.
Choosing patterns from a big variety of figures, many of which are closely
related, further increases the degree of improvisational freedom. More
improvisational freedom is found in the ability to break off patterns and
switch to others without hesitation. The highest degree of improvisational
freedom is found in choosing individual steps without regard to any
pre-determined patterns.

In a similar vein, some individuals have tried to draw a distinction
between the dancing in Buenos Aires and that in Europe and North America by
stating that Portenos dance improvisationally from their hearts while those
in the Northern hemisphere simply execute memorized figures without
feeling. I think this is a gross oversimplification that fails to
recognize how much the level of tango dancing has evolved in many cities
outside of Buenos Aires.

If we think about the amount of time it takes to learn to dance tango and
some of the cultural differences between North America and Buenos Aires, I
think we will recognize why someone who drops into a milonga in a North
American city will think the dancing is much different in Buenos Aires. In
both North America and Buenos Aires, the phenomenal growth of tango has
brought an influx of relatively inexperienced dancers, who are less adept
at rhythmic interpretation and rely more heavily on the execution of
memorized figures. It requires skill to express from the heart.... In
North American tango communities, beginners are welcomed at milongas. In
Buenos Aires, they are not. Essentially, the comparison is being drawn
between the average tango dancer in North America and older milongueros in
Buenos Aires with many more years of experience on the floor.

Because the relatively young tango communities outside of Bueno Aires have
relatively few role models, pointing out the differences between the
approach that a beginner and older milonguero might take to tango IS of
considerable value. It lets beginners know that mastery of the dance is
achieved in working away from reliance on memorized figures toward
improvisational freedom. In addition, it does not seem to be necessary to
work systematically through the layers from the rote execution of memorized
figures toward complete improvisation. By learning and internalizing
tango's small elements to develop a knowledge of the underlying structure
of tango, one can work toward improvisation from both ends.

--Steve (de Tejas)

Stephen Brown

Tango Argentino de Tejas
https://www.tejastango.com/

Date: Fri, 5 Oct 2001 15:46:47 -0400
From: Natarajan Balasundara <rajan@EMC.COM>
Subject: Re: Memorization and Improvisation

Stephen Brown wrote:

> Choosing patterns from a variety of figures,
> some of which are closely related, represents more improvisational freedom.

Either that, or, knowing all the degrees of freedom(I would like to use the
term 'salida's
to mean this--but then, someone might object saying salida to means something
different)
at any one point so that what preceeds could be completed in a variety of
ways.
The choosen way depending on the surroundings.

The only difference between choosing two figures as opposed to choosing a
salida is
that a salida is a decision that can be made at the moment without reference to
how
to continue at a future point of time as this can not be predermined unless one

is dancing by oneself.


rajan.

Date: Fri, 5 Oct 2001 16:37:37 EDT
From: Charles Roques <Crrtango@AOL.COM>
Subject: Memorization and improvisation

Stephen Brown wrote:

>In some past discussions on Tango-L, a few of us ... have

characterized tango dancing as falling into one of two approaches--either
the rote execution of memorized figures or dancing ... completely
improvisationally by choosing individual steps without regard to any
pre-determined patterns<.

I am in agreement with Steve's comments but thought about another way to
explain it which might elucidate things for some people especially beginners
(although many so-called "advanced " dancers would do well to heed this).

One of the biggest problems, at least here in New York, is that dancers are
too impatient to learn proper technique and need to start trying out their
latest figures without having mastered the last ones they learned. What one
learns in a class and what one dances at a milonga are two different things.
Figures are taught to give one a vocabulary from which to improvise. They
teach us about balance and form. But it is not always appropriate to dance
them or even attempt them on the floor. If a dance floor is completely empty
then do what you want but if not, then dance what fits in the space, not only
physically but musically. If that means breaking the figure in half then do
it. If your technique is correct it won't make any difference. It will still
look good. It will still be dancing. What seems to be missing from
instruction is a respect for the flow of the floor and for the other dancers.
Personally I rarely do more than a very small percentage of the steps I
actually know for a very simple reason. There is no space. One shouldn't be
passing other dancers and galloping around showing off how great a stride
they can accomplish. An open space on the floor is not an opportunity to pass
someone else. The really good dancers stay with the flow. I do performance
but not the same steps that I dance on the dance floor.

>By learning and internalizing tango's small elements to develop a knowledge

of the underlying structure of tango, one can work toward improvisation from
both ends.<

I think there is also a misunderstanding about what improvisation means. One
should try to improvise within the steps they know, not by making up their
own movements. That is one of the reasons we learn different figures. To have
more options to use. Being able to break down a step and perhaps do only half
of it or even a small piece of it or being able to connect it with another
step at a new place is the idea. That is why technique is so important.
Leaders would do well to learn from the followers on this point. Followers
have to be ready to change their steps constantly by paying attention to the
lead and not thinking about the pattern as she learned it. If leaders payed
the same attention to the traffic on the floor and the musical spaces then
they would soon realize the value of breaking down what they know and
rearranging it. Very few leaders learn enough technique before attempting
complex figures.
Perhaps the problem lies also with the quality and type of instruction here.
Most of what is taught here is stage tango so it is no wonder people can't
dance on a crowded floor.
Far too many people dismiss close dancing as something the old "milongueros"
do and just another style. Which is why most of them can't dance very well
with a lot of other people around them.

Another issue that Steve did not touch on is the idea of style which is
related somewhat to dancing with feeling. Too many dancers try so hard to
develop a style forgetting that they already have one. No two dancers will
ever do the same movements the same way anyway no matter how much they focus
solely on technique. Mastering technique frees us to be subtle and expressive
instead of having people notice how badly we are trying to copy someone else.
The really best dancers are the ones, both men and women, who very patiently
keep trying to perfect and reassess their technique and don't worry about new
steps. In the end that has a big payoff. It is much easier for them to master
new complex steps when they learn them. You will only dance as well as you do
your basic steps anyway which unfortunately many advanced dancers don't even
do correctly.

Cheers,
Charles

Date: Fri, 5 Oct 2001 17:21:13 -0400
From: Manuel Patino <white95r@HOTMAIL.COM>
Subject: Re: Memorization and Improvisation

----- Original Message -----

From: "Stephen Brown" <Stephen.P.Brown@DAL.FRB.ORG>
Subject: Memorization and Improvisation

> In a similar vein, some individuals have tried to draw a distinction
> between the dancing in Buenos Aires and that in Europe and North America

by

> stating that Portenos dance improvisationally from their hearts while

those

> in the Northern hemisphere simply execute memorized figures without
> feeling.

This is how miths are created. Somebody decides that a certain group has a
monopoly on "heart", "soul" or whatever. While others can only hope to
emulate them with a shallow caricature. There is a big problem with this.
Portenos are not automatically good dancers who improvise and dance from the
heart. There are plenty of them who bumble around the floor right there with
the rankest of American beginners. Likewise, there are many excellent
dancers from many other parts of the world who dance from the "heart" and
with great musicality and improvisation.

> I think this is a gross oversimplification that fails to
> recognize how much the level of tango dancing has evolved in many cities
> outside of Buenos Aires.

This is not only a gross oversimplification but an outright lie. I have
personally danced with many excellent dancers from Australia, Europe, Asia
and North America as well as South and Cental America. I've also seen the
men from these countries and they all dance with great emotion, passion,
musicality, etc.

The biggest problem I see with this whole thread is the premise that
somehow, some dancers actually dance totally improvisationally without any
learned or memorized figures. This is of course preposterous. Every single
tango dancer (who has even a modicum of skill) uses the same basic steps.
Anyone not using those steps is simply not dancing tango! Perhaps it is
something like contact improvisation, or free form movements of some sort,
but certainly not tango.

The vast majority of tango dancers use the same repertory of moves and most
rely on certain combinations of steps that fit the music well and they've
are very familiar with. I can only think of a handful of tango leaders who
command an exceptional variety of steps and can put many of them together in
a most varied manner. Chicho come to mind among these guys. There are others
too, but they certainly do not populate the dance floors of Bs As or
anywhere else either. These are unique and unusual individuals with great
talent. Ironically, many folks (who should know better) criticize the
"improvisational" and unique quality of this kind of dancing calling it
"show tango" and any other number of pejorative terms. I wonder just what
the meaning of "improvised", "from the heart" dance is?

I think much of this discussion seems to be centered on the newest
beginners' limited dance vocabulary. IMHO, there is no need to beat this
dead old horse. Beginners can be expected to dance with more difficulty and
to rely on fewer combinations of steps. They also don't need to be reminded
all the time that they are not dancing "from the heart" or whatever part of
the anatomy is the fashion of the day. The rest of the dancers who've taken
their lessons, practiced, even went to Bs As and go to milongas, etc.
Already dance pretty well. Just who are these "heartless", "mechanical
dancers" anyway? As far as I'm concerned, the vast majority of those of you
who I've had the pleasure to meet and dance with are pretty darned pleasant
to dance with ;-)

Cheers,

Manuel