2093 Tango , Milonga, Acting
Date: Mon, 15 Dec 2003 23:04:27 +1300
From: Mel Roddie <melroyr@SLINGSHOT.CO.NZ>
Subject: Tango , Milonga, Acting
Astrid wrote:
> In my experience, the embrace for milonga is usually closer than the one
> required for tango, and the two dancers dance as "one body". That is, IMO,
> one reason why it exposes who really knows how to dance tango, and is not
> just "acting" on the floor. I wonder how you came to the conclusion that
> milongas requires " a little less following"? Maybe the steps are a little
> less complicated than in tango, but the connection in the upper body is a
> total one, which, if the woman does "a little less following" becomes
> impossible, and the ensuing dance would be quite out of character.
> my two cents
> Astrid
I agree, I tend to lead milonga much more positively (dare I say with a stronger embrace!) than I do Tango. No, I don't mean a weak / =
negative embrace for Tango !!.
For me the Tango lead is a much finer thing whether close, open, or shifting between the two.
I actually find it more challenging, to try to lead with more subtlety, less physically (unless I'm going for more dynamic). I don't =
want to be pushing her around and I don't want her using me for balance either ! (but of course we are all human).
Milonga is fun, for me anyway (as you mentioned earlier it has some steps all of it's own, and (IMO)it can also get a little tricky. =
Tango can be fun too, but it's usually a different thing (IMO).
But I was interested in your comment about "acting on the dance floor", and have noticed how it seems to take longer for (a lot of) =
people to warm to Milonga (and also Tango Vals !).
These two dances require that you really do respect the rhythm (so does Tango of course).
It's weird to see people dance some figure that just does not fit the rhythm of the music at all.
This is glaringly obvious in Milonga and Vals, maybe you can bluff easier in Tango if you don't walk too much and use enough dramatic =
pauses ???
Which brings me to my Can of Worms.......
Maybe Tango is a wonderfull dance if your sense of rhythm isn't so hot !.
It has beautifull music that you can kind of move around to, with some pretty sexy moves at that !
Maybe in time you will start to feel the rhythms better, start to move to them more naturally.
Start to dance.
Or maybe acting is more your thing.
Hope I don't sound too nasty here.
Tango is a wonderfull form of expression.
I guess acting is too, I just don't care for it on the dance floor.
However I often see dancers who may have had only a few lessons do beautifull things.
It' not what you do, it's the way that you do it.
(and if someone just don't like Milonga that's fine too).
My two cents.
Mel.
Date: Mon, 15 Dec 2003 11:49:47 +0000
From: Petra Starmans <petra.starmans@BEFREE.CH>
Subject: Re: Tango , Milonga, Acting
Hello Astrid
Hello Mel
Hello List
As I wrote my own first mail rather quick, some of the wording must have come out uncareful, and there we have the worms spreading.... Sorry for t=
hat!
> Astrid wrote:
> > In my experience, the embrace for milonga is usually closer than the one
> > required for tango, and the two dancers dance as "one body". That is, IMO,
> > one reason why it exposes who really knows how to dance tango, and is not
> > just "acting" on the floor.
Mel wrote
> Maybe in time you will start to feel the rhythms better, start to move to them more naturally.
> Start to dance.
> Or maybe acting is more your thing.
As I used the word 'acting' I was by no means suggesting 'to be an actor/actress". I do not care about pretending any feelings or drama, you got m=
e really wrong there, might be because I do not use the English language in a correct way.
I meant 'being a more active participant', to be more 'initiating' in the sense of attributing to the pulse, speed and the energy and that especi=
ally in the sense of how Mel has very well put it:
> I agree, I tend to lead milonga much more positively (dare I say with a stronger embrace!) than I do Tango. No, I don't mean a weak / negat=
ive embrace for Tango !!.
> For me the Tango lead is a much finer thing whether close, open, or shifting between the two.
> I actually find it more challenging, to try to lead with more subtlety, less physically (unless I'm going for more dynamic). I don't want t=
o be pushing her around and I don't want her using me for balance either ! (but of course we are all human).
As a follower I also have a more positive, dynamic, more physical 'stride' and a different compactness in milonga and more continuously so than i=
n valse or tango where dynamic is much more wavy, coming and going and sometimes calming down to the subtlest of silences..
> But I was interested in your comment about "acting on the dance floor", and have noticed how it seems to take longer for (a lot of) people =
to warm to Milonga (and also Tango Vals !).
> These two dances require that you really do respect the rhythm (so does Tango of course).
> It's weird to see people dance some figure that just does not fit the rhythm of the music at all.
> This is glaringly obvious in Milonga and Vals, maybe you can bluff easier in Tango if you don't walk too much and use enough dramatic pause=
s ???
Now you do not know me and that is fine if you suggest I might be one of the 'faking', rhythmless dancers pretending away you see in your mind's =
eye. Ask the men who dance with me since I started 10 years ago.. And the tangueros and tangueras who tell me after a milonga 'it was great to wat=
ch you two doing milonga..'. Sometimes I suggest a little more care in the observations, I do not want to be forced to write my own praise on this=
list...
I agree with Astrid that in milonga there is even more acting as one body, but it is a body with 4 legs and I can traspie and decorate with the tw=
o of those who are (originally ;-) mine. And to have a tanguero lead well and still react to my play, by picking up on it, or only by sensing his =
smile, that for me is the most sexy part..
So to be precise: I love milonga, I love valse and tango I love most.
Have nice dances and leave the axes (not the axis) at home..
Petra
-----
Petra Starmans
Design, Konzept und Beratung
Honrainweg 11
8038 Zürich
Switzerland
Tel/fax + 41 1 262 06 55
Date: Tue, 16 Dec 2003 03:46:50 +0000
From: Oleh Kovalchuke <oleh_k@HOTMAIL.COM>
Subject: Re: Tango , Milonga, Acting
On tango acting
I do not see it much. However I have spotted a guy once who was dancing with
his face. At first I thought the poor chap had a toothache. Nope, he simply
couldn t contain deep felt feelings as he led his partner into another
grapevine. I know it wasn t toothache since after the tanda he had a glass
of ice-cold water and went on grimacing to another di Sarli with different
girl. I do not quite understand it since I personally have to (and like to)
concentrate on my partner and do not have time to think about my facial
expressions (except for spontaneous smile, then again it is not an exception
since my partner usually brings it).
As I said I do not see acting at milongas much, I guess since most people
who dance long enough dance tango for themselves and for their partners.
Beginners could do it occasionally undoubtedly to relieve the stress of
learning or being under the misconception of the dance promoted by
Hollywood. The guy I have seen was not a beginner. Even more puzzling.
Cheers, Oleh K.
https://TangoSpring.com
