45 Tangueros: American ANMB
Date: Tue, 26 Jun 2001 14:16:53 -0700
From: Sergio <sergio@NCINTER.NET>
Subject: Re: Tangueros: American ANMB
Dear Sirs,
I never heard of " The Argentine Tango Masters
Association" or "America First Tango University"
I have never seen before the tango, milonga or vals instruction divided in
Bronze, Silver , Gold and Star.
I never heard the expression "Pecho Argentino".
Before I would order any such tapes I would like to know who made them, who
the instructors are and what the purpose of dividing the instruction like in
ball room is.
As you know there are many good and many bad tapes and some sold as Tapes
for Argentine Tango are not even Argentine Tango.
Typical examples Chris Morris or Carol Blake. Dance Vision USA, etc.
I would appreciate any information.
Sincerely yours,
----- Original Message -----
From: Andrew RYSER SZYMANSKI
To: tanguerosD@listbot.com ; Tangueros-List@intl.egroups.com
Cc: pieroleli@infinito.it
Sent: Tuesday, June 26, 2001 10:38 AM
Subject: Re: Tangueros: American ANMB
Tangueros - https://tanguerosD.listbot.com
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----Original Message Follows----
From: "Piero Leli"
Reply-To: Tangueros
To: "Tangueros"
CC: "Tangueros List"
Subject: Tangueros: American ANMB
Date: Mon, 25 Jun 2001 21:14:50 +0200
Tangueros - https://tanguerosD.listbot.com
--------------------------- ListBot Sponsor --------------------------
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436 Patterns and 1,632 Components.....
Covers authentic Argentine Tangos, Milonga and Vals Cruzado
in 10 video tapes totaling 21 hours of instruction.
These are the first and only authentic Argentine Tango, Milonga,
Vals Cruzado and Pecho Argentino syllabuses. They are written
in a logical order with authentic names in Spanish and Lunfardo with
English translations. The syllabuses are divided into three levels:
1. BRONZE (Associate Basic Level)
2. SILVER (Licentiate Intermediate Level)
3. GOLD (Fellow Advanced Level).
These three levels are applicable to Tango Cruzado (Legato),
Milonga, Vals Cruzado (Tango Waltz) and Pecho Argentino
(Staccato, Milonguero Style). These syllabuses are the foundation
of the ATMA, Argentine Tango Masters Association and are also
part of the curriculum of the AFTU, America First Tango University.
The Tango world is made up of amateurs and professionals. There
are two separate but parallel education systems for amatuers and
professionals:
LEVEL
AMATEUR
PROFESSIONAL
BRONZE
Comparable to a high school education
A certified Bronze Associate is qualified to be a teacher
SILVER
Comparable to a University education
A certified Silver Licentiate is qualified to be an educator
GOLD
Comparable to a University graduate level education
A certified Gold Fellow candidate is qualified to be a professor
STAR
Comparable to the highest of post-graduate university levels
A certified Master degree candidate is qualified to be a world
class judge and can be appointed as an examiner.
"In Tango, there is no real star. Tango is the star."
To unsubscribe, write to tanguerosD-unsubscribe@listbot.com
Chi e' questa gente? Come fanno ad aver il diritto di dire che sono autentici (tre volte)? E se nel tango non c'e' "real star" come mai =
l'ultimo livello e' "star"?!??
Andrea
Who are these people? Who gives them the right to claim they are "authentic" (three times)? And if in the Tango "there is no real star" =
why is the top level called "star"??!?
Andy
-----
-----
To unsubscribe, write to tanguerosD-unsubscribe@listbot.com
Date: Tue, 26 Jun 2001 13:57:38 -0500
From: Stephen Brown <Stephen.P.Brown@DAL.FRB.ORG>
Subject: Re: Tangueros: American ANMB
Sergio wrote:
>>I never heard of " The Argentine Tango Masters Association" or "America
First Tango University" I have never seen before the tango, milonga or vals
instruction divided
in Bronze, Silver , Gold and Star. I never heard the expression "Pecho
Argentino". ... I would like to know who made them, who the instructors
are. ... I would appreciate any information.<<
Others may have their own opinions about what constitutes authenticity. I
know that Larry de Los Angeles wrote some favorable comments about tango
dancers who had been taught by Ive and Ludmilla Simard who are the founders
and directors of the Argentine Tango Masters Association and El Mundo del
Tango, both of which are based in San Diego.
The Simards are former ballroom dancers. I did not find the dancing on
their instructional videos to bear much resemblance to what I consider
Argentine tango. My more complete comments can be found at:
https://www.tejastango.com/video_resources.html#Ive Simard
According to the Simards' literature "Pecho" Argentino seems to be what
others might call "Milonguero." I have not seen that video.
The video review page is:
https://www.tejastango.com/video_resources.html
With best regards,
Steve (de Tejas)
Stephen Brown
Tango Argentino de Tejas
https://www.tejastango.com/
Date: Thu, 28 Jun 2001 12:34:41 -0700
From: Sergio <sergio@NCINTER.NET>
Subject: American ANMB
Piero Leli moderator of an Italian Tango list sends the following note:
Sergio:
"ANMB is the abbreviation of "national association of dance masters" in
Italy.
Also in our country they organize tango examinations with bronze, silver
and gold certificates and tango competition, reguarding also children.
Last year I wrote to Tango-L about this argument and many listers replied
to my question: what do you think about these initiatives?"
Dear Piero,
Thank you for your most informative note.
I personally do not have any objection as to Argentine Tango being taught
like all the
other ballroom dances.
The pedagogical approach, as you know is quite different in Argentina where
the instruction is based on exercises to acquire the necessary skill to
perform steps
and figures that are shown by the teacher and slowly copied and learnt by
the students. There is no counting of steps or fragmentation of the dance
into slow and quick steps that creates a distraction away of the dance and
the music as the beginner becomes obsessed remembering the count.
But how it is taught is secondary as long as everyone learns...the main
question is *what* is being taught.
The proponents of this system of teaching are non Argentinean former
ballroom dancers.
When you look at their videos it is very difficult to find much resemblance
with what we understand to be Argentine Tango.
It is rather a sort of hybrid, a cross between ballroom tango (American,
International) and Argentine Tango.
I refer in particular to video tapes such as the one by Chris Morris and
Oleana Foropanova, that exhibit a pleasant dance with some attributes of
A.T. but that have no resemblance with real Argentine Tango as it is danced
all over the world.
I do not know Ive Simard but I am told by dancers from San Diego where they
have their studio "El Mundo del Tango" that they fall under this last group.
In summary is like buying a container labeled "milk" to find that inside
there is a red colored liquid that tastes like CocaCola. :)
For more information see the evaluation by Steve Brown at
www.tejastango.com/video
Sent: Thursday, June 28, 2001 6:42 AM
Subject: R: Tangueros: American ANMB
> Tangueros - https://tanguerosD.listbot.com
>
> --------------------------- ListBot Sponsor --------------------------
> Start Your Own FREE Email List at https://www.listbot.com/links/joinlb
>
> Dear Sergio,
> thanks for your answer to my message. I've sent this information to the
list
> as a demonstration that not only in Italy do it succedes that "dance
masters
> organizations" put Argentine Tango in their professional affairs.
> ANMB is the abbreviation of "national association of dance masters" in
Italy.
> Also in our country they organize tango examinations with bronze, silver
> and gold certificates and tango competition, reguarding also children.
> Last year I wrote to Tango-L about this argument and many listers replied
> to my question: what do you think about these initiatives?
>
> Remember only that all your messages to Tango-L are in my archive! ;-)
>
> Best regards you too.
> Piero
>
> Caro Sergio,
> grazie per la tua risposta. Ho inviato questa informativa alla list per
> dimostrare che non solo in Italia succede che "organizzazioni di maestri
> di ballo" inseriscono il Tango Argentino nelle loro attivita'
professionali.
> ANMB e' l'abbreviazione di Associazione Nazionale Maestri di Ballo,
> in Italia. Anche da noi organizzano esami di tango con diplomi di livello
> bronzo, argento e oro, e gare di tango, che riguardano anche i bambini.
> Lo scorso anno scrissi a Tango-L [list nordamericana/internazionale, per
> chi non lo sapesse] su questo argomento e molti lister risposero alla mia
> domanda: cosa ne pensate di queste iniziative?
>
> Rammenta che tutti i tuoi messaggi a Tango-L sono nel mio archivio! ;-)
> I migliori sauti anche a te
> Piero
> ----- Original Message -----
> From: Sergio <sergio@ncinter.net>
> To: Tangueros <tanguerosD@listbot.com>
> Sent: Tuesday, June 26, 2001 1:31 AM
> Subject: Re: Tangueros: American ANMB
>
>
> Dear Piero,
> I never heard of " The Argentine Tango Masters
> Association" or "America First Tango University"
> I have never seen before the tango, milonga or vals instruction divided in
> Bronze, Silver , Gold and Star.
> I never heard the expression "Pecho Argentino".
> Before I would order any such tapes I would like to know who made them,
who
> the instructors are and what the purpose of dividing the instruction like
in
> ball room is.
> As you know there are many good and many bad tapes and some sold as Tapes
> for Argentine Tango are not even Argentine Tango.
> Typical examples Chris Morris or Carol Blake. Dance Vision USA, etc.
> Best regards, Sergio
>
> ----- Original Message -----
> From: Piero Leli <pieroleli@infinito.it>
> To: Tangueros <tanguerosD@listbot.com>
> Cc: Tangueros List <Tangueros-List@intl.egroups.com>
> Sent: Monday, June 25, 2001 12:14 PM
> Subject: Tangueros: American ANMB
>
> > 436 Patterns and 1,632 Components.....
> >
> > Covers authentic Argentine Tangos, Milonga and Vals Cruzado
> > in 10 video tapes totaling 21 hours of instruction.
> >
> > These are the first and only authentic Argentine Tango, Milonga,
> > Vals Cruzado and Pecho Argentino syllabuses. They are written
> > in a logical order with authentic names in Spanish and Lunfardo with
> > English translations. The syllabuses are divided into three levels:
> >
> > 1. BRONZE (Associate Basic Level)
> >
> > 2. SILVER (Licentiate Intermediate Level)
> >
> > 3. GOLD (Fellow Advanced Level).
> >
> > These three levels are applicable to Tango Cruzado (Legato),
> > Milonga, Vals Cruzado (Tango Waltz) and Pecho Argentino
> > (Staccato, Milonguero Style). These syllabuses are the foundation
> > of the ATMA, Argentine Tango Masters Association and are also
> > part of the curriculum of the AFTU, America First Tango University.
> >
> > The Tango world is made up of amateurs and professionals. There
> > are two separate but parallel education systems for amatuers and
> > professionals:
> >
> > LEVEL
> > AMATEUR
> > PROFESSIONAL
> >
> > BRONZE
> > Comparable to a high school education
> > A certified Bronze Associate is qualified to be a teacher
> >
> > SILVER
> > Comparable to a University education
> > A certified Silver Licentiate is qualified to be an educator
> >
> > GOLD
> > Comparable to a University graduate level education
> > A certified Gold Fellow candidate is qualified to be a professor
> >
> > STAR
> > Comparable to the highest of post-graduate university levels
> > A certified Master degree candidate is qualified to be a world
> > class judge and can be appointed as an examiner.
> >
> > "In Tango, there is no real star. Tango is the star."
>
>
> To unsubscribe, write to tanguerosD-unsubscribe@listbot.com
>
Date: Thu, 28 Jun 2001 11:59:50 -0700
From: Mark Sussex <doktordogg@YAHOO.COM>
Subject: Re: American ANMB
--- Sergio <sergio@NCINTER.NET> wrote:
> Also in our country they organize tango examinations
> with bronze, silver
> and gold certificates and tango competition,
I'm curious about these kinds of events in America. I
have friends who participate in ballroom competitions
in the International style, in pursuit of bronze,
silver, and gold certificates (if I'm describing the
system right).
I have seen tango performances at these competitions,
but (as I've indicated on the list before), it didn't
really look like tango to me and I don't dance like
that. On the other hand, I would enjoy a performance
opportunity if I would be permitted to dance the way I
want.
However, I know these competitions aren't necessarily
about dancing the way you want! There is a formalized
style to conform to for those bronze, silver, and gold
levels. Does this likewise apply to tango at these
events, or is tango there only for exhibition? I'm
hoping for the latter. Anybody have the skinny on
that?
Thanks,
Mark
Date: Thu, 28 Jun 2001 11:25:46 -0700
From: "Larry E. Carroll" <larrydla@JUNO.COM>
Subject: Re: Tangueros: American ANMB
The founder of ATMA (the Argentine Tango Masters Association) is a
Canadian. He and his wife
teach in San Diego, California, USA. He is a good teacher and he and his
wife creditable
Argentine tango dancers. I've visited San Diego, danced with his students
and his wife both there
and here in Los Angeles where they occasionally visit. I have never
noticed anything particularly
unusual about the kind of tango they do, beyond the usual individual
variations everyone has.
However, the attempt to force-fit Argentine tango into the strait-jacket
of so-called International
ballroom dancing is the antithesis of what tango is all about. I've
always been amused that the
ISTD (Imperial Society of Teachers of Dance), which created and controls
"International"
dancing, is a British organization. The old Imperial Prussians of
Germany, or their Nazi
successors, seems more appropriate creators.
Trying to divide tango up into 3 or 4 levels, into Pros and Amateurs, is
totally misguided. To
make up a couple hundred figures, give them names, and expect everyone to
memorize them and
do them in cookie-cutter fashion won't work. In one evening at one
milonga you might see
several THOUSAND figures. This is possible because tango figures are
created out of at most a
dozen very fundamental elements which are varied in several ways and
combined to make up a
near-infinite variety. And those figures are improvised, created in the
instant - except, of course,
by the few on the dance floor who have no creativity whatsoever, and must
make do with
memorized figures.
The "International" approach to dance manufactures robots. The Argentine
tango approach
nurtures individuals.
Larry de Los Angeles
https://home.att.net/~larrydla
Date: Thu, 28 Jun 2001 22:11:26 +0200
From: "Lagrana, Fernando" <fernando.lagrana@ITU.INT>
Subject: Re: Tangueros: American ANMB
Dear Tangueros,
we have seen during the last days that ICTs can have a disastrous impact
when some users click the so-called "wrong button".
Today, without intervening as far as the substance of the discussion is
concerned, I would like to suggest that Larry rephrases his contribution. In
my view, he is using a "wrong wording" when referring to "Nazi" in his
message.
May I ask with humility that such references be kept outside TANGO-L?
Thanks in advance.
Fernando
Date: Thu, 28 Jun 2001 13:16:38 -0700
From: Mark Sussex <doktordogg@YAHOO.COM>
Subject: Re: Tangueros: American ANMB
--- "Larry E. Carroll" <larrydla@JUNO.COM> wrote:
> The "International" approach to dance manufactures
> robots. The Argentine
> tango approach
> nurtures individuals.
Got it. I really wasn't trying to open up the can of
worms vis-a-vis the International approach. I can see
another thread of debate emerging that will leave my
original question lying gasping in the dust, still
thirsty for an answer!
Paraphrasing my question another way: are there events
in any location, competition or otherwise, where
couples can present tango performances for exhibition
only, not for adjudication? Thanks for any help.
Mark
Date: Fri, 29 Jun 2001 23:34:10 +0100
From: Bruce Stephens <bruce@CENDERIS.DEMON.CO.UK>
Subject: Re: Tangueros: American ANMB
"Larry E. Carroll" <larrydla@JUNO.COM> writes:
[...]
> However, the attempt to force-fit Argentine tango into the
> strait-jacket of so-called International ballroom dancing is the
> antithesis of what tango is all about.
It is odd. I must admit don't understand it.
As a separate dance form, I don't see anything much wrong with
International Style ballroom tango (ignoring the stupid body- and
head-flicks, which are mostly for competition anyway) and the often
ghastly music. When suitably softened, it seems a plausible
dance---nothing like the real thing, obviously.
> I've always been amused that the ISTD (Imperial Society of Teachers
> of Dance), which created and controls "International" dancing, is a
> British organization. The old Imperial Prussians of Germany, or
> their Nazi successors, seems more appropriate creators.
That may be a little unfair. Individual teachers I've known have
seemed quite human, and often committed to dance.
My experience of these same ballroom dance teachers trying to teach
Argentine Tango is rather less positive. I'm inclined to think it's
out of genuine ignorance of tango (and in general, ignorance of how
social dancing can be taught effectively) rather than malice.
I suspect Paul Bottomer has something to do with it. According to one
of his books on Argentine Tango (the cheap thin one in the "Dance
Crazy" series, for those in the UK anyway), he's won the World Cup,
the European Chapionships, and the World Championships. He also
teaches other forms of dance---ballroom and latin, specifically---and
"He is a leading authority on social dancing and is in much demand
training teachers all over Europe. He has lectured at many of the
important dance teachers' conferences, ...".
So he's someone who's likely to be invited to speak to (ballroom)
dance teachers, and he's likely to be trusted by them. The stuff in
the book looks very much like what I was taught (by a ballroom dance
teacher trying to teach Argentine Tango), and doesn't seem entirely
wrong. (By "wrong", I just mean disagreeing significantly with what
I've been taught by people who I know know social tango.)
But it misses the heart of tango in so many infuriating ways: p.14,
woman's step 3, "Cross the left foot in front of the right foot - this
need not be a tight cross. End standing on the left foot. (Count -
quick)". And no, the man's step doesn't indicate how to lead this, or
even that it might be led.
Here's one everyone will love! p.13, "The Retroceso, or the Reverse
Start, is one of the most easily led, practical and popular starts."
p.43, when talking about timing (he gives specific timings for all the
figures in the book), after explaining that it's true that the timings
are arbitrary, nonetheless he says that the timings he's "given are
those which, through experience, have been found to be the most
suitable in all circumstances and there is rarely any good reason to
alter them." (He doesn't have a book on vals.)
What's ironic is that these same teachers would very much like to
teach fewer figures and more technique in their ballroom and latin
classes, but they find it hard to motivate people to learn technique.
In contrast, that doesn't seem to have been at all a problem at tango
classes I've been to. On the contrary, the teachers have had no
problems in persuading us that technique is absolutely critical just
to make the dance work at all.
[...]
> The "International" approach to dance manufactures robots. The
> Argentine tango approach nurtures individuals.
That seems true, yes. I wonder how much of this is deliberate (due to
different values and goals: valuing exams and competition over social
dancing, for example), and how much is just fitting in to the system,
and ignorance. If you've only been taught dancing by people already
in the system, then it might not be obvious that there are better ways
of teaching at least AT.
Date: Fri, 29 Jun 2001 22:51:02 -0500
From: Stephen Brown <Stephen.P.Brown@DAL.FRB.ORG>
Subject: Re: Tangueros: American ANMB
Bruce Stephens wrote:
>What's ironic is that these same teachers would very much like to
>teach fewer figures and more technique in their ballroom and latin
>classes, but they find it hard to motivate people to learn technique.
>In contrast, that doesn't seem to have been at all a problem at tango
>classes I've been to. On the contrary, the teachers have had no
>problems in persuading us that technique is absolutely critical just
>to make the dance work at all.
In my observation and experience, most Argentine tango classes are taught
through figures with the teachers varying in the amount of technique they
teach along with these figures. Very few instructors teach generalized
technique. This approach seems to fit the expectations of many students
who go to tango classes and workshops with the idea of mastering more
figures.
With best regards,
Steve (de Tejas)
Date: Sat, 30 Jun 2001 00:25:49 -0400
From: Manuel Patino <white95r@HOTMAIL.COM>
Subject: Re: Tangueros: American ANMB
----- Original Message -----
Date: Sun, 1 Jul 2001 03:48:04 -0600
From: "Bruno E. Romero" <romerob@CADVISION.COM>
Subject: Re: Tangueros: American ANMB
Stephen Brown wrote:
<In my observation and experience, most Argentine tango classes are taught
through figures with the teachers varying in the amount of technique they
teach along with these figures. Very few instructors teach generalized
technique. This approach seems to fit the expectations of many students
who go to tango classes and workshops with the idea of mastering more
figures.>
This is probably true in the classes I have been attending in Calgary with local and out-town instructors as well as in the milongas. At the =
milongas, I observe that in general people favor doing figures -- the higher the level of decoration the better, regardless of the sense of =
rythym, interpreter, tempo and whether what it is being played is a milonga,tango or a waltz.
Few instructors bother to explain how they arrived to making the figures and the level of decoration they teach, and even fewer instructors =
bother to explain subtle and not so subtle dance elements like
rythm, musicality, and interpretation. We need training in discriminating of what is being played and learning how to dance to the =
music more so than mastering figures. The instructors that teach Argentine Tango could help in this regard.
Bruno
E: tangocalgary@cadvision.com
Date: Fri, 29 Jun 2001 00:01:17 -0700
From: JEAN LEDUC <jean_leduc22@HOTMAIL.COM>
Subject: American ANMB
Those of us that took lessons to learn ballroom dancing were exposed to
bronze, silver, gold and gold bar.
In bronze we learned some steps for every dance. In silver we learned to do
the same steps in a different way and in gold we learned how to create a
choreography for exhibition. The learning process was slow and very
expensive.
If we were to apply the same principles to Argentine Tango, I wonder how a
front ocho bronze will look versus a front ocho silver or gold. What about a
sacada bronze vs. a sacada silver. Or we would do front sacadas in bronze
and heel sacadas in silver perhaps? Improvisation is reserved for gold? or
star?
When we do corridas will we have to count slow, slow, quick, quick, quick?
The figures will be called the names that we know, calesita, media luna,
giro a la derecha, giro a la izquierda, cunita, sentada, etc. or they will
have other names such as "the snake", " the red farol, the streetcar...
We will be serious or smiling while dancing, silver gancho will probably be
more expensive than a bronze one but less than a gold, I do not know the
price of the star gancho, do you?
Any ideas?
Date: Fri, 29 Jun 2001 23:59:39 -0800
From: Dan Boccia <redfox@ALASKA.NET>
Subject: Figures vs. Technique (was Tangueros: American ANMB)
Stephen and Manuel have briefly touched upon teaching generalized technique
vs. figures. This topic is fresh on my mind - I don't favor either one,
rather I feel that any method of teaching that successfully enables the
students to increase their enjoyment of the dance is perfectly valid.
This past weekend, while attending a weekend full of workshops, on Saturday
afternoon, I heard someone mutter under their breath behind me "I'm so sick
of learning figures." Someone who was listening behind me agreed. I was
completely stunned, because personally, I was learning technique. The
instructors most often (but not always) taught technique through
introduction of patterns, but ultimately, what I got out of the lessons,
every time, was technique, musicality, and partner connection. These topics
seemed to ooze out of the instructors, making the figures insignificant, and
the instructors often offered up an alternative simple movement to highlight
the technique they were focusing on. To boot, the figures that were taught
were all somewhat similar and very useful for social dancing - a win-win
situation all the way around, I say.
So, as with any communication, it's a 2-way street. If the student
concentrates on the figures, the technique may be lost. If the student
focuses on the technique that the instructors are offering, they'll probably
get some technique. I will say that if the instructors show figures with no
discussion of technique, it wouldn't be much of a lesson in my mind......
Thus, I'd say that teaching technique through the introduction of relatively
short, well-selected figures is valid and very worthwhile. Teaching
generalized technique requires an uncanny (and uncommon?) ability to keep
the students' interest, and I would say it is harder to teach this way,
although certainly a good way to go. This method of instruction also tends
to require more discipline from the students.
Most people seem to learn better when they're presented a goal.....i.e.
"Here's a cool figure or movement, and now we'll talk about the technique
needed to execute the movement". This gives the students a visual idea of
how the techniques to be learned can be applied, and then the instructor(s)
can apply a combination of verbal and visual approaches to teaching the
technique.
I guest that's my $.04 worth!
Dan
Date: Tue, 3 Jul 2001 09:11:51 -0400
From: Manuel Patino <white95r@HOTMAIL.COM>
Subject: Re: Tangueros: American ANMB
----- Original Message -----
Date: Tue, 3 Jul 2001 11:48:14 -0600
From: "Bruno E. Romero" <romerob@CADVISION.COM>
Subject: Re: Tangueros: American ANMB
Manuel Patino wrote:
Teaching only generalized technique can be laborious for the teacher and
student as well as not very fullfilling to the student. Teaching figures is
a very good way to teach techniques. Without adequate technique, the figures
are very difficult to master. After achieving a modicum of success, the
student has learned several things. A measure of technique, a way to apply
it and more ways to move. If the student still struggles with the figure, it
show that the student has not grasped the required technique. This is also
very valuable to the teacher and the student.
Comment:
I would add that learning to do a figure and its required technique --
posture, balance, embrace, and weight transfer is half the battle. The other
half is learning how to apply it properly, and to modify it to keep dancing
with music and not be off beat. Mastering a figure and its required
technique is part of in the learning of the AT dance. To properly learn to
dance AT one must develop five *(5) channels: hearing, feeling, movement,
movement coordination, and projection of the dance movement.
Mastering a figure and its required technique covers at best the last three
channels -- movement and movement coordination, and projection of the dance
movement.
How does one develop hearing or feeling?
Music awareness, tango lyrics, interpretation, rythm, history of tango
music, what tango interpreters, what tango orchestras, understanding of what
the people of those times went through, etc.
The objective is to be able to integrate all of the components or channels
and engraine them in our body and this certainly does take time and good
instruction.
The fact that one can do a figure(s) properly at a milonga does not mean one
can dance tango properly.
*(Maria del Carmen Silingo, profesora de tango, Buenos Aires)
Regards,
Bruno
E: tangocalgary@cadvision.com
Date: Tue, 3 Jul 2001 16:51:09 -0400
From: Manuel Patino <white95r@HOTMAIL.COM>
Subject: Re: Tangueros: American ANMB
----- Original Message -----
