3670 Walk the Tango!
Date: Mon, 8 Aug 2005 12:14:39 -0400
From: v0orbuwg1l <gr1ndm1t0u@GMAIL.COM>
Subject: Walk the Tango!
Marisa Holmes wrote back in June a very powerful exhortation for
correct floor-craft, which I reproduce below. Maybe it has been
overlooked, which would be a pity - her words have rythm, sorrow,
anger, strength, just like a tango... This text should be nailed on
every milonga's door, with the last injunction hanging above it in
BIG letters!
"I am satisfied to dance small and tight on a crowded
floor - especially with rhythmic music that encourages
playing with little weight changes, rocks, etc. But
when the floor is half empty and a big flowing waltz
is playing, I would like to be able to travel around
the room - and not find some self-righteous "small is
best" plodder or some self-impressed "look at me"
exhibitionist holding up the ronda.
SOCIAL TANGO IS A WALKING DANCE -
IN THE NAME OF ALL THAT IS HOLY, WALK!!"
Bravo Marisa...
Date: Mon, 8 Aug 2005 09:49:05 -0700
From: Carlos Rojas <CRojas@HACIENDACDC.ORG>
Subject: Re: Walk the Tango!
"I would like to be able to travel around the room - and not find some
self-righteous "small is best" plodder or some self-impressed "look at me"
exhibitionist holding up the ronda."
In my experience, the leader that is coming from behind, is responsible to
watch ahead of any "small is best plodder" and do the necessary corrections
on time. On the other hand, a "small is best plodder" coming from behind is
responsible to watch ahead for "self-impressed "look at me" exhibitionist
dancers" and do the necessary corrections on time. REGARDLESS OF THE MUSIC.
Also, I hope one day we realize that in Argentine tango, traveling through
the dance floor is not necessary to dance it.
Dance and let dance.
El morocho Carlos
Portland, OR
Date: Mon, 8 Aug 2005 10:48:32 -0600
From: Brian Dunn <brian@DANCEOFTHEHEART.COM>
Subject: Walk the Tango! - Denver Washroom conversations
v0orbuwg1l wrote:
>>>
Marisa Holmes wrote back in June a very powerful exhortation for
correct floor-craft, which I reproduce below...
"I am satisfied to dance small and tight on a crowded
floor - especially with rhythmic music that encourages
playing with little weight changes, rocks, etc. But
when the floor is half empty and a big flowing waltz
is playing, I would like to be able to travel around
the room - and not find some self-righteous "small is
best" plodder or some self-impressed "look at me"
exhibitionist holding up the ronda.
SOCIAL TANGO IS A WALKING DANCE -
IN THE NAME OF ALL THAT IS HOLY, WALK!!"
<<<
The following conversation was overheard in the men's washroom in the Denver
Doubletree Hotel early one evening during a milonga at one of the Denver
Tango Fests recently (didn't mean to eavesdrop, but hey, it's a washroom,
sound travels):
1st Man: "Hey, (xxx), good to see you again, how's it goin'?"
2nd Man: "Oh, I dunno, I haven't danced much tonight yet...I'm waiting for
the floor to fill up some more, so I don't have to take such big steps..."
In "v0orbuwg1l"'s commentary, he/she suggests that Marisa's injunction
should be posted prominently at every milonga. Imagine injunctions/messages
left on the bathroom mirrors in the respective washrooms?! It would open up
a whole new "back-channel" of communication between leaders and
followers...;) ;)
All the best,
Brian Dunn
Dance of the Heart
Boulder, CO 80302
www.danceoftheheart.com
Date: Mon, 8 Aug 2005 13:24:48 -0400
From: v0orbuwg1l <gr1ndm1t0u@GMAIL.COM>
Subject: Re: Walk the Tango!
Carlos Rojas wrote:
> Dance and let dance.
All classical dances, Argentine Tango included, had strict rules: can
one imagine a "plodding" or an "exhibitionist" dancer disrupting a
minuet, a viennese waltz or a Tango ronda from the Golden Age? One
could have bad dancers, but not disruptive ones. A ronda, as its name
implies, should have the multitude go round, smoothly and rhytmically.
It is a matter of uniform training discipline, which could exist in
the small BsAs of yore, but which is obviously gone today. The reasons
are many, enough to provide material for voluminous research papers.
But I find it is amazing that there are members on this list who
support (or "understand)" disorderly, bad dancing, instead odf taking
a stance.
On 8/8/05, Carlos Rojas <CRojas@haciendacdc.org> wrote:
> "I would like to be able to travel around the room - and not find some
> self-righteous "small is best" plodder or some self-impressed "look at me"
> exhibitionist holding up the ronda."
>
> In my experience, the leader that is coming from behind, is responsible to
> watch ahead of any "small is best plodder" and do the necessary corrections
> on time. On the other hand, a "small is best plodder" coming from behind is
> responsible to watch ahead for "self-impressed "look at me" exhibitionist
> dancers" and do the necessary corrections on time. REGARDLESS OF THE MUSIC.
>
> Also, I hope one day we realize that in Argentine tango, traveling through
> the dance floor is not necessary to dance it.
>
> Dance and let dance.
>
> El morocho Carlos
> Portland, OR
>
>
Date: Mon, 8 Aug 2005 10:47:58 -0700
From: Carlos Rojas <CRojas@HACIENDACDC.ORG>
Subject: Re: Walk the Tango!
"A ronda, as its name implies, should have the multitude go round, smoothly
and rhytmically.
It is a matter of uniform training discipline, which could exist in the
small BsAs of yore, but which is obviously gone today."
They may be gone in the USA, but in BA are still on full swing (excluding La
Viruta, Cannin and Catedral)
"But I find it is amazing that there are members on this list who support
(or "understand)" disorderly, bad dancing, instead odf taking a stance."
I remember my beginnings, and I too went through a metamorphosis from open
frame to close embrace, and from being a danger to others to learning good
navigation skills (still learning). I think we have to be patient with the
new dancers if we want tango to succeed, I seen many good dancers that like
me, started wild and have learned better.
In my experience the style of a dancer is not the problem, is his/her
attitude of disregard to others that is the problem.
Carlos Rojas
Date: Mon, 8 Aug 2005 15:20:26 -0400
From: v0orbuwg1l <gr1ndm1t0u@GMAIL.COM>
Subject: Re: Walk the Tango!
On 8/8/05, Carlos Rojas <CRojas@haciendacdc.org> wrote:
> I think we have to be patient with the
> new dancers if we want tango to succeed, I seen many good dancers that like
> me, started wild and have learned better.
> Carlos Rojas
While I agree with you regarding the new dancers, these could be
influenced by letting them know, one way or another and politely, the
"sense" of the dance. The entrenched(sic) old-time regulars are the
problem. I have no compunction of snarling at them (against my
partner's pleas) - I have the scars of metal-tipped stilleto boleos on
my legs to give me moral support. All you need is courage!
Date: Mon, 8 Aug 2005 16:43:06 -0400
From: Richard deSousa <mallpasso@AOL.COM>
Subject: Re: Walk the Tango!
My biggest gripe is the lack of navigation skills on the dance floor.
Not many leaders seem to realize that when they finish their figure
they often wind up facing the wrong direction but nonetheless continue
in that direction rather than doing a turn to re-align themselves to
the line of dance. This gripe also applies to those who are not
dancing but seem to think the dance floor is a pedestrian walkway,
wandering through the floor, when the music is on!! ARRGGHH!!
El Bandito de Tango
-----Original Message-----
Sent: Mon, 8 Aug 2005 12:14:39 -0400
Subject: [TANGO-L] Walk the Tango!
Marisa Holmes wrote back in June a very powerful exhortation for
correct floor-craft, which I reproduce below. Maybe it has been
overlooked, which would be a pity - her words have rythm, sorrow,
anger, strength, just like a tango... This text should be nailed on
every milonga's door, with the last injunction hanging above it in
BIG letters!
"I am satisfied to dance small and tight on a crowded
floor - especially with rhythmic music that encourages
playing with little weight changes, rocks, etc. But
when the floor is half empty and a big flowing waltz
is playing, I would like to be able to travel around
the room - and not find some self-righteous "small is
best" plodder or some self-impressed "look at me"
exhibitionist holding up the ronda.
SOCIAL TANGO IS A WALKING DANCE -
IN THE NAME OF ALL THAT IS HOLY, WALK!!"
Bravo Marisa...
Date: Tue, 9 Aug 2005 15:14:00 -0700
From: Andrew Allison <Andrew@AALLISON.COM>
Subject: Re: Walk the Tango!
For your consideration:
Milonga Etiquette
Argentine Tango is a social dance. As at any
social event, certain rules of behavior need to
be observed so that everybody may enjoy the
milonga experience. The basic one is The Golden
Rule, i.e., do unto others . . . . which, at a
milonga means respect the space of the other couples on the floor.
When not dancing, don't impede the LOD by
standing around chatting, or walk on the dance
floor when the music is playing unless absolutely
necessary, and if you must walk on the floor,
stay at the edge and remember that it is your
responsibility to stay out of the way of those dancing.
Insert yourself into the line-of-dance (LOD) in
the same way that you would enter a freeway in
your car, with consideration for the traffic. Do
this by making eye contact with a leader and
obtaining consent to enter their space, then
immediately start moving with the flow (think of
your own reaction while driving when somebody
pulls out in front of you then slows to a crawl).
Once dancing, stay in the LOD (in a crowded
milonga there may be concentric LODs choose one
and stay in it unless moving to/from the center
to execute static patterns, i.e., dont execute
static patterns in the LOD move to the center
as carefully as if changing lanes on the freeway
and return to the LOD the same way.
Don't step backwards (eliminate 1" from your
dance vocabulary); don't lead your partner behind
you unless you are sure the way is clear; dont
overtake unless absolutely necessary (and if it
is necessary do so only on the left, not on the
right (blind) side of the leader in front of
you), and dont lead ganchos, boleos and other
"big" moves unless youve determined that your
partner wont kick somebody. It is, by the way,
always a follower's option not to perform these,
or any other movements if she thinks them unsafe.
Watch the couples around you (not your feet or
your partner), dont crowd or impede other
dancers, and never teach on the dance floor
during a dance thats what lessons and
practicas are for! Remember, too, that the leader
proposes, then follows his partners response,
i.e., dont drag a follower thorough whatever is was you wanted to do!
Asking for a dance
There is a charming, face-saving convention
involving eye contact the cabeceo. Followers
scan the leaders and make eye contact with
anybody with whom they want to dance. The leader
then either breaks eye contact, signifying that
he doesnt want to dance or raises his eyebrows
and/or makes a subtle head nod toward the dance
floor. The follower answers by either smiling and
nodding back, or by breaking off eye contact.
This ensures that no follower is invited by a
leader with whom she doesnt want to dance, and
no leader suffers the embarrassment of being
refused. Once the follower is certain that the
leader is on his way to her, she may stand and
elect to meet him at the edge of the dance floor
(this reduces the chance that another follower
will think the invitation was for her). You can
also do it the good old American way: "Would you
like to dance?", but it is rude not to take the
first no thank you for an answer.
It is impolite to invite somebody who you know
for the last dance of a tanda, since it implies
that you want to dance only one dance. This does,
however, provide a good way to find out how well
somebody you don't know dances. This is
especially true for leaders: an experienced
follower who is not dancing by the last dance of
a tanda will usually risk one dance with an unknown leader.
It is rude not to wait until a potential partner
has come off the dance floor before inviting her
to dance (there may be somebody waiting for her),
extremely rude to interrupt conversations to
extend an invitation, and even worse to simply
walk up to someone and hold out your hand as if
calling your dog for a walk. It is also
conventional not to invite a follower who is
eating or smoking. In South America, if a leader
invites a member of a couple, it is considered
polite to obtain the mans consent.(in
Montevideo, one of a couple wishing to invite a
member of another couple to dance will bring
their partner and extend a joint invitation).
It's OK for a follower to directly ask a leader
for a dance in most tango communities in North
America and Europe, but dont try it in Buenos Aires! Use the cabeceo there.
Because they want good dances, serious dancers
(leaders and followers) often won't dance with
somebody they haven't seen dance, so both leaders
and followers need somebody to show them off when
arriving at a milonga where they are not known.
By the way, showing off the follower is a big
part of tango keep her between you and the edge
of the floor as much as possible..
Declining a dance
If the leader is too dense to recognize that you
broke, or worse yet never made, eye contact, say
"No, thank you", with or without a big smile.
This is important! If followers allow themselves
to be pressured into dances they dont want or
accede to rude behavior, they encourage it:
Followers have the absolute right to decline to
dance with anyone, at any time (even if you are
already dancing), for any reason. You may wish to
offer a courteous excuse such as, "I am
resting/would rather not dance to this music,
etc." to soften the refusal, and if you would
like to dance with this partner some other time be sure to say so.
Establishing the embrace
It is the followers absolute prerogative to
establish the closeness of the embrace, and rude
for a leader to apply any sort of pressure,
physical or verbal, to do so: The leader usually
holds out his left hand, the follower takes it
and then places her left hand wherever she wishes
(from the leaders forearm, signaling a desire
for open embrace, to the back of the neck or
beyond for close embrace). Only then should the
leader complete the embrace. If the leader
doesnt extend his hand, place your left hand where you want it.
Ending the engagement
To say "thank you" to your dance partner is the
conventional way of saying, "I want to stop
dancing." Use other phrases if you want to
continue dancing. It's perfectly acceptable to
break after one, two or three dances, or even
(for followers) in the middle of a dance, if you
are uncomfortable with your partner's dancing or other behavior.
Leaders: As a courtesy to the follower and the
other leaders present, release her at the end
of a tanda, traditionally signified by a
cortina of some non-tango music (note to DJs:
that's one reason why it's important to have
cortina's! Another is to prepare the dancers for a change in the music).
These notes were synthesized from Clay Nelsons
comments on floorcraft after TangoFest 2003, the
etiquette posting at https://tinyurl.com/74zgf,
and my own studies. Suggestions and comments
welcomed. Last revised: August 8, 2005
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Date: Tue, 9 Aug 2005 18:25:49 EDT
From: Richard deSousa <Mallpasso@AOL.COM>
Subject: Re: Walk the Tango!
Andrew Allison posted (edited for brevity and Tango-L limitations):
"For your consideration:
Milonga Etiquette
Argentine Tango is a social dance. As at any
social event, certain rules of behavior need to
be observed so that everybody may enjoy the
milonga experience. The basic one is “The Golden
Rule,” i.e., do unto others . . . . which, at a
milonga means respect the space of the other couples on the floor."
Well said, Andrew! Unfortunately, hell will probably freeze over long before
the dance floor etiquette improves.
Rich
