1145  Gustavo Naveira & Giselle Anne in Istanbul (May 23,24,25, 2003)

Date: Thu, 3 Apr 2003 03:23:12 -0500
From: Istanbul Baila Tango <istanbul@BAILATANGO.COM>
Subject: Gustavo Naveira & Giselle Anne in Istanbul (May 23,24,25, 2003)

Gustavo Naveira & Giselle Anne in Istanbul
May 23,24,25, 2003

Gustavo Naveira & Giselle Anne will be in Istanbul for two days of
workshops and two show milonga nights. Show milongas are at May 23,24
nights and workshops are at May 24, 25.

BailaTango Istanbul

Istiklal Cad. Balo Sokak No:1 Kat:5 Beyoglu
Tel: 0212 245 0717-0 212 249 4951
www.BailaTango.com

Date: Wed, 27 Jun 2007 14:23:42 +0000
From: "Sergio Vandekier" <sergiovandekier990@hotmail.com>
Subject: [Tango-L] Gustavo Naveira
To: tango-l@mit.edu

Jake says: "Now, one would hardly expect an analysis of movement to tell
you
everything about good dancing. I think it's only the plethora of (bad)
move-centric performers, and those who emulate them, who are responsible
for promoting this stuff above its proper station in some people's eyes.
But nonetheless it does get elevated; and so criticism of it can be not
only deserved, but quite healthy, to keep things in perspective."

As you know the classical teaching format in Argentina is :

1) The teacher shows a figure that has several components.

2) Exercises are performed in order to acquire the necessary skills to
reproduce the figure.

3) The figure is executed by the students.

4) The different components of the figure are dissected, executed isolated
with other steps or recombined in different ways.

What Gustavo Naveira did was to add a new dimension to this classical form
of teaching: Analysis of the movement itself.

This analysis explains where the center of rotation is situated for every
single step, and how front, back crosses and turns, in one or another
direction are the scaffolding of the dance.

Tango can be very precise and convoluted, these characteristics attract
people that posses a particular personality: perfectionist and analytical.
To those people this approach to the movement is very pleasing, an adds
satisfaction to their personality.

For those that enjoy learning tango in the traditional way, on the other
hand, this analysis seems to be totally unnecessary and excruciatingly long.
You can be an excellent tango dancer without knowing the mechanics of the
movement.

Gustavo's approach to teaching tango, explores all the possibilities of a
certain movement.

Most dancers have a repertoire of moves that they use again and again in
different combination. Many turn using simple turns, many turn only to the
right and never to the left, many use only normal walk and never walk
crossed, etc, etc,.

In the process of getting acquainted with Gustavo's teaching you are going
to discover the full possibilities of tango motion. You may decide that
certain moves to the left are too difficult to execute, that many are not
elegant, that you will not use them for any other number of reasons but at
least you will learn that the possibility exists.

Analyzing tango moves, many forgotten figures were resuscitated and by
combining them in different ways with the ones in fashion a new style of
dancing developed: "Nuevo Tango".

A style that has many followers, mostly young people that love to experiment
with the music and the dance, and to use surprising moves.

Summary: independently of your dancing preferences with respect to tango
style and moves, you have to acknowledge that Gustavo, uses a different
pedagogical approach, that he developed together with a small group of
friends (Chicho, Fabian and Pablo Veron) an analytical form; resuscitated
old moves and figures, explored all the possibilities of movement in tango
and created a school of followers of "Nuevo Tango". A Style that continues
to evolve .

Each time I explore this form of dancing I discover that there are new ways
of doing volcadas and colgadas, new moves such as "piernazos", etc, etc.

Finally you cannot judge the instructor of tango by the poor performance of
imitators that claim to be students of his.

With best regards, Sergio

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Date: Mon, 14 Jan 2008 21:49:15 -0500
From: Ira Goldstein <eyegee@twcny.rr.com>
Subject: [Tango-L] Gustavo Naveira

Hello, all--

I'm just a journeyman in the world of Argentine tango--and reluctant
to join in a fray--but having experienced a bit of Gustavo &
Giselle's dancing and teaching, it's hard to imagine that someone
might miss the heart connection, depth of feeling, brilliant
creativity and inherently profound musicality which they both exhibit
and share.

That Gustavo has enlisted the light of intelligence to articulate a
structural vocabulary in the service of revealing intriguing
possibilities for a larger palette of expression in this dance that
we love so much hardly seems like a crime...

As for:

At 12:30 AM +0000 1/15/08, Chris, UK wrote:

> > There is an interview with Gustavo Naveira in which he says it used to
>> be about the music; now it's about the dance.
>
>I'm glad he's finally come out and stated his belief. It'll help people
>appreciate why his kind of teaching is so detrimental to those for whom
>the music is the foundation of the dance.
>
>> He is missing the essence of tango.
>
>For me, his most revealing comment is:
>
> At a certain moment, there arose the need to technically identify every
> single thing done in dancing
>
>There arose that need in him, evidently. But goodness only knows where he
>got the notion that anyone else needs their rainbows unweaving...

--this public, rudely judgemental taking-out-of-context
and grasping for incriminating evidence
sounds like the kind of fearful catechismic thinking
that made so much trouble for Galileo.


--Ira
Ithaca, NY