256  improv and memory and rythem

Date: Fri, 5 Oct 2001 18:53:55 EDT
From: Timothy Pogros <TimmyTango@AOL.COM>
Subject: improv and memory and rythem

In a message dated 10/5/01 3:41:02 PM Central Daylight Time, Crrtango@AOL.COM
writes:

<< 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. >>

I must say, I am very impressed with this topic and how well Charles and
Steve, have expressed their feelings.
The problem Charles mentions is world wide, and also plagues Cleveland. Many
people don't realize there can be so much technique in just taking one step
with feeling, and elegance. Going one step on a crowded dance floor and
waiting there till the next spot on the floor opens up for you to move.
Pausing on one spot, but still moving to the music takes a very creative
person, a person lessening to the music. Performing a tango step in a
circular motion viruses the same step in a straight motion opens up many
avenues of creativity. All of which takes styling, and technique. Many people
find it hard to realize, Less is More. It's hard for me to teach when someone
tells me I should teach them what they want to learn, not what I feel they
need. But, besides cheorgraphed tango steps, People must also rhythms.
I see so many people perform certain steps they save for Vals or Milonga
only, because it fits the music, not realizing they could use the same step
for tango. They're not considering the rhythm a Vals or milonga possesses, so
the step must also change.
All cheorgraphed steps can be used for either Vals or tango. But the rhythm
separates a Vals step from a tango step. Just last Wednesday I turned the
light on over a students head when I show them the difference in a sandwich
performed to a tango rhythm, then to a Vals rhythm.
All of which, again goes back to technique.