4121  Influences in Tango Styles

Date: Sat, 8 Apr 2006 13:40:08 +0000
From: Sergio Vandekier <sergiovandekier990@HOTMAIL.COM>
Subject: Influences in Tango Styles

A person that comes to tango as a beginner or even those that have seen it
as spectators do not recognize that there are different tango styles. They
just see tango dance or learn how to dance.

At this stage one could argue that to know about styles is not important,
except that the beginner exposed to instructors of different styles could be
confused by the teaching of different techniques and further more he could
have a tendency to mix styles in an ugly amalgamation.

The initial tendency is to try to dance like the instructor that impresses
us the most.

Then there is the contact with other dancers, other partners, different
clubs, different teachers that make us realize that there are different ways
to dance or tango styles.

We said before that at the beginning of the century the predominant style
was Canyengue, a dance full of body contortions and quebradas.

European women were not very skilled to do the contortions which were not
considered to be proper in many clubs. As they were removed Tango liso
(without cortes or quebradas, void of firuletes) became popular. One could
say that at that stage Canyengue and tango liso were the predominant styles.

It is important to know that the styles are not static, they have a tendency
to evolve the same as the music.

This musical changes, notation of 4/4, introduction of the bandoneon,
improvement in the education of the musicians, originated a slower tango,
more complex and melancholic; dancing partners separated due to moral
issues and this created a more erect dance full of turns, molinetes, and all
sort of embellishments. ( Salon open embrace) (Tango fantasia).

The instructors also have a strong influence, if they come from Stage tango.
It is logical that they will create schools of "Open Embrace Salon Style" ,
a dancing form very elegant and rich in all sort of embellishments.

If the instructors come from social dancing they are going to create schools
of followers that will dance "Social Tango" (Salon close embrace -
Milonguero), an elegant dancing form, that preserves and enhaces feeling
and is devoid of the many embellishments that require a lot of space to be
performed, It is very appropriated for dancing socially under any conditions
of space and musical form.

The fact that most salons are extremely crowded in Buenos Aires caused some
changes in the Close Embrace style, modifications that allow the couple to
remain in contact throughout the dance while utilizing very limited space.
(ex. Ocho cortado/milonguero).

If the instructors come from the small ( and rapidly growing) group of Nuevo
Tango teachers they are going to create schools of followers of that style.

We frequently talk about tango style and personal style, they are quite
different.

This last one will be developed very slowly during the learning process and
will continue to progress after that process is finished (if it is ever
finished).

It depends on many variables such as personality, skill, feeling for the
music and artistic interpretation of it, his body structural
characteristics, his taste, sensibility, and his own prior experiences.

It is also important to remember that the same, as popular tango styles
change, personal style also evolves and changes.

Summary: Popular tango Styles and personal tango style both change with
time
under the impact of different influences, such as morals and
customs, fashions, instructors, availability or lack of space to dance,
personal traits and personal prior experince in life.

Best regards, Sergio

Date: Sat, 8 Apr 2006 07:33:28 -0700
From: Derik Rawson <rawsonweb@YAHOO.COM>
Subject: Re: Influences in Tango Styles (nuevo is not a single style)

Dear Sergio:

I agree with what you are saying about the different
styles. My question is, which system includes ALL THE
STYLES and allows a dancer to develop even newer
styles from this foundation. My answer so far is
nuevo. Nuevo has created many new tango styles, not
just one. It is really an open system, not a style.
To call it a single style, like
close-embrace-milonguero-whatever is wrong. Nuevo is
not static. It creates many new possibilities for the
dance. It does not leave one stuck in a single style.
That is why the younger generation is using it to
refresh tango. Thank God. My opinion.

Derik
d.rawson@rawsonweb.com

--- Sergio Vandekier <sergiovandekier990@HOTMAIL.COM>
wrote:

> A person that comes to tango as a beginner or even
> those that have seen it
> as spectators do not recognize that there are
> different tango styles. They
> just see tango dance or learn how to dance.
>
> At this stage one could argue that to know about
> styles is not important,
> except that the beginner exposed to instructors of
> different styles could be
> confused by the teaching of different techniques and
> further more he could
> have a tendency to mix styles in an ugly
> amalgamation.
>
> The initial tendency is to try to dance like the
> instructor that impresses
> us the most.
>
> Then there is the contact with other dancers, other
> partners, different
> clubs, different teachers that make us realize that
> there are different ways
> to dance or tango styles.
>
> We said before that at the beginning of the century
> the predominant style
> was Canyengue, a dance full of body contortions and
> quebradas.
>
> European women were not very skilled to do the
> contortions which were not
> considered to be proper in many clubs. As they were
> removed Tango liso
> (without cortes or quebradas, void of firuletes)
> became popular. One could
> say that at that stage Canyengue and tango liso were
> the predominant styles.
>
> It is important to know that the styles are not
> static, they have a tendency
> to evolve the same as the music.
>
> This musical changes, notation of 4/4, introduction
> of the bandoneon,
> improvement in the education of the musicians,
> originated a slower tango,
> more complex and melancholic; dancing partners
> separated due to moral
> issues and this created a more erect dance full of
> turns, molinetes, and all
> sort of embellishments. ( Salon open embrace)
> (Tango fantasia).
>
> The instructors also have a strong influence, if
> they come from Stage tango.
> It is logical that they will create schools of "Open
> Embrace Salon Style" ,
> a dancing form very elegant and rich in all sort of
> embellishments.
>
> If the instructors come from social dancing they are
> going to create schools
> of followers that will dance "Social Tango" (Salon
> close embrace -
> Milonguero), an elegant dancing form, that preserves
> and enhaces feeling
> and is devoid of the many embellishments that
> require a lot of space to be
> performed, It is very appropriated for dancing
> socially under any conditions
> of space and musical form.
>
> The fact that most salons are extremely crowded in
> Buenos Aires caused some
> changes in the Close Embrace style, modifications
> that allow the couple to
> remain in contact throughout the dance while
> utilizing very limited space.
> (ex. Ocho cortado/milonguero).
>
> If the instructors come from the small ( and rapidly
> growing) group of Nuevo
> Tango teachers they are going to create schools of
> followers of that style.
>
> We frequently talk about tango style and personal
> style, they are quite
> different.
>
> This last one will be developed very slowly during
> the learning process and
> will continue to progress after that process is
> finished (if it is ever
> finished).
>
> It depends on many variables such as personality,
> skill, feeling for the
> music and artistic interpretation of it, his body
> structural
> characteristics, his taste, sensibility, and his
> own prior experiences.
>
> It is also important to remember that the same, as
> popular tango styles
> change, personal style also evolves and changes.
>
> Summary: Popular tango Styles and personal tango
> style both change with
> time
> under the impact of different
> influences, such as morals and
> customs, fashions, instructors, availability or lack
> of space to dance,
> personal traits and personal prior experince in
> life.
>
> Best regards, Sergio
>
>
> it now!
>
>
>
> should be sent to
> send the
> LISTSERV@MITVMA.MIT.EDU.
>
>
>

Date: Sat, 8 Apr 2006 10:48:24 -0400
From: Martin Waxman <martin@WAXMAN.NET>
Subject: Re: Influences in Tango Styles (nuevo is not a single style)

At 10:33 AM 4/8/2006, Derik Rawson wrote:

>Dear Sergio:
>I agree with what you are saying about the different
>styles.... Thank God.

Please, keep religion out of these discussions.
We're having enough trouble with defining Argentine Tango styles.

Marty