5778  Nuevo ? Here?s my opinion.

Date: Mon, 5 Oct 2009 20:16:55 EDT
From: HBBOOGIE1@aol.com
Subject: [Tango-L] Nuevo ? Here?s my opinion.

Here?s my opinion.
There are many styles and techniques taught around the world and also with
that teaching we were taught to respect the line of dance and to respect
others on the dance floor. I would hope everyone agrees with this statement.
Let?s face it we have good and bad dancers in all styles that either don?
t know this rule or simply choose to ignore it. The problem is we have all
learned to cope with these people who dance ?traditional tango? open or
closed embrace because even though they are disrupting the floor it?s on a
relatively small scale.

Now along comes Nuevo and the disruption is bigger and more dangerous to
others because they are being taught big sweeping moves and changes of
direction which makes it hard for others to cope with on a social floor.
I don?t think the discussion should be ?What is Nuevo?? come on people we
all know what Nuevo is. The discussion should be ?Where should Nuevo be
danced?
Ask yourself this, can I dance Nuevo on a Saturday night at El Beso or Lo
de Celia ? It?s not a trick question and we all know the answer.
Nuevo should be treated like Salsa or Swing and have their own venues they
could be very popular and profitable too. How about a Nuevo Festival ?By
Nuevo dancers for Nuevo dancers? This could solve a lot of disputes.

Date: Tue, 06 Oct 2009 17:15:47 -0600
From: newtonr@mscd.edu
Subject: [Tango-L] Nuevo ? Here?s my opinion

Perhaps too, not everything from class is intended for the traditional
milonga, but more so for the development of the tanguero/a as a dancer
and understanding of the dance of tango.

Some thirty years ago I was a tournament fighter in karate. In terms of
karate, one can, by observation, identify karate styles, Japanese style
(Shotokan), Korean style (Tai Kwon Do), and Chinese style (Kung Fu).
For those who practiced Japanese style, one could, by observation,
differentiate between the styles of the three major schools (or
traditions) in Japan. As a North American teen, first exposed to karate
in the U.S. in the late 1960s, it all looked the same. Afterwhich,
anyone with some expertise in the martial arts began to say that Tai
Kwon Do is not karate, but distinctly Tai Kwon Do, same for KungFu.
This is the same contention within styles debated in Argentine tango.

A karate fighter excels in tournament play by adapting his own personal
style, within the style of his discipline, within the rules of the
competition, relying only on a few techniques; timing, speed and
reaction are far more important. This similarity in tango can be
extended to the milonga. A leader only needs a handful of techniques,
executed well and perhaps polished with a personal style, but
musicality and connection are far more important.

Karate training was separate from tournament play but essential for its
success. Tango seminars on shared axis, volcadas, colgadas, and the
practice thereof at practica can be separate from the traditional
milonga experience, but are essential for development, understanding of
the foundation of tango and tango style, and development of personal
ability and style.

The standard subscription in tournament play, to allow the many
different styles to compete, was the tournament rules. In a miloga,
these would be the codas, including line-of-dance, no lifts or high
boleos, no zigzagging or passing, etc.