5091  Structure of the Dance and Improvisation

Date: Mon, 23 Jul 2007 14:24:49 -0700
From: romerob@telusplanet.net
Subject: [Tango-L] Structure of the Dance and Improvisation
To: tango-l@mit.edu

Stephen Brown wrote:

>One has to develop the intuitive or

subconcious feel for the movements, and the only way to do so is by
dancing. The idea is to use the conscious mind to help train the
intuitive mind for dancing.<

My 2 cents,

I will say that the structure of the dance as discussed previously allows
dancers to become aware of the possibilities for movement.

I have doubts about using the conscious mind to train the intuitive one, I
think that what eventually happens is that the brain gets programmed gets
programmed to remember, perform, and synchronize most difficult and seamless
movements.

The challenge in performing structured sets or permutations of movements'
combinations as advocated by the structure of dance is that the dancers have to
learn how to stitch movements.

What appears to be advocated among some tango instructors of the structure of
the dance is that if one train long and hard enough in trying movements'
combinations it will convey to an audience the impression that one's dance is
different and thought of being creative or improvisational.

What do I think is an improvisational dance?

I think the improvisational element in tango dance is an elusive one because to
perform an improvisational dance, as supported information in this topic, the
dancers must be willing to allow their bodies, not their minds, take control of
the dance. To achieve such level in the improvisational sense is for the
dancers to be willing to risk moving into performing loose movements for which
dancers will not know how these loose movements are going to turn out.

Paraphrasing statements and winding down this topic

> "Only when he no longer knows what he is doing does the painter do good

things."<
For me, it will be equivalent to allow my body to take control of the dance
with the inherited risk that I may not know what comes up next, and eventually
freeze on the dance floor.

> "Learn the changes and then forget them."<

I would interpret it as not doing anything about what I learned, but do the
unexpected.

Cheers,

Bruno

Date: Mon, 23 Jul 2007 17:03:18 -0500
From: Stephen.P.Brown@dal.frb.org
Subject: Re: [Tango-L] Structure of the Dance and Improvisation

Bruno wrote:

>>The challenge in performing structured sets or permutations of

movements' combinations as advocated by the structure of dance is that the
dancers have to learn how to stitch movements. <<

This only true if one accepts the notion that education in tango is an
either or proposition. Rather than proposing that instruction consist
soley of small rhythmic movements, refinement in the quality of movement,
the structure of tango or step patterns, I am saying that a complete
eduction includes all four elements.

Chris (UK) said that tango instruction ought to be similar to music
instruction. Those who learn to play jazz study and practice rhythmic
elements, they work to refine their sound, they study music theory and
practice playing scales and arpeggios (the music counterpart to studying
structure)l, and they study and play the compositions and solos of the
great jazz players. Can someone successfully make the transition from
aspiring jazz musician to accomplished jazz musician by pursuing only one
of these four elements? Possibly if it is the fourth element, but why
would one choose to take such a limited approach to learning or accept
such a limited approach from one's instructor?

With best regards,
Steve (de Tejas)