1830 Tango style and technique
Date: Thu, 25 Sep 2003 16:39:34 -0400
From: Sergio <cachafaz@ADELPHIA.NET>
Subject: Tango style and technique
Here in the USA we recognize three different styles of Argentine tango:
Salon, milonguero and Nuevo tango.
It is possible that I am in part responsible for the above distinction as I
probably was the first one to write about these styles around 1992.
In Argentina most people call "Salon" the style done socially (including
milonguero style)and the "other" is called "Stage tango".
We noticed that most instructors taught a form of tango extremely rich in
choreography . A form that required great dedication and continuous practice
on the part of the student in order to master. Those that learned to dance
this way had no problems in the USA where there is plenty of space to dance,
but encountered great difficulty when tried to dance in crowded areas such
as seen in Buenos Aires.
They discovered that it was difficult to use the backward step, to navigate
the floor or to dance without colliding, as the initial figures frequently
did not follow the line of dance. It was necessary to re-discover a way to
dance on crowded areas.
This style was excellent for exhibitions, for stage dancing and also good
for social dancing with some adaptations.
( It was obvious that those instructors had a Stage Tango formation.)
It was necessary to suppress the back step of the base. It was also
necessary to suppress or to diminish the size of certain adornments such as
boleos, amagues, barridas, lapices, planeos, etc. It was absolutely
necessary to acquire good floor behavior, navigation skills and to follow
the line of dance.
This style was the one prevalent in my neighborhood of Villa Urquiza. It was
generically called Salon Style, today it is called Style Villa Urquiza.
We started to dance when we were teenagers in clubs such as Sin Rumbo,
Sunderland or Pinocho. We danced in a very simple way, "tango liso" totally
devoid of firuletes (adornments). The hold was open, because it was a family
club, the girls came with their families, parents, grand parents, brothers
and it was not proper to dance too close. We walked in different ways,
stopped for pauses, did some syncopations, front, and back ochos. Some turns
or changes of front completed the usual repertoire.
After the tango revival this style was taught by most instructors in all its
complexity. It was obvious that it offers multiple possibilities, it can
be danced in close or in open embrace, with or without embellishments, with
great, large movements or with short, inconspicuous ones.
This style that became well known in the USA as Salon has its own technique
which is different from that of milonguero style.
The embrace: The right nipple of the man is frequently placed on the chest
bonne of the woman. The closed side is closer than the open one, this
determines a V shape of the hold. (Closed side is right shoulder of the man
and left of the woman - the open side is the left arm of the man and the
right of the woman).
This embrace may change to open when required by certain figures.
The walk is done with the foot landing on the toes and with the plant
looking somewhat to the center .
The lead uses chest but requires the use of the hands as well because of the
open hold and the diversity of figures.
will continue...
Date: Thu, 25 Sep 2003 16:58:14 -0400
From: Sergio <cachafaz@ADELPHIA.NET>
Subject: Tango style and technique II
As I said in the neighborhoods people danced in family clubs where it was
proper to have some "light" between the bodies.
The clubs downtown on the other hand had as patrons ladies that went dancing
alone.
These clubs were very crowded. The dance here adapted to the lack of space.
The technique had to adapt as well.
The embrace became very close, "apilado". The frame was more frontal ( the
partners more in front of each other).
This embrace remains as such throughout the duration of the dance, there is
a slight shifting of the torsos to one side or to the other when the leader
walks to the sides of the follower.
The lead is done entirely with the chest and not with hands at all.
The foot lands on the whole sole, including the heel.
The dance is less progressive, uses different types of walks, in front, to
either side, laterally , occasionally the leader walks backwards.
it uses rhythmic syncopations.
A modified front ocho, 'el ocho cortado or ocho milonguero', the back ocho
is also modified to adapt to the permanent apilado contact which is not
broken.
Ornaments are small and inconspicuous.
Salon (as intended in the USA) is for the dancers but also for those that
look at the dancers, for exhibitions and for stage.
This second style (Milonguero style) is absolutely for the dancers as nobody
can see them from outside due to overcrowding.
The peripheral group can be seen by those sitting at the tables but those in
the inner lanes are a huge crowd.
This causes the dancers to concentrate more on the music, the available
space, the other dancers on the floor and on each other.
It is ideal for social dancing in crowded areas. It has a greater
spirituality and it is very romantic.
Date: Thu, 25 Sep 2003 23:19:20 -0400
From: Sergio <cachafaz@ADELPHIA.NET>
Subject: Tango Style and technique III
We have then two styles well defined with specific technique, what we call
Salon and Milonguero in USA .
Most people in Buenos Aires separate two styles: one to dance socially that
is called "Salon". Here we have any form that is suitable to dance at the
different milongas, clubs and confiterias, including the Milonguero style as
danced by Susana Miller, Cacho Dante or by Tete.
This social style in not limited to what we call milonguero in the USA, it
also includes variations of what we know as Salon.
This social form of dance (Salon) is taught by Danel and Maria in New York,
by Francisco Santapa from Buenos Aires ( presently visiting instructor in
Detroit (Michigan)), and by many others that teach both variants of the
salon style one to dance in crowded areas and another to dance when more
space is available (as it is the usual case in the USA).
Another group of instructors (Gustavo Naveira, Fabian Salas, Chicho
Frumboli) adopted a different pedagogical approach to teaching tango.
They analyzed every movement, pointing at the dynamics of the figure in
minute detail.
Attention was brought to the changing situation of the axis around which the
dancers turn.
The figures were dissected as parts of turns, or at times as changing
directions of turns.
All the possible steps from any given position were also analyzed and used.
This pedagogical approach brought a different style that used as lead the
chest but also in combination with counter motion of the body to cause
certain movements such as boleos, amagues, etc.
The embrace here is open, the figures utilized require large space
available. It uses many adornments such as back boleos, heel sacadas, and
moves such as colgadas.
This style is nice to observe, it is preferred by young people, and those
with an analytical mind, and it is fit for exhibitions and Stage.
In summary we have differentiated three styles each one with its
characteristics and specific leading technique.
I am sure that there are others that can dissent or that will add to the
summary by me presented. At times the disagreements derive more from
misinterpretations than from any real important element.
