Some possibly confusing tango terms

tangotime said:
.. what other method do you think will bring better results ?
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It's a fair question. Ballroom (and to a lesser extent, Latin) and lots of other loosely related styles aren't improvisatory in character. We have to give beginners material to work on (and it has to be simple to start with - and that, at least, is also true of AT).

"Yuk!" might be a personal response to the styles (or the method, it's hard to guess which - both, probably), but that's just your perception/experience of styles which are enduringly popular, and which give a very, very large number of people pleasure and fulfilment in their dancing. As an aside, most (obviously not all) of these people would shake their heads in bafflement, watching the goings-on at a milonga, and go away again, very relieved that no one had asked them to dance... ;)
 
UKDancer said:
It's a fair question. Ballroom (and to a lesser extent, Latin)
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Latin, in either its indigenous format or the B/room styles, encompass as many ( maybe even more ) ground rules that will facilitate ease of passage .

Ther is a common belief for e.g. , that Salsa is not encumbered with " rules ".. on the contrary ,ALL dance motion is..
 
tangotime said:
Latin, in either its indigenous format or the B/room styles, encompass as many ( maybe even more ) ground rules that will facilitate ease of passage.
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I wasn't suggesting otherwise. I meant that in comparison with AT, Ballroom (and Latin to a lesser extent) are NOT improvisatory styles of dance, and therefore require a structured approach to their teaching.

Take a style like International Rumba: at a high level, you will see almost nothing that you could find between the pages of one of the standard texts (in which the 'rules' are defined), whereas in, say, Slow Foxtrot, you will see almost nothing that isn't.

AT's practitioners usually defy any attempt to put AT into one or more boxes. This is ironical, of course, because the rest of us can see all too clearly how the dance is constructed from a stylised vocabulary of movements, and the dancers themselves spend a lot of time arguing with each other about the competing claims of these different styles (rather undermining their position in the process).
 
ant said:
As far as I can see working on physical fitness is more a lifestyle choice rather than having real relevance in dance..
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I would agree that for show tango and more energetic neuvo it has relevance but for the standard Salon style of dancing at a Milonga, dancing to the music is by far the most relevant skill.[/QUOTE]

No. Musicality without technique and good posture and toned muscles in core and legs is like herding cats...you could get a load of solists but no partner connection.

by analagoy; Anyone can blow a saxophone but to get a good long sustained note requires training of the abdominal muscles

@ JohnEm; I dont think milonguero requires more fitness than nuevo.
 
UKDancer said:
Take a style like International Rumba: at a high level, you will see almost nothing that you could find between the pages of one of the standard texts
.
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I didnt know we were discussing "higher " levels.. after all,the original Q was about a basic fundamental( and virtually the same at the lower end ) .

And of course, at the higher dance levels of teaching, there are many nuances that do not readily translate into the standard technique book .

And it should be made clear to the newcomer, those "books " , are essentially a guide for standardisation of acceptable material for specific levels of dance and exams . They really leave a lot to be desired beyond that approach .
 
bordertangoman said:
I would agree that for show tango and more energetic neuvo it has relevance but for the standard Salon style of dancing at a Milonga, dancing to the music is by far the most relevant skill.
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No. Musicality without technique and good posture and toned muscles in core and legs is like herding cats...you could get a load of solists but no partner connection.

by analagoy; Anyone can blow a saxophone but to get a good long sustained note requires training of the abdominal muscles

@ JohnEm; I dont think milonguero requires more fitness than nuevo.
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[/quote]
The post you refer to relates to the comment

Originally Posted by JohnEm
.....physical fitness is all.
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I would have thought that a person playing the saxophone would try to play it with musicality rather than making long sustained notes. Are you saying long sustained notes are more important than playing a proper tune?
 
dchester said:
How toned would you say Chicho is or Tete was?
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I'd say - like me - under the blubber is a well deveolped musculature. :eek:

I am sure I have great six-pack abs - but will never be able to see them...

Spending time in the gym doing core, balance, strength, and cardio work has had results.:D - if not very visibly.
 
tangomonkey said:
I'd say - like me - under the blubber is a well deveolped musculature. :eek:

I am sure I have great six-pack abs - but will never be able to see them...

Spending time in the gym doing core, balance, strength, and cardio work has had results.:D - if not very visibly.
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Yeah, I know what you mean. It's not easy for me to maintain this trim 280 pound physique.

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I would have thought that a person playing the saxophone would try to play it with musicality rather than making long sustained notes. Are you saying long sustained notes are more important than playing a proper tune?[/QUOTE]

Its an Om question...

Long notes are a basic exercise for the beginner ( and all other levels)

It gives you breath control; then you have a better chance of playing a tune;
you cant breathe between each note, so you learn how to conserve your breath and breath in at appropriate places; so you cant play musically with out fitness and technique
and playing long notes is one exercise to improve this..

like I said musicality is useless without technique and fitness.
 
I played saxophone in high school and sang in a choir in university (and studied opera). Imagine singing over an orchestra in an opera house and projecting your voice to the back rows. Takes considerable physical technique.

And I won't comment on the stereotypical physique of an opera singer...;)
 
tangomonkey said:
I played saxophone in high school and sang in a choir in university (and studied opera). Imagine singing over an orchestra in an opera house and projecting your voice to the back rows. Takes considerable physical technique.

And I won't comment on the stereotypical physique of an opera singer...;)
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whereas a sax player just needs a black poloneck, a pair of shades and and a beret...;)
 
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