For those who haven't read the thread on the general dance article or who haven't heard the term before, quick definition from Wiki "Flow is the mental state of operation in which the person is fully immersed in what he or she is doing by a feeling of energized focus, full involvement, and success in the process of the activity."
That's too textbook though to describe the tango feeling, yes, you're totally absorbed but it's quite special when both of you are absorbed and one with each other and the music. Sigh. Had forgotten what it was like. Not experienced it for a LONG time but it happened again this weekend. Previously it was with a particular leader and he moved away so I only danced with him a few times but each time we were both speechless and in a bit of a dream after a tanda. Very nice. So anyway, I'm curious what other dancer's experience of this is - do you have it often? Is it only to particular music or with particular partners?
По ссылке вы найдете очень интересные мнения по поводу особого состояния (туннельное видение, пребывание в зоне и т.д.), которое некоторые из нас испытывают во время танца, и о котором остальные имеют шанс прочитать здесь :)
11 нояб. 2009 г.
Pete And Dud Talk Tango
Act Two
Pete: Well Dud; as a musician, which of the tango orchestras gains your favour.
Dud: For me, the arrangements of Tanturi coupled with the velvety voice of Enrique Campos are the epitome of good dance music. No other singer can convey emotion coupled with a sonorous rendition. Foe me he is the Bing Crosby of the tango world; not just beautiful to the ear but like drinking a really good cup of Espresso. The music has been steamed out under high temperature and the result is rich tasting and dark and smooth. What about you Pete?
Pete: Give me Pugliese every time. He is the Jimi Hendrix of the Bandoneon. He makes the instrument sound like the human voice. a human voice with passion and drama; His rendition of La Yumba captures every other tango song ever played with a bandoneon.
Dud: he was a pianist Pete.
Pete: that makes his genius even more extraordinary. Only someone with such vision could make an instrument he wasnt playing sound so evocative. When I hear Galla Ciego or Negracha I am aroused to a state of passion that is rarely experienced outside cloistered religious institutions.
If Tanturi and Campos are the best coffee of tango, then Pugliese is the Mescaline of tango. When I hear his music it transports to an altered state where I lose myself. I am no longer conscious of there being a me and a partner or that I am in a room full of people; there is only music and movement. I am no longer responsible for my actions when Pugliese is played.
Dud: Is that why you bump into so many people then?
Pete: quite possibly, Dud, quite possibly.
- BorderTangoMan, 28th May 2009
Pete: Well Dud; as a musician, which of the tango orchestras gains your favour.
Dud: For me, the arrangements of Tanturi coupled with the velvety voice of Enrique Campos are the epitome of good dance music. No other singer can convey emotion coupled with a sonorous rendition. Foe me he is the Bing Crosby of the tango world; not just beautiful to the ear but like drinking a really good cup of Espresso. The music has been steamed out under high temperature and the result is rich tasting and dark and smooth. What about you Pete?
Pete: Give me Pugliese every time. He is the Jimi Hendrix of the Bandoneon. He makes the instrument sound like the human voice. a human voice with passion and drama; His rendition of La Yumba captures every other tango song ever played with a bandoneon.
Dud: he was a pianist Pete.
Pete: that makes his genius even more extraordinary. Only someone with such vision could make an instrument he wasnt playing sound so evocative. When I hear Galla Ciego or Negracha I am aroused to a state of passion that is rarely experienced outside cloistered religious institutions.
If Tanturi and Campos are the best coffee of tango, then Pugliese is the Mescaline of tango. When I hear his music it transports to an altered state where I lose myself. I am no longer conscious of there being a me and a partner or that I am in a room full of people; there is only music and movement. I am no longer responsible for my actions when Pugliese is played.
Dud: Is that why you bump into so many people then?
Pete: quite possibly, Dud, quite possibly.
- BorderTangoMan, 28th May 2009
3 нояб. 2009 г.
Ney Melo & Jennifer Bratt "La Bruja"
Посмотрите как мало места они используют для танца, и тем не менее замечательно выражают музыку и своё отношение к ней.
MPSShanahan
Lovely, just the training we Americans need - how to dance in small spaces. Tango instructors in the US need to train dancers, as these two do so well, to dance in the tiny space that's available on the average BA dance floor.
mdiarra2
I entirely agree with you :)
Last week we were at a crowded milonga with small dance floor, but there were tons of stupid stage dancers(without any posture cos they're not real show dancers) who thought they were obliged to do thousand steps to show their skills to the audience around... very unpleasant and very difficult to protect your partner from getting a kick on the leg
MPSShanahan
Lovely, just the training we Americans need - how to dance in small spaces. Tango instructors in the US need to train dancers, as these two do so well, to dance in the tiny space that's available on the average BA dance floor.
mdiarra2
I entirely agree with you :)
Last week we were at a crowded milonga with small dance floor, but there were tons of stupid stage dancers(without any posture cos they're not real show dancers) who thought they were obliged to do thousand steps to show their skills to the audience around... very unpleasant and very difficult to protect your partner from getting a kick on the leg
What steps/moves do you use (and how often)
dchester:
Occasionally I see posts that preach to us (leaders) about keeping it simple. I don't really know how most people perceive my dancing style, and I'm not even sure how I view my own style. I get feedback from people occasionally. Lately it's been more good than bad, (but it could just be from people being polite). For me, what steps/moves I do is determined by a variety of factors (the follower's skill level, the follower's embrace, my perceptions about what/how the follower likes to dance, the music, the available space, how well I feel I am dancing that night, my energy level, etc).
In any case, I'm trying to spark a conversation about what people are doing, how often, and also from the followers, what do they feel is the "right mix" on a given occasion. So I took a swag at listing the moves I do in order from most likely to least likely (with the typical follower). Then I split the moves into three categories, grouped (again) by how likely I am to do the stuff.
75 - 95%
This is my Bread and Butter, as they say (the stuff that I do the most).
Walking
Rock steps
Turns / giros / mollinetes (sometimes with sacadas)
The Cross (Cruzada)
5 - 25%
In this category, it's likely that I'll do some of the things from this category in most tandas, but maybe not all of them.
Back Ochos
Front ochos
Pasadas
Walking in Cross system on the Dark (or closed) side
Ocho Cortado
0 - 10%
I may (or may not) do things from this category in the course of the milonga, but likely not every tanda.
Leg wraps
Volcadas
Calesitas
Single axis turns / close embrace colgadas
I suspect that I do more turns than typical, and possibly less ochos, but who knows. What moves do others do, and how often?
Ampster:
Let me see...
Always
*continually flowing into each other
Walks (with hesitations, pauses, syncopations, in the cross (3-tracks) etc., all depending on the music)
Ochos (Forward, backward)
Giros
Enrosques
Sometimes
Lapiz
Calecitas
Mordidas
Seldom
Deep volcadas
Dance in open embrace
Never
Colgadas
Underarm turns
Occasionally I see posts that preach to us (leaders) about keeping it simple. I don't really know how most people perceive my dancing style, and I'm not even sure how I view my own style. I get feedback from people occasionally. Lately it's been more good than bad, (but it could just be from people being polite). For me, what steps/moves I do is determined by a variety of factors (the follower's skill level, the follower's embrace, my perceptions about what/how the follower likes to dance, the music, the available space, how well I feel I am dancing that night, my energy level, etc).
In any case, I'm trying to spark a conversation about what people are doing, how often, and also from the followers, what do they feel is the "right mix" on a given occasion. So I took a swag at listing the moves I do in order from most likely to least likely (with the typical follower). Then I split the moves into three categories, grouped (again) by how likely I am to do the stuff.
75 - 95%
This is my Bread and Butter, as they say (the stuff that I do the most).
Walking
Rock steps
Turns / giros / mollinetes (sometimes with sacadas)
The Cross (Cruzada)
5 - 25%
In this category, it's likely that I'll do some of the things from this category in most tandas, but maybe not all of them.
Back Ochos
Front ochos
Pasadas
Walking in Cross system on the Dark (or closed) side
Ocho Cortado
0 - 10%
I may (or may not) do things from this category in the course of the milonga, but likely not every tanda.
Leg wraps
Volcadas
Calesitas
Single axis turns / close embrace colgadas
I suspect that I do more turns than typical, and possibly less ochos, but who knows. What moves do others do, and how often?
Ampster:
Let me see...
Always
*continually flowing into each other
Walks (with hesitations, pauses, syncopations, in the cross (3-tracks) etc., all depending on the music)
Ochos (Forward, backward)
Giros
Enrosques
Sometimes
Lapiz
Calecitas
Mordidas
Seldom
Deep volcadas
Dance in open embrace
Never
Colgadas
Underarm turns
"The Walk" in Argentine Tango
A lot of people who have really become proficient at Argentine Tango has ruminated about "The Walk." It is the beginning, basis, and foundation of how good dancers look on the milonga floor.
All this time I've been dancing Tango, I decided to just watch the dancers. I was astonished at my own observations of who looked good, and who didn't. Regardless of style, it boiled down to two types. Those who could, and those who could not walk.
Those who could walk:
It looked like they were on rollers... smooth
They were always sure footed. No awkwardness, any imbalance was instantly and smoothly compensated for
They looked to be in perfect synch with their partners
They didn't talk
They had their "Tango Faces" on
They were into each other
They were moving "as one"
They did not look like they were thinking of their steps. It just happened
They were elegant and fun to watch. You could see the connection happening
Those who could NOT walk:
Tried too hard to look good
Moved with an excess of motion
Tried too hard to make the steps work
Awkward and out of balance, axis, center...
Talked too much on the floor. Some were even trying to lecture
Bad posture
Choppy motion
Out of synch with the music
Painful to watch. Especially those who felt the need to do overly embellished things
Movements were out of synch with each other
The connection was clearly not there. Everything they did looked mechanical
These are just my general observations. It looked like the majority of "non-walkers" decided to go straight to the advanced, flashy, showy stuff, without first learning how to "Walk." Thinking (perhaps) that flashy steps and patters made you a tango dancer...
All this time I've been dancing Tango, I decided to just watch the dancers. I was astonished at my own observations of who looked good, and who didn't. Regardless of style, it boiled down to two types. Those who could, and those who could not walk.
Those who could walk:
It looked like they were on rollers... smooth
They were always sure footed. No awkwardness, any imbalance was instantly and smoothly compensated for
They looked to be in perfect synch with their partners
They didn't talk
They had their "Tango Faces" on
They were into each other
They were moving "as one"
They did not look like they were thinking of their steps. It just happened
They were elegant and fun to watch. You could see the connection happening
Those who could NOT walk:
Tried too hard to look good
Moved with an excess of motion
Tried too hard to make the steps work
Awkward and out of balance, axis, center...
Talked too much on the floor. Some were even trying to lecture
Bad posture
Choppy motion
Out of synch with the music
Painful to watch. Especially those who felt the need to do overly embellished things
Movements were out of synch with each other
The connection was clearly not there. Everything they did looked mechanical
These are just my general observations. It looked like the majority of "non-walkers" decided to go straight to the advanced, flashy, showy stuff, without first learning how to "Walk." Thinking (perhaps) that flashy steps and patters made you a tango dancer...
Tango: It's not about you. It's about HER
A newbie to tango once asked me, what the secret to being a good tango dancer was.
My reply, "It's not about you. It's about HER." He gave me a quizzical look. I explained...
When you do your (other) dances, you try to look good to your partner and to the audience... right? He (sheepishly) agrees. To do this you do the flashy multiple under arm turns, cumbias, the clothes, etc... right? Once again, he agrees.
Well, in tango, (as you can see) you really don't do that stuff (we were in a milonga). You're dancing so close that you can't look at each other.
You're concentrating so much on leading that if you try to showboat, you mess up your leading, making your motion choppy, awkward, and out of tune.
You can do the flashy stuff, but look at how crowded the floor is. You're liable to crash into others, so try to avoid it. Rather, do it when you have space. Besides, if you can't do it well yourself, it's unlikely you'll be able to lead it. If you try to force or teach her, you're just making her miserable, embarrassed or both.
In your (other) dance, you can do all this bump and grind and spin stuff because you're in one place. Here, the crowd is a densely moving herd.
What is important to dancing tango is the connection. It's that feeling of being "One body, four legs." There are two of you but you move as one—Movement comes from you, ending with her.
She is the reason why you tango. If you lead her to dance well, she'll be happy. With that, she'll look good, and you will be remembered positively. Don't worry about the steps. They'll come with practice and patience. Worry about walking properly first.
The bottom line, make every effort to make it good for HER. She'll appreciate that and you'll be remembered. That's what makes a good tango dancer.
He looked at me strangely and said "Ok," and walks off (I guess he was expecting me to teach him the super secret tango step combo). I chuckle and finish out the rest of the night dancing.
My reply, "It's not about you. It's about HER." He gave me a quizzical look. I explained...
When you do your (other) dances, you try to look good to your partner and to the audience... right? He (sheepishly) agrees. To do this you do the flashy multiple under arm turns, cumbias, the clothes, etc... right? Once again, he agrees.
Well, in tango, (as you can see) you really don't do that stuff (we were in a milonga). You're dancing so close that you can't look at each other.
You're concentrating so much on leading that if you try to showboat, you mess up your leading, making your motion choppy, awkward, and out of tune.
You can do the flashy stuff, but look at how crowded the floor is. You're liable to crash into others, so try to avoid it. Rather, do it when you have space. Besides, if you can't do it well yourself, it's unlikely you'll be able to lead it. If you try to force or teach her, you're just making her miserable, embarrassed or both.
In your (other) dance, you can do all this bump and grind and spin stuff because you're in one place. Here, the crowd is a densely moving herd.
What is important to dancing tango is the connection. It's that feeling of being "One body, four legs." There are two of you but you move as one—Movement comes from you, ending with her.
She is the reason why you tango. If you lead her to dance well, she'll be happy. With that, she'll look good, and you will be remembered positively. Don't worry about the steps. They'll come with practice and patience. Worry about walking properly first.
The bottom line, make every effort to make it good for HER. She'll appreciate that and you'll be remembered. That's what makes a good tango dancer.
He looked at me strangely and said "Ok," and walks off (I guess he was expecting me to teach him the super secret tango step combo). I chuckle and finish out the rest of the night dancing.
2 нояб. 2009 г.
Eyes Closed
Я танцую танго ради женщины, точнее ради безнадежной любви женщины.
Это создает так много эмоций, пробуждаемых тем, как тануют танго.
Только один взгляд и твоё сердце парит. И это всегда так, где еще это возможно в нашей жизни, если не на милонге?
Танго это терапия для всех. Оно захватывает ваше внимание, вы слушаете музыку. Вы улыбаетесь, вы общаетесь.
Я думаю с танго возможно открыть снова общение с другими людьми, которому больше нет месте в современном обществе. Объятие в танго это нечто уникальное, оно захватывает вас, вы слушаете музыку. Это то, чего не может дать Net или WiFi, потому что вы держите в объятиях человека и вы пытаетесь говорить с ним вашим телом под музыку.
Танго произошло от самой земли. Оно произошло от Милонги, которая произошла от Кандомбе, принесенного черными Африканскими рабами в Рио Де Ла Плата, а там это земля, безупречная и простая.
This documentary will fall many stereotypes about tango, first of all, that this culture belongs not only to Argentina.
Eyes Closed reveals a therapy against the loneliness of the modern era and explains what drives people throughout the world (from Europe to Japan) to combat the crisis with the steps of the Tango.
This project aims to explore, through the passionate and personal experiences of its main characters, the social, psychological and human effects that the Tango might have on our society. Thanks to the stories told us by the Tangueri and tanguere, people who, at some point, decided to make the Tango an essential part of their lives, and the analysis of highly-rated, contemporary researchers (anthropologists, psychologists, sociologists), this journey, which will shed some light on what lies beneath the “world of the Tango”. It will give us the chance to reflect on the complex mechanisms that go on between man and woman, in that tangle of personal identity, soscial ruoles, cultural stereotypes, seduction, desire and fear. Emphasis will be put on the sacred, mystic, almost religeous aspects of the relationship between men and women who dance the tango.
As Rèmi Hess once said: “When a man and a woman danced the Tango, the devil stood between them”. This will be the story of Rossana, a young Italian artist, who rediscovers her femininity by means of the Tango, going through a real metamorphosis which is enhanced by the sparkle in her eyes when telling her story. We will meet Nicola and Pietro, that fighting their disease in steps of tango.
These intertwined stories are enriched by the voices and faces of the numerous protagonists: ordinary people who attend the “Milonga Illegal”, teachers and professional dancers, highly-rated scholars and researchers in many different fields of discipline who share an interest in the study of psychological and sociocultural behaviour behind this passion.
Это создает так много эмоций, пробуждаемых тем, как тануют танго.
Только один взгляд и твоё сердце парит. И это всегда так, где еще это возможно в нашей жизни, если не на милонге?
Танго это терапия для всех. Оно захватывает ваше внимание, вы слушаете музыку. Вы улыбаетесь, вы общаетесь.
Я думаю с танго возможно открыть снова общение с другими людьми, которому больше нет месте в современном обществе. Объятие в танго это нечто уникальное, оно захватывает вас, вы слушаете музыку. Это то, чего не может дать Net или WiFi, потому что вы держите в объятиях человека и вы пытаетесь говорить с ним вашим телом под музыку.
Танго произошло от самой земли. Оно произошло от Милонги, которая произошла от Кандомбе, принесенного черными Африканскими рабами в Рио Де Ла Плата, а там это земля, безупречная и простая.
This documentary will fall many stereotypes about tango, first of all, that this culture belongs not only to Argentina.
Eyes Closed reveals a therapy against the loneliness of the modern era and explains what drives people throughout the world (from Europe to Japan) to combat the crisis with the steps of the Tango.
This project aims to explore, through the passionate and personal experiences of its main characters, the social, psychological and human effects that the Tango might have on our society. Thanks to the stories told us by the Tangueri and tanguere, people who, at some point, decided to make the Tango an essential part of their lives, and the analysis of highly-rated, contemporary researchers (anthropologists, psychologists, sociologists), this journey, which will shed some light on what lies beneath the “world of the Tango”. It will give us the chance to reflect on the complex mechanisms that go on between man and woman, in that tangle of personal identity, soscial ruoles, cultural stereotypes, seduction, desire and fear. Emphasis will be put on the sacred, mystic, almost religeous aspects of the relationship between men and women who dance the tango.
As Rèmi Hess once said: “When a man and a woman danced the Tango, the devil stood between them”. This will be the story of Rossana, a young Italian artist, who rediscovers her femininity by means of the Tango, going through a real metamorphosis which is enhanced by the sparkle in her eyes when telling her story. We will meet Nicola and Pietro, that fighting their disease in steps of tango.
These intertwined stories are enriched by the voices and faces of the numerous protagonists: ordinary people who attend the “Milonga Illegal”, teachers and professional dancers, highly-rated scholars and researchers in many different fields of discipline who share an interest in the study of psychological and sociocultural behaviour behind this passion.
1 нояб. 2009 г.
Adios Nonino
В 1999 году минуло 40 лет со дня создания "Adios Nonino", самого
яркого и представительного творения Астора Пьяццолы. Сочиненное в 1959
году, под впечатлением от смерти отца, оно стало классикой. С точки
зрения музыкальной значимости, в творческом наследии его автора есть и
более ценные и цельные произведения, но "Adios Nonino" навсегда
останется символом, синонимом Пьяццолы. Астора Пьяццолы и его
родителей.
яркого и представительного творения Астора Пьяццолы. Сочиненное в 1959
году, под впечатлением от смерти отца, оно стало классикой. С точки
зрения музыкальной значимости, в творческом наследии его автора есть и
более ценные и цельные произведения, но "Adios Nonino" навсегда
останется символом, синонимом Пьяццолы. Астора Пьяццолы и его
родителей.
У каждого композитора, сколько бы произведений он ни создал, всегда
есть одно, которое, не будучи самым совершенным, является именно тем
творением, которое определяет его стиль. Точным и гармоничным
сочетанием определенных черт своего творчества автор воплощает в нем
свою чувственность, чуткость и чувствительность, раскрывает свои
корни, говоря о своих врожденных познаниях, и до предела раскрывает
свою способность к творчеству, воплощая ее всю в одном синтетическом
итоге – сущности своих творений.
Влияние на вкусы публики, принятие и эмоциональное одобрение
музыкантами, которые включают ее в свой репертуар – вот через что
распространяется такая композиция и вот почему она навсегда остается в
ушах и в чувствах широкой публики.
Дело в том, что, помимо технических и эстетических достоинств, помимо
всех прочих особенностей, это сочинение становится для своего автора
чем-то вроде сжатой суммы его творческих качеств.
И эту концепцию, которую я положил в основу моей работы о Abel Fleury
(изд. GraFer, Chivilcoy, 1995), можно применить с тщательностью и
убежденностью к пьесе, которая лучше всего представляет Пьяццолу в
любой части света и на любом уровне – "Adios Nonino".
Бесчисленные плоды его композиторского творчества, достойные самых
лестных похвал и на редкость разнообразные, как в стиле танго, так и
нет – он сочинял произведения и для других музыкальных направлений
Европы – представляются нам весьма незаурядными. Но я думаю, что
именно "Adios Nonino" является и навсегда останется, повторяю,
синонимом Пьяццолы. Даже в интерпретациях оркестров более традиционной
направленности, вроде той безукоризненной версии, что записал Leopoldo
Federico, или той, что мы недавно слушали в Chivilcoy в исполнении
камерного трио под управлением виолончелиста Diego Sanchez, в
аранжировке Jose Bragato.
"Adios Nonino" было создано около 1959 года, когда Астор был в турне
по Центральной Америке. Здесь он получил известие о внезапной смерти
своего отца, дона Виченте Пьяццола, по имени Nonino.
Он лишь только что прибыл из Нью-Йорка, вернувшись из того тура, в
период глубокой грусти, в период финансовых сложностей из-за его
гастролей по Северу, которые закончились провалом, как и его попытка
представить джаз-танго публике, а теперь к этому прибавилась и смерть
его отца далеко в Аргентине. Тогда он и написал "Adios Nonino".
Бессмертные ноты спонтанно рождались в таком душевном состоянии. Он
переписал ранний "Nonino", танго, написанное в Париже в 1954
(существует запись этого произведения в исполнении Jose Basso's
orchestra, июль 1962), от которого он оставил ритмическую часть. Он
переработал все остальное и добавил тот знаменитый долгий мелодический
фрагмент, полный долгих выразительных звуков, столь похожих на глухие
мучительные стенания.
Сдержанный плач и боль сына, столь далекие, выражены в этом печальном
и нерадостном отрывке. В этих двух музыкальных фразах из восьми тактов
(четыре плюс четыре), которые, повторяясь, образуют драгоценную секцию
из шестнадцати тактов, заключается подлинный смысл и объяснение пьесы.
Композитор без слез рыдал в ту ночь, плача своей музыкой. И оставил
для истории аргентинской музыки одну из самых красивых и немеркнущих
страниц.
И как подлинную классику, ее записывали бессчетное множество раз.
Маленькие группы, оркестры из множества музыкантов, солисты создали
множество вариаций "Adios Nonino".
Первая – запись самого композитора и его квинтета: Пьяццола на
бандонеоне, Джейм Госис (Jaime Gosis) за роялем, Квичо Диаз (Quicho
Diaz) на басу, Горацио Мальвичино (Horacio Malvicino) на электрогитаре
и Симон Бажур (Simon Bajour) на виолончели. Запись сделана для лейбла
Antar Telefunken (Монтевидео) в1960 году. И тот мелодичный,
проникновенный пассаж, практически всегда исполняемый на струнных,
которые наиболее подходят для его выражения, был исполнен в
незабываемой интерпретации Симона Бажура, одного из лучших
виолончелистов в истории танго. Его нежное звучание, вкрадчивость его
интерпретации и необыкновенная чувствительность выразили и передали –
достойным высшего восхищения образом – ту глубокую боль, которую автор
вложил в это произведение.
Я думаю, что никто не превзошел это исполнение. Франчини (Francini),
Баралис (Baralis), Вардаро (Vardaro), Суаре Па (Suarez Paz), Нишель
(Nichelle), Маурицио Марчелли (Mauricio Marcelli) и многие другие
оставили красивые записи этой части. Но с моей точки зрения, которую
конечно же можно оспорить – я убежден и буду повторять это – смычок
Бажура, по крайней мере в этой записи, превзошел их всех.
Этот комментарий не претендует на то, чтобы занизить значимость
безупречной транскрипции для бандонеона самого Пьяццолы или же
фортепианное переложение Джейма Госиса, но я остаюсь верен моей
концепции и моему уху: исполнение Симона Бажура непревзойденно.
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