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2004-02-06
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1 FW: [tangohu] Navigacio milongan - tango fellepesre es (mind)  125 sor     (cikkei)

+ - FW: [tangohu] Navigacio milongan - tango fellepesre es (mind) VÁLASZ  Feladó: (cikkei)

-----Original Message-----
From: Opál, Babett
Sent: Thursday, February 05, 2004 4:26 PM
To: '
Subject: RE: [tangohu] Navigáció milongán - tangó fellépésre és milongára


Sziasztok!
Szeretnék hozzászólni egy nő szemszögéből az úr által leírt milongán
alkalmazandó technikákhoz.
Rendkívül izgalmas és élvezetesebb számomra, amikor kis helyen "apró" dolgok
történnek tánc közben. Ritmusváltások, a lépések hosszúságának váltakozása,
kis fordulások, szóval minden, amit az úr leírt. Amikor keresztül rohannak
velem az egész termen, előzési őrületbe kezdünk, pózolunk ezerrel és
percenként dinamikus boleokat csináltatnak velem, akkor tornagyakorlatnak
érzem a dolgot és nem táncnak. Az úr által leírt módokon viszont
hihetetlenül intim a tánc. A váratlan irányváltások, mivel apróak nem
ilyedtséget okoznak, hanem izgalmassá teszik a táncot.

Biztos sok nő egyetért velem....

Üdv.:   Babett

-----Original Message-----
From: Ecsedy Áron
Sent: 2004. február 5. 08:55
To: 
Subject: [tangohu] Navigáció milongán - tangó fellépésre és milongára



Angolul értőknek a figyelmébe: Egy rövid pamflet egy másik listáról.
Az úr amerikai és a milongákon tapasztalható navigációs problémákról ír
(ami - meglátásom szerint - nálunk is elég nagy probléma). Ezzel
kapcsolatosan előkerül a show tangó és a társastánc tangó különbsége és az
elsősorban amerikai, de világszerte is tapasztalható tendencia, hogy az
emberek a show műfajra szakosodó tanároktól vesznek órákat - show figurákat
tanulnak, de elsősorban milongán próbálják hasznosítani a tudásukat. A
szerző elmagyaráz néhány a témával kapcsolatos - Buenos Airesből származó -
tangós taktikát, szokást és szakkifezejést is, valamint tippeket ad a
problémák kiküszöbölésére (szofisztikáltabbakat, mint a "ne lépj
tánciránynak ellentétes irányba hátrafelé")
Üdv
áron
 > The tension between social dancers and performance style
 > dancers goes on and on outside of Buenos Aires.  But in BA
 > performers dance all the time in milongas with few problems.
 >  Some are accomplished social dancers who get into the flow
 > and mix it up.  Others are less experienced, so they dance
 > carefully to avoid bothering other people.  The thing is
 > that they know when to perform and when not to.  In the U.S.
 > even the best milongas seem to have a few people who just
 > don't get it.  And in some places the posing and leg
 > throwing can become almost intolerable.
 >
 > Part of the problem in the U.S. is that some people watch
 > shows and movies and use them as a model.  But some blame
 > also rests with the teachers.  Portenos in BsAs have a very
 > realistic view of tango.  They appreciate performing, but
 > they also know it's difficult, and that it doesn't pay very
 > well.  So, other than among people with serious aspirations
 > for the stage, there isn't much demand for learning a tango
 > that can't be danced in the milongas.  It's puzzling that in
 > the U.S. where the opportunity to perform is almost zero
 > that there is still large attendance in classes that teach
 > things that few can ever use.  Maybe each of these classes
 > should begin with a disclaimer:
 >
 > "Notice:  what we are going to teach is fun and
 > challenging... but there are limited opportunities to do it
 > outside of class.  You can do it at home, but the odds that
 > anyone will ever pay you, or even want to watch you do it,
 > are astronomically small.  And if you try it at a milonga,
 > you won't make any friends."
 >
 > I think driving a car in traffic is a good analogy for
 > social tango dancing. First you need to know the rules of
 > the road.  After that it just takes time to learn to move
 > smoothly and maintain the right distances without disrupting
 > things.  Since the joy of social tango is in expressing the
 > music for yourself and your partner within the space
 > available, a good first technical skill to learn is to get
 > used to a small space.  Try practicing in a "corralito" (a
 > baby's play pen).  Put four chairs around a space.  Practice
 > dancing everything within this space (tango, vals, even
 > milonga).  Eventually, you may be able to shrink it to only
 > 3 ft. X 3 ft. (advanced!).  Do giros, ochos, whatever you
 > want to do.  The milongueros call it dancing on a "baldosa"
 > (a single floor tile).  Step selection may be limited at
 > first, and it requires a different
 > technique- but you will get better.  If you can master it,
 > you'll have a skill that is greatly respected in the
 > milongas.  Here is the most important part: It is not just a
 > trick!  By "master" it, I mean you and your partner should
 > really be able to enjoy the music and the connection.  You
 > should be so comfortable and having so much fun with the
 > cadences of feet and the movement of the bodies that you can
 > truly enjoy yourselves.  I won't pretend that it is always
 > more fun than dancing with unlimited space, but it is very
 > nice in it's own way.  You won't feel the need to barge out
 > of tight spots, and it can add subtlety, balance, control,
 > and new musical expression to the rest of your tango.
 >
 > A couple of more things about navigation.  People have said
 > that "milonguero - close embrace" means taking small steps.
 > This isn't true.  I can think of several very good
 > milongueos who take huge steps.  A mix of lengths works
 > great, and for very good navigation the ability to take one
 > (or several) very large surging steps with your partner is
 > very valuable for moving smoothly and efficiently into empty
 > spaces on crowded floors.  Finally, I have found that if you
 > dance with lots and lots of giros (turns) when it's crowded,
 > you can see surrounding traffic easily, and you will always
 > be ready to move in any direction to take advantage of
 > unused space.  But to make it work, you should be able to do
 > smooth giros in both directions, maintain chest contact, and
 > be able to turn around a single axis.  If you separate, or
 > if either partner becomes the center of the turn with the
 > other circling around, it takes more space and it doesn't
 > work as well. For me, dancing smooth close giros to a fast
 > Biagi vals, surrounded by milongueros who are dancing the
 > same way has to be one of the most exciting things.  It's
 > like being inside a swirling storm of tango music.

Argentin tangó Magyarországon: www.tango.hungary.org

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