스크랩 Favorite Tango Style 선호하는 땅고 스타일

[뉴쩡:D]

땅고의 분류

 이하 필라땅고(http://cafe.daum.net/PhilATango) 미춤 정리:

아르헨틴 땅고가 스포츠적 특성은 물론 무용과 음악 그리고 연극적 요소가 함께 접목된

스포츠 예술(Sport and Art)적 틀로 정형화된  시간예술(Time), 공간예술(Space), 시각예술(Seeing), 지각예술(Feeling)이 연계된 종합예술(Synthetic Art)임이 증명되고 있다.

 또한 음악적 리듬에 맞추어 신체활동을 통한 동작으로 자세와 미적인 표현을 극대화 시킨 예술성이 풍부한 실내 스포츠(Indoor Sport)인 동시에 생활체육(Sport  for all)의 한 분야이며 전통에 의한 예의와 질서로 이루어진 가치관을 지닌 인격 표현의  선진형 윤리 문화(Ethics Culture)이다.

땅고는 독특한 형식을 갖고 있는 "음악" 이라는 것...

또한 땅고 음악의 형식을 이루어내며 그 안에 녹아 있는 어떤 "정서" 이라는 거다.

그 음악을 지탱하고 유지하는 정서를 우리는 바로 "땅고 에센스" 라고 부르며,

땅고가 아름다운 이유는 기교도 남녀간의 섹슈얼한 상징도 아닌 바로 이 "땅고 에센스" 때문이다.

아르헨틴 땅고의 유용적 분류는 다음과 같다. 

아르헨틴 땅고는 그 용도에 따라 다음 6가지로 나눌 수 있다.

        1) 무대용, 땅고 에세나리오(Tango Escenario(Stage) Competition)

   무대용 댄스(stage dance)는 무대 위에서 공연하는 것으로 대개 관중이 있다.  주로 땅고 대회에서 살롱과 공연 부문으로 구분할 때 사용하지만, 상업성이 있는 땅게리아 디너 쇼우 공연을 포함할 수 있다.

   2) 경기용,  땅고 살롱(Tango Salon Competition)

   경기용 댄스(competition dance)는 등위를 나누어 포상되어지고 현재 국제적으로 3종목(Tango, Milonga , Vals)이 인정받고 있다.

   3) 전시용(exhibition dance )

   전시용 댄스(exhibition dance )에서는 시범용과 같이 관중에게 획득하거나 기대하는 목적이 있지만, 춤 내면에 숨은 사상이나 의도를 시위하는 데 그 의의가 있다. 컨템퍼러리 댄스, 희극, 판타시아를 융합한 땅고 등을 말한다.

   4) 시범용 (demonstration dance)

   발표를 위한 시범용 댄스 (demonstration dance) 는 댄스의 기량을 선보이거나 그저 발표하기 위한 목적으로 보여주기 위한 단순 무용으로 볼 수 있다. 밀롱가에서 커플이 살롱(Todaro(또다로) 스타일 포함)으로 추는 것은  살롱 시범이라고 정확하게 쓰고, 공연이라는 단어는 무대 공연에만 제한적으로 유보하여 사용할 필요가 있다

   5) 구성댄스(Formation Dance) 

 포메이션 댄스(formation dance)는 6명 이상이 전체적인 구성을 통하여 주제를 표현하는 군무를 말함.

Formation(남녀 구별 없이 6명- 24명까지), Production(남녀 구별 없이 25명 이상), 및
매스게임용 댄스는 넓은 광장 등지에서 많은 사람들이 참여하게 되는 경우의 춤을 말한다. 

   6) 사교 땅고 (Social Tango)

   오늘날 일반적으로 많은 사람들이 추고 있는 밀롱가에서의 댄스 또는 축제 이벤트나 파티에서의 사교 댄스(social dance) 를 말하며, 여기에는 땅고, 밀롱가, 발스, 차카레라의 리듬 종류가 있다. 사교를 위한 춤이기는 하나, 고도의 테크닉을 바탕으로 많은 운동량을 필요로 하므로 여러 가지 면에서 교육적 가치가 내포되어 있기에, 단순한 오락으로 보기에는 곤란하다. 사교 댄스에는 엄격한 예절과 규칙이 있기에 정치학적, 사회학적, 심리학적 견지에서도 예의 분석 연구할 부분이 많은 춤이다.

안기는 아브라소라고 하죠. 안기에는 스테이지 스타일(누에보 스타일), 살롱 스타일, 밀롱게로 스타일이 있죠. 

 Abrazo cerrado 아브라쏘 세라도-Close Embrace(holding) 클로우쓰 임브레이스(홀딩)(남녀 명치(중단전) 부위가 접촉함, 명치 부위가 항상 연결되어 있도록 의식하고 상체 에너지로 리드/팔로우함)-밀롱게로 아삘라도 스타일 

Abrazo cercano 세르까노- closed Embrace(holding) 클로우즈드 임브레이스(홀딩)(남녀 한 쪽 가슴은 항상 접촉할 듯 가까와 명치 부위가 항상 가까이 있도록 의식하고 상체의 에너지로 리드/팔로우함)-비쟈 우르끼사(Villa Urquiza) 살롱 스타일은 세라도(걷기 동작)와 세르까노(히로 등 동작) 혼합. 

Aabrazo Lejano 레하노(abierto 아비에르또)- Open Holding 오픈 홀딩(남녀 팔/어깨 프레임 유지하고 상단전을 의식하고 텐션을 주고 리드/팔로우함)-누에보, 공연 스타일

-필라땅고(http://cafe.daum.net/PhilATango) 미춤 정리

Date: Wed, 12 Nov 2008
From: Sergio Vandekier <sergiovandekier990@hotmail.com>
Subject:  Traditional Tango

Dörte Ricklefsen y Ramiro Gigliotti - Mi Refugio - Di Sarli

Dörte Ricklefsen y Ramiro Gigliotti -
Mi Refugio - Carlos Di Sarli -
Tangostudio el abrazo, Hamburg - 11.06.2006
http://www.elabrazo-tangohamburg.de

http://www.youtube.com/watch?v=roNnIkrkfAY

This is the most traditional tango salon that you can see. The tango as danced and taught in the 40s. and today by the most famous tango teachers such as
Nito and Elba, Osvaldo Zotto, Carlos Copello, Mingo Pugliese, Puppy Costello, Diego Di Falco, etc, etc.

Used as it should be in close and open embrace as needed. Exhibiting, diffeent forms of walking, some ornaments, amagues, boleos, enrosques, rulos, sacadas, right walked turns with sacadas, etc.

In my opinion this is the root of tango, as it has all the movements of tango.

It is the style as danced in "Villa Urquiza" and called by that name by some.
 

How Villa Urquiza style (Traditional Tango) differentiates itself from the other styles: (in this video).

비샤 우르끼사 스타일의 댄서 ]

1983년 아르헨티나 군부독재 종료 후, 땅고쌀롱 스타일은 다시 땅고 황금기(1950년대)의 댄서들에 의해서 부흥기를 맞이한다.

o "Milonguita" Luis Lemos

o "El Turco" Jose Brahemcha

o Alberto Villarrazo

o Gerardo Portalea

o "Petroleo" Carlos Estevez

o "Cachito" Montegaza

o "Milonguita" Luis Lemos

o "Finito" Ramón Rivera

o "Lampazo" Jose Vazquez

o "El Negro" Reynaldo Davila

o Miguel Balmaceda

이들은 부에노스 아이레스 북쪽 비샤 우르끼사Villa Urquiza지역에 위치한 클럽 '씬 룸보 Sin Rumbo', '순덜란드 Sunderland' 에서 활동했다.

그리고, 현재 비샤우르끼사 스타일의 흐름을 주도하는 댄서.

o Carlos Perez y Rosa

o Jorge Dispari y La Turca

o Miguel Angel Zotto y Milena Plebs

o Osvaldo Zotto y Lorena Ermocida

o El Chino Perico

o Javier Rodriguez y Geraldine Rojas

o Alejandro Aquino

o the Misse family (Andrea, Sebastian, Gabriel, y Stella)

o Andres Laza Moreno y Samantha Dispari

o Fabian Peralta y Virgina Pandolfi

o Cristan Sosa y Daniel Naccuchio

o Angelica Avalos y Dante Sanchez

o Koyko y Hirosi Yamao

http://www.youtube.com/watch?v=roNnIkrkfAY

http://www.youtube.com/watch?v=aXU9nojcFQo

Long Steps, Embrace in "V", use of a varying embrace (elastic embrace) close, with little light to open, profuse use of embellishments, elegant erect posture. Elegant formal dressing.

Tango walk with a narrow base, the feet brush heels as they pass each other, the foot lands either toe or heel first. Walking on a line with external rotation of the foot.

1 - Milonguero - Cacho Dante -

http://www.youtube.com/watch?v=zgWMs0rAcJk

Shorter steps, embrace more frontal (where the V is less evident), close embrace only, different degree of elegance, Tango walk with a wider base, the feet are right under the hips, the feet do not brush heels as they pass each other, the foot land flat on the sole, walking on two lines, no external rotation of the foot. Less use of embellishments.

2 - Milonguero - Susana Miller- Same as #1 except that here the embrace is more in V, and there is more play with the rhythm. Use of ocho cortado.

(고) 까를로스 가비또

마리아 쁠라싸올라 MARIA PLAZAOLA : Andres Laza Moreno

엘리나 롤단 Elina Roldan

아나 마리아 샤삐라 Ana Maria Schapira

알리시아 뽄스 ALICIA PONS

에바 가를레스 EVA GARLEZ : Alberto Dassieu y Eva Garlez ; Eva Garlez y Walter Gonzalez

수사나 미제르 SUSANA MILLER : Osvaldo Buglone

릴리아나 고도이 LILIANA GODOY

우고 사멕 HUGO SAMEK

루벤 데 뽐뻬야 RUBEN DE POMPEYA

오스발도 나뚜씨 OSVALDO NATUCCI

발테르 곤살레스 WALTER GONZALEZ:Antoinette Wilson & Walter Gonzalez

리까르도 비께이라 RICARDO VIQUEIRA

뽀초 POCHO :Pocho y Rosita, Nellie

(고)떼떼 & 실비아 TETE & SILVIA

아벨 뻬랄따 Abel Peralta

까초 단테 Cacho Dante

오스발도 & 꼬까 Osvaldo & Coca

루벤 아림바트 Rubén Harymbat:Ruben Harymbat y Eva Garlez

Alberto Dassieu y Paulina Spinoso:Alberto Dassieu and Gabriela Fernandez: Alberto Dassieu and Elba Biscay

엘 베소, 까치룰로 밀롱가에서 추는 분들

http://www.youtube.com/watch?v=U8Any40gQTc

http://www.youtube.com/watch?v=odl9DBOQsYQ&feature=related

3 - Nuevo Tango -

Fabian Salas - http://www.youtube.com/watch?v=6inw_V_a1W0&feature=related

Tendency to use non traditional tango music.

Very open embrace, colgadas, soltadas, volcadas, piernazos, changes of direction, changes in the embrace, profuse use of heel sacadas.


Mariano Chicho Frumboli

http://www.youtube.com/watch?v=a-5Bxtck3Uw&feature=related

A very open embrace, profuse use of heel sacadas and changes of direction. Elegance is sacrificed in exchange for an element of "surprise".

http://www.youtube.com/watch?v=7lro4WfRpzM&feature=related

Tendency to use non traditional tango music (in this case Argentine flokloric music is used). Some piernazos, some volcada, a very open embrace, some soltadas. 

ESTILO SALON/NUEVO CLASICO/Lucia Barrios & Alvaro Salas

ESTILO COSMOTANGO/TANGO NUEVO/Cecilia Gonzalez & Pablo Tegli

ESTILO TODARO/UNA NOCHE DE TANGO/Laila & Leandro Oliver

//

 

Favorite Tango Style  선호하는 땅고 스타일
What is your style of tango dancing? 땅고 춤출 때 어떤 스타일로 추시나요?
 
 Milonguero Style 밀롱게로 스타일(항상 가슴을 맞대는 안기=아브라쏘)
 Salon Style 살롱 스타일(아브라쏘를 유지하되 히로시 살짝  가슴을 떼는 홀드)

살롱 땅고의 정상적인 아브라소(abrazo) 상태는

남자 왼쪽 가슴 쪽(여자의 오른쪽 가슴 쪽)은  살짝(주위의 다른 사람들은 이 커플의 손들의 위치는 그대로 유지되니까 변화를 알아 채기 어려울 정도) 열려져 있는 상태이나

남자 오른쪽 가슴 쪽(여자 왼쪽 가슴 쪽)은 가슴이 밀착되어 있는 상태입니다.

①남자가 여자를 자신의 왼편으로 히로(giro) 리드를 시작하면 여자는

   즉시 자신의 왼팔을 남자의 오른쪽 어깨에서 살짝 떨어지게 한다.

   즉 여자의 왼쪽 겨드랑이와 남자의 오른쪽 팔이 살짝 떨어진 상태가 되어야

   여자가 돌면서 남자를 잡아당기지 않게 되고 혼자서 중심을 잡으며 편하게 돌 수 있기 때문임. 

②남자가 여자를 자신의 오른쪽으로 히로(giro) 리드를 시작하면  여자는

   자신의 왼쪽 팔은 그대로 유지하면서 중심만 잘 잡으면 되나, 가급적

   자신의 왼쪽 손바닥을 남자의 등에 부드럽게 밀착한 상태로 회전의 힘이

   남자에게 전달이 되도록 하면 남자로서는 회전하는데 용이하고 여자가 무척

    가볍게 느껴짐..

 ★히로(giro)시  기타 주의 사항

   →히로 동작에서는 左방향이든  右방향이든 여자는 오른팔(남자는 왼팔)을

       굽혔다 폈다하지 않고  처음 아브라소 때와 같이 남녀 팔이 그대로 유지되면서 돌아야 함..  

   →히로 중에는 남녀 가슴이 항상 마주보는 상태가 됨. 즉 남자의 가슴으로 여자의 히로를 리드함.

       팔로 여자를  돌리는 동작은 좋지 안고 여자들이 그 느낌을 싫어해요.

 Tango Nuevo 누에보 스타일(서로 몸이 떨어진 오픈 홀드)
 I don't have a style 한 스타일을 편애하지 않는다. 음악에 따라 다양한 스타일로 춘다 
 I never knew there were different styles 다른 스타일들이 있는 줄 몰랐다.
 I don't believe in tango "styles" - there is one tango, and everyone dances it slightly differently
땅고 스타일이란 없고 서로 각자의 개성대로 조금씩 다르게 출 뿐이다.

Buenos Aires Tango Travelogues: Styles and Teachers

by Lonewolf @ Sunday, 25. Mar, 2007 - 01:13:10

When it comes to learning the dance, the contemporary tango dancer is faced with two big questions. Which teacher dances the best style and who teaches the best.

For the question of style, the main problem is that tango being a free form and social dance, does not have a fixed and correct style. Everyone dances their own style.

Javier Rodriguez explained to me not so long ago, up till the early 1990s, there were not many tango schools. He just learnt the basic 8 steps from his dad, who was the former organizer of Club Sunderland and then just danced. The level of dancing was much higher than today and the tango community were very selective. He recounts one time when he first started out, an old milonguero (hardcore guy dancer) cornered him in the toilet and told him, "You will never learn how to dance tango!" Javier was terrified but he continued to dance. Slowly the old milongueros accepted his sincerity and Javier recalls the countless nights, many of them will stay back late when the milonga ends at 5am in the morning to demonstrate and teach him steps. The milongueras (hardcore lady dancers) who were excellent dancers would give him tips as he danced with them in the milongas. Javier told me, "They just wanted to weed out the trash so that only the people who really loves tango stays. But once you are accepted, they embrace you like their son."

So this was how the beginner dancers used to learn. By the passing of knowledge from the old guard. The schools were the milonga itself, private lessons were free and priceless, after the milonga.

Marite, Javier's good friend, and an excellent milonguera and teacher told me, "I had to sit and watch in El Beso for a year. Before the men were given the green light by the milongueras, to dance with me." Marite started tango more than 10 years ago, when the codes were still very strict. She and Javier explained to me, due to the military junta and the popularization of rock and roll and swing in the 70s, there was a lack of transmission of knowledge from the older generation. Javier Rodriguez, Andrea Misse, Geraldine Rojas and Marite were amongst the few younger generation who started tango when the last of the old guard like were still around. Learning the traditional tango essence from the very roots.

During early 2000s, there emerged two main schools of structured tango teaching, tango milongeuro by Cacho Dante and then popularized by Susana Miller; another one nuevo school; started by Fabian Salas, Pablo Veron, Gustavo Naviera and Chicho Frumboli. Since then tango as a teaching industry exploded and various styles and definitions started to appear.

The good thing is that people now have lots of choices, and tango as a dance would not die out as the older generation goes away. But the hard thing for the dancer then is to identify which school does he want to learn from.

I would leave the discussion of the merits of each style to another day. Also, there had not been any proper categorization of the terminology yet; its not like there was a Council of Buenos Aires for the canonization of the tango terms. But for discussion purposes lets generalize the tango schools to 1. Tango Salon, 2.Tango Milonguero, 3. Tango Nuevo.

Tango salon actually was the original term to describe social argentine tango. 'Salon' comes from the term dance salon; the floor where tango is danced. During the old times tango salon did not mean any particular style. It was just a general term to describe and differenciate social dancing and show tango (tango fantasy). At the dance salons, on the social dancefloor different milongueros dance their own styles and had their own favourite and distinct figures.

Nowadays, tango salon is used to describe the classic traditional tango with long steps and more expressive figures with the feet. The embrace is more loose and the dancers may open up to do more complex figures. Some of the characteristical salon figures are lapiz, enrosques and long smooth walks.

Classic tango de salon style:  20% of women looking to the right with the man.
But I(Tom Stermitz) am fairly short, so for me, the "look the same direction" is just not functional. It cuts of half of my vision. It also feels more asymmetric, which makes my back hurt.
 

Tango milonguero are characterised by the close embrace, 'apilado' style, using figures such as ocho cortardo and short walks to play with the rhythm of the music. Apilado is spanish for piled up; because in that embrace the dancers look like they are leaning, piling up on each other by the chest. But actually the term 'milonguero' was coined by Cacho Dante and Susana Miller. Essentially tango milonguero was tango salon, just that this particular style was evident in the more crowded milongas in the center of Buenos Aires. Due to the crowded floor, the dancers had to huddle up in a tighter embrace and use shorter steps. But the point is, if one were to go 20 years back, there would not be tango milonguero, nuevo... etc. Only tango salon where some people hug tighter and some opened up the embrace during the dance.

Nowadays, tango milonguero is a very good starting point for learning the real essence of social tango because as the milongas of Buenos Aires are getting more and more crowded. This style lets you dance, navigate and express to the music even at the most crowded milongas. Also tango milonguero focus on expressing the music with simple, technically non demanding steps and communicating feelings with the body intimately. As such, the social essence of traditional tango is very clearly and rapidly conveyed to the students.

milonguero style:  80% of women looking over the man's shoulder or  woman's nose pressed into the leader's cheek
Women with their butt sticking up and arched lower back, the draping of the woman's left arm down across the shoulder of  the man with elbow pointed at the ceiling  are another new style

Tango nuevo (nuevo means 'new' in spanish) was a brainchild of Fabian Salas, Pablo Veron, Gustavo Naviera and Chicho Frumboli. They wanted to analysed the movement of tango, the leading and following part and came out with a very structured and logical way to explain tango.

Since then tango nuevo has evolved into a very movement based type of dance and technically demanding. The current schools added a lot of modern dance elements into it. Its characterized by a very elastic kind of energy between the two dancers with long big boleos and colgadas.

For my first few months here I tried many teachers. I experienced a bit of salon and nuevo style but I concentrated mainly on the milonguero style. After I met Javier in November 06, I began to dance a more salon style, some call it Villa Urquiza style. I shall share with you some of the good experiences I had with the following teachers.

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Tango Milonguero

Old Milongueros
Dancing with old milongueros is a special experience. They use almost the same set of steps all the time, but each milonoguero has his own timing, accent and energy. That makes each of them different and unique. And also, they use few patterns again and again in one dance, depends on the music, these few patterns feel different from time to time. If you (a follower) are ready to go into his musical world and dance the way he suggests, you would never feel bored to do only few patterns in a dance. Because each pattern, or even each step (I really mean a step) is “tailored” to the music, the way to do the pattern or to make a step is unique in that particular moment.

If you think that old milongeuros dance few patterns all the time because they only know that few patterns, then you’re wrong and you miss the point. Old milongueros definitely know much more than that, but they treat some patterns like a “special weapon”, they only use it at the right moment of the music (or maybe also with the right person who can react and appreciate it). And because they respect the dance floor, they reframe their dance according to the condition of the dance floor. Not every patterns is good for a packed dance floor. For them, dancing is to enjoy the music and to have good time together with a woman. Dancing is not about showing off their skills. And definitely it’s not about creating troubles to other people (traffic jam or hurting people) on the dance floor.

I was chatting with Rosana Devesa in a milonga few days ago. She said the old milongueros might not be technically “perfect” (here perfect means “not up to your  ideal”), but each of them has his unique way of using his body, guiding the lady and interpreting the music. Then later she continued to say, nowadays there are 3 big schools of milonguero style, namely Ana Maria Schapira, Cacho Dante and Susana Miller. But in reality, there are much more variety than that. Rosana is right. In the world of milonguero style, there are still a lot to be discovered and recognized.

 
 
나이든 밀롱게로들과 추는 것은 특별한 경험이다.

그들은 항상 거의 같은 묶음의 스텝을 쓰지만 각각의 밀롱게로는 그만의 타이밍과 리듬의 강박, 에너지를 갖고 있다.
그것은 그들을 각 개인마다 구별되고 독특하게 한다.
그리고 또한 그들은 거의 없다시피한 약간의 스텝(패턴)을 한곡을 추면서 음악에 맞춰서 반복해서 사용한다.
이런 거의 드문 패턴들은 매 순간마다 다르게 느낌을 준다.
팔로워로서 그의 음악적 세계와 춤추는 방식의 제안에 빠져들 준비가 되어있다면,
거의 패턴을 쓰지 않는다고 해서 절대 지루함을 느끼지 못할 것이다.
각각의 패턴이나 스텝은(그냥 걷는 걸 말하는 거다)은 "맞춤 옷"처럼 음악에 맞고,
패턴을 구사하거나 걸음을 걷는 것은 그 순간에 독특하게 이루어지기 때문이다.

오래된 밀롱게로들이 춤추면서 거의 패턴을 쓰지 않는 것은 그들이 그만 알아서라고 생각한다면,
당신은 중요한 점을 놓치고 잘못 생각하는 것이다.

나이든 밀롱게로들은 그들이 하는 것보다 더 정확히 알고 있지만,
어떤 패턴들은 특별한 무기로 남겨두고 음악에 정확히 맞는 순간에만
(혹은 팔로워로서 제대로 리드를 받아 소화하고 즐겁게 받아들일 만한 사람하고 출 때만) 사용한다.

그리고 그들은 댄스플로워를 배려하기 때문이기도 한데,
그들은 댄스플로워의 상황에 따라 자신의 춤을 재구성한다.
모든 패턴이 꽉찬 댄스플로워에서 사용하기에 적합한것은 아니다.
그들에게 있어서 춤추는 것은 음악을 즐기고 여자와 함께 좋은 시간을 보내는 것이다.
춤추는 것은 그들의 기술을 보여주는 것이 아니다.
그리고 절대로 댄스 플로워에서 (지체를 발생시키거나,다른 사람을 다치게 하는것으로 ) 다른 사람들과 문제를 일으키는 것이 아니다.

며칠전 Rosana Devesa 와 밀롱가에서 애기를 했다.

그녀는 나이든 밀롱게로들은 기술적으로 완벽(여기서 완벽은 당신이 이상(땅고 대회 심사 기준)적으로 생각하는 것에 부합한다는 뜻)하지 못할지도 모르지만
각각은 자신의 몸을 쓰는 것과, 여성을 안내하고 음악을 해석하는 독특한 방식을 갖고 있다고 했다.

그리고 계속해서 근래에는 Maria Schapira, Cacho Dante, Susana Miller 의 삼대 밀롱게로 스타일 학교가 있는데,
사실은 그것보다 더 많은 다양함이 있다고 했다.

Rosana 가 맞다.  밀롱게로 스타일의 세계에는 여전히 발견하고 알아야 할 것이 많다.(Xen 번역)

------------

Xen_http://blog.daum.net/ajaxx/12551063
당신은 어떻게 땅게라를 안는가?

혹은 당신이 여자라면 어떻게 땅게로를 안는가?

혹시 수줍은 시골처녀 처럼 몸을 움츠리고 상대에게 안기거나,

혹은 거칠거나 소심하게 '팔로' 그녀를 안지 않는가.

그렇다면 당신의 아브라소는 불편할 것이다.

'기지개를 펴듯'이 가슴을 열고 그/그녀의 '품안으로' 들어가라.

팔을 써서 끌어안지 말고, 품안으로 들어가라.

팔은 그저 상대의 몸을, 등을 감싸는 울타리에 불과하다.

그후엔 두 사람의 가슴뼈가 붙어있다고 생각하면 커넥션과 미묘한 리드들을 주고받을 수 있다.

편하면서 강한 아브라소는 팔로 이루어지는 것이 아니라

가슴뼈가 얼마나 밀착되어 있는 가에 의해 결정된다.

걸을 때 실제적인 다리는 고관절부터 시작한다.

하지만 관념적인 다리는 명치 아래 부터 시작한다.

걸음은  어떠한가?

중심이 없는 다리를 뻗어서 착지를 시키고 몸을 이동시키는가?-추상적인 연습 스텝

중심을 갖고 있는 다리로 땅을 밀어서 그 반동으로 몸을 앞으로 미는가?-빙고.

서있을 때의 에너지 라인은 허리를 기준으로

상체는 물을 채운 듯 크게 만들어서 릴렉스 시킨 후 하늘로 향하고,

하체는 발이 땅에 붙은 듯이 아래로 향한 상태를 유지해야 한다.

이때 주의할 것은 하체를 땅에 붙이되 관절은 릴렉스하게.

그러나 무릎은 언제든 굽힐 수 있으나 굽히지 않고,

고관절은 중심에서 벗어나지 않도록 유지한다.

걷기 시작하면 무게중심이 있는 발의 중심은 한 차례 지하 깊은 곳을 지긋이 누르고

그 반동으로 얻은 추진력을 다음과 같은 순서로 상체의 흉곽으로 전달한다.

엄지 발가락과 둘째 발가락 사이 -> 발목 -> 무릎의 안쪽 -> 고관절의 안쪽 ->배꼽->명치 -> 흉곽

그러면 몸은 앞으로 나아갈 것이다.

동시에 가슴뼈가 상대방의 가슴뼈를 밀면서 상대방의 가슴뼈에 도달한 에너지는

흉곽->명치->배꼽->고관절의 안쪽->무릎의 안쪽->발목-> 첫째와 둘째 발가락사이->발의 중심을 통해 바닥(지상)으로 향하게 된다.

----------------
Cacho Dante and Rosana Devesa (English speaking)

They are my principle teachers. Cacho have been dancing and teaching tango for a long time. He is a super fine milonguero and maestro. His students include Susana Miller, Ana Maria Schapira, etc. He is now teaching with Rosana. Rosana complements him perfectly because of her knowledge of body dynamics; she also teaches body meditation.

Their classes focus on the leading with body, musicality and navigation on the dancefloor. Cacho breaks down all the subtlety of the lead in a very logical manner, hence allowing his students to create their own way of dancing and their own way of expressing to the music.

Besides being very dedicated teachers, they are very warm and nice and their classes have a very warm family vibe.

Tete and Silvia (English speaking)

When you see Tete in motion you can feel the spirit and essence of tango; you can also feel his incredible internal energy and rhythm. The way he dances belies his age. Together with Cacho, Flaco Dany; Tete is one of the few old milongueros still around.

His classes is full of energy. Like a lot genius, he is eccentric and very passionate in his teaching; he would not hesitate to stare at you and give you a piece of his mind. Often, when he did not like what he saw in my dance, he would come near and exclaim, "Sin miedo! Mas cadencia!! Mas swing!!! (No fear! more groove!)."

Silvia helps translate and clarify some of the concepts Tete explains. She is very nice and also a deejay on Cannings monday nights.

I really feel that if one makes it all the way to Buenos Aires,  one should really take from age old milongueros such as him. You cannot find them anywhere else in the world. The represent all the things that made true tango what it is. Even if it is just to see him in action, hear his words, even if one cannot understand just yet, one day it will all make sense if you press on.

Susana Miller and Maria Plazaola (English speaking)

Susana Miller was the one who popularized 'tango milonguero'. Her class is popular and well attended. Together with Maria Plazaola, the former partner of Gavito(까를로스 가비또(http://web.ics.purdue.edu/~tango/Articles/Gavito.pdf

Gavito.pdf )

, they teach the milonguero close embrace style.

Her class begins with individual techniques, then some double time walks, playing with the beat. Then she will teach a figure. It is a good place to learn new figures to express the music.

She is pays a lot of individual attention to the students and is very strict with her students, like all good teachers.

Ana Maria Schapira (English speaking)

Ana Maria Schapira used to teach together with Susana Miller. Later she would start her own school. She teaches in a similar way and similar concepts and techniques as Susana Miller. Also another good place to learn new figures to express the music.

She has a warm personality and is very patient to her students.

Jorge Firpo (English speaking)

Jorge teaches tango milonguero, tango salon and milonga. He is relatively young compared to the old milongueros. But he grew up in the milongas with his dad and then later on moved on to dancing stage tango, folklore and other classical dance professionally. As such he knows the essence of tango and is able to explain it clearly in terms with the aid of contemporary dance explanations.

He also gives a very good technique for men class which is essential for all who wishes to improve their dance.

Here are also some of the teachers who teach the milonguero style I took from, and enjoyed learning from them.

Jorge Firpo - Clase Tango Milonguero December 12, 2006, 10:55 PM Jorge Firpo - Demo de lo enseñado en la clase de Tango Milonguero - Tango: El Olivo Video: gentileza de Gérard D. que nos filmó. Buenos Aires - sep 2006 - Escuela Arg. de Tango http://www.malena-tango.com/

Gabriela Elias (English speaking, Milonga con traspie)
Muma (Milonga con traspie)
El Pibe Sarandi (Milonga con traspie)

El Pibe Sarandi & Elina Roldan

El Pibe Sarandi & Elina Roldan

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1) the Urquiza style(the musicality and the quality of the movement at Sunderland Club, a couple that advances with long steps, touching the floor as if they are wearing gloves on their feet )-Salon

2) the Almagro style(Susana Miller & Cacho Dante, milonguero/a, closely embraced and whose short steps adjust synchronously to the beat  very similar to the typical style of the downtown night clubs of the 40's ) -Apilado and

3) the Naveira style(all the imaginable variety of figures) -Nuevo as WELL AS 

4) Antonio Todaro style(elite with technical formation, that alternates between the social dancing at the milongas and the professional stage performances)-Todaro ,

as the fans know them, - implying a neighborhood, a club and a teacher.

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Tango Salon

Javier Rodriguez and Andrea Misse (English speaking)

To me he is the best dancer in the world. With the elegance of classic tango, the incredible speed in his feet, the way he listens to music, his understanding of the very core of the philosophy of tango, the way he allows the lady to have her own say in the dance and making them look beautiful and his ability to transmit so much energy into the dance yet remain as calm as still water. Together with Andrea Misse, they are breathtaking to watch.

As a teacher he is colourful, animated, and flamboyant; his classes are full of energy. He told me, "If I were to explain, lift your chest up, pull down your shoulder blades and tightened your abs muscles. The students will have a hard time getting it. As compared to saying, put out your tits as if you are walking down a nude beach with your new breast implants. The ladies will get it immediately." With the deep respect he has for tango, he transmit his knowledge with all his passion and tries to teach the students the way he thinks tango deserves.

Andrea Misse translates whatever Javier says into english. She often turns deep red when Javier asked her to translate exactly what he says. She dances beautifully, has impeccable technique and most importantly, is her amazing speed with fluidity. Their partnership is relatively new, less than 2 years and everytime I see them dance, Andrea gets more and more expressive. The last time I saw them dance at El Beso I could almost hear them talking and laughing with their feet.

She is beautiful and warm and gives a lot of individual attention to the students. She is very approachable and explains to the students in a very clear and concise manner.

They travel around the world and are in high demand. It is very hard to get to them but I had all the luck in the world to be in Buenos Aires learning from them in the few months they are back in their homeland.

El Flaco Dany

Dany is one of the best milonga dancers in the world in my opinion. Matched only by Javier. He is elegant and has amazing speed.

Teaching wise he is a very dedicated teacher. He really gives you a lot of attention if you are struggling. I have seen him spend half an hour on a couple. It feels to me like he takes it personally to make sure you know what he taught.

You have to understand spanish to get the maximum out of him. But nonetheless he's class is one of those where you have to try just because he is so good at how he dances and he is essentially; tango.

Julio Balmaceda and Corina De La Rosa (English speaking)

World famous dancers. They are amazing to watch dancing vals, due to the power and smoothness in their 'giros' (turns). Julio and Corina has amazing energy in classes, their classes are fun and they always have beautiful and amazing figures to teach. Usually their classes have an more than 30 people.

They dance a style of tango salon, with a little bit mix of nuevo elements.

Here are some other teachers of tango salon style which I had good experiences learning from.

Gabriel Misse and Alejandra Martinan (Stage, salon; english speaking)
Fernando Galera and Vilma Vega (Salon, english speaking)
Jorge Dispari and Maria La Turca (Salon, Villa Urquiza style)
Gustavo Chidichimon (Milonga con traspie)
Andres Laza Moreno 'Bichy' (Salon, Villa Urquiza style)

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Tango Nuevo

Gustavo Naveira and Giselle Anne (English speaking)

Probably no one teaches the original tango nuevo as well as Gustavo Naveira and Giselle Anne. I took some of their classes and they have broken the lead of tango into very clear and logical elements. He also explains very well the elements of the music.

I've seen them dance. To me their tango is danced with the 'nuevo' concepts, but retains the feeling of the classic salon. That is what I like about them as compared to other tango nuevo dancers.

Honestly my knowledge of tango nuevo is very limited. But I would strongly recommend any nuevo enthusiasts to learn nuevo from the originator himself.

The other two main tango nuevo schools in Buenos Aires are DNI Studios and Tango Brujo.

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Conclusion

Cacho Dante summed it up very nicely when I once asked him what was the true essence of tango. He replied, "Dancing for the lady, dancing to the music and dancing with the other people surrounding you on the dance floor." I think whichever style you prefer, in the end if your aim is to learn the true essence of social tango then you have to ask yourself these questions;

Is the dance that you are learning, a dance where your partners feels comfortable and connected when he or she dances with you? Can you express the tango music with your dance, I'm not talking about electronic tango; rather the traditional tango music that comes from such a long time ago? Are you learning to dance in such a way that you are in harmony with the dancers dancing in front of you, behind you and around you; they are not dancing with fear that you would crash into them anytime?

If you are in Buenos Aires, in the roots of tango, then look for the roots, stick yourself amongst them. Learn from the roots and experience what true tango is all about; not just a series of body movements; but a whole lifestyle philosphy.

Favorite Tango Style 선호하는 땅고 스타일 투표(필라땅고 일반자료-->투표)해 보실래요? 대상은 필라땅고 정회원, 우수회원, 특별회원, 운영자 등

 미국 결과 보기-->
 http://www.micropoll.com/akira/MicroPoll?mode=html&id=38960

참고:

Draw a circle and label it "Salon", then draw a smaller circle
inside that, label that as "Close Embrace", then inside the
second circle draw a third you can finally label "Milonguero".

The Milonguero Circle is the set of limitations imposed by
accelerating decrepitude and dancing in tight quarters in
BA over the last 20 or so years. Of course, there is the
additional set of circumstances that most new "Milonguero"
dancers ape the styles of the lucky few dancers that found
a style many of their partners enjoy or ended up in a movie.

For those of us with a bit more space and athletic ability
(mostly balance), we have more possibilities, and we should
use them to develop our own styles, inside the limitations
that the social norms of tango impose, of course.

1. A Milonguero is basically just walking his entire dance, very close, and
not separating or opening.
2. A Milonguero steps all of his turn to the beat of the music.
3. A Milonguero walks a higher percentage of the dance in the cross
walking system vs. Parallel.
4. a Milonguero stops or pauses the lady on one foot, he is on two.
5. A Milonguero does not do Gaunchos, or throw the lady up in the air
and land her on his knee. And a lot more embellishments.
6. A milonguero can do Boleos, but the women's foot stays on the
floor, not lifting up in the air.
7. A Milonguero dances for his partner, not the audience.

From: "Tango Society of Central Illinois" <tango.society@gmail.com>
Subject: Re: what makes milonguero, milonguero
To: "TimmyTango@aol.com" <TimmyTango@aol.com>

Labeling a way of dancing tango as 'milonguero' gets one quickly into a
briar patch. In the US Susana Miller introduced the label 'milonguero style'
tango in the mid-1990s, involving close embrace in apilado frame directly in
front of the partner (i.e., not offset), with the woman's usual head
orientation being over the man's right shoulder (vs. inward towards the
man's center), and walking forward with the weight landing on the heels
first, among other things. To some degree one observes this 'style' of
dancing to be quite common among porten~os in certain popular milongas
occuring on an almost daily basis in or near downtown Buenos Aires (e.g., El
Beso, Plaza Bohemia, Lo de Celia, Club Gricel). However, those who dance
'milonguero style' in the US lack the richness and uniqueness of the styles
of the more experienced older porten~os dancing in these Buenos Aires
milongas, particularly with respect to musicality and improvisation, so that
in the US one sees a fairly homogeneous style of tango in close embrace that
is distinct from the more common and more diverse variants of tango danced
in an open frame, which has had input from a wider variety of instructors
from various various 'schools' or lineages of tango.

In Buenos Aires there is more continous variation among a much larger
population of dancers. The so-labeled for export 'milonguero style' exists
in significant numbers as a subset of variation in Buenos Aires, but the
posture, embrace, balance, walking and to some degree musicality and
vocabulary vary considerably among dancers, due in part to age, experience,
and neighborhood. However, it would be correct to say that the overwhelming
majority of porten~os (probably > 95%) dance tango in some variant of a
close embrace, with a minority opening slightly momentarily, typically only
on one side, for ochos and turns.

It should be noted that instructors using the label 'milonguero style' and
'tango milonguero' cover a wider range of stylistic variations than those
who use this label in traveling abroad.

The thickety area of thorns and bristles centers around the use of the term
'milonguero'. It is quite common, although not universally accepted in
Buenos Aires, to only call someone a 'milonguero' if that person was dancing
tango during the Golden Age (ending in the mid-1950's) and continued to
dance tango during the period of mid-1950s - mid-1980s when tango was in
recession. Another characteristic of a 'milonguero' is that tango is the
center of this person's life.

Some would say that only those dancing in an apilado frame are dancing the
style of the milongueros, although others would argue that offset frame,
more figure oriented styles characteristic of the outer neighborhoods
(marketed to some degree in the US as 'estilo de Villa Urquiza') is also
danced by 'milongueros' from these outer neighborhoods.

Due to fairly continous variation in styles, in Buenos Aires it would be
difficult to demarcate clear boundaries such as 'milonguero style' vs.
'salon style'. By definition, all variations of tango danced in the milongas
comprise 'tango de salon'. 'Tango fantasia', or tango for the stage, is
distinct and rarely danced at BA milongas (although there are some
exceptions, particularly by tango fantasia instructors at milongas
frequented by tourists.

Outside of Buenos Aires, tango for the stage is danced regularly at milongas
and in many areas is the norm or most popular style. In many milongas there
are also those who dance a representative of stylistic variation in Buenos
Aires that has been labeled 'milonguero style'. Unlike Buenos Aires, where
there is nearly continuous variation in stylistic features, although nearly
all are in some form of close embrace, outside Argentina there is a gap,
with the close embrace 'milonguero style' being distinctly different from a
range of variants of stage tango. Thus, outside Argentina it may be useful
to refer to these differences as different styles because they involve
different technique and, to a large degree, a different repertoire of
'steps'.

However, in Buenos Aires, the term 'milonguero style' and trying to define
it becomes muddled within the lack of agreement regarding the definition of
a milonguero and the range of stylistic variation even among dancers that
fit a narrow definition of milonguero.

Ron

--------

Tango styles

1. Estilo Milonguero (also called Apilado):
   This is a particular style of dancing tango with a selection of steps and technique suitable for dancing in crowded places, as taught by Susana Miller, Cacho Dante and Tete. It is always danced in close embrace, which is maintained for the entire dance; it is usual to dance perfectly framed in front of each other - nipple to nipple - and this hold being altered as sliding movement of the chests to one side or to the other to do certain moves. However, this dos not mean that dancing in “close embrace” automatically means dancing Milonguero, because most likely you may be dancing Salon.
2. Nuevo Tango:
   Nuevo tango is largely a pedagogic approach to tango that emphasizes a structural analysis of the dance in which previously unexplored combinations of steps and new figures can be found, as taught by Gustavo Naveira, Fabian Salas, Chicho Frumboli and Mauricio Castro. The style is danced in an open, loose or elastic embrace with a very upright posture, and great emphasis is placed on dancers maintaining their own axes.
3. Estilo Salon:
   This is the form used by most instructors and dancers all over the world. It is generally danced in close embrace but it will use an open embrace as needed to perform certain figures, and then return to the close embrace to continue dancing. In Salon, the close embrace generally consists of placing the right nipple of the man on the chest bone of the woman. It can be very simple (Tango Liso), and mostly walked with very few figures - mostly ochos or very elaborated with the use of embellishments and complex figures. Salon has all the possibilities and ornaments including the use of all the steps of Milonguero. Milonguero and Nuevo tango take a selection of steps and moves from Salon to define their particular way of dancing.

One final point (gathered from different sources) is that a style is not solely determined by the embrace. It is a combination of the posture, the embrace and the typical footwork or vocabulary used in the dance. Another useful reference is Stephen Brown’s list.

-----------

Date: Tue, 27 Nov 2007

From: Stephen.P.Brown@dal.frb.org
Subject: Style Wars: Truth and Truthiness

Rather than approximating the truth, the forever ongoing style wars on
Tango-L are more likely to yield what Stephen Colbert calls 'truthiness.'
The latter being facts or concepts one only wishes or believes to be true.

An article recently published in Public Choice
<http://www.springerlink.com/content/100332/> (subscription required) by
Michael C. Munger examines the information content of political blogs.
Munger finds that bloggers and the mainstream media face the same
difficulties if they wish to rely on the blogosphere as a generator of
truth. Both bloggers and media converge on a small number of key blogs
operated by elite opinion makers as sources of information. But these
elite opinion makers are highly aware of how political discourse is
conducted and are likely to resist any information that doesn't conform to
their existing attitudes and beliefs. In addition, blogs and blog readers
are likely to separate themselves into smaller networks of people who hold
substantially similar views. These factors tend to generate biased,
polarizing views that are self-perpetuating, and people develop an
us-versus-them mentality.

Munger's conclusion runs counter to a perhaps commonly held view that the
blogosphere or discussions on forums such as Tango-L can serve as
marketplace for information that approximates a parallel processing
statistical estimator of the truth with nice properties as additional
observers are added. The key to a good outcome is that there is some
mechanism for sharing and aggregating the information and that observers
are independent rather than polarized. In a polarized world where
liked-minded individuals replicate the information already provided by the
elite opinon makers, the independence property necessary to avoid
truthiness is destroyed.

For some related thoughts, see
Why Biased Views Are Self Perpetuating
http://www.tejastango.com/inside_2004archive.html#0027
Taking Tango Styles to Extremes
http://www.tejastango.com/inside_2004archive.html#0007

With best regards,
Steve

---------------

Thursday, March 06, 2008

Tango Thoughts

http://elizabethbrinton.blogspot.com/

There is a discussion going around, on Tango L, in the blogs, at the milongas, about types of styles, the validity of this or that. I prefer milongero, close embrace, but I do enjoy open moves when they are executed/lead with some skill. Someone I like to dance with dances with a shift from open to close, always when there is space for it, and with grace and consideration. It is a rarity.

I asked a dancer friend in Buenos Aires, an Argentine, about the style wars, and she said it was not even a real subject. One can dance close, or open, but there is only one tango, and tango is a feeling. So, we shut up and dance.

Well, you still have to learn a lot of things, and I don't know how you learn feeling. When you have it, convey it and hope that it spreads around like a nice virus.

Thinking about Buenos Aires, how the men dance, with such intimacy. It isn't dirty or inappropriate, (usually!) but wow, is it deep and dark and good. The tenderness or heaviness or lilting (or whatever) quality is like a current which starts with the music. It comes through the man into the woman, (or leader into follower) and then back. I think this is what makes people bail on everything and move to Buenos Aires. It can be like a drug, and I suppose if scientists are involved they will prove that it makes us happy with seratonin or something. I would be a part of the testing but the electrodes don't go with my outfits, and they would mess up my hair.

You don't have to be in Buenos Aires to get this, it is here for us wherever we are. It is just so much more part of life there, in the air. Buenos Aires. But I am finding it in Seattle, more rare here, but every bit as good. And lately, I don't even have to leave the house.

Posted by Elizabeth at 10:46 AM

----------------

Susana Miller y Osvaldo Buglone performing at Milonga Shusheta. Milongueando February 2007

-------------------

History of Tango :

http://www.bbc.co.uk/bbcfour/music/features/tango_salon.shtml

----------------------------

Tango Styles

Villa Urquiza Style

Characteristics of Villa Urquiza Style:

• long steps, touching the floor as if they are wearing gloves on their feet
• the habitués of half century ago
• I am not talking about figures, it's about the musicality and the quality of the movement.It's about a wealth of knowledge so subtle and complex that for the ordinary eye is imperceptible
• that is characterized by elegant and pure walk, musical adornments and spry movements with abundance of giros, enrosques, lapices, arujas
• tango style of "Villa Urquiza", which is characterised by its solemn elegance and surprising virtuosity
• Milonguita’s protégé, El Turco José Brahemcha, lent his own inimitable quality to the expression‎ of this style by widening the space of movement. Miguel Manzini defined the character of the gancho in the style by synchronising it with the movement of the partner and the culmination of the music. Juan Luna served as a role model for dancing the Milonga without traspies. Osvaldo Mozzi ("El Nene Fó") engaged in listening and walking puristically
• characteristic of Villa Urquiza style: stepping in the space beyond the notes
• Villa Urquiza style – the traditional and elegant salon style of Buenos Aires

Representative of Villa Urquiza Style:

Jorge Dispari (Known for having one of the best "caminatas" (walk) in tango today and a master of enrosques, agujas, and lapices).

Marita "La Turca" (has a unique musicality and is precise in her use of adornments) They both learned from Gerardo Portalea, "El Turco" Jose, "Milonguita", Carlos Estevez "Petroleo", "Cachito" Montegaza, "Finito", Jose Lampazo, and Alberto Villarrazo;( the original dancers who developed the Villa Urquiza style of tango).

Maria del Carmen Romero and Jorge Díspari belong to the very few teachers of the Villa Urquiza style; (Maria and Jorge have trained some of the today's world' top dancers, including Geraldine Rojas (their daughter, 24), Javier Rodriguez, Sebastian Arce, and Samantha Dispari (their youngest daughter, 14), Andres Laza Moreno 'Bichy'

Almagro Style or "Milonguero" Style or “Apilado“ Style

Characteristics of Milonguero Style:

• closely embraced and whose short steps adjust synchronously to the beat
• Very similar to the typical style of the downtown night clubs of the 40's
• This style developed in the crowded clubs of downtown Buenos Aires and is danced in a very close embrace. The focus of this style is on the connection with your dance partner and with the music. It is not danced for show, rather for the shared experience between dance partners. The steps allow dancers to create very compact choreographies. When the dance floor is very crowded the best dancers can still dance, dancing literally in the space they can stand in
• The apilado style uses compact choreography that creatively employs the limited space of the social dance floor. It is a rich and complex form of subtle body signals that profoundly respects tango's rhythms
• The quality of tango is when it is danced into the floor. This occurs when the body contact is at the correct points. Balance, fluidity, musicality depend on these points of contact. With them you can paint pictures on the floor for such orchestras as Pugliese or D'Arienzo
• Milonguero Apilado is a very efficient and easy to learn style of tango. Start dancing sooner, if you already know salon tango, milonguero will dramatically improve your leading skills because it forces you to use your torso effectively
• Tango Milonguero refers to a distinct form of dancing tango, close embrace and styled with attitude. This "Milonguero Style" is also referred to as Confitera style, club style, Apilado style. The term Apilado can be interpreted as lean towards the leader for the follower, which describes the kind of close embrace used by the milongueros from the centre of Buenos Aires Milonguero style of dancing is clearly a very close embrace philosophy with full upper body contact. As the dancers lean towards each other they share a third axis, creating, vertically from the heels, a pyramid "/\" formation, using simple walking and turning steps
• Milonguero = staccato movement, no separation for turns, apilado embrace with the appearance of a lean

Representative of Milonguero Style:

Susana Miller; Cacho Dante, Luis Sanda and Guiselle Chartier with their "Almagro" style, Rosana Devesa, Ana Maria Schapira, Tete and Silvia, Jorge Firpo, Flaco Dany, Maria Plazaola

Salon Style

Characteristics of Salon Style:

• The embrace for Tango Salon is close but often with little or no contact at the chest. It has a more elegant and upright style than Milonguero and, with both partners having their weights forward, i.e. forming an inverted ‘V’ shape, the first contact is often made at the head. In Buenos Aires it is not uncommon to see couples dancing with their foreheads touching
• Unlike in Tango Milonguero, the embrace in Tango Salon can change from a close embrace to a more open one. It is this characteristic that gives the dancers the greater freedom necessary to dance a much wider variety of steps and figures than is possible in the Milonguero Style. The woman in particular has much more opportunity to express and impose her style and personality on the dance, rather than merely being a passive follower
• Salon = smooth movement, a slight separation for turns, offset V embrace with an upright posture
• Also known as "tango de salon," salon-style tango is typically danced with an upright body posture with the two dancers maintaining separate axes. The embrace can be close or open, but it is typically offset (with each dancer's center slightly to the right of their partner's center) and in a V (with the woman's left shoulder closer to the man’s right shoulder than her right shoulder is to his left shoulder). When salon-style is danced in a close embrace, which is common in Buenos Aires, the couple typically loosens their embrace slightly to accomodate the turns and allow the woman to rotate more freely. When salon-style is danced in an open embrace, which is uncommon in Buenos Aires, the distance between the partners allows the woman to execute her turns more freely and pivot without requiring much independent movement between her hips and torso. If the woman rotates her hips through the turns independently of her upper torso, the embrace need not be loosened as much. Salon-style tango is typically danced to the most strongly accented beat of tango music played in 4x4 time, such as DiSarli. Those who dance salon-style tango to Juan D'Arienzo or Rodolfo Biagi typically ignore the strong ric-tic-tic rhythm that characterizes the music. Salon-style tango requires that dancers exercise respect for the line of dance

Representative of Salon Style:

Julio Balmaceda and Corina De La Rosa, Javier Rodriguez and Andrea Misse, El Flaco Dany, Gabriel Misse and Alejandra Martinan, Fernando Galera and Vilma Vega, Jorge Dispari and Maria La Turca, Gustavo Chidichimon, Andres Laza Moreno 'Bichy', Orlando Paiva Sr

Nuevo Style

Characteristics of Tango Nuevo Style:

• Unfolds all the imaginable variety of figures which the previous couples can do without
• The faithful followers of his method of combination of steps and figures consider it "the acme of creative improvisation ". The detractors, who detest the way in which the Naveira dancers move around the floor looking for space for their movements, define them as "the patrol cars of the dance floor."
• “Now, what is arising is a system of improvisation of an even greater variety of combinations. And these changes are also transferred to the marking techniques to lead the woman". (Naveira)
• Nuevo -- Nuevo tango was originally intended as an analysis of tango movement, but for some dancers, nuevo tango has taken on some dimensions of a style. I have identified it as a style, but some disagree with that categorization

Representative of Tango Nuevo Style:

Gustavo Naveira, Giselle Anne, Salas, Chicho

Stage or Show-Tango or ‘Fantasia’

Characteristics of Show-Tango:

• Elite with technical formation, that alternates between the social dancing at the milongas and the professional stage performances
• Fantasia -- Fantasia is a combination of social tango movements with ballet and modern dance intended for the stage
• Tango Show- Fantasia on the other hand has a pre-established choreography adjusted to a particular music. The dancers may be lifted in the air for scenic effect more frequently than in salon tango.
• The technique, balance and agility required for Show-Tango far exceeds that required for salon dancing. The average dancer can greatly improve the quality of his/her salon dancing by learning some Show-fantasia tango moves
• Many of those moves are learned for the stage only and are not used in social dancing

Representative of Show-Tango:

Miguel Angel Zotto, Milena Plebs, Virulazo, Antonio Todaro, Guillermina and Roberto Reis, Vanina Bilous and Roberto Herrera, Pablo Veron and Carolina Iotti, Carlos Copello and Alicia Monti, Alejandro Aquino, Gustavo Russo and Alejandra Martinan, and many, many others

Publicat de la sastresa

----------------------------------------------------

INTERVIEW “STYLES OF TANGO” - Part I

Candombe e Canyengue

Interview with Yvonne Meissner

(translation E. Marsiglia)

자료원: http://www.kidojo.it/tango/art002_en.html

 We asked the tango teacher Yvonne Meissner to tell us about the different Argentinian tango styles and terminologies which were discussed and published in 2000 on the "E-American List".

(Y = Yvonne, J = journalis)

J:     Yvonne we would like to know more about the history of tango, looking at it from the point of view of dancing in general.

Y:     I would like to begin by telling you about a dance called the candombe which preceded the tango and which was brought to Argentina by slaves from Africa. For a long time a substantial community of these black slaves existed in Buenos Aires until it was decimated by an epidemic of yellow fever in 1871. But the candombe survived and is still danced today in Montevideo in Uruguay (which is opposite Buenos Aires on the other side of the Rio Plata). In this dance people move the upper part of the body and remain separated from each other, as in the salsa.

J:     I remember at the beginning of the film "Historia de Tango", made in 1949, that the candombe was danced in some of the scenes. It seems that with its strong rhythms it has influenced the canyengue, which is a form of pre-tango.

Y:    Yes, the canyengue was developed by the children of candombe dancers. It was danced from the early part of last century until at least the end of the thirties, and retained, musically, much of its African roots. The canyengue or canyengue orillero is also known as the tango con cortes (y quebradas). For example, Carmencita Calderòn, the partner of the well-known ballerino Cachafàz, referred to her tango as tango con cortes rather than canyengue or canyengue orillero. But whether we are speaking about the childhood memories of my dancer friends aged between 60 and 90, or about researches made by historians, they both agree that the tango con cortes y quebradas forms a part of the canyengue, given that the typical repertory of the latter is based mainly on cortes and quebradas.

J:    Could you explain the terms cortes y quebradas in a bit more detail?

Y:    The word corte comes from "cortar", meaning to cut, and, as opposed to a step, or paso, indicates the beginning of a step but without complete transference of weight onto the new supporting leg. In the most exaggerated case at least 51% of the weight remains on the leg that began the step, with 49% transferred to the other leg. The movement is carried out using the front part of the foot onto which the weight is transferred by leaning into it and then quickly, the weight is transferred back to the initial leg.
The word quebrada comes from "quebrar", which means to break, and indicates a movement to the side and a twisting of the upper torso towards that side. These are not complicated steps. It is just that it is very difficult to describe movements in words even when, in reality, they are very simple to execute.
The tango with cortes y quebradas is a historical form of tango and is not normally danced today in the salons of Buenos Aires, especially as canyengue music is no longer played.

J:    Why is this?

Y:    The canyengue is an old form of tango which was danced by the black and mixed race populations that lived in the working class areas in towns such as La Boca and San Telmo (but also in other catchment areas of the Rio de la Plata, including Montevideo, in Uruguay). In fact, in Montevideo, very interesting forms and variations of it survive even to this day. In this dance, there are lots of quebradas and movements of the upper torso which are rooted in the African dances of the original slaves.
Towards the end of the twenties and the beginning of the thirties another social class, consisting mainly of the white population, began to be interested in this dance of the blacks, or 'morenos', and with them, slowly, the canyengue orillero evolved. It is called orillero because these descendants of European immigrants lived in the orillas, or outskirts, of the towns, where they came into close contact with the mixed race families who were mixtures of white and black, or of white and native peoples (indios). This process of being taken over by a higher social class was repeated many times in the social and formal development of the tango. During the forties (the golden age of tango), a new richer social class, the middle class, began to emerge that wanted to distinguish itself clearly from the other, lower, classes. As a result the music and dancing of the canyengue and the canyengue orillero began to disappear from the salons of Buenos Aires.
Even today, the older milongueros, aged 60-90, who form part of, or who come originally from this social class, refuse to dance the canyengue in a tango salon. It is only the interest shown by foreigners towards the end of the eighties which allowed its return and even so, it still only appears in shows for tourists or is danced in salons by newer generations of dancers, although many professional dancers have learned the steps, having seen it danced within the family when they were young. We shouldn't forget that the authentic dancers of the canyengue would today have to be between 95 and 110 years old, and those of the canyengue orillero between 85 and 90.
In summary then, both the canyengue and the canyengue orillero are essentially historical forms of tango which were danced separately by two different social groups. It was then abandoned for a long time and eventually revived by the interest and enthusiasm of outsiders.

J:       Thanks, Yvonne.

 

INTERVIEW “STYLlES OF TANGO” - Part II

Tango de Salon - Stile Milonguero - Stile Tango Apilado

Interview with Yvonne Meissner

(translation E. Marsiglia)

자료원: http://www.kidojo.it/tango/art003_en.html 

We continue the interview with tango teacher Yvonne Meissner concerning the different styles and terminologies of Argentine tango, which was published in 2000 on the “E-American List”.

(Y = Yvonne, J = giornalista)

J:        We’ve arrived at the term “Tango Salon”. I have heard different definitions of this, such as Club Style, Milonguero Style and others, but do these expressions always refer to the same style of tango?

Y:        The expression‎ Tango Salon encompasses all the styles of tango which are danced in a social context where, collectively, it is necessary to consider the movements of other couples. The name itself derives from the kind of place in which it is danced. It was born in the 1940s, when the middle classes began to attend the milongas (dance halls), and has two particular characteristics: 1) that the couple keeps the front part of their bodies and their shoulders directly facing each other throughout the entire dance, and 2) that the couple respects the speed and direction of the “ronda” (the rotating movement of the entire group in the milonga). Also in this salon style the dancers keep their heels on or as close as possible to the ground and do not execute figures that might interfere with other couples on the dance floor. The essential feature is that the dancing remains within the physical space created by the couple.
Salon Tango can also be danced with a close embrace, as many tango tourists to Buenos Aires have noticed. This was, and remains, the practice in the centre of Buenos Aires, whereas in the Salon Tango of the barrios, or outer districts (Saavedra for example) the dancers keep a certain amount of space between the leader and the follower, while still maintaining the other features mentioned above. In the province of Buenos Aires (for example Avellaneda) the couples assume a horizontal V position with the apex at the right hand shoulder of the leader. Salon Tango uses steps that we can still define as “figures”, but these are not pre-determined and are not always danced from the beginning to the end of the sequence, as they can be interrupted according to the sense of the music and the available space in a salon.

J:        We can say then that the term Tango Salon refers to all the styles of tango that are danced socially, but how many of these styles exist?

Y:        There are a number of forms of Tango Salon: Tango Liso, for example, is a simple tango walk. At most, the follower is led into a cross, but there are no turns or other figures. This form of tango was born at the beginning of the forties, when a part of the middle class in Argentina became interested in the tango and began to frequent the milongas (the daughters always being accompanied by some member of the family). They wanted to experience the pleasures of the new dance without having to mix with the lower social classes, who had been dancing the tango since the end of the thirties. Some of their figures, the ‘gancho’ for example (which in the thirties was only performed by men) or other similar sequences, had a sexual connotation both for the dancers and for those watching. Because of this, Tango Liso became the only form of tango that the daughters of the ‘respectable’ classes were allowed to dance. Some milongueros today still dance the Tango Liso but only in the authentic milongas, which the tango tourists do not normally attend. Tango Confiteria and Club Style are also forms of Tango Salon which are danced socially in the milongas, either with a close embrace or with a certain distance between the leader and follower

J:        Tell me ’one last thing’: what differentiates Milonguero Style from Apilado Style?

Y:       The Milonguero or Close Embrace Style are terms which describe the tango danced by the milongueros of Buenos Aires in contrast to the Tango Fantasia which was introduced by Todaro, and is now danced throughout the greater part of Europe. In 1993, a performing group of authentic milongueros came to Holland and taught what they called the Milonguero Style, which, for them, was just a general term for Tango Salon, but because they danced with a close embrace, Milonguero Style became the term for this ‘Buenos Aires’ way of dancing. Tango Salon in the Apilado manner is the same as Milonguero Style i.e. with the couple dancing in a close embrace. The term Apilado can be interpreted loosely as “put yourself forward” for the leader or “lean towards the leader” for the follower, which describes the kind of close embrace used by the milongueros from the centre of Buenos Aires. As the dancers lean towards each other (more or less according to preference) they share a third axis, creating, vertically from the heels, a /\ formation in which the apex of the /\ corresponds to the upper part of both bodies where the couple are in contact. In addition the follower embraces the leader by putting her left arm around his neck towards his left shoulder. Since the 1990s, this style of tango, which historically was danced only in the centre of Buenos Aires, has become more and more widespread, especially in Holland.

J:        Thanks, Yvonne.

------------------------------------------------

Date: Wed, 23 Jul 2008
From: "larrynla@juno.com" <larrynla@juno.com>
Subject:  The language of Tango 땅고의 언어

Every dance is a language of the body.
모든 춤은 신체 언어이다.
Some dances are very limited in how many "words" they have, ways to "pronounce" those words, and how they can be combined into "sentences" and "paragraphs" and so on.
어떤 춤은 어휘 수가, 단어의 발음 방식이, 단어를 문장과 문단으로 확장하는 방식이 매우 제한적이다.

Some have more range.
어떤 춤은 보다 많은 범위를 지닌다.
What's unique about tango is that the range of its language is a full order of magnitude (at least) more than any other social dance.
땅고가 독특한 점은 그 언어의 범위가 다른 사교춤보다는 자리 수가 훨씬 크고 완전하다는 것이다.
 It can be used on the stage to tell a story.
스테이지 공연 땅고는 이야기를 할 수 있거나
 Or to make an artistic statement that is like abstract art.
추상 예술처럼 예술적인 진술을 할 수 있거나,

Or make people laugh, as a string of jokes or a more organized comedic tale.
농담을 표현하거나 희극적인 이야기를 꾸며 사람을 웃게 하거나
And more.

Still tango, but tango for show, where talented dancers give something to the world.
쇼우 땅고는 재능있는 무용수가 사람들에게 의미있는 걸 던져 주는 것으로 여전히 땅고이다.
And their more rarefied confections might seem to be more cerebral than passionate, but those of you who know tango performers know how much energy and caring and damned hard work goes into those confections.
쇼우 무용수들의 격조높은 여성 의상 등으로 조제한 공연은 열정보다는 지성에 호소하는 것 같아도 땅고 공연 무용수들을 아는 사람들은 그들이 쏟는 에너지와 관심과 힘든 훈련이 얼마나 드는지 알고 있다.
 Performers must care a lot to exert so much time and effort into what they do, and their careers have a short shelf life.
공연수들은 공연을 준비하기 위해 시간과 노력을 엄청 많이 쏟아 넣고 많은 걸 돌보아야 하며, 공연 경력은 짧은 저장 수명 주기로 끝난다.
At thirty often their careers are over.
30세에 공연수 경력은 끝난다.
Or tango can be much more casual.
또는 땅고는 보다 평상적일 수 있다.
This is the way of many Argentines, who come to a milonga to meet their friends and chat and smoke and snack.
즉 많은 아르헨티나인들이 친구를 만나고 이야기와 담배와 간식을 즐기러 밀롱가에 춤추러 오는 방식이다. 
And sometimes to dance a little tango with a very small vocabulary, and often not very well "pronounced."
그래서 때때로 매우 적은 어휘로 그리고 종종 발음이 매우 정확하지 않게 땅고를 조금 추는 정도이다.
 If your Spanish is good enough sometimes you will hear them laugh at the foreigners and how seriously they take tango.
만일 스페인어를 알면, 외국인이 추는 땅고가 너무 심각하다며 아르헨티나인들이 비웃는 담소를 들을 수 있다.
Tango is sometimes used in courting, especially by the young.
땅고는 때로 젊은 층에서 연애 작업에 이용된다.
It's a way to get someone attractive to them in their arms.
매력적인 이성을  안고 출 수 있기 때문이다.
Sometimes they use it to impress with their skill and agility and stamina.
때때로 땅고 기술과 민첩함과 체력(원기)으로 이성에게 인상을 줄 수 있기 때문이다.
 Or maybe impress with their fashion style, dressing up sharply, or down in reverse supercasual street style - which is often more earnest and calculated in effect than those who dress up.
또는 패션 스타일, 실제보다 아름답게 뚜렷이 장식함 또는 반대로 일상의 거리에서 입는 스타일로 성장하는 이들보다 보다 진실되고 계산된 효과를 연출하여 이성에게 인상을 줄 수 있기 때문이다.

But tango can be used for more than sexual reasons.
그러나 땅고는 성적인 이유보다 더 많은 걸 위해 이용될 수 있다.
A son may coax his mother onto the dance floor and tease her about being a wallflower.
아들이 그의 어머니를 플로어로 모셔 가서 벽꽃으로 있었을 어머니를 놀리며 즐거운 농담 시간을 보낼 수도 있다.
A father may dance with his daughter at a wedding after he's given her away to a son-in-law.
아버지가 사위를 보는 결혼식에서 딸과 춤출 수  있다.
 A couple may dance in mourning at a wake for a friend they will no longer see. 커플은 이별할 친구를 위해 철야제(밤샘)를 한 새벽에 춤출 수 있다.

Ultimately tango is a house of many rooms, and it's up to each of us how many of those rooms we want to inhabit.
결국 땅고는 많은 방이 있는 집이고, 각자 거주할 방을 몇 개 원하는지 선택하는 것이다.

If just one modest room, fine, that's your right.
만일 간소한 방 하나를 원하면 좋다, 그게 너의 선택권이니까.
But it is wrong of you to insult others who have different needs and desires and abilities.
그러나 서로 다른 필요와 욕구와 능력을 지닌 사람들의 차이를 이해하지 못하거나 무례하게 모욕을 주어서는 안된다.
You not only do them disservice, but yourself, when you are small-minded and divisive.
도량이 좁거나 불화를 일으킨다면, 땅고 가족인 그들에게 모질게 굴뿐 아니라 본인에게도 그렇게 하는 것이 된다.

I have been so tired of hearing small minds trying to squeeze tango into one little box. It was the creativity and expression‎ of feelings and emotions that gave birth to tango and because of creativity and versatility it will continue to stay alive for all times.
한 언어의 범위에만 집착하는 사람들이 땅고를 작은 한 상자에 집어 넣는 말에 나는  지쳤다. 땅고는 느낌과 정서의 창의적인  표현을 가능하게 하고 독창성과 응용이 자유자재인 점이 땅고가 계속 살아 남게 할 것이기 때문이다.

Larry de Los Angeles

-----------------------------

Date: Wed, 30 Jul 2008
From: Sergio Vandekier <sergiovandekier990@hotmail.com>
Subject:  No need to tke sides (was nuevo dancing to the
music)

Brick wrote: "I don't really know why people find the need to take sides and rallyunder names like "Milongeuro style," "Salon Style" or "Nuevo style."I don't see that as doing anything but fracturing our rather smallcommunity."

IMO there are several important reasons to distinguish tango styles:

1- The styles are quite different, they use different chorography, different technique, they have different purposes.

2- Available space to dance. Milonguero is very simple and compact, requires little space. Classical salon tango or Villa Urquiza uses all the known tango moves, uses a close embrace, an open embrace or an elastic embrace, It can adapt to different circumstances of space.

Nuevo or stage will require more room.

3- There is a pedagogic reason to distinguish the styles. The instructor should not confuse the beginner tango dancer, bringing itinerant teachers of different style that contradict each other in many respects, mostly in technique.

4- The student should know that exist different tango styles. So that he is not surprised or intolerant when exposed to other forms of the dance.
also to decide what style he wishes to learn.

*Purpose: Social dancing - You may use milonguero style or Classical Salon (Villa Urquiza) with ease for this purpose. You will need ore room for Nuevo or stage. See below Andreas Wichter

http://www.youtube.com/watch?v=YKuSty0nX9k&feature=related

He dances a social tango style, not very good for exhibitions. If the purpose is an exhibition then Villa Urquiza, Stage or Nuevo are more expectacular.

* Technique - The styles differ in technique : Milonguero uses a more limited number of tango moves, they are more compact, small steps, the tango walk is
on two lanes, the foot lands on the sole or the heel. it is very good for social dancing where there is no room to dance.

Stage, Nuevo, Villa Urquiza have a richer repertoire of moves, they are more expectacular, there is need of more space for its execution.

Classical Tango (Villa Urquiza) has all the available choreographic moves, close and open embrace, may be danced socially or for exhibitions.

The tango walk is on one line, external rotation of the leg for better equilibrium, most dancers will land on the toes, some on the heel, some both ways.

Milonguero leads with the torso, Classical Tango, Stage, Nuevo lead with the torso, the arms and hands, the legs, the feet as necessary to execute all the tango moves.

Nuevo uses Counter body movement to lead embellishments such as boleos and amagues.

* Most people like to go to places where the style they prefer is danced. They avoid going to places where a different style is danced.

Summary: There is no need to take sides with respect to tango styles. Dance the style that is best for you.

Some people only know one style, other know how to dance in different styles, some adjust their dancing to the circumstances and place where they are.

Some mix elements of different styles.

Best regards, Sergio
--------------------------------
The people who built this house(Tango), and their successors,the current guardians, are wonderful, generous people and they allow me to use 'the house' whenever I want.
이 집(땅고)을 지은 사람들과 후계자들, 현재의 보호자(관리인) 들은 놀랄 만큼 훌륭하고 관대하며, 내가 원할 때마다 그 집(땅고)을 사용하도록 허락해 준다.
They even allow me to take it to other countries and to show it to other  people who can then also use the house, even though they might never have seen it in its original setting.
그들은 내가 외국으로 그 집을 가져가도록 허락하고 외국인들에게 보여주게 한다. 그 외국인들도 원래의 배경과 장치가 있는 집을 결코 보지는 못했지만 그 집을 또한 사용할 수 있게 한다.
 Tango is not MY house and it's incumbent on me to respect it and to take care of it at all times.
땅고는 나의 집이 아니며 항시 그 집을 돌보며 존중하는 점유자이다.
Personally, I don't feel that I have the right to change it.
개인적으로 땅고를 바꿀 권리를 내가 가졌다고 느끼지 않는다.
Yes, the house has many rooms but the number is not inifinite and if some people have different needs, desires and abilities, which are not satisfied by this house, then IMHO, they should find another house rather than trying to change this house.
물론 그 집은 많은 방이 있지만 무한정 있지는 않으며, 일부 사람들의 필요와 욕구와 능력이 달라서 이 집(Tango)에 만족하지 않는다면 그집을 바꾸기 보다는 다른 집(댄스)을 구하여야 할 것이다.
 Apart from being disrespectful to the house and the guardians of the house, the result could be that the house might collapse.
그집을 바꾸려고 하면 그 집과 보호자(관리인)에 대해 불경하는 것뿐 아니라 그 결과로 이 집(땅고)을 무너뜨릴지도 모르기 때문이다.
Btw, I love Salon, Milonguero, Nuevo and Show Tango and there is plenty of room in the house for many styles of tango.
그런데, 나는 살롱, 밀롱게로, 누에보, 스테이지 땅고를 사랑하며, 땅고라는 집에는 다양한 스타일의 땅고를 위해 충분히 많은 방이 있다
But there has to be limits.그러나 제한이 있다
From: Jack Dylan <jackdylan007@yahoo.com>

 ---------------------------------

 Date: Tue, 05 Aug 2008
From: Carol Shepherd <arborlaw@comcast.net>
Subject: Social Tango
I compare dance 'styles' to dialects of the same language.
Dance and language are similar in that they facilitate connection between us.

Dialects develop organically by the expressions of community members cross-influencing others within the same community.
Dialects reflect a group's preferences for certain 'phrases'(expressions/idioms) over others based on shared experience within the group. Each community also develops its own 'pronunciations' of its own subset of 'vocabulary' (where the entire set of vocabulary itself is well-known and common to all the dialects of the language).

Some innovative individuals contribute new vocabulary (slang/lingo) which is admired and rapidly adopted by other members of the group. Dialects become a primary means of expressing identity with the other members in the same community. Some speakers of a language do not have the ability or the willingness to parse other dialects, to the point where they consider a dialect other than their own to be a wholly different language.

Showing familiarity with other dialects in your own language demonstrates fundamental respect and a promise of open-mindedness and flexibility in embracing common humanity. In the opposite direction, parochialism plays up and ridicules language differences and uses dialects as an easy us-vs-them shorthand to achieve divisive identity politics and to express contempt. I would rather celebrate the diversity.

Acceptance of a diversity of dialect is a win-win approach and refusal to engage/comprehend is a win-lose approach. I see no reason for one group to lose when both can win.
Carol Ruth Shepherd
Arborlaw PLC
Ann Arbor MI USA
-------------
Date: Wed, 6 Aug 2008
From: Joe Grohens <joe.grohens@gmail.com>
Subject:  Social Tango
The analogy of dialects in a language is a very useful idea for thinking about tango styles.

This way we can get a sense of how much difference there really is between these styles. And how much these differences matter.

Dialects can differ from the standard language and from each other in principally three aspects:
- grammar
- vocabulary
- pronunciation

If we think about the varieties of tango, which ones really differ in terms of their grammar or their vocabulary?

It seems to me that all social dialects of tango follow the same structural customs (walking counter clockwise, following the code of the crossing sequence in turns, maintaing connection through both arms, etc.)

Stage tango does not. Stage tango uses the space in whatever way is theatrically advantageous. Couples dance sometimes in shadow position, sometimes separated. There are lifts, inversions, stopping the dance to talk, sing, act, etc. These differences might be considered a mixture of grammatical and vocabulary differences.

One might argue that milonguero style has a much different vocabulary than other styles. But really, it is just a simplified vocabulary of the standard language (akin to "simplified English", which restricts vocabulary to about 1000 words). Milonguero style has no vocabulary that is not used in the other styles.

I would suggest that the only distinction between "milonguero style" and the other social styles is pronunciation. In other words, it is similar to a regional accent.

-------------------
Date: Wed, 6 Aug 2008
From: Sergio Vandekier <sergiovandekier990@hotmail.com>
Subject:  Social Tango

Joe says: "I want to say "Stop talking about styles and just dance with me. I don't care what it's called, I'm going to find a way to dance with you, and it's going to be good if you don't poison it preconceived ideas."

I agree, it does not matter if you wish to use a name for the style you dance, because you are going to find a way to dance with that particular lady. This is fine. Most people do not know what style they dance.
most people tend to dance with partners of similar skill level. So they stand or sit for a while to observe the dancers and then decide with whom they wish to dance. The "way" you dance is determined by many factors. You must adjust to the available space, (lots of lack of it), the music, fast music may require smaller steps and faster rhythm, an slower one will allow longer steps and a slower rhythm.

Then the woman determines the closeness of the embrace, (very close, close with light, open), then the way everyone else is dancing in that particular club may have an influence as well; as you start dancing you get the "feeling" of the lady so that you do not lead anything that she cannot follow and when there is some problem you immediately "compensate" so that the problem is not evident.

It is possible that you lead an Ocho cortado and she does not follow because she is used to doing regular front ochos, no big deal: you continue dancing without ochos cortados. Last year I went dancing to a place where nobody ever crossed, they danced stage style without using the cross at all.

It is possible but unlikely that you ask somebody to dance without knowing how she dances and she does not know how to dance: you still can walk in a straight way, never crossing.

But it is possible that you like traditional tango and you go to a club where that style is preferred or perhaps to a place where millonguero or nuevo are danced.
There (as Carol says) people speak the same dialect and this could be a big advantage.

But if you do not know too much about styles, when somebody asks you "what style do you dance?" you answer "Salon" which means social , not stage.

Salon or social has several subgroups : Milonguero is the most common in Buenos Aires, in some places they dance traditional tango, Canyengue or Nuevo.

Joe adds "It's the same with tango "styles". They have about as much validity as astrological types. Of course, if you convince people that they belong to a certain type they'll probably start fulfilling your expectations of them."

The most common reason for dancing a particular style is that, by chance, that was the style that was being taught at the place where someone happened to go.

One step earlier to that first visit to a tango instructor : the person saw somebody dancing tango, very frequently a tango on stage, in a movie, in the theater, in Television or some club. So he goes with the expectation of dancing stage tango . A small fraction of them will have the dedication of time and energy to learn.

At certain time and after being exposed to different types of tango you may have the chance to select the style you wish to dance.

Summary: You do not know what style you dance, no big deal you dance Joe's style.

Best regards, Sergio

--------------------------------------------------------------

Tango Styles 땅고 스타일

Villa Urquiza 비쟈 우르끼사  Style

Characteristics 특성 of Villa Urquiza Style:

• long steps, touching the floor as if they are wearing gloves on their feet
• the habitués of half century ago
• I am not talking about figures, it's about the musicality and the quality of the movement.
• It's about a wealth of knowledge so subtle and complex that for the ordinary eye is imperceptible
• that is characterized by elegant and pure walk, musical adornments and spicy movements with abundance of giros, enrosques, lapices, agujas 히로, 엔로스께, 라피스, 아구하
• tango style of "Villa Urquiza", which is characterised by its solemn elegance and surprising virtuosity
• Milonguita’s protégé, El Turco José Brahemcha 엘 뚜르코 호세 브라엠차, lent his own inimitable quality to the expression‎!s of this style by widening the space of movement. Miguel Manzini 미겔 만씨니 defined the character of the gancho in the style by synchronising it with the movement of the partner and the culmination of the music. Juan Luna 후안 루나 served as a role model for dancing the Milonga without traspies. Osvaldo Mozzi 오스발도 모씨("El Nene Fó" 엘 네네) engaged in listening and walking puristically
• characteristic of Villa Urquiza style: stepping in the space beyond the notes
• Villa Urquiza style – the traditional and elegant salon style of Buenos Aires

Representative of Villa Urquiza Style:

Jorge Dispari  호르헤 디스빠리(Known for having one of the best "caminatas" (walk) in tango today and a master of enrosques, agujas, and lapices).

Marita "La Turca" 마리따 라 뚜르카(has a unique musicality and is precise in her use of adornments) They both learned from Gerardo Portalea 헤라도 뽀르탈레아, "El Turco" Jose 엘 뚜르코 호세, "Milonguita" 밀롱기따, Carlos Estevez "Petroleo" 까를로스 에스테베스 뻬뜨롤레오, "Cachito" Montegaza 까치또 몬테가사, "Finito" 피니또, Jose Lampazo 호세 람파쏘, and Alberto Villarrazo 알베르또 비쟈라쏘;( the original dancers who developed the Villa Urquiza style of tango).

Maria del Carmen Romero 마리아 델 까르멘 로메로 and Jorge Díspari 호르헤 디스빠리 belong to the very few teachers of the Villa Urquiza style; (Maria and Jorge have trained some of the today's world' top dancers, including Geraldine Rojas 제랄딘 로하스(their daughter, 24), Javier Rodriguez 하비에르 로드리게스, Sebastian Arce(Nuevo 전향), and Samantha Dispari 사만타 디스빠리 (their youngest daughter, 14), Andres Laza Moreno 'Bichy' 안드레스 라사 모레노 비치

What is Villa Urquiza? See
http://nastynest.blogspot.com/2007/11/villa-urquiza-tango-style.html

Villa Urquiza Tango Style

Villa Urquiza is a barrio or neighborhood of Buenos Aires city, capital of Argentina. It is located between the barrios of Villa Pueyrredón, Belgrano, Villa Ortúzar, Coghlan , Saavedra and Agronomía. Its limits are the streets and avenues Constituyentes, Crisólogo Larralde, Galván, Núñez, Tronador, Roosevelt, Rómulo S. Naón and La Pampa.

It is a residential neighborhood of both old houses and apartment buildings, quiet streets and a few fast-traffic, crowded avenues. It has several parks that make it very pleasant. During the summer, it is not uncommon to see neighbors talking to each other, comfortably sitting on their chairs on the sidewalk.

It is also home of several institutions of import!ance to the Buenos Aires culture, such as the tango and milonga ballrooms Sunderland Club and Club Sin Rumbo, and the winner of the last three futsal metropolitan tournaments, Club Pinocho.

The founder of Villa Urquiza was Francisco Seeber who was a soldier in the War of the Triple Alliance against Paraguay, mayor of Buenos Aires between 1889 and 1890, merchant and president of the Ferrocarril Oeste (Western Railway). In its beginnings, the barrio was composed by three small neighborhoods called Villa Catalinas, Villa Mazzini and Villa Modelo. The neighborhoods were situated on top of highlands, almost 40 meters above sea level. At the time, Francisco Seeber owned a company downtown called "Muelle de las Catalinas" (Catalinas' Wharfs), located at very low ground. So he bought the lands so much of them could be used to refill his company downtown. The workers that had worked on the project were mostly from the province of Entre Ríos. And subsequently, they asked for the neighborhood to be named after their provincial hero, Justo José de Urquiza.

Dancers who are currently leading the wave of Villa Urquiza 비쟈 우르끼사 Style tango are



Carlos Perez y Rosa Forte 까를로스 뻬레스 & 로사 포르떼
Jorge Dispari y Marita La Turca 호르헤 디스빠리 & 마리따 라 뚜르카
El Chino Perico 엘 치노 뻬리코
Javier Rodriguez y Andrea Misse 하비에르 로드리게스 & 안드레아 미쎄
Andres Laza Moreno y Samantha Dispari 안드레스 라사 모레노 & 사만타 디스빠리
Fabian Peralta y Natacha Poberaj 파비안 뻬랄따 & 나타차 뽀베라흐
Geraldine Rojas (& Ezequiel Paludi) 제랄딘 로하스
the Misse family (Andrea, Sebastian, Gabriel, y Stella) 미쎄 땅고 가족.

Pablo Rodriguez y Noelia Hurtado 삐블로 로드리게쓰 & 노엘리아 우르따도,

Natalia Games and Gabriel Angio 나탈리아 가메스 & 가브리엘 앙히호

Sebastian Achaval & Roxana Suarez 세바스티안 아차발 & 록사나 수아레스
To this day, tango classes that teach the "Villa Urquiza style" are held in Club Sunderland 클룹 순데르란드.

Almagro 알마그로 Style or "Milonguero" 밀롱게로 Style or “Apilado“ 아필라도 Style

Characteristics 특성 of Milonguero Style:

• closely embraced and whose short steps adjust synchronously to the beat
• Very similar to the typical style of the downtown night clubs of the 40's
• This style developed in the crowded clubs of downtown Buenos Aires and is danced in a very close embrace(apilado). The focus of this style is on the connection with your dance partner and with the music. It is not danced for show, rather for the shared experience between dance partners. The steps allow dancers to create very compact choreographies. When the dance floor is very crowded the best dancers can still dance, dancing literally in the space they can stand in
• The apilado style uses compact choreography that creatively employs the limited space of the social dance floor. It is a rich and complex form of subtle body signals that profoundly respects tango's rhythms
• The quality of tango is when it is danced into the floor. This occurs when the body contact is at the correct points. Balance, fluidity, musicality depend on these points of contact. With them you can paint pictures on the floor for such orchestras as Pugliese or D'Arienzo
• Milonguero Apilado is a very efficient and easy to learn style of tango. Start dancing sooner, if you already know salon tango, milonguero will dramatically improve your leading skills because it forces you to use your torso effectively
• Tango Milonguero refers to a distinct form of dancing tango, close embrace and styled with attitude. This "Milonguero Style" is also referred to as Confitera style, club style, Apilado style. The term Apilado can be interpreted as lean towards the leader for the follower, which describes the kind of close embrace used by the milongueros from the centre of Buenos Aires Milonguero style of dancing is clearly a very close embrace philosophy with full upper body contact. As the dancers lean towards each other they share a third axis, creating, vertically from the heels, a pyramid "A" formation, using simple walking and turning steps
• Milonguero = staccato movement, no separation for turns, apilado embrace with the appearance of a lean

Representative of Milonguero Style:

Susana Miller 수사나 미제르; Cacho Dante 까초 단테, Luis Sanda 루이스 산다 and Guiselle Chartier 히세제 차르띠에르 with their "Almagro" style, Rosana Devesa 로사나 데베사, Ana Maria Schapira 아나 마리아 샤피라, Tete and Silvia 떼떼 & 실비아, Jorge Firpo 호르헤 피르포, Flaco Dany 플라코 다니, Maria Plazaola 마리아 쁠라싸올라,

Chiche & Marta 치체 & 마르따, Claudia Rosenblatt 끌라우디아 로센블라뜨, Ruben Terbalca 루벤 떼르발카, Alicia Pons 알리시아 폰스

Salon Style 살롱

Characteristics 특성 of Salon Style:

• The embrace for Tango Salon is close but often with little or no contact at the chest. It has a more elegant and upright style than Milonguero and, with both partners having their weights forward, i.e. forming an inverted ‘V’ shape, the first contact is often made at the head. In Buenos Aires it is not uncommon to see couples dancing with their foreheads touching
• Unlike in Tango Milonguero, the embrace in Tango Salon can change from a close embrace to a more open one. It is this characteristic that gives the dancers the greater freedom necessary to dance a much wider variety of steps and figures than is possible in the Milonguero Style. The woman in particular has much more opportunity to express and impose her style and personality on the dance, rather than merely being a passive follower
• Salon = smooth movement, a slight separation for turns, offset V embrace with an upright posture
• Also known as "tango de salon," salon-style tango is typically danced with an upright body posture with the two dancers maintaining separate axes. The embrace can be close or open, but it is typically offset (with each dancer's center slightly to the right of their partner's center) and in a V (with the woman's left shoulder closer to the man’s right shoulder than her right shoulder is to his left shoulder). When salon-style is danced in a close embrace, which is common in Buenos Aires, the couple typically loosens their embrace slightly to accomodate the turns and allow the woman to rotate more freely. When salon-style is danced in an open embrace, which is uncommon in Buenos Aires, the distance between the partners allows the woman to execute her turns more freely and pivot without requiring much independent movement between her hips and torso. If the woman rotates her hips through the turns independently of her upper torso, the embrace need not be loosened as much. Salon-style tango is typically danced to the most strongly accented beat of tango music played in 4x4 time, such as DiSarli. Those who dance salon-style tango to Juan D'Arienzo or Rodolfo Biagi typically ignore the strong ric-tic-tic rhythm that characterizes the music. Salon-style tango requires that dancers exercise respect for the line of dance

Representative of Salon Style 살롱:

Julio Balmaceda 훌리오 발마세다 and Corina De La Rosa 꼬리나 데 라 로사, Javier Rodriguez and Andrea Misse 하비에르 로드리게스 & 안드레아 미쎄, El Flaco Dany 엘 플라코 다니, Gabriel Misse and Alejandra Martinan 가브리엘 미쎄 & 알레한드라 마르티난, Fernando Galera and Vilma Vega 페르난도 갈레라 & 빌마 베가, Sergio Natario y Alajandra Arrue 세르히호 나타리오 & 알레한드라 아르루에, Jorge Dispari and Maria La Turca 호르헤 디스빠리 & 마리아 라 뚜르카, Gustavo Chidichimon 구스타보 치디치몬, Andres Laza Moreno 'Bichy' 안드레스 라사 모레노 비치, (고)Orlando Paiva Sr 올란도 빠이바 시니어, Nito y Elba 니또 & 엘바, (Veronique and Thierry 베로니끄 & 띠에리, Claudio Orso/Graciela Calo 끌리우디오 오르소 & 그라시엘라 깔로, Damian Essel y Nancy Louzan 다미안 에쎌 & 난시 로우산, Esteban Moreno & Claudia Codega 에스떼반 모레노 & 끌라우디아 꼬데가, Guillermo Merlo and Fernanda Ghi 기제르모 메를로 & 페르난다 기, Leandro Palou and Andrea Misse 레안드로 빨로우 & 안드레아 미쎄, Jorge Torres 호르헤 또레스, Adrian Veredice and Alejandra Hobert 아드리안 베레디세 & 알레한드라 오베르뜨, Pablo Veron & Noel Strazza 빠블로 베론 & 노엘 스트라싸)

Nuevo Style 누에보

Characteristics 특성 of Tango Nuevo Style:

• Unfolds all the imaginable variety of figures which the previous couples can do without
• The faithful followers of his method of combination of steps and figures consider it "the acme of creative improvisation ". The detractors, who detest the way in which the Naveira dancers move around the floor looking for space for their movements, define them as "the patrol cars of the dance floor."
• “Now, what is arising is a system of improvisation of an even greater variety of combinations. And these changes are also transferred to the marking techniques to lead the woman". (Naveira)
• Nuevo -- Nuevo tango was originally intended as an analysis of tango movement, but for some dancers, nuevo tango has taken on some dimensions of a style. I have identified it as a style, but some disagree with that categorization

Representative of Tango Nuevo Style 누에보:

Gustavo Naveira & Giselle Anne 구스타보 나베이라 & 히세제 안네, Fabian Salas & Carolina del Rivero 파비안 살라스 & 까롤리나 델 리베로, Sebastian Arce & Mariana Montes 세바스티안 아르세 & 마리아나 몬테스, Chicho Frumboli & Juana Sepulveda, Eugenia Parrilla

 치초 프롬볼리, 후아나 세뿔베다, 유헤니아 빠르리샤: http://youtube.com/watch?v=bJEGyw_kRUI, Carla Marano 까를라 마라노 & Mauricio Castro 마우리시오 까스뜨로, Mario Consiglieri y Mariana Galassi 마리오 꼰시글리에리 & 마리아나 갈라씨, Pablo Villarraza & Dana Frigoli 빠블로 비쟈라사 ^ 다나 프리골리, Alejandro Gonzalez Crivelli & Ivana Daniela Pinol 알레한드로 곤살레스 끄리베지 & 이바나 다니엘라 삐뇰, Pablo Inza & Moira Castellano 빠블로 인사 & 모이라 까스떼샤노, Damian ROSENTHAL and Celine RUIZ 다미안 로센탈 & 셀린느 루이스, (Pablo Veron 빠블로 베론, Adrian Veredice and Alejandra Hobert 아드리안 베레디세 & 알레한드라 오베르뜨)

Stage or Show-Tango or ‘Fantasia’ 무대 공연, 쇼우, 판타시아 땅고 

Characteristics 특성 of Show-Tango:

• Elite with technical formation, that alternates between the social dancing at the milongas and the professional stage performances
• Fantasia -- Fantasia is a combination of social tango movements with ballet and modern dance intended for the stage
• Tango Show- Fantasia on the other hand has a pre-established choreography adjusted to a particular music. The dancers may be lifted in the air for scenic effect more frequently than in salon tango.
• The technique, balance and agility required for Show-Tango far exceeds that required for salon dancing. The average dancer can greatly improve the quality of his/her salon dancing by learning some Show-fantasia tango moves
• Many of those moves are learned for the stage only and are not used in social dancing

Representative of Show-Tango 쇼우 땅고:

Miguel Angel Zotto 미겔 앙헬 쏘또, Milena Plebs 밀레나 플렙스, Virulazo 비룰라쏘, Antonio Todaro 안토니오 또다로, Guillermina Quiroga, Lucilla Cionci and Roberto Reis 기제르미나 키로가, 루실라 씨온시 & 로베르또 레이스, Vanina Bilous and Roberto Herrera 바니나 빌로스 & 로베르또 에레라, Pablo Veron and Carolina Iotti 빠블로 베론 & 까롤리나 로띠, Carlos Copello and Alicia Monti 까를로스 꼬뻴로 & 알리시아 몬띠, Alejandro Aquino 알레한드로 아키노, Gustavo Russo and Alejandra Martinan 구스타보 루쏘 & 알레한드라 마르티난, Pablo Giorgini y Noelia Coletti 빠블로 지오르지니 & 노엘리아 꼴레띠, Gaspar Godoy and Gisela Galeassi  가스파르 고도이 & 히셀라 갈레아씨, Oscar Gauna & Cecilia Diaz  오스까르 가우나 & 세실리아 디아스, Guillermo Merlo and Fernanda Ghi 기제르모 메를로 & 페르난다 기, Leandro Palou and Andrea Misse 레안드로 빨로우 & 안드레아 미쎄, Jorge Torres 호르헤 또레스, Damian Essel y Nancy Louzan 다미안 에쎌 & 난시 로우산, Melina Brufman y Claudio Gonzalez 멜리나 브루프만 & 끌라우디오 곤살레스, "El Pulpo" Esbrez y Luiza Paez 엘 풀포 에스브레스 & 루이사 빠에스,  Pablo Villarraza & Dana Frigoli 빠블로 비쟈라사 ^ 다나 프리골리, Alejandro Gonzalez Crivelli & Ivana Daniela Pinol 알레한드로 곤살레스 끄리베지 & 이바나 다니엘라 삐뇰, Esteban Moreno & Claudia Codega 에스떼반 모레노 & 끌라우디아 꼬데가, Natalia Games and Gabriel Angio 나탈리아 가메스 & 가브리엘 앙히호, Pablo Veron & Noel Strazza 빠블로 베론 & 노엘 스트라싸, Tamara Bisceglia 따마라 비세글리아, Adrian Veredice and Alejandra Hobert 아드리안 베레디세 & 알레한드라 오베르뜨, Hugo Patyn & Miriam Larici 우고 삐티인 & 미리암 라리시 and many, many others

Publicat de la sastresa

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Salon Exhibition(Todaro style) 살롱 시범(A. Todaro 또다로 스타일):

 Flaco Dany and Silvina Vals

http://www.youtube.com/watch?v=0KhBuOwJPcU

 

Pupy Castello

http://youtube.com/watch?v=2OxyYHZTcUI

 

Natalia Games and Gabriel Angio 나탈리아 가메스 & 가브리엘 앙히호

Anton Gazenbeek 안톤 가젠비익

[Genie_(진)]

서있을 때의 에너지 라인은 허리를 기준으로

상체는 물을 채운 듯 크게 만들어서 릴렉스 시킨 후 하늘로 향하고,

하체는 발이 땅에 붙은 듯이 아래로 향한 상태를 유지해야 한다.

이때 주의할 것은 하체를 땅에 붙이되 관절은 릴렉스하게.

그러나 무릎은 언제든 굽힐 수 있으나 굽히지 않고,

고관절은 중심에서 벗어나지 않도록 유지한다.

[Genie_(진)]

어렵다.. ㅋ

[페넬로페]

나는 읽는데 눈이 빠질것 같았오...ㅜ,ㅜ