스크랩 땅고 스타일 및 기교 Tango Styles

[장구]

http://en.wikipedia.org/wiki/Argentine_Tango

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Date: Thu, 29 Oct 2009 16:23:57 +0000
From: Sergio Vandekier <sergiovandekier990@hotmail.com>
Subject: Tango Styles clarification

 Traditional tango is the most complete style, one could say that the elements used in the other styles are taken from traditional tango.

Traditional tango has a close embrace and an open embrace.

It has all the "firuletes" (embellishments), Boleos (low, mid, high), Amagues (low or high),Dibujos (lapiz, rulos), sacadas, ganchos, arrastres, paradas, you name it.

Traditional tango may be used for social dancing or for stage.

"Salon" is a term used to distinguish the social dance done in a home, a club, a dancing hall, etc, from the "stage" tango done in musicals and exhibition.

So you can dance traditional tango socially in close or open embrace, or alternating the embrace as necessary, with few or with many embellishments.Or you can dance Traditional tango on stage or socially using all sort of embellishments if there is enough space.

When you see boleos, amagues, barridas, dibujos,soltadas, etc, this does not mean that this is Nuevo Tango.

It still is Traditional tango. Nuevo uses the same elements that are present in Traditional tango but uses a very open embrace, and certain elements continuously, (heel sacadas, hooks, soltadas, boleos, amagues, colgadas, volcadas, back boleos, etc. plus certain changes of direction, plus frequent use of non tango music, and a particular way of dressing.

Milonguero uses certain steps and figures, also taken from traditional tango; but this time it takes figures to adapt the dance to crowded spaces.

I hope that this helps to clarify this subject. I noticed that abroad some people think that any tango with embellishments is Nuevo . This is not so.

Here you have some examples:

World championship Tangosocial Club (Traditional stage tango). http://www.youtube.com/watch?v=LuJIu6HFrwI World championship Salon

(Traditional social tango) http://www.youtube.com/watch?v=dUzLo1OfF5k&feature=PlayList&p=E6BF6941EF04A9DD&playnext=1&playnext_from=PL&index=61

Traditional tango http://www.youtube.com/watch?v=cAZ9_ywdIhQ&feature=PlayList&p=E6BF6941EF04A9DD&index=63&playnext=3&playnext_from=PL

[ 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

Milonguero according to Casas http://www.youtube.com/watch?v=jN-7DfcTdzE&feature=PlayList&p=685D420E8E8F8462&playnext=1&playnext_from=PL&index=13

Milonguero according to Susana Miller http://www.youtube.com/watch?v=jeU0NedkEuA

Nuevo Tango Chicho Frumboli

http://www.youtube.com/watch?v=m8TKp4ech7Y

Best regards, Sergio

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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.

New Videos on Youtube - "The Origins of Villa Urquiza Style" Series
Jun 10, 2007
In the 1940's, a group of dancers developed the "tango de salon" by
refining moves from the the tango of the guardia vieja. They created a
new way of walking, caressing the floor, and slurring the rhythmical
stressed moves which characterized the previous tango generation.

When tango became popular again after the end of the Argentine
military dictatorships in 1983, that elegant salon style of the 1940's
was resurrected by dancers from that Golden Era: Gerardo Portalea
(still living),  El Turco Jose (still living),  Milonguita (deceased),
"Finito" Ramón Rivera (deceased), "Lampazo" Jose Vazquez (deceased),
Virulazo (deceased), and Miguel Balmaceda (deceased). Since they
danced in the milongas at Club Sin Rumbo, Sunderland, and Canning and
this style came to be known as the Villa Urquiza style, named after
the northern barrio of Buenos Aires where the clubs Sin Rumbo and
Sunderland are located. This style has experienced a renaissance with
a group of young dancers who are now dancing, performing and teaching
in the tango scene.

I have posted some videos of the original tango masters:
Gerardo Portalea (still living),
"Finito" Ramón Rivera (deceased),
"Lampazo" Jose Vazquez (deceased),
Virulazo (deceased),
Miguel Balmaceda (deceased).
Alberto & Esther

I love these videos. Yes, some steps look old-fashioned, and some are
done in a rough way, but there is something very retro cool about the
all these performances. These are not classical ballet trained
bailarines, they are regular working people doing beautiful enrosques,
lapizes, and other steps that the tango inspired in them.

Also, there has been alot of discussion about what characterizes a
style. I would have to say that it is the musicality and the way of
moving. Watch these videos and try to spot the things that have
inspired the villa urquiza dancers of today (the Misses, Javier
Rodriguez, Geraldine Rojas, Dispari y La Turca, Pablo y Noelia, Julio
Balmaceda, et al)

Enjoy.

Also, I am in search of the "Holy Grail" of tango videos and that is a
video of Milonguita dancing.

--
Ney Melo
www.youtube.com/tangotelevision-->Origins of Villa Urquiza Style 찾기

[ 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

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.

자료원: http://lonewalker.blog.co.uk/2007/03/24/buenos_aires_tango_travelogues_styles_an~1967473

(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

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

These so-called "styles" are dialects that have largely resulted from incomplete learning.
 소위 스타일은 주로 뭔가 빠져 있는 가르침과 불완전한 학습에 의한 사투리 같은 것이다.
Hence you have to be cautious about your learning method and choosing teachers to dance the different tango styles. 따라서 다양한 땅고 스타일 중 어떤 스타일을 어떻게 학습하고 있는지 어떻게 가르치는 강사인지에 대해 주의를 하는 것이 바람직하다. 

 정의:
1. Form(형식)(or "genre" ) of A. Tango 아르헨틴 땅고의 형식(장르 종목)
 예컨대,  클로우쓰 임브레이스 style을 예를 들면
(a) vocabulary of moves(땅고 요소(무용수의 즉흥적인 끼 (개성)가 가미된 오쵸 꼬르따도, 까덴시아, 팬텀 사까다, 꼴가다, 엔간체 볼레오, 좌/우 히로, 오쵸, 플라네오 등)로서의 동작들 
(b) type of embrace(남녀 안기 유형)

2. structure(댄스 구조)란 걷기 종류 back cross, front cross, open step와 남녀 걷기 시스템 및 남녀 걷는 방향의 시스템
3. rhythm(리듬)이란 땅고, 밀롱가, 발스 리듬과 다양한 비트 배열과 쉼 
4. improvisation(즉흥성)이란 남녀 중심 이동/걷기를 짜지 않고 리드와 팔로우를 통해 즉흥적으로 추기
5. navigation(LOD 진행)이란 댄스플로어의 반시계 진행 방향과 다른 커플을 배려한 스텝 유형(동작) 응용

까덴시아 Cadencia: tango에서 매우 중요한 가치인데, 음악(악기별) 프레이즈 단위에 맞춰 댄서가 춤 동작하는 시작과 마침(춤 단위)의 일치(조화)를 위한 독창적인 해석을 통해 관람자에게 느낌/감동을 주게 하는, 매혹적인 아름다움과 관능을 불러일으키는 분위기(매력이나 아우라)임.

악보상으로는 나타나지 않을 수 있으나 음악 연주자(가수)와 댄서(시범 또는 공연)의 해석에 따라(타이밍, 박자를 뛰어 넘는:The number of beats per measure is at the discretion of the performer (and the listener!) ) 탱고 essencia(essence 정수)를 끌어내어 표현하는 동작 즉 워킹은 한번 할 때 음악 속도(템포) 변화라든지, 제스처와 표정, 독특한 장식동작 등을 통해 관람자에게 느낌/감동을 주게 하는, 매혹적인 아름다움과 관능을 불러일으키는 분위기(매력이나 아우라)임.
아랍에서는 tarab같은 개념(jino님 설명)
미춤 타랍 개념 보완:The arabic word TARAB refers to a 'mood or atmosphere of enchantment' (a higher state that both the listener and the artist reach to beauty and sensuality which is sure to bring you pleasure by invoking emotions, making the listener smile, or cry) created by a performance.

타랍은 연주자(가수)와 댄서가 공연(춤 표현) 하면서 관람자에게 느낌/감동을 주게 하는, 아름다움과 관능을 불러일으키는 매혹적인 분위기임.

http://www.moondiary.com.au/tarab.html, http://www.shakomako.net/lmnawar.html)

2. Cadencia (까(덴)씨아)(dance, 영어 Cadence 케이던스)
Any steps, the sway of (in) the body done in a rhythm of syncopation at the end of a phrase.
A swaying motion of the body following the cadence of the music.
In Milonga, Cadencia might be obvious (boppy and peppy), but in Waltz it’s more subtle, tranquil and romantic like surging ocean waves (I’ll stop now ;-).
Cunita 같은 동작을 예를 들면, A deep check and replace, usually led by the man as he steps forward left. Useful for avoiding collisions and making direction changes in small spaces. May also refer to a subtle shifting of weight from foot to foot in place and in time with the music done by the man before beginning a dance to give the lady the rhythm he intends to dance and to ensure that she will begin with him on the correct foot. See Balanceo.
까덴시아에 맞춰 추는 Closing Finish (8 count Salida Basic에서 678 동작)의 대체 동작인 Cunita(turning Cradle rock)이 자주 사용됨



3. CADENCIA 까(덴)씨아 (영어 Cadence 케이던스, 종지(마침))(musical term):

Cadence( 케이던스 : 종지, 마침)는 작게는 한 악구(Phrase:)의 마침을 말하고, 크게는 한 악장 또는 악곡 전체의 마침을 말한다.

종지는 서양음악 악구에서 동기와 더불어 대단히 중요하다. 종지는 악구의 구성의 단위를 보여주며 음악을 듣는 이에게 이 프레이즈들을 느낄 수 있게 해 준다. 듣는 이들은 이 종지에서 충분한 해결감을 느끼고 만족한다. 서양음악 역사에서 작곡가들은 더 확실한 종지를 위해 끊임없이 노력해 왔다.
리듬종지, 선율종지, 선법종지, 화성종지(정격종지, 변격종지, 허위종지), 음향종지, 구성종지등 많은 악구의 종지법이 있으나 이중 고전음악에서 가장 확실한 종지법은 정격종지이다.
Cadencia 까덴시아(cadence 케이던스: 종지, 마침) 문장의 마침표 또는 악식의 화성 종지법 용어로 작게는 한 악구4/4박자 4마디)의 마침을 말하고, 크게는 한 악장 또는 악곡 전체의 마침을 말한다. 음악의 까덴시아 종지법에 맞춰 추는 Closing Finish (8 count Salida Basic에서 678 동작)의 대체 동작인음악의 까덴시아 종지법에 맞춰 추는 Closing Finish (8 count Salida Basic에서 678 동작)의 대체 동작인 Cunita(turning Cradle rock)이 자주 사용됨.

4. Cadencia could be a musical term that the leader and follower dance to their interpretation of the (forefront, accentuated among all instruments) phrase of a specifix musical instrument. It can be speed up or slowed down depending on the interpretation of the instrument.

To recapitulate an idea, there are three principal methods for learning Argentine tango:
 아르헨틴 땅고 학습에는 3 주요 방법이 있다:
step patterns, small elements, and structural systems.
 스텝 유형, 작은 요소, 구조 시스템.
Learning step patterns is like learning to play memorized pieces of music including complete compositions and the
solos played by great jazz artists. 스텝 유형 학습은 재즈 음악 곡을 암기해서 연주하는 데 전곡과 대가의 독주를 참고하며 배우는 것과 같다.
Learning small elements is like learning to play in short tasty phrases.
 작은 요소 학습은 짧지만 맛깔스런 마디를 연주하는 것을 익히는 것과 같다.
Learning structural systems are like learning scales and chord progressions.
 구조 시스템 학습은  음계와 화음간의 옮김을 익히는 것과 같다.

In music, a scale(음계) is a group of musical notes that provides material for part or all of a musical work. Scales are ordered in pitch or pitch class, with their ordering providing a measure of musical distance. Scales differ from modes in that scales do not have a primary or "tonic" note. Thus a single scale can have many different modes, depending on which of its notes is chosen as primary. The distance between two successive notes in a scale is called a "scale step." Composers often transform musical patterns by moving every note in the pattern by a constant number of scale steps: thus, in the C major scale, the pattern C-D-E ("doe, a deer") might be shifted up a single scale step to become D-E-F ("ray, a drop"). This process is called scalar transposition. Since the steps of a scale can have various sizes, this process introduces subtle melodic and harmonic variation into the music. This variation is what gives scalar music much of its complexity.

Scales in traditional Western music generally consist of seven notes and repeat at the octave.(자료원: http://en.wikipedia.org/wiki/Scale_(music) )

No one would expect to develop sufficient skill in taking only one of these three approachers. 이 세 가지를 병행하지 않고서는 충분히 최상의 능력을 보여줄 수 없다.
In tango, however, many dancers develop most of their knowledge of the dance through only one of the three principal approaches of learning Argentine tango. What is the consequence? 마찬가지로 땅고를 추는 무용수도 이 세 가지 방식의 하나만 주로 익히면 그 결과는 어떠하겠는가?
Those who only learn step patterns often appear to show good depth of composition and form, but find
trouble with improvisation, navigation and rhythm.
 스텝 유형에만 치중하는 무용수는 종종 작품(작곡)과 형식(스타일 장르)면에서 좋고 깊은 맛을 보여 주지 못한다. 

Those who only learn small elements often have good navigational and rhythm skills, but the dancing can lack a sense of composition, form, style or depth of improvisation. It's just noodling.
 작은 요소만 치중하는 무용수는 종종 LOD 진행과 리듬을 잘 타지만 작품(작곡)과 형식, 스타일, 즉흥성의 깊은 맛에 대한 감각이 부족하다. 악기를 손톱으로 가볍게 타는 것과 같다.
Those who only learn a structural system understand a complex set of possibilities, but may lack form and
have trouble fitting the concepts to the available space or the rhythm of the music.
 구조 시스템(마우리시오 까스뜨로 교재 The Structure of the Dance 참조)만 익히는 무용수는 모든 가능성을 이해하고 있지만 형식이 모자라고 다른 커플을 고려한 공간에 맞추는 것과 음악의 리듬을 타는데 있어 어려움을 겪을지도 모른다. 
With persistent work, many people will break through the limitations of the method by which they learned tango, but I think it is much easier to develop a well-rounded mastery by pursuing all three methods of learning.
 꾸준한 연습을 통해 많은 무용수들은 특정 땅고 학습법의 제한점을 이해하고 3가지 주요 방식을 골고루 익혀야 균형이 잡혀 완벽한 춤을 구사하게 될 것이다. Stephen.P.Brown@dal.frb.org

Tango is divided into different styles:

1- Salon : the one danced socially in dancing halls, clubs, home parties,
private organizations, etc. improvised.

2- Stage; the one danced on stage choreographed or improvised.

Salon has several subdivisions: Open embrace, close embrace. Milonguero (also called del centro, confiteria, club), Fantasia, Nuevo, Elegante, and an infinite number of idiosyncratic personal styles.

All the styles danced outside the stage are considered to be social dancing.

오해 Misconception #1 - Fantasia is stage dancing.

Tango fantasia is the one done with all the elements that belong to
Argentine Tango. It is done with amagues, boleos, ganchos, enrosques,
contrenrosques, barridas, calesitas, volcadas, colgadas, little jumps, etc.

Tango fantasia was the norm in social dancing till about 15 years ago when
the dancing floors in Buenos Aires were not crowded as they are today.

In the 70s. and 80s. people went dancing to do all the possible
embellishments, to see what the other dancers were doing, to try to copy new
steps, to do little exhibitions exactly the same as they are done today.
Dancers like Petroleo, Todaro, Virulazo, Lampazo, Nito and many others were not stage dancers . They were social dancers that went to the local milongas in the neighborhood to do social dancing.

Stage Dancing was developed by Carlos Copes and others that had the idea of
promoting tango abroad in the form of musical shows. Many tango fantasia
dancers joined those shows at that time.

It was in the 90s. when the dancing floors became crowded that people had to adjust their style to the lack of space to dance. They had to limit their vocabulary and the amplitude of the movements.

So foreigners come to B.A. and see a style adapted to the circumstances and decide that that is the only social dance possible. They get a false idea, return home where they have plenty of space to dance, and put chairs around the floor to re-create crowded conditions and dance in a restricted form.

오해 Misconception #2: Most people in B.A. today dance 'Milonguero Style" (meaning the style taught by Susana Miller and others).

In reality most people dance Salon style in close embrace. They land on their forefoot, they walk on one line, they do ochos knee leading vs. heel leading, they use an embrace in "V", they do not dance apilado, etc. all of them characteristics of salon style.

오해 Misconception#3: Navigation problems are caused by dancers of certain styles.

In reality navigation problems are caused by poor dancers of "any" style. Good dancers of any style know how to navigate the floor without disturbing the other dancers and adapt their dancing to the circumstances.

요약 Summary:

You should dance the style you prefer.

Fantasia or salon open or close embrace could be the preferred style by many dancers all over the world when they have enough room available to dance as generally is the case in the USA.

You should not limit your dancing to a few moves only because people in crowded areas dance that way.

The style of tango you choose should take into consideration your age, your athletic conditioning, the amount of time and dedication you wish to spend, your natural dancing skills.

So as Argentines say " vivi y deja vivir". Live and let the others live
as well.Best regards, "Sergio Vandekier" <sergiovandekier990@hotmail.com>

Styles of Argentine Tangoby Stephen Brown

In Buenos Aires and other parts of Argentina, tango is danced in a spectrum of individualistic or personal styles, and many tango dancers who are Argentine do not accept a categorization of their own dancing by any broad stylistic name.  They simply say they are dancing tango, their own style, or the style of their neighborhood or city.  A few confuse the issue further by identifying their own style by a name that other dancers associate with a different style.  Consequently, parsing the commonalities and differences that can be found across the continuum of individual styles to clearly describe the characteristics of various styles is challenging, potentially controversial, and possibly misleading.  Nonetheless, if we regard style to mean an approach to dancing that creates incompatibilities with other approaches and has a sufficient number of adherents who stick firmly to the listed elements, I think it is possible to create rough definitions for a number of distinguishable styles of Argentine tango: salon, milonguero, club, orillero, canyengue, nuevo and fantasia.

Salon-Style Tango
Milonguero-Style Tango
Club-Style Tango
Orillero-Style Tango
Canyengue
Nuevo Tango
Fantasia
Liquid Tango
Nuevo Milonguero
Some Additional Comments about Style

땅고 스타일 해설 동영상:

http://www.sergioseguraproductions.com/HistoryResearch.htm

* Nuevo Tango (누에보 땅고) : '새로운 땅고'를 의미. 음악적으로는 Tango 음악계의 거장 '아스또르 삐아졸라'가 새로운 Tango 의 활로로 제시한 흐름을 Nuevo Tango 라고도 하고, 춤으로는 군부독재 이전의 전통적인 Tango (Milongueros style) 와 다르게 F. Salas, Chicho, Sebastian Arce & Marianan Montes, Damian & Celine 등이 CITA를 통해 주도하고, G. Naverira, Castro Mauricio, Mario Consiglieri 등도 새로운 흐름을 만들고 있는 걸 Nuevo Tango 라고도 한다.

* Salon Tango (살롱 땅고) : '살롱' 과 같은 실내   마루바닥에서 추는 땅고.  사람이 많은 공간 또는 적은 공간에 따라 클로우쓰 홀드로 보폭을 작게 또는 오픈 홀드로 보폭을 크게 병행하며 춘다. 안토니오 또다로-라울 브라보 땅고 스타일도 포함한다.

* Fantasia Tango (환타지아 땅고) : 무대에서 남에게 보여주기 위해 추는 땅고.   쇼 땅고(Show Tango)라고도 부르고  곤객에게 Force를 느끼게 하기 위해 동작이 크고 과장되어 있으며 일반적으로 빠른 속도로 춘다.

* Orillero Tango (오리제로 땅고) : 오리제로는  Bs.As. 의 외곽 지대의 시골뜨기들이 추던 스타일이다.  회전이 많고 공간을 넓게 쓴다.  지금은 거의 사라진 스타일.

* Canyengue Tango (깐젠게 땅고) : 오리제로와 마찬가지로 야외 슬럼가에서 추던 스타일로 무릎을 굽히고 남자의 왼팔과 여자의 오른손을 잡고 남자의 왼허리에 되며 아브라쏘가 독특하다.

Salon-Style Tango 살롱 스타일 땅고

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. 
 

Tango de Salon 살롱 땅고

Classic, elegant, timeless! Compas, elegancia, y cadencia. A walked tango danced during the 1940s. Here it is seen danced by Anton and Natalie in Sunderland Club in Buenos Aires.

동영상 보기 -> http://www.sergioseguraproductions.com/Videos/Sunderland.wmv

참고; 살롱을 무대 공연이 아닌 Social(사교) 의 의미로 쓰기도 하므로 주의하세요.

Aug. 12, 2005 - The all-embracing meaning of Salon

자료원: http://www.tangospring.com/tangoBlogTopicDanceStyles.htm

Sergio wrote several times at Tango-L that Salon is the source of all other styles of tango and can be danced in open, close or flexible embrace. I have understood that he refered to open frame style commonly known in the USA as Salon. It appears though he was refering to meaning of the salon tango as social variety of the dance as opposed to stage, the same meaning Susana uses in her article:

In Argentina people call " Tango de Salon" the one done socially. It can be done in a dancing hall, in a neighborhood club, in a private home, in a square, in a park and in many other places.

So " tango de salon" includes any style of tango done socially in any place, not only in Dancing Halls.

If we accept that meaning of the word as indeed we should than he is absolutely correct - social tango (= tango de salon) is the true source of any other possible styles of tango because tango has started as a social dance. Here is what I have written to Tango-L in response to his remarks:

Dance hall indeed could be limiting translation of the word salon. That's why in one case I have translated this word as social (here: El salón a su vez necesita al tango danza para difundirse... - On the other hand social tango needs stage tango to spread...).

Interestingly if we take social as more appropriate translation of the word salon as you seem to suggest, than the so called "salon style" becomes simply social dancing of tango as opposed to show and as such indeed can encompass virtually everything as long as you do it socially (open frame, milonguero, canjengue, nuevo or whatever other term and style one can come up with). Curiously it also follows then that there is no specific "salon" style. Paradox yet true. And when you say that people dance tango de salon at Buenos Aires milongas you are absolutely right, people indeed dance social tango when they dance social tango. See, mutually agreeable consensus is reached once more.

If we agree that people dance social tango when they dance social tango (tango de salon) one might begin to wonder if there are some more descriptive styles within this social tango. We seem to agree that milonguero style is tango de salon, one of social styles known, in fact predominant in Buenos Aires. Open frame style (clumsy name, I know, but there is no other to my knowledge) is another tango de salon style danced socially mostly outside of Buenos AIres. Nuevo style is also tango de salon, danced socially. I have seen a couple dancing Canyengue to milonga in Buenos Aires once, which makes it another tango de salon, social tango style. Any other currently in use?

They dance in in a close embrace, staying in the line of dance, keeping their feet close to the floor, paying close attention to and improvising on the music. These are characteristics of the dance that have remained constant over time in Tango de Salon.

Milonguero-Style Tango 밀롱게로 스타일 땅고

Milonguero-style tango is typically danced with a slightly leaning posture that typically joins the torsos of the two dancers from the tummy through the solar plexus (in an embrace that Argentine's call apilado) to create a merged axis while allowing a little bit of distance between the couple's feet.  The embrace is also typically closed with the woman’s right shoulder as close to her partner's left shoulder as her left shoulder is to his right, and the woman's left arm is often draped behind the man's neck.  Some practitioners of this style suggest that each dancer lean against their partner.  Others say that the lean is more of an illusion in which each partner maintains their own balance, but leans forward just enough to complete the embrace.  The couple maintains a constant upper body contact and does not loosen their embrace to accommodate turns or ochos, which can limit the couple to walking steps and simple ochos until both partners develop the skills for the woman to execute her turns by stepping at an angle rather than pivoting.  Milonguero-style dancers typically respond to the ric-tic-tic rhythm that is prominent in the music of Juan D'Arienzo and Rodolfo Biagi and also found in the playing of many other tango orchestras.  The milonguero style allows for a more elastic approach to the rhythm when dancing to music that has a less insistent ric-tic-tic rhythm, such as that recorded by Di Sarli or Pugliese.  The ocho cortado is one the characteristic figures of milonguero-style tango because it integrates the embrace with rhythmic sensibilities of the style.

Milonguero-style tango can also be identified as apilado-, cafe-, and confiteria-style tango.  One of the better-known dancers of the style, Tete, refers to his own style of tango as salon. 
  GONZALO CABRERA y ROXANA SUAREZ
Villa Urquiza style tango. Improvisation at Porteno y Bailarin. Gonzalo is age 16, roxana is age 18(?) posted by neymelo

It's not possible to truly understand Tango without regular visits to BsAs to dance in the milongas and to see what it really is. Yes, you can love Tango as a dance, and often that's enough, but really understanding it is something else.

부에노스아이레스 밀롱게로들은 "친밀하게 안고(심장소리 들을 정도로 닿기: abrazo cerrado 아브라쏘 세라도(바른 문법과 단어))는 춤 못춘다"고 말하지 않아요.

제대로 된 안기는 가슴이 닿아 닫혀요. 때때로 조금 열린(가슴이 닿을 듯 말듯 abierto 아비에르또) 안기 또는 조금 불편하게 또는 가슴을 주지 않고 춤추십시다라는 말은 합니다.

왜냐하면 아브라싸르(동사형)는 가슴으로 포옹하기이지 손으로 잡기가 아니기때문입니다.

그냥 '아브라소' 하면 스타일에 상관없이 안는 자세를 말하는 게 되죠.
외국에서 허그나 아브라소의 경우 팔을 두르고 가슴이 닿는 껴안기와 포옹에 대한 말이다. 물론 가벼운 포옹도 존재하지만 보통 너에게 아브라소를 보낸다 라는 말처럼 보통은 깊은 사랑과 애정을 담은 포옹을 떠올리지 않을까요, 그들의 정서에서 아브라소라는 말을 떠올렸을 때. 

공연이나 누에보의 오픈 홀드 포지션은 아브라소라고 부르지 않구요.

JORGE DISPARI & LA TURCA Tango
Villa Urquiza Style Tango. Clip of an improvisation at a milonga in Buenos Aires by posted by neymelo
JORGE DISPARI & LA TURCA TANGO
Villa Urquiza Style Tango. Improvisation at La Viruta in Buenos Aires posted by neymelo
SAMANTHA DISPARI & ANDRES LAZA MORENO tango posted by neymelo
Villa Urquiza Style Tango. Andres (age 22) and Samantha (age 15) improvise at Salon Canning. Samantha is Jorge & Maria's daughter and Geraldine's little sister
JAVIER & GERALDINE Tango posted by neymelo
Villa Urquiza Style Tango. Clip of them demonstrating the steps they taught in the class. One of the most influential couples in argentine tango history. After 10 years, they broke up in 2004
EL CHINO PERICO & SILVINA DAMIANI Tango posted by neymelo
Villa Urquiza Style Tango. Improvisation at Sunderland Club, Buenos Aires 2003
Here is clip from milonga at El Beso, Buenos Aires (music - 악단 오스발도 뿌글리에쎄 Osvaldo Pugliese 곡명 : 로단도 뚜 에스끼나 "Rodando tu esquina"). 자료원: http://www.tangospring.com/tangoBlogTopicDanceStyles.htm

This is how most people dance at most downtown milongas in Buenos Aires. I call this style milonguero.

Club-Style Tango 클럽 스타일 땅고

Club-style tango has the rhythmic sensibilities of milonguero-style tango, but it uses the posture, separate axes and embrace of close salon-style tango.  Club-style tango is danced with an upright posture with the two dancers maintaining separate axes while embracing closely in an offset V.  The couple loosens their embrace slightly on their turns to allow the woman to rotate 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.  Club-style tango is typically danced to the ric-tic-tic rhythm that is prominent in the music of Juan D'Arienzo and Rodolfo Biagi and also is found in the playing of many other tango orchestras.  Club-style tango uses the ocho cortado and other rhythmic figures that are found in milonguero-style tango.  Possibly a rhythmic variation of the salon-style tango, some people regard club-style tango as a mish mash of the salon and milonguero styles rather than a separate style.
 

Jul. 12, 2005 - Origins of term Milonguero style

자료원: http://www.tangospring.com/tangoBlogTopicHistory.htm#jul122005

From Trini of PATangoS - Pittsburgh Argentine Tango Society:

It might be useful to explain why Susana Miller used the term "milonguero". She began learning tango in the academies in the 80's. She told us that she was famous for being one of the worse dancers there. So she decided to just have fun instead. Started learning from the milongueros.

Maria Cieri, widow of Rodolfo Cieri, told us that the academies only started popping up in the 70's, after the military government ended. The problem was that tangueros now had to put groups of novice men and women together. In earlier days, novices would learn from experienced dancers (Maria learned from her mother, Rodolfo from his father) in personal settings. The predominant solution to public classes was the 8-count base.

When she was here, Maria taught the 8-count base in our class for novices. However, she also told us that neither she nor Rodolfo used it themselves or were taught with that method. But when they were asked to start teaching in the 80's, they adopted that convention, just like other dancers who became teachers. They also knew that it resulted patterned dancers, but no one knew then how to teach actual lead/follow in a groups. The teachers themselves had been taught by friends and family.

Susana chose the term "milonguero" to differentiate her style from what was being taught in the academies. The name will probably stick until someone comes up with a better name.

Basically milonguero style term was born as a way to teach improvisation in tango (as opposed to pattern teaching). Unfortunately too many people took pattern teaching as the only authentic way to teach (they did not know a better way) and this tradition perpetuates itself due to inertia.

Orillero-Style Tango 오리제로 스타일 땅고

Orillero-style tango is an older style of tango whose name suggests that it may have had its origins in the streets of poor outlying tenements in Buenos Aires.  Later it came to refer to the man dancing around the edge of the woman.  In either case, orillero-style tango was not considered acceptable in the refined salons of central Buenos Aires during the golden age of tango.  To the extent that orillero-style tango is still danced it has become more like salon-style tango.  It is danced with upright body posture with the dancers maintaining separate axes, and the embrace is typically offset in a V and can be either close or open.  In the turns, the woman is allowed to move freely and pivot without requiring much independent movement between her hips and torso.  When orillero-style tango is danced in a close embrace, the couple loosens the embrace slightly to accommodate the turns.  If the woman rotates her hips through the turns independently of her upper torso, the embrace need not be loosened as much.  Orillero-style tango differs from salon-style tango because it adds playful, space-consuming embellishments and figures that do not always respect the line of dance.  Many of the playful elements are executed to the ric-tic-tic rhythm that characterizes the music of Juan D'Arienzo and Rodolfo Biagi.
 

Orillero 오리제로

Dance style from the neighborhood clubs of the 1930s and 1940s. Characterized for its extremely fast, complicated, and playfully creative figures. A lost dance style today, Anton and Natalie are the only couple in the world who still teach it and regularly perform it based on their many years of research.

동영상 보기 ->  http://www.sergioseguraproductions.com/Videos/GloriasArg.wmv

Canyengue 깐젠게

Canyengue is a historical form of tango that was danced in the 1920s and early 30s that may or may not be accurately captured by its current practitioners.  The embrace is close and in an offset V, the dancers typically have bent knees as they move, and the woman does not execute a cross.  At the time canyengue was popular, dresses were long and tight.  Consequently, the steps were short and frequently executed in the ric-tic-tic rhythm that is characteristic of the tango music played by the old guard which included Francisco Lomuto, Francisco Canaro (early in his career), Roberto Firpo, and Juan de Dios Filiberto.  (The modern-era orchestra Los Tubatango plays in the same style.)  Some dancers of canyengue use exaggerated body movements to accent their steps.
 

Here are some pictures from early Tango and Candombe or Cayengue/Canyengue.

http://www.milonga.org/Tango_Pictures.html

Canyengue 깐젠게

The original form of tango dance from the 1890s. A lost form of tango today.

동영상 보기 -> http://www.sergioseguraproductions.com/Videos/CanyengueShow.wmv

Nuevo Tango 누에보 땅고

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.  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.  Although the advocates of tango nuevo emphasize a new structural analysis over specific figures, some of its most identifiable figures are overturn ochos and change of directions in turns, which are most easily accomplished in a loose or elastic embrace.
 

Fantasia (Show Tango) 판타시아(쇼우) 땅고

Fantasia is danced in tango stage shows.  It originally drew from the idioms of the salon- and orillero-styles of  tango but today also includes elements of nuevo-tango.  Fantasia is danced in an open embrace with exaggerated movements and additional elements (often taken from ballet) that are not part of the social tango vocabulary.  These balletic elements integrate well with salon-style tango because the way a couple relates to each other's space in salon-style tango is very balletic in nature, even though tango movement is more grounded like modern dance. 
 

Tango Fantasia 판타시아 땅고

A creative form of tango demonstration invented by the milonguero dancers of the 1940s and 1950s. Characterized for it's high level of creativity, changes of dance positions, and many, many figures. It is rarely danced in it's authentic form today, but Anton and Natalie preserve the roots of this exciting dance and dance it with full historical detail.

동영상 보기 ->

http://www.sergioseguraproductions.com/Videos/Tanguera.wmv

Liquid Tango 리퀴드 땅고

Liquid tango is an emerging approach to dancing Argentine tango that is danced with an embrace that shifts between close and open to allow the integration of various styles of tango, particularly the nuevo and club styles.  It is probably premature to consider this a separate style of dancing because the approach is largely compatible with nuevo and doesn't have an identfiably separate group of adherents.
 

Nuevo Milonguero 누에보 밀롱게로

Nuevo milonguero is a relatively new approach to Argentine tango that adds some nuevo movements such as change of direction in turns, cadenas, and volcadas to milonguero-style tango.  It would probably be a stretch to regard nuevo milonguero a separate style of dancing because the approach is fully compatible with milonguero-style tango and doesn't have an identifiably separate group of adherents.

Antonio Todaro Style 또다로 스타일 땅고

Antonio Todaro

A crucial link regarding tangofantasia choreography and the milonguero's world of the milongas, is Antonio Todaro.

  Antonio Todaro (1929-1994), innovator and milonguero, was a very influential danceteacher. At the moment when the temptation of the most intimate dance had become weak because lack of attraction, Todaro caused a renewal for the conception of the stage tango. His tango is strong, masculine, fast and powerful... not a slow, soft, romantic. Estilo Todaro is the original dancehall tangostyle in combination with stylistic choreographies. His style alternates between the social dancing at the milongas and the professional stage performances.

Antonio Todaro had a special fondness for dancing as follower and as an innovator, he had fun expanding the follower's part. He is also famous for his skilled Tango Doble Frente / double front (tango al reves - inversed/reversed) in which the woman has her back to the man and the man embraces her around the waist, so both dancers face the front/public, it is a very historical style of tango invented by the popular milongueros of the 1940s. All steps that one dances in the regular, or "derecho" position, can be danced al reves.

Todaro and Raul Bravo had a tango school for sixteen years in the 60's and 70's. Raul Bravo had a lengthy career as an exhibition tango dancer in the 1960's when he toured the world with the Mariano Mores orchestra, the technique for dynamic powerful stage movement taught by Todaro is visible in the dancing of Raul Bravo. At the beginning of the 90's, Miguel Angel Zotto and Milena Plebs led the first world wide changes. When they reconstructed elements of the popular dancestyle in their spectacle Tango x 2, they revealed the wealth of the world of the milonga to eyes of the public. Then, the classes of Antonio Todaro, with whom Zotto and Plebs had made their punctilious stylistic work, began to fill with new customers.

Today, Todaro's mark is world-famous and the roots of Tango Nuevo are Todaro. It goes through his pupils Miguel Angel Zotto, Milena Plebs, Roberto Herrera, Vanina Bisousand and others in the show Tango por dos. Alejandra Mantinian and Gustavo Russo took likewise instruction with him. Dancers of the today's generation (Gustavo Naveira, Pablo Veron, Fabian Salas, Sebastian Arce and Chicho) are directly or indirectly inspired by him.

The unique dance style of this unforgettable master. Anton and Natalie are considered to be the truest and most authentic dancers of this style today and with great respect proudly keep this dance alive.

동영상 보기 ->

http://www.sergioseguraproductions.com/Videos/TodaroVariacionCanning.wmv

Some Additional Comments about Style

Which Style is Authentic?

All of these styles have some degree of authenticity because they draw from the practices, idioms, and historical precedents of Argentine tango as it is and was danced in Buenos Aires, Montevideo, and other cities in Argentina and Uruguay.  Some styles are more popular in a particular city or in venues within a city, but popularity should not be confused with authenticity.  Fantasia is authentic for stage dancing, but not for social dancing.

Some of the confusion about authencity may be the result of different styles serving different social purposes during the golden age of tango.  Salon-style tango was danced in very nice clubs, where one was expected to get dressed up and dance very slow.  Milonguero-style tango was danced in less formal venues, where dancers got together for the purpose of meeting each other.  Orillero was considered a lower class or street style of tango.  In many cases, the same individual would dance somewhat different styles in different venues or to different music.

We cannot forget about the artistic side of tango and the connection between mind and body. And the emotional effect of the music. And the mindset different styles need. For example, without trusting ones partner completely both physically and emotionally, there is no milonguero, as far as I am concerned. Without a sense of freedom, there is no nuevo. Without a sense of elegance, there is no salon.

Which Styles Have an Open Embrace and Which Have a Close Embrace?

All of the styles except fantasia can be danced in a close embrace.  Although salon- and orillero-style tango can be danced in a open embrace, they are more typically danced in a close embrace in Buenos Aires and other parts of Argentina.  Milonguero- and club-style tango are only danced in a close embrace.  The milonguero-style embrace is also typically closed with the woman's right shoulder as close to her partner's left shoulder as her left shoulder is to his right.  The nuevo embrace is loose and elastic, but many of the movements that are emphasized in tango nuevo can be danced in either the apilado or the close offset V embraces.

Embrace and Frame

Some people distinguish between milonguero and other styles of tango by claiming that the frame in milonguero-style tango is in the woman, and in other styles the frame is created in the arms of the embrace.  Whether the frame is inside the woman or in the arms of the embrace depends largely upon the closeness and softness of the embrace.  A firm, distant embrace places the frame in the arms of the embrace.  As the embrace becomes closer and softer, the frame is moved into the woman's body in all styles.

Which Styles Are Improvisational and Which Are Choreographed?

All of the styles are potentially improvisational including fantasia.  Many instructors of salon-style tango and fantasia emphasize memorized figures in their teaching.  Performance tango is often choreographed.

Which Styles Are Feeling and Which Are Analytical?

Some people look upon improvisation in salon, orillero, fantasia, and nuveo tango as puzzle pieces that are assembled as you dance, and those who teach the structure of tango within these styles can emphasize the analytical nature of the dance.  If these styles are held in the intellectual domain and not moved into the intuitive and emotional domains, they can remain a dry, analytical puzzle.  Dancers and instructors of the milonguero-style tango often emphasize the intuitive and feeling aspects of the style, but it can be approached in an equally analytical manner to the other styles.

Aren't Salon Tango and Fantasia Really the Same?

Salon-style tango and fantasia are distinct styles, but fantasia is an extension of salon-style tango and relies heavily upon salon-style tango for its basic set of movements.  Fantasia adds balletic elements and showy figures and embellishments that are inappropriate for social dancing.  Many tango instructors confuse the two styles for their students by teaching an indistinguishable blend of social and stage figures and calling it salon tango.  This hybrid style is characterized by an open embrace, large steps, dramatic pauses, conspicuous ornamentation, and sometimes a disregard for the line of dance.  Although its characteristics make the hybrid style unsuitable for dancing in crowded milongas in Buenos Aires or elsewhere, it is danced socially by many thousands of dancers outside of Argentina and Uruguay.

How Are the Milonguero and Club Styles Related?

As described above, the styles are very similar.  Club-style tango was danced in some of the clubs de barrios during the 1950s, while milongueros were dancing somewhat different styles in central Buenos Aires.  These facts suggest that milonguero- and club-style tango may have developed at about the same time.  Edaurado Arquimbau, a leading dancer of club-style tango, claims that several of the better-known milonguero-style dancers took lessons in club-style tango from him during the 1950s.  His claim has led some to raise the possibility that club-style tango may have played an important role in the development of milonguero-style tango.  More likely both milonguero- and club-style tango took their rhythmic elements from the older orillero style tango.

Ric-Tic-Tic Rhythm

Ric-tic-tic is onomatopoeia for the staccato rhythms that are prominent in the music of Juan D'Arienzo, Rodolfo Biagi, and some other golden-era orchestras.  With Biagi on the piano, D'Arienzo's orchestra debuted in the 1930s with the ric-tic-tic rhythm.  Although some describe music with the ric-tic-tic rhythm as 2x4, the characteristic rhythm of this music is actually created through a variation in accented beats that yields an alternation of single-time and double-time rhythms.  For example, the music might be played one and two and, one and two and, one and two and, one and two and (where boldface represents the accented beats), and the dancers might respond slow, slow; quick, quick, slow; slow, slow; quick, quick, slow.  One might express the chararacteristic stacatto rhythm of this music as one, two; ric, tic, tic; one, two; ric, tic, tic.

Some tangos contain more complex rhythms and longer phrases of double-time staccato accents.  Juan D'Arienzo's "El Flete" contains a rhythmic figure of one and two and one and two and, one and two and one and two and, one and two and one and two and, one and two and one and two and.  For the dancer adhering strictly to the accents, that rhythmic figure becomes the demanding and rapid fire slow, pause, slow, pause; quick, quick, quick, quick, slow, pause; slow, slow, slow, slow; quick, quick, quick, quick, slow, pause.  For a dancer taking the music at half speed, the rhythmic figure becomes the familiar slow, pause, slow, pause; quick, quick, quick, quick, slow, pause; slow, slow, slow, slow; quick, quick, quick, quick, slow, pause (where boldface represents the beats used for dancing).

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

Peter Bengtson의 땅고  스타일 비교(첨부 파일은 한글 97 번역)

스톡홀름의 피터 벵선씨가 땅고 3 스타일중 하나만 고집하는 애호자가 다른 땅고 스타일에 대해 하는 말을 중심으로 태도 비교를 한 표를 작성함

	밀롱게로 스타일 애호자가 하는 말	살롱 스타일 애호자가 하는 말	누에보 스타일 애호자가 하는 말
...밀롱게로 스타일에 대해	부에노스 아이레스의 밀롱가에서 시초부터 춤춰 왔고, 유일하고 진정한 땅고이다. 다른 스타일은 껍데기고  피상적일 뿐이다. 강렬함, 양 가슴(때로 배 ) 접촉, 땅고 밀롱게로 스타일만의 매력.  Ahh...!	서민들을 위한 스타일. . 경품을 붙여 추게 한다면 우아하게 보이지 않을 것이다. 그들은 다만 한 몸이 되어 안음을 위해 표현하고 싶은 피겨를 희생하여 발끝으로 조심스럽게 작은 보폭으로 춘다. 이들은 일상생활에서도 서로 그렇게 끌어 안는 것을 보았는가?	휘청거리며 추는 노인들을 위한 스타일! 신체 접촉의 결핍을 보상하는 스타일. 30년대 스타까또의 리듬이 강한 음악만 가지고 추는 스타일. 왜 부에노스 아이레스에서 추는대로 춰야 하는가? 땅고는  시기와 장소에 따라 새롭게 변하고 순응해야 한다.
...살롱 스타일에 대해	우아해 보이지만 서로가 접촉하기를 진짜 어려워 하는 것은 아니냐?  상체 접촉하고서도 모든 살롱 피겨를 출 수 있는데도 말이다. 살롱애호자는 푸글리에쎄 같은 드라마틱한 음악(여하튼 부에노스 아이레스에서는 가끔 듣게 되는)에 긴 보폭으로 스윙(슬라이드)하는 것만 즐기는 것 같다.	40년대 땅고가 제일 우아하고 맵시있다. 살롱 스타일은 표현을 모두 할(all-round) 수 있고, 또 가장 풍부하게 할 수 있다. - 강렬함, 커넥션(접촉), 땅고 살롱 스타일만의 매력.  Ahh...!	살롱 스타일은  누에보스타일의 뿌리이지만, 턱시도와 담배 물고 춘지나간 시절에만 몰두해 왔다. 누에보 스타일은 살롱 스타일이 하는 것을 모두 하고, 운동선수복장을 하고 필요하다면  더 많은 것을 창작해 낼 수 있다. 40년대 이외의 많은 음악을 소화해서 춤출 수 있다.
..누에보 스타일에 대해	눈에 보이는 것을 보면 모두 차려고 하는 통제할 수 없는 자기 과시자. 밀롱가에서는 쓸데없는 피겨를 만들고, 플로어에서 대화를 혼란하게 만든다. 또한 부에노스아이레스에서 아무도 춤추기를 원하지 않는, 어려운 삐아쏠라 곡 같은거만 좋아한다. Hrrrmph!	어색하나, 창작한 새 피겨들을 주로 원하는 것 같다. 'Tango Lesson' 영화는 좋은 점보다 해가 더 많다. 그들은 몰래 공연 무용수의 꿈을 가지고 있지는 않는가? 우리에게는 엄선되지 않아 필요없이 너무 많은 피겨들로 보인다.	누에보 스타일은 자연스러운 발전 과정에서 진 일보한 것이다. 땅고는 성장하고 변화하여야 살아남을 수 있다.   사교 땅고이외의 스타일도 필요하고 중요하다. 강렬함, 커넥션(접촉), 땅고 누에보 스타일만의 매력. Ahh...!

피터 벵선의 덧 붙이는 말:
아마 눈을 뜨고 깨닫고자 하는 태도로 서로를 이해해야 할 때이다. 이제 각 스타일이 다른 스타일에게서 무엇을 배울 수 있는지 비교하는 표를 만들 때이며, 나름대로 나는 하나 만들어 놓고 있지만, 여러분이 채워 보기를 바란다.
피터 벵선은 스웨덴 출신 작곡가, 음악가, 교사, 프로그래머이다.

Peter Bengtson is a composer, musician, teacher and programmer.

Peter Bengtson의 땅고 스타일 비교(첨부 파일은 한글 97 번역)

스톡홀름의 피터 벵선씨가 땅고 3 스타일중 하나만 고집하는 애호자가
다른 땅고 스타일에 대해 하는 말을 중심으로 태도 비교함

<...밀롱게로 스타일에 대해>

1. 밀롱게로 스타일 애호자가 하는 말 :

부에노스 아이레스의 밀롱가에서 시초부터 춤춰 왔고, 유일하고 진정한 땅고이다.
다른 스타일은 껍데기고 피상적일 뿐이다.
서로의 심장 박동을 느끼는 강렬함, 양 가슴(때로 배 ) 접촉, 땅고 밀롱게로 스타일만의 매력.
Ahh...!

2. 살롱 스타일 애호자가 하는 말 :

서민들을 위한 스타일...
경품을 붙여 추게 한다면 우아하게 보이지 않을 것이다.
그들은 다만 한 몸이 되어 안음을 위해 표현하고 싶은 피겨를 희생하여
발끝으로 조심스럽게 작은 보폭으로 춘다.
이들이 일상생활에서도 서로 그렇게 끌어 안는 것을 보았는가?

3. 누에보 스타일 애호자가 하는 말 :

휘청거리며 추는 노인들을 위한 스타일!
신체 접촉의 결핍을 보상하는 스타일.
30년대 스타까또의 리듬이 강한 음악만 가지고 추는 스타일.
왜 부에노스 아이레스에서 추는대로 춰야 하는가?
땅고는 시기와 장소에 따라 새롭게 변하고 순응해야 한다.

<...살롱 스타일에 대해>

1.밀롱게로 스타일 애호자가 하는 말 :

우아해 보이지만 서로가 접촉하기를 진짜 어려워 하는 것은 아니냐?
상체 접촉하고서도 모든 살롱 피겨를 출 수 있는데도 말이다.
살롱애호자는 푸글리에쎄 같은 드라마틱한 음악(여하튼 부에노스 아이레스에서는
가끔 듣게 되는)에 긴 보폭으로 스윙(슬라이드)하는 것만 즐기는 것 같다.

2. 살롱 스타일 애호자가 하는 말 :

40년대 땅고가 제일 우아하고 맵시있다.
살롱 스타일은 표현을 모두 할(all-round) 수 있고, 또 가장 풍부하게 할 수 있다.
강렬함, 커넥션(접촉), 땅고 살롱 스타일만의 매력. Ahh...!

3. 누에보 스타일 애호자가 하는 말 :

살롱 스타일은 누에보스타일의 뿌리이지만, 턱시도와 담배 물고 추는
지나간 시절에만 몰두해 왔다.
누에보 스타일은 살롱 스타일이 하는 것을 모두 하고, 운동선수복장을 하고
필요하다면 더 많은 것을 창작해 낼 수 있다.
40년대 이외의 많은 음악을 소화해서 춤출 수 있다.

<..누에보 스타일에 대해>

1.밀롱게로 스타일 애호자가 하는 말 :

눈에 보이는 것을 보면 모두 차려고 하는 통제할 수 없는 자기 과시자.
밀롱가에서는 쓸데없는 피겨를 만들고, 플로어에서 대화를 혼란하게 만든다.
또한 부에노스아이레스에서 아무도 춤추기를 원하지 않는,
어려운 삐아졸라 곡 같은 거만 좋아한다. Hrrrmph!

2. 살롱 스타일 애호자가 하는 말 :

어색하나, 창작한 새 피겨들을 주로 원하는 것 같다.
'Tango Lesson' 영화는 좋은 점보다 해가 더 많다.
그들은 몰래 공연 무용수의 꿈을 가지고 있지는 않는가?
우리에게는 엄선되지 않아 필요없이 너무 많은 피겨들로 보인다.

3. 누에보 스타일 애호자가 하는 말 :

누에보 스타일은 자연스러운 발전 과정에서 진 일보한 것이다.
땅고는 성장하고 변화하여야 살아남을 수 있다.
사교 땅고이외의 스타일도 필요하고 중요하다.
강렬함, 커넥션(접촉), 땅고 누에보 스타일만의 매력. Ahh...!

피터의 덧 붙이는 말:
아마 눈을 뜨고 깨닫고자 하는 태도로 서로를 이해해야 할 때이다. 이제 각 스타일이 다른 스타일에게서 무엇을 배울 수 있는지 비교하는 표를 만들 때이며, 나름대로 나는 하나 만들어 놓고 있지만, 여러분이 채워 보기를 바란다.
피터 벵선은 스웨덴 출신 작곡가, 음악가, 교사, 프로그래머이다

Salon tango - the woman takes long back steps.

Milonguero - the steps are shorter and more together

Salon tango - wider giros - you must pull away from the man (the lady's left
arm slides to the man's upper arm) to give your more space to move
Milonguero - the giros are closer together and can be half turns as well

Salon tango - fancier footwork along with caminata, giro, ocho with man's loose right arm
Milonguero - caminata, giro, ocho

Salon Tango-variations in the embrace although always close (No butts sticking out)
Milonguero - no left arm of the woman hanging over the shoulder. No butts sticking out

The two are actually almost identical the main difference being the
length of the steps and the footwork.

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

El Tanguata 2004년 12월 56쪽-63쪽 미국춤 의역
Dance Style by 까를로스 베빌라카 Carlos Bevilacqua, Report

미엘님이 부에노스 아이레스 2004년 12월 El Tanguata와 파리 2005년 4월과 5월 El Farolito(http://www.paristangomag.com/eng/frame.htm) 저에게 전해 주셨어요.  감사한 마음으로 글 하나씩만 번역해 보죠.

땅고는 하나 뿐이다. 그러나 많은 방식으로 출 수 있다. 지난 130년 주요한 스타일은 명확하게 정의되어 있다.
어떻게 시작되었는가?
주요 특징은 무엇인가?
각 스타일의 장단점은?
네 분의 전문가들에게 인터뷰를 했다: 루이스 그론도나(깐젠게) Luis Grondona(Canyengue), 밀레나 플렙스(공연) Milena Plebs(Stage), 아나 마리아 샤피라(밀롱게로)  Ana Maria Schapira(Milonguero), 훌리오 발마세다(살롱) Julio Balmaceda(salon).

1. 꼬르떼 Cortes and 께브라다 Quebradas  
땅고 스타일 중 깐젠게가 맨 처음이다라는데 4분 모두 합의를 한다. 파트너인 미르따 솔 Mirta Sol과 함께 루이스 그론도나는 깐젠게 스타일(Canyengue: click here for video-clip 01 )의 주요 대표중의 한 커플이다. 이 스타일을 기술하기 위해 먼저 음악을 다음과 같이 설명한다: Guardia Vieja:1910-20년 음악) 음악에서처럼 마르카토 리듬은 현재의 땅고 리듬과 다르다. 오리제로(Orillero: 스타일( Canyengue Orillera

Orillera 40 sec.

open hier 0,6 Mb

open hier 0,8 Mb

동영상은 아래 open hier 클릭)이 아니라 부에노스 아이레스 근교에 살면서 도심 밀롱가에 춤추러 오지 않는 사람들을 지칭하는 형용사이다)  또는 아라발레로(Arrabalero)로 알려진 이 스타일은 무릎을 굽히고 오르락 내리락하는 보폭, 손/팔의 위치, 남녀가 같은 방향으로 보는 얼굴 위치 등 두 남녀의 홀드 자세(알레한드로와 이바나가 탱고 캠프에서 보여준 바로는 무릎을 펴고 땅게라 오른팔을 쭉 뻗은것이 살롱 탱고 홀드이고, 그 이후 지금 우리가 보통 하는 것 처럼 땅게라 오른 팔을 ㄴ자 처럼 굽힌 것이 Tango Argentino 홀드)가 구분되므로 표가 난다. 거울 보듯 남녀 대칭 스텝이 많고  축제 분위기처럼 장난스런 아마게와 장식 동작을 많이 구사한다. 대표 무용수로는 엘 카차파쓰 El Cachafaz, 띠또 루시아르도 Tito Lusiardo, 엘 삐베 빨레르모 El Pibe Palermo, 로돌포와 마리아 씨에리 Rodolfo and Maria Cieri
Canaro, 1938년 이전 D'Arienzo, The Tuba Tango, 마르카토 리듬이 강한 De Caro 전반기 악단의 깐젠게 음악을 들 수 있다.
 
2. 무대 조명 Stage Lights(Fantasia)
1950년대 후안 까를로스 코페스 , Juan Carlos Copez기 기획한 공연 댄스로 그 자리를 굳혔다.

밀레나 플렙스: 밀롱가에서는 나 자신과 파트너를 위해 춤춘다. 무대에선 관람자를 위해 아름다움과 정서적인 호소를 하며 움직인다. 고전 및 Contemporary dance를 같이 병행한 밀레나는 다른 춤을 무대 공연 스타일 땅고에 응용하는 표현의 절대 자유가 가장 큰 장점이라고 얘기한다. 공연 음악은 Troilo 악단이 수년 동안 맡아 오다가, 90년대부턴 Pugliese 악단의 공연과 작곡이 공연 스타일 스텝, 에너지 역학(dynamics)과 텍스쳐(textures)를 보여주기에 가장 적절하다고 여긴다. 최근 몇 년간은 무용수들마다 보다 다양한 음악을 골라서 공연을 하고 있다고 결론 짓는다.
 훌리오 발마세다: 요즈음 음악에 더욱 주의를 기울이고 시각적인 효과를 고려한다.

3. 심장과 심장 Heart to Heart
 밀롱게로 스타일은 이름부터 시작해서 논쟁 거리가 많다. 50년대 초반 이후 많은 무용수들이 도심의 공간이 좁은 커피 숍으로 이주해야 했다. 그 상황에서 개발한 것이 다른 커플과 부딪히지 않으면서 리듬을 중시한 스텝을 경제적(부딪힐 우려가 있으면  연결된 동작을 중간에 끊고(Cortado: Cut-off) 자기 파트너 몸 앞으로 오게 연결하기)으로 적절히 구사하는 클로우쓰 임브레이스(사랑하는 사람과 포옹하듯 가슴과 가슴의 심장 박동을 느끼도록 친밀하게 안기) 스타일 탱고이다.
샤피라는 Susana Miller 수사나 밀레르, Alejandra Arrue 알레한드라 아르루에, Elina Roldan 엘리나 롤단, Carols Gavito 까를로스 가비또, Daniel Garcia 다니엘 가르시아, El Tete 엘 떼떼, Ruben Harymbat 루벤 아림바트 등을 대표로 꼽는다. 장점은 사랑하는 사람과 음악에 걸으면 되고 좁은 장소나 다양한 바닥에서 추기 쉽다. 단점은 보여지는 요소나 우아함이 덜 드러난다는 것이다.
디 사를리 Di Sarli, 다고스띠노 D'Agostino, 다리엔쏘 D'Arienzo, and 깔로 Calo 곡에 맞춰 밀롱가에서 많이 춘다.

4. 무도회로 가십시다 Let's Go to Ballroom
밀롱가에서 살롱 스타일이라고 하면, 긴 보폭, 우아한 스텝, 바닥을 애무하기, 밀롱게로보다는 덜 안는 클로우쓰 홀드로 특징을 지어 준다. 훌리오는 부친 미겔 발마세다로부터 이 스타일을 전수받았다.
훌리오에게 커플 춤의 매력적인 화제는 이성과의 접촉이었다. 이성이 좋아하거나 추기를 원하는 격려에 매우 자극되어 좋았다고 한다. 훌리오가 볼 때, 살롱 스타일은 1940년대 생겨났고, 커플 댄스 전문가들이 깐젠게와 밀롱게로 스타일과 달리 곧은 자세와 클로우쓰 홀드를 하도록 굳혔고, 뻬삐또 아베샤네다 Pepito Avellaneda, 안또니오 또다로 Antonio Todaro, 미겔 발마세다 등을 대표로 꼽는다. 40년대 활약한 악단 뜨로일로 Troilo, 뿌글리에세 Pugliese, 디 사를리 Di Sarli, 프레세도 Fresdoo 곡에 맞춰 밀롱가에서 많이 춘다. 이 살롱 스타일이 가장 대중성이 있다고 네 사람 모두  입을 모은다.

Antonio Todaro 안토니오 또다로
A crucial link regarding tangofantasia choreography and the milonguero's world of the milongas, is Antonio Todaro.
공연 안무와 밀롱가의 밀롱게 춤을 연계시킨 분이 안토니오 또다로  땅고 선생이다.

  Antonio Todaro (1929-1994), innovator and milonguero, was a very influential danceteacher. At the moment when the temptation of the most intimate dance had become weak because lack of attraction, Todaro caused a renewal for the conception of the stage tango(공연무대 땅고).

 His tango is strong, masculine, fast and powerful... not a slow, soft, romantic. Estilo Todaro is the original dancehall tangostyle in combination with stylistic choreographies. His style alternates between the social dancing at the milongas and the professional stage performances.

Antonio Todaro had a special fondness for dancing as follower and as an innovator, he had fun expanding the follower's part. He is also famous for his skilled Tango Doble Frente / double front (tango al reves - inversed/reversed) in which the woman has her back to the man and the man embraces her around the waist, so both dancers face the front/public, it is a very historical style of tango invented by the popular milongueros of the 1940s. All steps that one dances in the regular, or "derecho" position, can be danced al reves.

Antonio Todaro and Raul Bravo had a tango school for sixteen years in the 60's and 70's. Raul Bravo had a lengthy career as an exhibition tango dancer in the 1960's when he toured the world with the Mariano Mores orchestra, the technique for dynamic powerful stage movement taught by Todaro is visible in the dancing of Raul Bravo. At the beginning of the 90's, Miguel Angel Zotto and Milena Plebs led the first world wide changes. When they reconstructed elements of the popular dancestyle in their spectacle Tango x 2, they revealed the wealth of the world of the milonga to eyes of the public. Then, the classes of Antonio Todaro, with whom Zotto and Plebs had made their punctilious stylistic work, began to fill with new customers.

Today, Todaro's mark is world-famous and the roots of Tango Nuevo are Todaro. It goes through his pupils(제자들) Miguel Angel Zotto 미겔 앙헬 쏘또 , Milena Plebs 밀레나 플렙스 , Roberto Herrera 로베르또 에레라, Vanina Bisousand 바니나 비소우산드 and others in the show Tango por dos. Alejandra Martinan 알레한드라 마르티난(동영상http://www.ultimotango.nl/movies/AG.mov) and Gustavo Russo 구스타보 루쏘 took likewise instruction with him. Dancers of the today's generation (구스타보 나베이라 Gustavo Naveira, 빠블로 베론 Pablo Veron, 파비안 살라스 Fabian Salas, 세바스티안 아르쎄 Sebastian Arce and Chicho Frumboli 치초 프룸볼리 ) are directly or indirectly inspired by him.

5. 땅고 혼합 Tango Mix

클럽/밀롱가에서는 커플마다 다양하게 다른 스타일로 추며 파트너마다 다르게 유연하게 섞어 춘다.

6. 다른 스타일들 Other Styles
Orinetal 스타일=우루과이
Villa Urquiza(Club Sunderland 있는 마을), Avellaneda(마을), or Downtown ones
Nuevo tango-Changing embrace(sometimes broken) 누에보 땅고는 홀드를 계속 바꾸면서 때로는 홀드가 깨진 채(둘 다 손을 놓거나 한 손만 잡은 채) 춘다.

7. 전달 Transmission
땅고의 기술을 가르치는 관점에서 보면 무대 공연 기술이 밀롱가에서 추는 스타일보다 명백히 더 어렵다.

8. 댄스 모임 Assembly
   밀롱가에서 서로 다른 스타일의 땅게로스가 춤출 때 어떻게 되는가? 리드가 정확하고 팔     로우를 민감하게 할 줄 알면 별 문제가 없지만 살롱 스타일만 한 사람은 밀롱게로 스타일로 추는 파트너를 만나 동의없이 애인처럼 아브라쏘를 하면 거부 반응이 있을 수 있다.

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sinwhe님의 글:

아르헨티나 특유의 나른한 관능과 심오한 내적 평정을 덧붙여, 현대적인 춤의 한 극치를 이루어낸 이들이 다름아닌 아르헨티나 사람들이기 때문입니다.


탱고는 단순히 춤의 한 양식에 그치지 않습니다. 그것은 ‘스타일’이고, 삶을 다루

는 몸짓 그 자체입니다. “탱고를 배운다는 것은 그저 스텝을 익히고 음악에 따라 몸

을 놀리는 법을 배우는 것이 아닙니다. 진정한 땅게라, 땅게로가 되려면, 탱고 특유

의 공기를 몸 속으로 흡수해, 탱고 스타일을 몸의 체취 속에 담기도록 해야 합니다.”


한국의 내음을 체취 속에 담은 탱고는 또 어떤 모습일지, 궁금해집니다.




자료원: www.todotango.com에 실린,<Modern dancing", chapter V, by Mr. and Mrs. Castle Vernon. New York, 1914.>에서 주로 인용하여 쓴 글입니다.

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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

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

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

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

MARTHA ANTON  from a very young age she took ballet classes in the Theatre Colon, took Spanish dances with Carmen Armendaryiz,  performing shows in the different theatre of Corrientes and Mayo Avenues .

Folk and native dances with Mario Aceituno Pena.

Class assistant of the Antonio Todaro in three of his academies which were placed in Belgrano Avenue crossing Tacuari, at 2950 Sarmiento street and Jujuy crossing Humberto Primo.
1991-1994.At the tango gallery it has been created the classes and practices of the women with this name recognized abroad, there weren't any male teachers, just three women, Graciela Gonzalez, Veronica Alvarenga and Martha Anton

She participated in the International Tango Argentine congress C.I.T.A. 2003

 MANUEL MARIA SALVADOR
Better well-known as "el gallego manolo"
Teacher in america del sud together with rodolfo and Maria Cieri.
Teacher in circulo de suboficiales de la Armada.
Teacher in the club gimnasia y esgrima with Rodolfo and Maria Cieri.
Tango dancer in the perfomance "tango del ayer hoy y siempre" in the San Martin theate with Mingo Pugliese among others.
Milonga teacher and ballroom organizer in the Akarense perfomances and clases in Europe cities: Paris, Marselle, Monaco, Rome & Venezia.
Work in tango films for the german secretary of culture together with Graciela Gonzalez and Amira Campora.
Trajectory prize in tango and milonga milonga teaching video for Daniel Trenner for the USA.
Milonga classes for "solo tango" argentinean TV. tango chanel.
Tango festival in Cratz, Austria superised by the mayor brumer classes with Suzuki Avellaneda in CC Torcuato Tasso, salon Gricel shows and classes in CPCP theater in Cordoba city.
Argentinen workshops in La Galeria del Tango, Buenos Aires.
Argentinen tour classes in Santa Fe de nuevo Mexico USA.
Tour classes in Europe: France, Germany, Austria, Italy & Holland

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

Date: Tue, 4 Apr 2006 23:12:30 +0000
From: Sergio Vandekier 세르히호 반데키에르<sergiovandekier990@HOTMAIL.COM>
Subject: Tango styles

We said before that at the beginning of the century the predominant style
was Canyengue, a dance full of body contortions and quebradas.

European women were not very skilled to do the contortions which were not
considered to be proper in many clubs. As they were removed Tango liso
(without cortes or quebradas, void of firuletes) became popular. One could
say that at that stage Canyengue and tango liso were the predominant styles.

It is important to know that the styles are not static, they have a tendency
to evolve the same as the music.

This musical changes, notation of 4/4, introduction of the bandoneon,
improvement in the education of the musicians, originated a slower tango,
more complex and melancholic; dancing partners separated due to moral
issues and this created a more erect dance full of turns, molinetes, and all
sort of embellishments. ( Salon open embrace) (Tango fantasia).

The instructors also have a strong influence, if they come from Stage tango.
It is logical that they will create schools of "Open Embrace Salon Style" ,
a dancing form very elegant and rich in all sort of embellishments.

If the instructors come from social dancing they are going to create schools
of followers that will dance "Social Tango" (Salon close embrace -
Milonguero), an elegant dancing form, that preserves and enhaces feeling
and is devoid of the many embellishments that require a lot of space to be
performed, It is very appropriated for dancing socially under any conditions
of space and musical form.

The fact that most salons are extremely crowded in Buenos Aires caused some
changes in the Close Embrace style, modifications that allow the couple to
remain in contact throughout the dance while utilizing very limited space.
(ex. Ocho cortado/milonguero).

If the instructors come from the small ( and rapidly growing) group of Nuevo
Tango teachers they are going to create schools of followers of that style.

We frequently talk about tango style and personal style, they are quite
different.

This last one will be developed very slowly during the learning process and
will continue to progress after that process is finished (if it is ever
finished).

It depends on many variables such as personality, skill, feeling for the
music and artistic interpretation of it, his body structural
characteristics, his taste, sensibility, and his own prior experiences.

It is also important to remember that the same, as popular tango styles
change, personal style also evolves and changes.

Summary: Popular tango Styles and personal tango style both change with
time
under the impact of different influences, such as morals and
customs, fashions, instructors, availability or lack of space to dance,
personal traits and personal prior experince in life.

Best regards, Sergio

Finally we have reached a degree of understanding of Argentine Tango that
allows us to distinguish certain tango styles.

I just returned from Argentina, where I spent four months and a half. I was
happy to see that several styles are being taught and danced. The
preval‎ent style at the milongas in Buenos Aires due to lack of space or to
preference is Salon close embrace.

Teachers now promote their lessons as being of a certain style and therefore
their students know what style they are dancing.

The most popular styles are:

1 - Tango salon 땅고 살롱 - with open, close embrace or combining periods of open with
moments of closed embrace.

2 - Milonguero Style 밀롱게로 스타일 (is practically speaking almost identical to Salon close embrace 살롱 클로우쓰 임브레이스). It may have certain variations in the tango walk, leading and following depending on a particular instructor.

3 - Nuevo Tango 무에보 땅고 uses a very open embrace, a certain technique for leading and following, certain moves such as "off axis", volcadas and colgadas,
moves that can be used in a natural way in Traditional Salon style.

4 - Canyengue 깐젠게 . An early form, very rhythmic, with a very close embrace,
with beautiful figures that very often are symmetrical (both leader and
follower do the same foot work, the mirror of each other). Music from the
early times of tango is preferred. Francisco Canaro, Tubatango, los
Muchachos de Antes, Orquesta Victor, Edgardo Donato, and many other modern
orchestras that play music from the old times.


I should clarify that "Milonguero Style" could mean many things such as the
style danced by the old milongueros and most people at the milongas in
buenos Aires( which is salon close embrace 살롱 클로우쓰 임브레이스), the style danced in the USA in close embrace ( most frequently salon close embrace), or the style as taught by certain instructors : Tete 떼떼, Cacho Dante 까초 단떼, Susana Miller 수산나 밀레르, and many others
who use "Tango Salon close embrace" with certain variations in the tango
walk or the ocho cortado 오쵸 꼬르따도, style that totally discards the possibility of using an open embrace 오픈 임브레이스 and concentrates mostly in the closeness of the dancers.

5 - Certain styles isolated, identified and/or developed by certain
instructors such as:

Estilo del centro  센뜨로(다운타운) 스타일 : as taught by Daniel Lapadula 다니엘 라빠둘라, Tango Elegante 땅고 엘레간떼: as taught
by Orlando Paiva 올란도 파이바, Estilo Todaro 또다로 스타일: as taught at Cosmotango( CITA) 시따, the style of Eduardo Cappussi 에두아르도 까뿌시, the style of Pulpo Esbrez 풀포 에스브레스, and that of many others.

The purpose of this note is to describe the names of the most popular tango
styles, eventually and within each style every individual will develop his
own, personal way of dancing, a reflection of his personality.

Every style is rich, one style is not superior or inferior to any other,
each person dances the style of his preference or the one that is best for
certain music, certain place, the availability of space, the time of the
day, the partner, etc.

The musical notation of the original tangos was like that of the milonga 2/2
, giving a more vivacious rhythm than that provided to the modern tangos
written in 4/4 notation.

Tangos like "El esquinazo", "El Portenito" "El Entreriano" are frequently
confused as being milongas by the beginner dancer.

In the 40s. as the music changed, so did the dance form: the posture became
more erect, the bodies separated somewhat due to social requirements, the
slower tempo allowed longer steps and more complex figures. This separation
of the bodies allowed room for this more complex choreography as well.
"Tango Salon" in all its forms developed and replaced Canyengue.

It was called "Salon" meaning the type danced socially in the salons in
opposition to that danced on stage. From this point on we distinguished
Salon in all its social forms and Stage.

Clubs where embellishments were forbidden people danced "Tango Liso", other
clubs allowed all sort of "firuletes", boleos, amagues, ganchos, enrosques,
barridas, sentadas, etc.
A style loaded with such moves is today called "tango fantasia", a form
fairly close to "Stage tango".

In the meantime Salon, along with the open embrace, preserved its form with
a close embrace, used today by most dancers as their preferred style or used
out of necessity in crowded milongas.

More recently a small group of men (Gustavo Naveira, Fabian Salas, Chicho
Frumboli, and others) got together to practice and improvise as in the old
times exploring all the choreographic possibilities of the tango structure;
out of this exploration "Nuevo tango" as a style was originated.

The stage dancers traveling all over the world in the early 90es., taught
"Salon Style", mostly in open embrace in what is called today "Tango
fantasia". This style is attractive, complex and difficult to master.

Then Tango dancers from all over started to go to Buenos Aires to discover
that the Portenos danced in a different form in close embrace ("Salon close
embrace"). They started to learn this "other style". Some instructors
such as Tete, Cacho Dante and Susana Miller started to travel abroad
teaching this last form.

The original name would have been "Salon close embrace" but Susana decided
to use the name "Tango Milonguero", this denomination was accepted both in
Buenos Aires and abroad with lots of confusion as "milonguero" means many
things.

There was a terrible confusion abroad as people were learning to dance
"Argentine Tango" ignoring that there were different styles, they were
arguing to no end about every possible aspect of their dance as each one of
them, in their corner, thought he was dancing the "real tango" and the
others were dancing something else.

Faced with this problem I decided to clarify the matter of the different
styles. It took several years and numerous notes to this list and many
newsletters and magazines, to make people understand this easy fact.

Perhaps I did not know how to make this easy to be understood, perhaps
because everyone felt threatened in one way or another.
Some thought that their style could be perceived as being inferior to that
of others, or that they were not taught real tango, some instructors
thought that they were going to lose all their students, all of them
together refused to accept that tango could be danced in many different
ways, they vented their frustration on the me. the messenger with the bad
news.:))

All that seems to be in the past now.:)) :)) :))

Summary; We need to know the names of the different tango styles, to
announce events, congresses, workshops, so that the student may attend the
event of his preference knowing that tango has many faces, somewhat
different but always maintaining the same character.

Eventually you can dance the way you want.

Best regards, Sergio
--------------

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

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.
With best regards,
Steve

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

But beyond the numbers factor, the phenomenon of the contemporary milongas marks a historical change in another sense: a new change of direction in the continuous transformation of the styles of dance throughout the century.

What is being favored today on the dance floor? If it is what can be observed with more frequency, one would say that three tendencies are disputing for supremacy: the Urquiza style, the Almagro style and the Naveira style, as the fans know them, - implying a neighborhood, a club and a teacher.

They are not difficult to distinguish. Make yourself comfortable on a stool by the bar and you will see them move over the waxed surface: a couple that advances with long steps, touching the floor as if they are wearing gloves on their feet is followed by another couple closely embraced and whose short steps adjust synchronously to the beat (Almagro), and behind, a third couple that unfolds all the imaginable variety of figures which the previous couples can do without (Naveira). Adding to that, there will be another couple schooled in the style of Antonio Todaro and belonging to an elite with technical formation, that alternates between the social dancing at the milongas and the professional stage performances.

The fans are simultaneously protagonists and judges of the prevailing tendencies. In some halls, one or another one dominates. But on several "pistas" the practitioners of different styles mix with each other, they watch each other out, they appraise each other, they admire themselves or they condemn the others. The commentaries can be listened to between the tables, but they can be tracked all the way down to the Internet (currently a Tangolist site burns with opinions like: " So and sos dancing, looks like a cowboy with hemorrhoids ").
Miguel Angel Zotto and Milena Plebs led the first changes at the beginning of the 90s. When they reconstructed in their spectacle Tango x 2 elements of style of the popular dance, they revealed to inadvertent eyes of the public, the wealth of the world of the milonga. Then, the halls, and the classes of Antonio Todaro, bricklayer and milonguero, with whom Zotto and Plebs had made their meticulous work of stylistic archaeology, began to fill with new customers.

A little later, Susana Miller began her classes at the traditional Club Almagro. Miller (of academic extraction) associated with Cacho Dante (a veteran aficionado) begun from her classes the propagation of which usually is known as the Almagro style - very similar to the typical style of the downtown night clubs of the 40s. Its less demanding requirements gave access even to those who were less fitted naturally, technically or sensitively. And it quickly put on the dance floor an enormous amount of new fans, generating a true leveling off of the dance.

Right now, the influence that registers greater growth is, perhaps, the one of dancer and teacher Gustavo Naveira. 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."

Naveira himself affirms: "a single person cannot be determining in the evolution of the dance. Thats been happening from the beginning of the tango, and without stop, always because of a conjunction of factors. 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".

However, for disc jockey Horacio Godoy the future is in Villa Urquiza. Teachers Vilma Heredia and Gabriel Angi? also agree that many young people are focusing their attention to the floor of the old Sunderland Club of Villa Urquiza, where they still can watch the habitu?s of half century ago. "Urquiza is what its coming," prophesies Godoy. "There is a group of kids that realized that the maximum wealth is there. I am not talking about figures, its about the musicality and the quality of the movement. Its about a wealth of knowledge so subtle and complex that for the ordinary eye is imperceptible. "

The trends, in any case, hardly draw up general lines: common characteristics, airs of familiarity. As it has always happened with tango, there are so many ways to dance as there are dancers (it is what highly distinguishes it from almost all other forms of popular social dance). And in the same way, there will be so many opinions on the question as the number of people on the dance floor.

By Irene Amuchastegui and Laura Falcoff
Clarin Newspaper
Sunday, August 8, 1999

Notes on these styles

Social Tango Style of downtown Buenos Aires, known variously as Club Style, Style Almagro or Milonguero Style or often in North America simply as Close Embrace Tango. This is the rhythmic, intense, subtle and intimate style of the densely crowded  milongas of Buenos Aires, the quintessential Tango style.

Nuevo Tango
 In 1999, Claude Dumont suggested combining the names of its famous contributors/exponents -- Fabian, Gustavo and Chicho -- to call it Faguchi tango.

Carlos Gardel y el tango cancion
Otro personaje muy conocido en el mundo del tango es Carlos Gardel. Carlos Gardel es famoso por haber creado un estilo de tango conocido como el tango canci?n. En su vida, Gardel produjo m?s de quinientos tangos. Uno de los m?s famosos es "Por una cabeza" y se puede o?r en la pel?cula "True lies".

So the style is the music and when the music changes, the style changes.
Do email us on angela@bylaugh.com with your views please.
_________________________________________________________________

교수법이 좋은 강사들
FERNANDA GHI & GUILLERMO MERLO are not only superb performers, having danced
on stages around the world (including performances of their own show Tango
Dreams), at every major festival and the first non-Asians ever to be invited to
perform at the Imperial Theater in Tokyo, they are also teachers of the
highest level. (Guillermo was nominated for a TONY award for his choreography for Forever Tango).  Fernanda & Guilermo give more than 100% to their students,
present well-prepared, well-structured classes with the specific intention that
each student shall experience that "ah-ha" moment.

Fabian Salas

Gustavo Naveira

Andres Amarilla at: http://www.andresamarilla.com

In the Nuevo Tango genre, I feel that the classes I had with Chicho
were superior to Fabian or Gustavo.
Gustavo and Fabian are extremely knowledgeable and
skillfu are fond of the methodology: "Here's a difficult
figure, with a super-difficult moment. Go to work on it. (30 minutes
later) Here is the secret nut to crack".

Chicho presents more informative from the beginning. "Here is a cool
figure with a difficult moment. Before we go struggle, here is the
secret for cracking the nut."

Luciana Valle

Julio Balmaceda & Corina del la Rosa

Suana Miller

Jorge Torres
can teach you how to dance on one tile of the floor, in a milonga. Also, has
an incredibly supple, catlike, velvety way of moving and leading. And is
nice to talk to. Can dance both at crowded milongas and on stage.

FRANCISCO FORQUERA & NATALIA HILLS. They toured with Forever Tango last year

Oscar Mandagaran
will teach you how to do all your moves more elegantly. Is also incredibly
sweet, and always in a good mood during class, great fun.

Gloria and Eduardo
Will include tango background and history in their lessons, and teach
different styles, belonging to different eras of tango history

Nito and Elba
the noble minded seniors of tango. Incredibly generous with their knowledge,
very kind, attentive and encouraging to students
Analia and Marcelo have a very special and effective way of teaching and excersing connection in close embrace.
--------------

1430  Sunderland

ARTICLE INDEX

http://tango.romanvirdi.com/sunderland.htm Date: Wed Dec 19, 2001 2:40 am Subject: Sunderland Jose began to point out who was present, and it dawned on me that my relaxed casual dances had taken place among most of the living legends of Argentine tango! And twice, I had bumped into people! I began to look at the dancers with a new eye, and suddenly the heart and soul of tango felt very near in this old gymnasium. The older couples were amazing. I looked at their faces and tried to imagine all of the things they had seen. The men were perfectly dressed in well fitting suits, and fresh haircuts. There was a table of old men next to us that I fell in love with. I wanted to join them. They kept laughing and singing along with the music, and giving each other a hard time. Couples would dance by and they would torment certain ones, tugging the men's coats, and grabbing at the women. The ladies would pretend to slap them, and then end up kissing them. And then the men would kiss each other. (These Argentine men are always hugging and kissing one another. I actually kissed my barber the other day after the completion of a successful haircut... but that's another story). Dancing couples would sometimes wave and speak to other dancers, and to people seated at tables. Date: Sat, 8 Jan 2005 16:25:39 -0800 From: Dolores Longo <madolo@YAHOO.COM> Subject: SA: Buenos Aires, last minute change for Sunderland milonga venue tonight! The Milonga regularly held on Saturdays in Club Sunderland will take place tonight at 22:30 in Club Banco de Provincia in Vicente Lopez, where La Barranca milongas are held on Fridays and Sundays: H. Yrigoyen 803, Vicente Lopez, If you know anybody planning to go, please pass the information on. Dolores Date: Tue, 5 Jul 2005 22:34:49 +0000 From: Oleh Kovalchuke <oleh_k@HOTMAIL.COM> Subject: Style of dancing in Sunderland (Villa Urquiza) Sergio wrote: "Sin Rumbo and Sunderland in Villa Urquiza are places very well known all over the world because , people here dance Traditional Salon Tango. You will see that the posture of the dancers is like the one shown by Rick in his pictures. There could be special events at either club, then people (outsiders) come from all over. On those occasions the style could be different." One of my favorite milongas in Buenos Aires is very traditional "Milonga Del Mundo" on Saturday nights in Sunderland (Villa Urquiza). Here is a picture of me dancing at this milonga couple months ago (http://www.tangospring.com/tangoimages/BA2005milongaSunderland01.jpg). At this very friendly milonga most of the people dance with friends and most of the people dance in close embrace style which is also known as milonguero style. The style is known as milonguero in Buenos Aires too - I have May issue of Tangauta in front of me with quite a few ads promoting instruction in Tango Milonguero. Obviously there could be other milongas and special events in Sunderland on other days when people might dance tango in other styles (open or flexible frame for example). They might even play basketball there on those days. Saturday Milonga del Mundo is not one of those days. Cheers, Oleh Kovalchuke http://TangioSpring.com Date: Wed, 6 Jul 2005 13:35:45 +0000 From: Sergio Vandekier <sergiovandekier990@HOTMAIL.COM> Subject: Sunderland, Villa Urquiza Oleh says, in reference to Sunderland's milongas: "At this very friendly milonga most of the people dance with friends and most of the people dance in close embrace style which is also known as milonguero style. The style is known as milonguero in Buenos Aires too - I have May issue of Tangauta in front of me with quite a few ads promoting instruction in Tango Milonguero. " I really think that it was easier to discuss the "wet noodle" embrace brought up by Oleh than this subject. This is the **last time I am going to say it** (a lot of people will sigh with relief) :)) Close embrace has at least *TWO* different styles : 1- Traditional salon Tango 2- Milonguero Style The two styles are different despite of being done in close embrace. The word milonguero is confusing because it means many things. Most people in Argentina do not know anything about different tango styles. Even the old milongueros . If you ask them what style of tango do you dance? They will say: I dance tango. If you insists for more precision they will say "Salon". This meaning social tango vs.Stage tango. Everyone is convinced that they are dancing "tango" irrelevant of any special attribute. This is normal because tango is personal and reflects the personality of the dancer, there are as many styles as dancers, so everyone knows that his tango is different to that of the others. Milonguero means many things, anything relative to the milongas for instance, anyone that goes regularly to the milongas, anyone that dances tango and is ordinary, vulgar, the old good tango dancers, dancing well, dancing in street wise manner, being poised and self confident in his talking or acting at the milongas, etc, etc. Any of those attributes would apply even if the person in question only dances in open embrace and never in close style. So in Argentina Tango milonguero means tango well done, done with poise, knowing what you are doing. To some it will mean the tango done by Susana, cacho, Tete, and others. I brought up the subject of different tango styles in the mid 90s. after I read an article in the Clarin newspaper and described in this forum Salon (traditional tango danced in Villa Urquiza), milonguero (the one danced by Susana Miller, Cacho Dante, Tete and others) and Nuevo Tango (the one danced by Gustavo Naveira, Fabian Salas, Chicho Frumboli and Pablo Veron). That one undoubtedly was the first reference to those styles . The words "Tango Milonguero" and "Ocho Milonguero" were new, had just started to circulate. That Style which became popular in the 50s. was known by other names : Club style, Confiteria Style, Caquero Style, Tango del Centro). The terminology that i used in that first note to tango-L stuck in the USA to certain extent except that: People in the USA think of "Milonguero" as any dancing done in close embrace and "Salon" any dancing in open embrace. I have spent many hours trying to explain that this is not correct because "Salon" can be danced in close embrace and that this is different to the close embrace of "Milonguero Style". Most people in the USA still think of close embrace=milonguero. I grew up in Villa Urquiza, I should know the clubs of my neighborhood and what styles of tango people dance there. Sin Rumbo and Sunderland are two clubs where the Salon Traditional style is taught and danced every week both in open and close embrace. The openness or closeness of the embrace naturally will vary with the available space at the floor and the time when you arrive. Open early or late when there is space and close embrace when it is crowded. People come to these clubs from all over the world and portenos from all over the city to learn the Traditional Salon Style . Some people all over the world are calling the tango danced there "Villa Urquiza Style". Why it is important to know all this? ... or perhaps it is not important at all?... ...this note is long enough so we can discuss that in a different occasion. Have a good day, Sergio Date: Wed, 6 Jul 2005 18:04:27 -0700 From: Derik Rawson <rawsonweb@YAHOO.COM> Subject: Sergio, I agree with you 100 per cent ..Re: Sunderland, Villa Urquiza Dear Sergio: I agree with you 100 per cent. People here in the USA just do not "get it". They think they know all about Argentina and they do not know. As you say, there is no "close embrace Milongero Style" that has anything to do with Argentina. Milongero is just the word for a good dancer. The name and the style of this so-called milongero dance was created here in the USA by people in the United States who think they know all about Argentine Tango, and most of them cannot even speak Argentine Spanish. Here in Houston, for example, the people who teach close embrace cannot speak the Argentine Spanish language, are not themselves from Argentina, and some of them have never been to Argentina even once in the entire lives ever. The idea that these people can teach Argentine Tango is just absurd. Now I am hearing that there are people living in Buenos Aires who are trying to sell this dance back the the USA for export to the ignorant. Apparently they are now buying advertising in local BsAs Magazines, to make it seem like the dance is local. As you and others have said many times...until blue in the face....the only people who dance this dance are from outside the country, and most of them cannot even dance with the local people at all because they do not know how. This whole business of close embrace milongero style is just becoming another example of the Ugly American. What is the deal? It is a USA dance, not an Argentine dance. Sorry, but as a native of Houston, Texas, I am embarrassed to see US citizens acting in such a manner, just to make a buck. It just makes me furious. Derik d.rawson@rawsonweb.com

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

http://tango.romanvirdi.com/lets-analyze.htm

Date: Fri, 21 Oct 2005 14:56:37 +0000
From: Sergio Vandekier <sergiovandekier990@HOTMAIL.COM>
Subject: Let's analyze a little

First we have the "Real milongueros" a group of people, women and men that
started dancing in their youth and have been dancing ever since. Each one of
them has his own style. They dance socially and occasionally do an
exhibition at the local club. They developed their own style because in
those days they learned practicing among themselves, among men, and then
danced and taught the women of their immediate family and their friends.
The result was a myriad of styles to dance tango socially .

Second we have the dancers that took lessons from great tango dancers and
teachers that developed groups of followers, dancers that also practiced
among themselves. People that are able to dance tango in all its forms and
under any circumstances, socially, in different styles and on stage.

This second group have the added capacity of being able to teach tango
properly as they had a formal instruction. Many became professional dancers
forming groups to travel with musical shows.

Some are excellent dancers but do not know or do not like to teach, some are
mediocre dancers but are great teachers and like to teach, some are both
good dancers and excellent teachers.

They teach all the tango styles: Nuevo or Salon (as social dance and for
stage) and milonguero which is fundamentally a social form of the dance.

So we have been dancing now for about 10-15 years or more, we have been
exposed to as many forms of tango styles as we were willing to learn, many
of us became tango instructors or professional dancers in turn.
Most of us had the privilege of learning from tango dancers of great
reputation all over the world and many developed its own style dancing in
the milongas not only of Buenos Aires but of all over the world.

As result of all this developments we have now active tango groups in most
cities .

The most popular form of dancing is and has been Salon style close and open
embrace. Within this style everybody develops his own form of dancing for
social or stage activity. Many people dance only milonguero style, many only
Nuevo Tango and many dance several styles.

All these styles and many popular sub styles were born and developed in
Buenos Aires.

Yet we have to hear again and again in a patronizing tone, that we are being
sold a "fake" tango in a good "package".

That the "real tango", in the correct package, is the one danced by the "old
milongueros".

My opinion (others may have a different one) is that Argentine Tango is all
of that.

The social tango of the old milongueros, the social tango of the new
milongueros (young people in late teens and early twenties), all the styles,
the popular ones and the personal ones as well:

Nuevo, salon, close,open, social, stage, they are all different
personalities of the same dance that it does not matter how, it adjusts to
the different circumstances of the social or professional environment and
never loses its character.

So it is fine that each interested party promotes his own style of tango,
but do not come with that patronizing tone to tell us that we do not know
what tango is about because we know as much as we need to know and we dance
the way we like to dance, at home, abroad or in Buenos Aires.

There is room for everybody in this world and also in the tango.

So Sr. Pedro Saenz tango is not dying, it is growing, full of vitality an
din all its diversity, "your" tango may be dying not mine, so go to your
local club, continue dancing your way and let me dance my own way.

Have a good day, Sergio
------------

1601  Tango Fantasia

ARTICLE INDEX

http://tango.romanvirdi.com/tango-fantasia.htm Date: Sat, 26 Jul 2003 15:37:28 -0400 From: Sergio <cachafaz@ADELPHIA.NET> Subject: Tango Fantasia I believe that most people refer to tango 'Show' for stage when they talk about tango 'fantasia'. Social tango (milonguero, salon or nuevo) is generally danced with the feet caressing the floor ( there could be some isolated jumps or sentadas (sittings). The choreography is improvised. It is adapted to the circumstances of the floor. 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 oly and are not used in social dancing. Date: Sat, 26 Jul 2003 19:04:05 -0400 From: WHITE 95 R <white95r@HOTMAIL.COM> Subject: Re: Tango Fantasia ----Original Message Follows---- Date: Sun, 27 Jul 2003 22:50:38 -0800 From: Dan Boccia <redfox@ALASKA.NET> Subject: Re: Commitment to fundamentals (was Tango Fantasia) > From: Sergio <cachafaz@ADELPHIA.NET> > > >The average dancer can greatly improve the > >quality of his/her salon dancing by learning some Show-fantasia tango > >moves. Further, Manuel states > (he agrees that) the average social dancer can > improve his or her quality of dancing by taking classes that teach these > things (show moves). I don't agree. In my experience, VERY few average social dancers can execute a giro (for example) really well - maintaining their own axis, balance, musicality, and partner connection (not unduly pulling/pushing/hanging on each other). Those that do these things well are not average, and they got good by practicing these very things diligently. Lance Armstrong isn't about to win his 5th Tour de France because he spends a lot of time in a half-pipe doing flips on a BMX bike. Since giros are vastly useful and common for dancing socially, especially when it gets crowded, I would rather people spent more time practicing this than show moves. In most of the classes where complex material is introduced, the main problem typically boils down to poor execution of giros and walking anyway. Concentrating on show moves takes valuable time away from a focused learning experience on core items that are more central to what is actually danced socially. Even more fundamentally than the giro, many people don't pivot well, and there's a lot of work to be done learning to pivot in a more grounded, balanced manner. Good teachers know this and teach whole classes focused on pivoting. Manuel again: > .......it's very nice to take lessons from good teachers and accomplished > dancers to improve one's technique. It's become lamentably common for some > tango dancers to generalize and denigrate show tango because of some folks > trying their steps in the wrong place.... Taking a technique-intensive class on walking from one of these good teachers is TOTALLY interesting and engaging, and a class on turns/pivots, ochos, etc. can inspire my dance for months. In the milonga, those dancers who really love the music, and can walk, connect, turn and navigate rule the floor, period. Those who cannot do these things have difficulty enjoying themselves, or cause distraction to others. I'll take the classes on fundamentals, thank you, and the good teachers who are committed to producing students who dance well socially will continue to focus on the fundamentals. The students who are wise consumers (assuming they want to dance well and get lots of dances at milongas with good dancers) will stick with the teachers who know how to teach fundamentals. I die for the few woman who can REALLY walk the music. Dan Date: Mon, 28 Jul 2003 18:10:10 +0900 From: astrid <astrid@RUBY.PLALA.OR.JP> Subject: Re: Commitment to fundamentals (was Tango Fantasia) I agree with Dan. Taking fantasia classes to get better at social dancing sounds to me like suggesting to an intermediate piano student to try to play Chopin in order to get better if he cannot even play Bach well yet or something more simple. Me and my partner have flunked almost all classes for months recently , and have been just attendintg practicas and milongas, and my partner has improved vastly. Seems like, just sticking to what you know and working on that for a while really polishes up your dance. He would not believe me when I told him he got a lot better, and tried to find some other reason. "It must have been because I have been taking classes in Hip Hop", he concluded finally. "Now, in what way would Hip Hop help you with tango?"I asked, incredulous. He thought for a while. "Hmm...balance ?" Astrid > I don't agree. In my experience, VERY few average social dancers can > execute a giro (for example) really well - maintaining their own axis, > balance, musicality, and partner connection (not unduly > pulling/pushing/hanging on each other). Those that do these things well > are not average, and they got good by practicing these very things > diligently. Lance Armstrong isn't about to win his 5th Tour de France > because he spends a lot of time in a half-pipe doing flips on a BMX > bike.... I die for the few woman who can REALLY walk the > music. > > Dan > > Date: Mon, 28 Jul 2003 11:33:09 +0200 From: Christian L?hen <christian.luethen@GMX.NET> Subject: Re: Commitment to fundamentals (was Tango Fantasia) Astrid, Dan, Tango-L. We all know this moments when dancing on the dancefloor becomes *extremely* dangerous: Immediatly after a Tango performance ... ! :;-( Even worse if the performers had been giving a workshop on spectacular movents the same day/afternoon ... all those who just learnd those stuff - but not mastering it at all yet - now want to show off ... ... ... gancho here, gancho there, lift her up ... etc. pp. ... regardless of any other couples on the dancefloor. I tend to avoid the floor at those moments! > I agree with Dan. As do I! > Taking fantasia classes to get better at social dancing sounds to me like > suggesting to an intermediate piano student to try to play Chopin in order > to get better if he cannot even play Bach well yet or something more > simple. "Bach or something more simple" - *ROTFL! :-))) > "Hmm...balance ?" Another *very* impoortant point! Improvement, real improvent, for the Salon comes from praticing ... *the basics*!!! "Caminar" and some small turns ... yessssss, that feels nice! Wishing nice, safe, peaceful dances - the good moments with the simple things! Christian [still "high" after last weekends tango festival in Oldenburg, Germany ... :-) ] -- just my personal 50th of an Euro christian.luethen@gmx.net How inappropriate to call this planet earth ... ... as clearly it is ocean! +++ GMX - Mail, Messaging & more http://www.gmx.net +++ Jetzt ein- oder umsteigen und USB-Speicheruhr als Prdmie sichern! Date: Mon, 28 Jul 2003 15:28:10 -0700 From: Rick FromPortland <pruneshrub04@YAHOO.COM> Subject: Re: Commitment to fundamentals (was Tango Fantasia) I've seen this happen with people learning West Coast Swing. Its a non-trivial dance & unlike Tango, is not totally led. Before some folks learn how to do the basics/simple things well, they're off doing all kinds of syncopations, complicated-extended count patterns, hijacking the lead, stutter steps/stalls, body rolls & all kinds of whoknowswhat. Its an incredibly flexible dance, one can spend the rest of your life fooling around with it. w/o solid basics though, they're not much fun to dance with. As a remedy, I'll lead 3 six count patterns & 3 eight count whips & suggest not adding anything, at all. r "like a bolt out of the blue, fate steps in & sees your through... Date: Mon, 28 Jul 2003 15:32:34 -0700 From: Rick FromPortland <pruneshrub04@YAHOO.COM> Subject: Re: Commitment to fundamentals (was Tango Fantasia) quick correction: when I think about it, Tango is mostly led. There certainly are opportunities where the leader stops, waits & "listens" to what the follower has to say. Date: Mon, 28 Jul 2003 22:21:40 -0400 From: WHITE 95 R <white95r@HOTMAIL.COM> Subject: Re: Commitment to fundamentals (was Tango Fantasia) Dan writes: >I don't agree. In my experience, VERY few average social dancers can >execute a giro (for example) really well - maintaining their own axis,> >balance, musicality, and partner connection (not unduly >pulling/pushing/hanging on each other). Those that do these things well >are not average, and they got good by practicing these very things >diligently. Hi Dan, you might be right about the average dancer not being able to do these things very well. I guess I used the word average a little too liberally... ;-) >Lance Armstrong isn't about to win his 5th Tour de France >because he spends a lot of time in a half-pipe doing flips on a BMX >bike. Of course Lance did not win the Tour de France for the 5th consecutive time by practicing BMX riding... But neither did he do it by occasionally riding a single speed cruiser along the beach in flip flops with the seat way down ;-) >Since giros are vastly useful and common for dancing socially, >especially when it gets crowded, I would rather people spent more time >practicing this than show moves. Even more fundamentally than the giro, >many people don't pivot well, and >there's a lot of work to be done learning to pivot in a more grounded, >balanced manner. Good teachers know this and teach whole classes >focused on pivoting. I think that we are more in agreement than you think. The very thing that "show dancers / teachers" teach is precisely the giros and pivots, and the proper techniques to execute these movements. The practice and learning of giros and pivots is crucial to the development of a good dancer. I've had the good fortune of learning much of this material from the better known dancers of tango. I guess it is difficult to get thoughts across in these forums sometimes. I'm a great believer in the teaching of the basic elements of tango. I spend lots of time teaching people just to move with the music and their partner. I was trying to say that the teachings of people such as Fabian Salas & Carolina, Osvaldo & Lorena, and many others that I cannot name because it would take up lots of space, are very valuable. Gustavo Naveira & Giselle Anne for instance, are outstanding teachers as well as performers. I've travelled around the world to take classes with them and I totally believe that his grasp of the fiundamentals of tango and his ability to teach them is phenomenal. Of course, I agree with you and others who decry the clowning and abuse of milongas by folks who either don't know better or just don't care. Performing acrobatic moves that belong on the stage, in a milonga is not only silly but dangerous and insensitive to the other people's feelings. I want to enjoy my milongas dancing small, rhythmic and smooth tangos. I do not enjoy it when people start doing moves that interfere with the flow of the dance. This is a very fundamental tenet of my beliefs and teachings of tango. It's just that I don't like to see fine professionals denigrated because the actions of a few misguided folks. In my thinking, whether you are an average dancer practicing your pivots and giros, or an aspiring tango star, you would still profit tremendously by taking some lessons at the appropriate level with a master teacher. You see, we are really in agreement although it takes some effort to show it ;-) Profitable tango lessons to all, Manuel visit out web page www.tango-rio.com --------------------- Nina Pesochinsky <nina@earthnet.net> To me, there is a clear distinction between "technique" and "style". Technique is universal. It wraps around the natural movement of a human body. In tango, it is not ideal because that bodies are not ideal and more unique in a sense that there is no strive for perfection, where everyone looks the same. Even if a dancer has limited mobility, such as due to arthritis, injuries, etc., a proper technique can accommodate this and allow a great degree of freedom in movement and musical interpretation. Technique connects the person to their body in an intimate way. Technique is impersonal. It has no purpose other than to help a dancer deliver the most expressive and dynamic movement he/she can, using the natural properties of the body (equilibrium, axis, flexibility strength, etc.) and the forces (gravity, centripetal, centrifugal, torque, etc.). Technique is about learning the properties of the dancing body and how to use them. An analogy is sculpting in clay. If I know the properties of the clay I am working with, I can and prefer to sculpt blindfolded. On the other hand, if I do not know the properties of the material I am using, then I need to see what it does under my fingers. I am not attached to one way or another. It is just a matter of functionality, of using the art supplies in the best possible way. I am an engineer. Though I agree with what Nina say, I look at the things from slightly different angle. ---------- Tango classes - and teachers - are merely a recent invention. As Christine Denniston wrote on the subject of learning in the Golden Age v. today: there was no such thing as a Tango teacher and no such thing as a beginners' Tango class before the Tango revival began in the mid 1980s. Full article at http://groups.yahoo.com/group/tango-uk/message/3850 . (By the late 1980s and early 1990s in Buenos Aires, people who had been dancing in the Golden Age had begun dancing socially with people who had started learning recently. In practice what that meant was that women of the younger generation followed men who had been dancing in the Golden Age. So quite a lot of women who were dancing in the 1990s unconsciously learned some of the skill set of the Golden Age on the Dance Floor. Some of those women went on to teach. (I must here also mention the extraordinary teaching team of Miguel and Nelly, who in the 1980s taught at Salon Canning in Buenos Aires, and who succeeded in teaching some of the best dancers of the new generation to dance with the skill set of the Golden Age. It is a tragedy that he passed away while still in his 50s, as the Tango scene in Buenos Aires might have been quite different had he lived another ten years. I should also mention Andres Potter, the first Argentine to teach regular weekly classes in London for a period of several months in 1991, who had been a student of Miguel and Nelly's, and managed to pass a little of that on to the small group of pioneers that he taught.)) There are techniques which contradict each other. For example, do you dance without lean at all, or in very deep and strong lean like in Canyengue? And there is a whole scale of variations of the amount and point of contact application: from chest to belly (and even heap), from "directly in front" to "to the side". Taking one of the position, and trying to dance the whole dance in it you will find that it demands certain changing of technique for every elements: they are done differently. The very basic design principle builds the style in relation to this basis. It may call for new types of artistic expressions and forbid others. It is like material what an artist will use: marble or granite - the outcome will be different. Another example is what element you take as a structural basis of the dance: straight walk, ocho-cortado, molinete ( that is Tango Nuevo ), boleo. The outcome is going to be different. Pattern and amount of energy flow, rhythmical patters, (sharp or slow), certain types of bodies ( long and slim or short and chubby), amount and type of the dance floor, all can define styles. There is another aspect of what defines style like Trini and Nina mentioned: social. In certain areas, in certain clubs they tend to dance more or less similarly, with time creating what could be called the style of this club, place or this epoch. Especially where dance carries a certain social function. Going deeper, every recognizable dancer has his own style. Jake's thought is still in my mind: call the styles by the names of great dancers. It is very clear and they deserve it. ( Milonguero style - it is "Susana Miller's" style to be frank ). It reflects deep and systematic thinking and working on the dance, the independent, individual contribution to the art and science of the dance. Emotions play their role in style definition, but that mostly is dictated by music, and only the best of the dancers can manipulate well with it. Igor Pork 의 다른 의견 제안 --- "Style" to me is something entirely different. Technique can exists without style. It can be a perfect dance, but pure technique is cold. My analogy is the story of Pygmalion. Style is a breath of life for a technically perfect, but otherwise cold dance. Style is when Galatea comes to life. So imagine if Pygmalion wished for a pile of clay to become alive BEFORE he finished the beautiful female form. What horror! There would be a pile of shapeless clay running around in the world of myths! My point it that style must be superimposed on the technique and cannot exists without it. If a dancer tries to adopt a style PRIOR to learning the unique technical properties of his or her body, the style that he/she chooses will force such dancer into a state of perpetual inconsequence, as far as his or her dance experience goes. The term "Milonguero style" feels to me as offensive to all true milongueros. As a generalization, it misses more than it captures. Originally, it was a term that was meant to describe very specific limitations. I learned this from a very well known person in tango, who has been invisible to the world outside of Argentina. The story goes like this: In the late 80s/early90s, Susanna Miller coined the term "milonguero style" to describe the focus of her classes, which at that time was a quick training that would allow people to go to the milongas and be able to dance in a very short amount of time. As most people know, tango as a dance form is very demanding in training and time. People didn't travel to learn tango, they took classes in their own barrios. Thus, each barrio had a distinct style. Dancers became very good at those few steps. This is also consistent with what Susana teaches. So the vocabulary may be limited but the technique for combining and executing that vocabulary can go very deep. Many people do not want that. They just want to learn enough to be acceptable in the milongas. This was what Susanna Miller was offering. It was not about dancing well or developing yourself through movement. The purpose was to know a few elements that would allow the social experience of tango in a fairly crowded setting. I think that this was useful. People want different things from their tango experience. What I question is the eagerness of some very serious dancers to embrace a term that implies so many limitations. Many of you have seen Eduardo Capuzzi (I hope I spelled his name correctly) and Marianna Flores dance (especially their vampire piece to La Cumparcitay). They are very entertaining. Their dancing is superbly stylized. But if you look very closely, they have phenomenal technique. But it is never at the forefront of what we see as an audience. It serves as a solid foundation to their chosen style. Technique and style are not one and the same. Technique can be a dance, but who with a beating heart would want it?! Style without technique is a pile of shapeless clay running around in the milongas without ever becoming a tango Galatea.

-----------

Some of the structural elements of tango are:

Walks (Caminatas)
parallel foot, in line
parallel foot, outside right
parallel foot, outside left
cross foot, in line
cross foot, outside right
cross foot, outside left
arrastres or barridas (drags or sweeps)
Turns (Giros)
forward ocho
backward ocho
giro
giro with sacadas
boleo/amague
molinete (with lapiz)
enrosque
forward enrosque
arrastres or barridas (drags or sweeps)
planeo
change of axis steps
change of direction steps
Sandwiches (Mordidas)
Embellishments (Adornos, Firuletes)
Structural Connections
basic step as a hallway
basic step as a turn
parallel and cross foot walking
interchangability between back ochos and cross-foot walking
lapiz-enrosque

 ----------------------

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.

----------------------------
"New Styles of dance generate confrontations and polemics between milongueros" (Article from "Clarin", Sunday, August 8, 1999)

For ten years, the proliferation of teachers and schools have been modifying the way to dance tango. Although the change is evident, it has heterogeneous forms. As a result of that, there is a new paradigm: today, anyone can dance.

The static postcard of the milongas today, with its colorful mixture of "hip youngsters" and "old time historical habitues united in the "ritual" of the dance, is not more than that: a flat image that rarely reveals something more than a repertoire of archetypes. Behind that frozen scene, nevertheless, an unsuspected and burning world exists where the old can be new, the novelty can be obsolete, a simple thing can be difficult, and the excessive is insufficient. And in that, on the other hand, all these values are in permanent change.

Ten years ago, and in a symptomatic coincidence with the world-wide triumph of the musical review Tango Argentino, the social dance of tango began to rise from the ashes in which it had been almost buried for decades.

It is known that throughout these last ten years, the panorama was modified completely. Today, hundreds of instructors shape thousands of dancers who attend tens of milongas. In order to have an idea, it is enough to take a look at anyone of the specialized publications (Tangauta, B.A. Tango), or to consider that at a single school (Estrella-LaViruta) there is an enrollment of 600 students.

But beyond the numbers factor, the phenomenon of the contemporary milongas marks a historical change in another sense: a new change of direction in the continuous transformation of the styles of dance throughout the century.

What is being favored today on the dance floor? If it is what can be observed with more frequency, one would say that three tendencies are disputing for supremacy:

the Urquiza style, the Almagro style and the Naveira style, as the fans know them, - implying a neighborhood, a club and a teacher.
In reference to the three or four most popular tango styles _

Villa Urquiza (Traditional) - Almagro (milonguero) - Naveira (Nuevo) - Todaro (traditional - Fantasia)" -

They are not difficult to distinguish. Make yourself comfortable on a stool by the bar and you will see them move over the waxed surface: a couple that advances with long steps, touching the floor as if they are wearing gloves on their feet is followed by another couple closely embraced and whose short steps adjust synchronously to the beat (Almagro), and behind, a third couple that unfolds all the imaginable variety of figures which the previous couples can do without (Naveira).

Adding to that, there will be another couple schooled in the style of Antonio Todaro and belonging to an elite with technical formation, that alternates between the social dancing at the milongas and the professional stage performances.

The fans are simultaneously protagonists and judges of the prevailing tendencies. In some halls, one or another one dominates. But on several "pistas" the practitioners of different styles mix with each other, they watch each other out, they appraise each other, they admire themselves or they condemn the others. The commentaries can be listened to between the tables, but they can be tracked all the way down to the Internet (currently a Tangolist site burns with opinions like: " So and so's dancing, looks like a cowboy with hemorrhoids ").

Miguel Angel Zotto and Milena Plebs led the first changes at the beginning of the 90's. When they reconstructed in their spectacle Tango x 2 elements of style of the popular dance, they revealed to inadvertent eyes of the public, the wealth of the world of the milonga.

Then, the halls, and the classes of Antonio Todaro, bricklayer and milonguero, with whom Zotto and Plebs had made their meticulous work of stylistic archaeology, began to fill with new customers.

A little later, Susana Miller began her classes at the traditional Club Almagro. Miller (of academic extraction) associated with Cacho Dante (a veteran aficionado) begun from her classes the propagation of which usually is known as the Almagro style - very similar to the typical style of the downtown night clubs of the 40's. Its less demanding requirements gave access even to those who were less fitted naturally, technically or sensitively. And it quickly put on the dance floor an enormous amount of new fans, generating a true leveling off of the dance.

Right now, the influence that registers greater growth is, perhaps, the one of dancer and teacher Gustavo Naveira. 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."

Naveira himself affirms: "a single person cannot be determining in the evolution of the dance. That's been happening from the beginning of the tango, and without stop, always because of a conjunction of factors. 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".

However, for disc jockey Horacio Godoy the future is in Villa Urquiza. Teachers Vilma Heredia and Gabriel Angi?? also agree that many young people are focusing their attention to the floor of the old Sunderland Club of Villa Urquiza, where they still can watch the habitu??s of half century ago. "Urquiza is what it's coming," prophesies Godoy. "There is a group of kids that realized that the maximum wealth is there. 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. "

The trends, in any case, hardly draw up general lines: common characteristics, airs of familiarity. As it has always happened with tango, there are so many ways to dance as there are dancers (it is what highly distinguishes it from almost all other forms of popular social dance). And in the same way, there will be so many opinions on the question as the number of people on the dance floor.
Sergio Vandekier <sergiovandekier990@hotmail.com>

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

http://en.wikipedia.org/wiki/Tango_%28dance%29

Tango (dance)

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Tango
Stylistic origins	Habanera, Milonga, Polka
Cultural origins	1850s-1880s urban Argentina
Typical instruments	Bandoneón, piano, guitar, violin, double bass, human voice and more
Mainstream popularity	Rioplatense working class urban areas until the 1910s; upper and middle class cosmopolitan urban areas thereafter
Derivative forms	Canyenge, Maxixe, Tango Waltz
Subgenres
Finnish tango, Ballroom Tango, Tango Fantasia, Tango Nuevo, Tango Argentino, Tango Oriental, Tango Liso, Tango Salon, Tango Orillero, Tango Milonguero
Fusion genres
Alternative tango, Tango Electronico
Other topics
Tango music A couple dance the Argentine Tango

Tango is a musical genre and its associated dance forms that originated in Buenos Aires, Argentina and Montevideo, Uruguay, and spread to the rest of the world soon after that.

Early tango was known as tango criollo, or simply tango. Today, there are many tango dance styles, including Argentine Tango, Uruguayan Tango, Ballroom tango (American and International styles), Finnish tango and vintage tangos. What many consider to be the authentic tango is that closest to that originally danced in Argentina, though other types of tango have developed into mature dances in their own right.

Contents

[hide]

• 1 History
• 2 Tango styles
  • 2.1 Ballroom tango
  • 2.2 Tango Canyengue
  • 2.3 Finnish tango
  • 2.4 Tango Nuevo
  • 2.5 Technique comparison
• 3 Tango influence
• 4 Tango in film
• 5 See also
• 6 References
• 7 External links

//

[edit] History

Main article: History of Tango

Tango is a dance that has a large African influence.^[1] Dances from the candombe ceremonies of former slave peoples helped shape the modern day Tango. The dance originated in lower-class districts of Buenos Aires. The music derived from the fusion of various forms of music from Europe.^[2] . The word Tango seems to have first been used in connection with the dance in the 1890s. Initially it was just one of the many dances, but it soon became popular throughout society, as theatres and street barrel organs spread it from the suburbs to the working-class slums, which were packed with hundreds of thousands of European immigrants, primarily Italians, Spanish and French.^[3]

In the early years of the twentieth century, dancers and orchestras from Buenos Aires travelled to Europe, and the first European tango craze took place in Paris, soon followed by London, Berlin, and other capitals. Towards the end of 1913 it hit New York in the USA, and Finland. In the USA around 1911 the name "Tango" was often applied to dances in a 2/4 or 4/4 rhythm such as the one-step. The term was fashionable and did not indicate that tango steps would be used in the dance, although they might be. Tango music was sometimes played, but at a rather fast tempo. Instructors of the period would sometimes refer to this as a "North American Tango", versus the "Rio de la Plata Tango". By 1914 more authentic tango stylings were soon developed, along with some variations like Albert Newman's "Minuet" Tango.

In Argentina, the onset in 1929 of the Great Depression, and restrictions introduced after the overthrow of the Hipólito Yrigoyen government in 1930 caused Tango to decline. Its fortunes were reversed as tango again became widely fashionable and a matter of national pride under the government of Juan Perón. Tango declined again in the 1950s with economic depression and as the military dictatorships banned public gatherings, followed by the popularity of Rock and Roll. The dance lived on in smaller venues until its revival in 1983 following the opening in Paris of the show Tango Argentino created by Claudio Segovia & Hector Orezzoli. This show made a revolution worldwide, and people everywhere started taking tango lessons.

In 1990, dancers Miguel Angel Zotto and Milena Plebs founded the "Tango X 2" Company , generating novel spectacles and that a great current of young people incline for the dance of the tango, an unusual thing at the time. They created a style that recovered the traditional tango of the milongas, renewed it and placed it as central element in its creations, doing an archeological search of the diverse styles of the tango.

Many shows toured around the world, such as Broadway Musicals Tango Argentino & Forever Tango, Tango X 2, and Tango Pasion among others.

[edit] Tango styles

Tango postcard, c. 1919

Tango Show in Buenos Aires

The Tango consists of a variety of styles that developed in different regions and eras of Argentina as well as in other locations around the world. The dance developed in response to many cultural elements, such as the crowding of the venue and even the fashions in clothing. The styles are mostly danced in either open embrace, where lead and follow have space between their bodies, or close embrace, where the lead and follow connect either chest-to-chest (Argentine tango) or in the upper thigh, hip area (American and International tango).

Different styles of Tango are:

• Tango Argentino
• Tango Oriental (uruguayo)
• Tango Canyengue
• Tango Liso
• Tango Salon
• Tango Orillero
• Tango Milonguero (Tango Apilado)
• Tango Nuevo (New Tango)
• Show Tango (also known as Fantasia)
• Ballroom Tango
• Finnish Tango

These are danced to several types of music:

• Tango
• Vals (the tango version of waltz)
• Milonga (a related dance that usually has a faster tempo)
• Tango Electronico
• "Alternative Tango," i.e. non-tango music appropriated for use in the dance

The "milonguero" style is characterized by a very close embrace, small steps, and syncopated rhythmic footwork. It is based on the petitero or caquero style of the crowded downtown clubs of the '50s.

In contrast, the tango that originated in the family clubs of the suburban neighborhoods (Villa Urquiza/Devoto/Avellaneda etc.) emphasizes long elegant steps, and complex figures. In this case the embrace may be allowed to open briefly, to permit execution of the complicated footwork.

The complex figures of this style became the basis for a theatrical performance style of Tango seen in the touring stage shows. For stage purposes, the embrace is often very open, and the complex footwork is augmented with gymnastic lifts, kicks, and drops.

A newer style sometimes called "Tango Nuevo" or "New Tango" has been popularized in recent years by a younger generation of dancers. The embrace is often quite open and very elastic, permitting the leader to lead a large variety of very complex figures. This style is often associated with those who enjoy dancing to jazz- and techno-tinged "alternative Tango" music, in addition to traditional Tango compositions.

[edit] Ballroom tango

Main article: Tango (ballroom)

Ballroom tango illustration, 1914.

Ballroom tango, divided in recent decades into the "International" (English) and "European" styles, has descended from the tango styles that developed when the tango first went abroad to Europe and North America. The dance was simplified, adapted to the preferences of conventional ballroom dancers, and incorporated into the repertoire used in International Ballroom dance competitions. English Tango was first codified in October 1922, when it was proposed that it should only be danced to modern tunes, ideally at 30 bars per minute (i.e. 120 beats per minute - assuming a 4/4 measure).

Subsequently the English Tango evolved mainly as a highly competitive dance, while the American Tango evolved as an unjudged social dance with an emphasis on leading and following skills. This has led to some principal distinctions in basic technique and style. Nevertheless there are quite a few competitions held in the American style, and of course mutual borrowing of technique and dance patterns happens all the time.

Ballroom tangos use different music and styling from Argentine tangos, with more staccato movements and the characteristic "head snaps". The head snaps are totally foreign to Argentine and Uruguayan tango, and were introduced in 1934 under the influence of a similar movement in the legs and feet of the Argentine tango, and the theatrical movements of the pasodoble. This style became very popular in Germany and was soon introduced to England, one of the first proponents being Mr Camp. The movements were very popular with spectators, but not with competition judges (Source: PJS Richardson, History of English Ballroom Dancing, Herbert Jenkins 1946, page 101-102)

[edit] Tango Canyengue

Main article: Argentine tango

Tango Canyengue is a rhythmic style of tango that originated in the early 1900s and is still popular today. It is one of the original roots styles of tango and contains all fundamental elements of traditional Argentine Tango. In Tango Canyengue the dancers share one axis, dance in a closed embrace, and with the legs relaxed and slightly bent. Tango Canyengue uses body dissociation for the leading, walking with firm ground contact, and a permanent combination of on- and off-beat rhythm. Its main characteristics are its musicality and playfulness. Its rhythm is described as "incisive, exciting, provocative".

Each year in March, the international festival of tango roots Camicando draws tango canyengue lovers to Buenos Aires.

[edit] Finnish tango

Main article: Finnish tango

The tango spread from the dominant urban dance form to become hugely popular across Finland in the 50s after the wars. The melancholy tone of the music reflects the themes of Finnish folk poetry; Finnish tango is almost always in a minor key.

The tango is danced in very close full upper body contact in a wide and strong frame, and features smooth horizontal movements that are very strong and determined. Dancers are very low, allowing long steps without any up and down movement. Forward steps land heel first, and in backward steps dancers push from the heel. In basic steps, the passing leg moves quickly to rest for a moment close to the grounded leg.

Each year the Tangomarkkinat, or tango festival, draws over 100,000 tangophiles to the central Finnish town of Seinäjoki, which also hosts the Tango Museum.

[edit] Tango Nuevo

In the late 1990s a new style of tango dancing began appearing worldwide. Tango Nuevo dance style features an open embrace, fluid partner movements, trading of lead and further regional reinventions of the tango dance. Tango Nuevo is largely fueled by a fusion between tango music and electronica, though the style can be adapted to traditional tango and even non-tango songs. Gotan Project released their first tango fusion album in 2000, quickly following with La Revancha del Tango, released in 2001. Bajofondo Tango Club, a Rioplatense music band consisting of seven musicians from Argentina and Uruguay, released their first album in 2002. Tanghetto's album Emigrante (electrotango) appeared in 2003 and was nominated for a Latin Grammy in 2004. These and other electronic tango fusion songs bring an element of revitalization to the tango dance, serving to attract a younger group of dancers.

[edit] Technique comparison

Argentine, Uruguayan and Ballroom Tango use very different techniques and vocabularies, to the point where some consider them related in name only. In Argentine tango, the body's center moves first, then the feet reach to support it. In ballroom tango, the body is initially set in motion across the floor through the flexing of the lower joints (hip, knee, ankle) while the feet are delayed, then the feet move quickly to catch the body, resulting in snatching or striking action that reflects the staccato nature of this style's preferred music.

In Argentine tango, the steps are typically more gliding, but can vary widely in timing, speed, and character, and follow no single specific rhythm. Because the dance is led and followed at the level of individual steps, these variations can occur from one step to the next. This allows the dancers to vary the dance from moment to moment to match the music (which often has both legato and/or staccato elements) and their mood.

The Argentine Tango's frame, called an abrazo or "embrace," is not rigid, but flexibly adjusts to different steps, and may vary from being quite close, to offset in a "V" frame, to open. The American Ballroom Tango's frame is flexible too, but experienced dancers frequently dance in closed position: higher in the elbows, tone in the arms and constant connection through the body. When dancing socially with a beginners, however, it may be better to use a more open position because the close position is too intimate for them. In American Tango open position may result in open breaks, pivots, and turns which are quite foreign in Argentine tango and International (English) tango.

There is a closed position as in other types of ballroom dance, but it differs significantly between types of tango. In Argentine Tango, the "close embrace" involves continuous contact at the full upper body, but not the legs. In American Ballroom tango, the "close embrace" involves close contact in the pelvis or upper thighs, but not the upper body. Followers are instructed to thrust their hips forward, but pull their upper body away, and shyly look over their left shoulder when they are led into a "corte."

In Argentine tango open position, the legs may be intertwined and hooked together, in the style of Pulpo (the Octopus). In Pulpo's style, these hooks are not sharp, stacco ganchos, but smooth ganchos.

In Argentine Tango, the ball or toe of the foot may be placed first. Alternately, the dancer may take the floor with the entire foot in a cat-like manner. In the International style of Tango, "heel leads" (stepping first onto the heel, then the whole foot) are used for forward steps.

Ballroom tango steps stay close to the floor, while the Argentine Tango includes moves such as the boleo (allowing momentum to carry one's leg into the air) and gancho (hooking one's leg around one's partner's leg or body) in which the feet travel off the ground. Argentine Tango features other vocabulary foreign to ballroom, such as the parada (in which the leader puts his foot against the follower's foot), the arrastre (in which the leader appears to drag or be dragged by the follower's foot), and several kinds of sacada (in which the leader displaces the follower's leg by stepping into her space).

Finnish tango is closer to the Argentine than to Ballroom in its technique and vocabulary. Other regional variations are based on the Argentine style as well.

[edit] Tango influence

Music and dance elements of tango are popular in activities related to gymnastics, figure skating, synchronized swimming, etc., because of its dramatic feeling and its cultural associations with romance.

Mural of Carlos Gardel painted by Uruguayan Carlos Páez Vilaró

For 1978 FIFA World Cup in Argentina, Adidas designed a ball and named it Tango[1] likely a tribute to the host country of the event. This design was also used in 1982 FIFA World Cup in Spain as Tango Málaga[2], and in 1984 and 1988 European Football Championships in France and West Germany.

[edit] Tango in film

Argentine tango is the main subject in these films:

• Adiós Buenos Aires (1938)
• The Tango Bar (1988), starring Raúl Juliá
• The Tango Lesson (1997), starring Sally Potter and Pablo Verón, directed by Sally Potter
• Tango (1998), starring Cecilia Narova and Mía Maestro, directed by Carlos Saura
• Assassination Tango (2002), starring Robert Duvall, Rubén Blades and Kathy Baker, directed by Robert Duvall
• Orquesta Tipica (2005), documentary film about typical orchestra Fernandez Fierro, directed by Nicolas Entel
• 12 Tangos - Adios Buenos Aires (2005), directed by Arne Birkenstock

A number of films show tango in several scenes, such as:

• The Four Horsemen of the Apocalypse (1921), starring Rudolph Valentino and Alice Terry, directed by Rex Ingram.
• Last Tango in Paris (1972), starring Marlon Brando and Maria Schneider, directed by Bernardo Bertolucci.
• The World's Greatest Lover (1977), starring Gene Wilder (who also directed), Carol Kane and Dom DeLuise.
• Death on the Nile (1978), Peter Ustinov and Olivia Hussey tango whilst David Niven is the unfortunate partner to Angela Lansbury's rather eccentric version of the dance.
• Never Say Never Again (1983), starring Sean Connery and Kim Basinger, directed by Irvin Kershner.
• Scent of a Woman (1992), Al Pacino as blind Colonel dances Argentine Tango.
• Strictly Ballroom (1992), directed by Baz Luhrmann
• Addams Family Values (1993), Raul Julia and Anjelica Huston dance a tango so passionate that it literally burns the floor and makes all the champagne bottles in the nightclub pop their corks.
• Schindler's List (1993), starring Liam Neeson
• True Lies (1994), starring Arnold Schwarzenegger and Jamie Lee Curtis, directed by James Cameron
• Evita (1996), Madonna and Antonio Banderas dance a ballroom tango.
• Happy Together (1997), directed by Wong Kar-wai
• Moulin Rouge! (2001), featuring Ewan McGregor and "El Tango de Roxanne"
• Le Tango Des Rashevski (2002)
• Chicago (2002), starring Renée Zellweger, Catherine Zeta-Jones, and Richard Gere, directed by Rob Marshall includes a song titled "The Cell Block Tango" and is accompanied with a dance.
• Frida (2002), Salma Hayek and Ashley Judd dance a tango to the Lila Downs performed song Alcoba Azul.
• Shall We Dance (2004), starring Richard Gere, Jennifer Lopez and Susan Sarandon, directed by Peter Chelsom.
• Madonna featured choreography inspired by the argentine tango styles for the Die Another Day section of her 2004 Re-Invention Tour. Segments of the 2005 documentary I'm Going To Tell You A Secret show this choreograpy in use.
• Mr. & Mrs. Smith (2005), starring Brad Pitt and Angelina Jolie, directed by Doug Liman.
• Rent (2005) had Anthony Rapp and Tracie Thoms perform a semi-elaborate ballroom tango in the song "Tango:Maureen" to describe their emotional relations and issues over a promiscuous girl they both dated.
• Mad Hot Ballroom (2005), documentary directed by Marilyn Agrelo
• Take the Lead (2006), starring Antonio Banderas, directed by Liz Friedlander
• Another Cinderella Story (2008), starring Selena Gomez and Drew Seeley Performed during the Black and White Ball in the scene where Mary drops her Zune

Finnish tango is featured to a greater or lesser extent in the following films:

• Onnen maa (1993), starring Pertti Koivula and Katariina Kaitue, directed by Markku Pölönen.
• Levottomat (2000), starring Mikko Nousiainen and Laura Malmivaara, directed by Aku Louhimies.
• Tulitikkutehtaan tyttö (1990), starring Kati Outinen, directed by Aki Kaurismäki.
• Mies vailla menneisyyttä (2002), starring Markku Peltola and Kati Outinen, directed by Aki Kaurismäki.
• Varjoja paratiisissa (1986), starring Matti Pellonpää and Kati Outinen, directed by Aki Kaurismäki.
• Kuutamolla (2002), starring Minna Haapkylä and Laura Malmivaara, directed by Aku Louhimies.
• Tango Kabaree (2001), starring Martti Suosalo and Aira Samulin, directed by Pekka Lehto.
• Minä soitan sinulle illalla (1954), starring Olavi Virta, directed by Armand Lohikoski.

[edit] See also

Casual, unchoreographed Argentine social style at an outdoor tango party

• Argentine Tango
• Tango (music)
• Carlos Gardel
• Ástor Piazzolla
• Homero Manzi
• Juan D'Arienzo
• Enrique Santos Discépolo
• Roberto Goyeneche
• Aníbal Troilo
• Lunfardo

[edit] References

1. ^ Miller, Marilyn Grace (2004). Rise and Fall of the Cosmic Race. University of Texas Press. pp. 82–89. ISBN 0-292-70572-7. http://books.google.com/books?id=fK1xia7EQjkC&pg=PA86&lpg=PA86. Retrieved on 2009-03-22. 
2. ^ Christine Denniston. Couple Dancing and the Beginning of Tango (2003)
3. ^ Frommers. Destinations. Buenos Aires

[edit] External links

• "Tango", a Government of Argentina webpage

• "Show en el siglo XXI", a New tango shows - Compañia Experimental de Tango Arte webpage

Chicho Frumboli Juana Sepulveda al Mantova Tango festival

Ciriaco Ortiz의 "Milonguita