[Tango-L] Definition of Social Dancing

[WHITE 95 R]

Hi Igor,

You might be surprised about how good the dancers are who seek more teaching 
by the masters. I think it's wrong to say that festivals that de-emphasize 
teaching are per force the festivals where the best dancers go. I've been to 
both types of festivals and I can assure you that there are plenty of 
not-so-good dancers at the festivals where the teaching is de-emphasized.

It's shame really, the very people who disdain the classes are most often 
those who should take them. I think that it's very nice to put more work and 
attention on the milongas, but I don't agree that having great teachers will 
automatically lower the level of dancing. That's just plain wrong.

I know that some festivals get a good share of beginner level dancers. 
Perhaps more than experienced dancers, but that's not related to the 
presence or absence of big name masters. Next time you go to one of these 
"no-teacher" festivals, make an honest assessment of the quality of all the 
dancers. You'll probably find that there are many that have only a beginner 
level of skill. This is not to insult or criticize them. After all, they 
probably are new to tango.

Also, many apilado style dancers stay away in droves from workshops where 
salon tango is taught by masters. The material taught requires a lot more 
body control and skill than the apilado style requires. A guy or woman who's 
been dancing 6,7 or 10 years and can only dance apilado does not like to 
look like a bumbling beginner in an intermediate or advanced class taught by 
someone like Gustavo Naveira.

Regards,

Manuel

visit our webpage
www.tango-rio.com




>From: "Igor Polk" <ipolk at virtuar.com>
>To: <tango-l at MIT.EDU>
>Subject: Re: [Tango-L] Definition of Social Dancing
>Date: Thu, 15 Jun 2006 15:36:09 -0700
>
>Thank you, Stephen and Bill, for clarification!
>
>Now I understand that festivals are divided in Social and Learning, right!
>
>Not social and stage, but social and learning, of course !
>
>I would expect from a good social festival emphasis on Milongas. I would
>expect abundance of good dancers, formation of good dancing floor, and
>presence of experienced DJs who can make it good for everyone: socializing,
>personal trance, exchange of ideas, or highest-technique dancers. Teachers?
>This festivals could survive without them, but good performance always 
>makes
>the axis of the rotation, and inspiring workshops generate new ideas and
>drive. Teachers compete to participate in these festivals: here they make
>their Names.
>
>The major goal of travel to this festival: meeting great dancers, learning
>and exchange of ideas on the floor.
>
>Learning festivals are probably the beginning of social festivals. They 
>just
>build local community,  universal, around a teacher, or dedicated to a
>particular style. These are either true local events, or they make emphasis
>on great Masters of the dance. These festivals depend on teachers and their
>Names.
>
>The major goal of travel to this festivals: learning from teachers. There
>are less good dancers, which might not be a bad idea for a traveling
>aficionado!
>
>What else?
>Igor.
>
>PS. Stephen, You should call your asterisks: "* - festivals what Stephen
>Brown consider the best". And nobody could complain. I think it is a
>perfectly good idea.
>
>PPS: And there is such thing: Festival Spirit..
>
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