[Tango-L] step

[Jake Spatz (TangoDC.com)]

Hi Darrell,

Please see below.

Darrell Sanchez wrote:
> I don't want to get too involved in this analysis but you posed a
> question a few emails back asking what is a step. The term "stationary step" seems to me a confusing oxymoron.
Me too. But more on that later.
>  Consider the following definitions for the word step:
>
> step  (stp)
> n.
> 1. 
> a. The single complete movement of raising one foot and putting it down in
> another spot, as in walking.
> b. A manner of walking; a particular gait.
> 2. 
> a. The distance traversed by moving one foot ahead of the other.
> b. A very short distance: just a step away.
> 3. One of a series of rhythmical, patterned movements of the feet used in a dance
>   
This last (3) would seem to include changing weight not only from foot 
to foot, but within one foot itself. And in any case, such a movement is 
possible, and part of tango.
> Why not call a step and step and a weight change a weight change?
>   
Usually I do. Except that every step includes a weight-change; the 
latter being no more than a "step" minus the extension and collection. 
Since they're thus related, I wanted to see what happens when we apply 
"step analysis" to this other case, which is usually not analyzed at all.

My conclusion, I believe, is that a weight change (or stationary step) 
may have as much variety as a regular one, and that it's therefore not 
right to think of it as just a minute sidestep.

Torso dissociation also produces "open" and "cross" positions (not even 
pivots, properly speaking).

Ultimate point being: Either the analysis has been very much watered 
down by those who've been circulating it, or else was incomplete to 
begin with. In either case, I want more detail, and I'm starting to get 
it. So is everyone else here, if they want it.

I surmise, however, that it WAS left incomplete to begin with. As a 
result, the dance has changed. Fabian asks followers not to dissociate 
during pivots, for example: this may be for any number of reasons, but I 
notice how it has the side-effect of simplifying the dance to suit his 
analytical terms. (It gives boleos a much different shape as well.) As I 
said in an earlier post (on another topic entirely), these things are 
all related. Style, musicality, structure, analysis, technique: in 
influential dancers, all seem to be of a piece.

I just see more value, at this point, in a piece de resistance.

Jake Spatz
DC

p.s. Tom's "suspension and surge" are probably covered by the (musical) 
term arrastre, and I agree with him regarding the need to include (and 
explore) such concepts. We started addressing that last week, when Brian 
(I think it was Brian) was talking about teaching the molinete, and I 
suggested that monosyllables were rhythmically inconvenient, because the 
arrastre-downbeat ("vrrrROOM") is not played as written ("blip").


> Darrell Sanchez
> Colorado
>
>
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