[Tango-L] Evolution of the embrace II

[Sergio Vandekier]

Ron says:      "In my 2 trips to Buenos Aires, I saw almost no "open embrace 
- always"
that could not be attributed to disoriented (i.e., navigation
challenged) apparent tourists, and very little "elastic embrace", even
in less crowded milongas. The main difference I saw was postural
differences (apilado more common downtown, less so away from
downtown). Could you inform us at what milongas one would find a
significant number of dancers in "open embrace - always" or in
"flexible embrace"."
Thank you.

I do not wish to re-start a discussion about which form of embrace is better 
or more prevalent.
I have said many times before that tango is very rich, it has different 
styles, different embraces, and adjusts itself to different circumstances.  
It is excellent for social dancing and for exhibition.
It is improvised and very creative in all its forms. * No style or embrace 
is superior to any another one *.
Just dance the way you like and allow the others do the same.

My last paragraph on a prior note said:  "At present we have people that 
always dance in "close embrace", people that always dance in "open embrace", 
people that use an "elastic embrace", people that adapt the embrace to the 
circumstances of the moment with respect to available room, type of music, 
partner, inspiration, etc. "

I certainly was not limiting that statement to Buenos Aires.   I referred to 
people all over the world that dance tango today.

IMO this will continue as long as there are instructors teaching tango in 
all its forms and possibilities.

As to Buenos Aires, it is convenient to be specific about what we understand 
by "open embrace",
It does not mean that we dance at arms length, we dance close, with a 
minimal "light" (space) between the chests (as I described before).

In that respect Tango in open embrace is danced in no place and all over, 
depending on the available space to dance at certain moment.

A couple of weeks ago we went to "Sunderland" a club in my neighborhood of 
Villa Urquiza.  Many of my friends from the USA and from here where present.

(Timmy Tango and Joanne from Cleveland, Amy Kalio from Detroit,  Osvaldo 
Zotto and Lorena, Carlos Copello, and many others such as Anton Gazenbeek 
and Sergio, etc.).  Osvaldo Zotto and Lorena gave an impromptu exhibition in 
typical Salon (elastic embrace).

  Most people there dance that style and adjust their embrace (like in many 
places) to the available space.

These days there are practicas for almost any style in Buenos Aires. Villa 
Malcom, La marshall, Sin Rrumbo, etc.

It is obvious that if you organize a successful milonga, this milonga is 
going to be crowded. You will have to dance in very close embrace with short 
steps.  To have a milonga for Open embrace with all sort of firuletes or 
embellishments, plus elaborated moves would mean to have plenty of space 
which usually is not available in Buenos Aires, but it is in many places 
outside Buenos Aires, in Argentina and abroad as well.

Navigation skills are different and perhaps more difficult to learn for a 
tango in elastic embrace with all sort of embellishments.  This certainly 
can be done socially, it is necessary to adjust the embrace and the type, 
and amplitude of embellishments to the available space and circumstances.
You should not dance this way till you are certain of navigating without 
colliding or touching other dancers.

Those that are used to dance in different forms are able to do it without 
problems.

Those that are used to dancing in open embrace, usually sit and socialize 
while the floor is crowded, waiting for the end when there will be more room 
so that they can dance.

Many in that group feel that the woman could be bored if they dance only in 
close embrace, with short steps, in a repetitious way, with few or no 
embellishments.  (summary: walks, front or back ochos, simple turns, a few 
sacadas, variations in rhythm).

The ones that only dance in close embrace seem to have a strong dislike for 
those that dance in open embrace with embellishments. This happens mostly 
outside Argentina.  This probably is due to the fact that abroad there are 
many dancers that are beginners when they go to the milongas and are still 
unable to navigate the floor with respect for the other dancers.

The more you know about tango and its different styles the more you will be 
able to do under different circumstances without interfering or upseting 
anyone.

Best regards, Sergio

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