[Tango-L] What is tango? [Tango Clasico]

[Tango Society of Central Illinois]

On 12/10/07, Korey Ireland <korey at kodair.com> wrote:
>
> I can't imagine why I'm replying to this, but for what its worth:
>
> Has it occurred to the collective wisdom on the list that many of the
> same dancers show up at el beso, and practica x, that one can often
> see ocho cortados in close embrace at villa malcolm, and elements
> generally described as nuevo at Sunderland?
>
> The tango world (at least Buenos Aires ) is not nearly as segregated
> and clearly defined as the discussion here suggests.



Korey,

What you don't generally see at Buenos Aires milongas are dancers dancing
Tango Nuevo. If elements characteristic of Tango Nuevo (e.g., volcadas,
colgadas, various forms of ganchos and boleos) are seen, it is usually out
of place and frowned on by porten~os. I have seen some nuevo dancers kick
bottles off tabletops in Plaza Bohemia. It doesn't fit in the crowded
environment. The nuevo practicas exist so those interested in Tango Nuevo
can have an environment is which this type of dancing is acceptable. There
are less than a dozen nuevo practicas per week in Buenos Aires and over 100
milongas where the standard social tango (what I'm calling Tango Clasico) is
danced. The proportion of toursists is higher at the nuevo practicas.

The roots or Tango Nuevo can be seen in movements like ochos and giros and
the cruzada shared with Tango Clasico. However, as an experimental dance
Tango Nuevo has evolved to be quite different than Tango Clasico, just as
the latter evolved from a combination of musical and step elements derived
from European dances brought to Argentina by immigrants. At some point
'tango' was a dance that was distinct from the dances that contributed to
it. Likewise, Tango Nuevo has become sufficiently distinct from Tango
Clasico to be considered a different dance. Rather than getting inot an
argument about 'What is tango?', I provided film clips of different dances
called 'tango' and suggested that, similar to linguists, we accept a dance
for what the dancers themselves call it and that we be clear about our
labeling so people know what is meant when the word 'tango' is used.


Furthermore the idea of "tango as it has been danced in buenos aires
> for 60+ years" is almost meaningless as a definition.  I contend tango
> in Buenos Aires has been in constant transition over these decades,
> and that a dancer from the center of town and a dancer from the
> outskirts would differ tremendously in interpretation of "the one true
> tango."



Tango Clasico has undoubtedly evolved. However there are certain conventions
that are maintained. Among them are maintaining a compact dance with feet on
the floor, keeping a close embrace, respecting the progression of the line
of dance, and dancing to classic tango music. Tango Nuevo does not
necessarily abide by these conventions. These differences are the roots of
the incompatibility of these different dances when occupying the same dance
floor.

By the way, the differences between Tango Classico in different barrios
today is more a difference of degree than of kind. There are differences in
the degree of offset of the embrace and orientaiton of the faces, the angle
of connection (e.g. apilado or not), the use of hands in leading or not, for
example. However, the variation is more or less continuous and the
differences between milongas is more in the proportion of dancers using
different variations along this contiuum than there is a distinct
separation. However, all of these variations seen are related but
recognizably distinct from Tango Nuevo.


Perhaps we can find an understanding of tango as an activity that
> brings people together with a healthy mix of tradition and innovation
> where there may be a wide range of styles and preferences.  I don't
> see much to be gained by sub-dividing and segregating this sub-culture
> beyond what happens just by preference.  And when we attempt to
> define, pin-down, or limit this phenomena we only reveal the limits of
> our perspectives.  (and of course all of us have limited perspective
> on this activity which spans decades and continents, no one will know
> definitively what its is, how it is practiced, or where its going....)



Use of space and difference in musical preference are a major source of
conflict between dancers of Tango Nuevo and Tango Clasico. There may be
little or no conflict if most members of a tango community accept this
diversity. This is no wrong. It may be very democratic. This happens often
in the US, where one will find nuevo tango dancers using the ample space in
the middle of a floor and social tango dancers use the perimeter. Many
social dancers will sit out the tandas of non-tango music. This is OK if
everyone there accepts it.

However, there are quite a few of us who have been exposed to the
environment of Buenos Aires milongas, with crowded floors having such
energy, yet being very organized with dancers respectful of each others'
space. Sometimes the most crowded floors are the best, because you can't
create step sequences, you just dance compactly in the space available,
focusing on your partner and the music. It is in these moments where with
the right partner time stands still and all you experience is the moment of
partner connection and you respond to the music, taking the space available
without thinking. This is the most enjoyable but elusive Tango Trance.

We would like to experience that Tango Trance at milongas in the US. This is
something that is created by a congregation of like-minded dancers who share
the floor harmoniously. This environment can be created at some tango
festivals focusing on tango danced in close embrace, However, over the last
year or two I have noticed more and more that tango nuevo dancers descend on
a festival of this type and zip in and out of the line of dance at a rapid
speed. It is this discordance of movement on the dance floor that makes
social tango dancers defensive and tense. How can we relax and enjoy the
movement if we are constantly on our guard for unpredictable movements?

I wish Tango Nuevo dancers would understand what Tango Clasico dances are
trying to achieve, a recreation in part of the tango culture of Buenos Aires
milongas in our milongas in the US. You see us as 'noodling milongueros'
blocking your progression around the dance floor instead of seeing us
dancers interested in the connection we have with our partners that we
achieve in the contracted space we dance in.

This is not to say that Tango Nuevo is not a beautiful art form. When done
well, it is very beautiful and I respect the skill that it entails. However,
in its creative evolution it has become a very different dance from the
Tango Clasico from which it has evolved. Both dances flourish better in a
different spatial and musical environment. So segregation is not about
creating conflict, but rather about avoiding it. To separe these dances is
to allow them both the freedom to express themselves fully in a supportive
environment. That is what is done in Buenos Aires. It would be helpful to
tango event promoters outside Argentina to be clear in advertising if their
events are designed primarily to support one dance or the other.

Ron