[Tango-L] open and close embrace

[Tango Society of Central Illinois]

On 7/21/07, Amaury de Siqueira <amaurycdsf at yahoo.com> wrote:
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> st1\:*{behavior:url(#default#ieooui) }
> Recently I have been approached by beginner level dancersasking me about
> close embrace dancing.  It appears that in certain milongasdanced the
> USdancers believe that close embrace is the only way to dance tango.  One
> interestingT-Shirt worn by a male dancer claimed: "Real Man Dance Close
> Embrace"The t-shirt was for a St. Louis Argentine Tango event.
>
>
>
> I sincerely hope that this topic generate constructivecommentaries
> PLEASE  no flaming.
>
>
>
> I feel that both close and open embrace serve different andequally
> important functions.  Shouldn't we as dancers be comfortable andfluent in
> all aspects of the dance?  If so, what are the benefits ofcriticizing and
> dismissing one style over the other?
>
>

As I see it, there are several reasons for dancing tango in close embrace:


(1) Cultural Validity

At the milongas in Buenos Aires, essentially everyone is dancing tango in
close embrace. If there is any opening, it is momentary, e.g., to do turns.
although in the commomly danced 'milonguero style' even that is not done.
Dancing  in open embrace, as is universally taught, mimics tango for the
stage, not tango for social dancing in Buenos Aires.  If you dance tango in
an open embrace, the question you need to ask yourself is whether it is
important for you to dance tango as it is danced in the milongas  of Buenos
Aires. It is certainly not essential to do so, because the norm outside
Buenos Aires is to dance tango at milongas in an open embrace. Thus, doing
the latter evolved social form is culturally valid for the culture in which
it is practiced. Historically, a similar transformation has occurred in the
evolution of the ballroom dances that use the name 'tango'.

One could argue that the handful of 'practicas' at Villa Malcolm and
elsewhere where nuevo tango is danced make dancing this style of dancing
culturally valid in Buenos Aires, but consider this comprises less than 10%
of tango venues and even a smaller percentage of dancers and that this is a
new phenomenon that has existed for less than a decade.


(2) Quality of Dance

Dancing tango in close embrace feels different than in open embrace. The
close embrace is more intimate and permits greater sharing of emotion. It
also allows for more subtle interpretation of the music (i.e., movements,
weight changes, rhythm changes are more subtle). However, open embrace
allows for greater outward dramatic expression through larger and more
conspicuous movements. Many dancers find this quality of open embrace tango
attractive, particularly in cultures where exhibition in social dance is
valued.


(3) Ease in Learning and Retention

Dancing tango in close embrace uses simpler movements and is less difficult
to learn. In open embrace separation between partners, larger movements, and
more frequent use of conspicuous decorative elements makes greater demands
on balance. In Buenos Aires one finds few people over 35 dancing teh open
embrace nuevo tango style. Almost everyone over 40 dances in close embrace
all of the time and there are a significant number of dancers in their 70s,
even some in their 80s dancing likewise.


- Another issue:

Mixing close and open embrace dancers at a milonga can often create conflict
over space. Open embrace dancers often see close embrace dancers as blocking
the line of dance. Close embrace dancers often see open embrace dancers are
offering potential for collision because of their larger movements, which
are also more difficult to control (balance issues, greater speed of
movement).


My opinion is that if you want to experience what tango has to offer as a
social dance that is unique, close embrace will provide greater emotional
connection and more possibilities for musical interpretation,
characteristics that exist in no other social dance.


Ron