[Tango-L] open and close embrace

[Tango Society of Central Illinois]

On 7/21/07, Igor Polk <ipolk at virtuar.com> wrote:
>
> Ron, I do respect you a lot and always valued your opinions, but I have to
> disagree with you on almost all points you have made.
>
> 1. Cultural Validity "At the milongas in Buenos Aires, essentially
> everyone
> is dancing tango in close embrace"
>
> I haven't been to BA, but I have seen a lot of movies and documentaries
> and
> photos including old ones, and everywhere open and close embrace are
> equally
> presented. Including dance danced in 1910-1940 in Europe and America.



I would be interested in seeing film footage from the Golden Age showing
people dancing at the milongas.

In Buenos Aires in the 21st century, close embrace is the standard embrace.
Open embrace is rare outside of the nuevo clubs.

For the other points below, the differences can be attributed to personal
interpretation. However, many of my tango colleagues (including some from
Buenos Aires) share the perspective I've stated. However, I will agree that
close embrace is much less fogiving of mistakes. As for Gavito, he was
unique. He demonstrated more drama and passion because he was Gavito, not
because he opened or closed the embrace.

Ron


2. Quality of Dance. "The close embrace is more intimate and permits greater
> sharing of emotion."
>
> No, they are equal. Open embrace can be more intimate than close embrace.
> How? Ask me personally. Emotions are transferred by artistic abilities.
>
>
> 3. Dancing tango in close embrace uses simpler movements and is less
> difficult to learn.
>
> Tango in close embrace is more difficult to learn ( if you do not stick to
> absurd Naveira or Neo Tango over complicated open embrace concepts )
>
>
> 4. "open embrace allows for greater outward dramatic expression"
>
> Absolutely not: Gavito. Close embrace dancing is more dramatic and
> attracts
> attention of general crowd much more. ( If you know how to dance
> attractively )
>
>
> 5. "In open embrace separation between partners, larger movements, and
> more frequent use of conspicuous decorative elements makes greater demands
> on balance."
>
> Close embrace demands balance much more. Close embrace does not forgive
> mistakes easily overlooked in open embrace.
>
>
> 6. Mixing close and open embrace dancers at a milonga can often create
> conflict over space.
>
> Absolutely not. Once can dance closely large, and open small.
> But the energy is different, yes. Some music is better to dance in open,
> some - in close. Music should dictate in what embrace to dance. To
> everyone.
>
>
> 7. "Open embrace dancers often see close embrace dancers as blocking the
> line of dance."
>
> Beginners block the line of dance no matter what embrace they dance in. I
> agree that modern trend in close embrace shockingly promotes blocking the
> line of dance - somebody teaches that they should not progress around the
> floor or stop for too long. That is the flaw ( I hope temporary ) of
> teaching and modern situation, not the dancing position.
>
> ==========================
> Open and close embrace are equal in emotional connection and possibilities
> for musical interpretation as well as stage impressions and technical
> complexity if one wishes so or simplicity if situation demands.
>
> True that they are different, but otherwise they are equal.
>
> Igor Polk
> ipolk at virtuar.com
> 510-582-8711
> 510-610-8711
> www.virtuar.com/tango
> ICQ 327627436
> San Francisco
>
>
>
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