[Tango-L] Four Layers of Tango Learning

[Tango Society of Central Illinois]

On 7/20/07, Stephen.P.Brown at dal.frb.org <Stephen.P.Brown at dal.frb.org> wrote:
>
> David wrote:
> >Would you be so kind as to explain what you mean by "Structure of the
> Dance"?<
>
> As no one else is tackling this question, I will try with the hopes that
> someone will improve upon my comments.
>
> There are two different chains of dancers/instructors who have developed
> systems for organizing the possibilities of tango.
>
> One chain was created in a group of dancers led by Petroleo (Carlos
> Estevez) and Salvador Sciana.  Mingo Pugliese was one of the youngest
> members of the group and he is credited for distilling the groups thinking
> into a systematic approach to tango.  Mingo distilled the innovative
> concepts developed by Petroleo and Salvador Sciana during the golden age
> of tango into systems of generalized eight-count right and left turns
> (giros) that can be used as a frame of reference for all turning steps
> including giros, molinettes, enrosques and ganchos.



Dear Steve (& list),

I spent 6 years learning the Pugliese system from instructors who had
studied with him (and had a brief opportunity to study with Mingo & Ester
myself), so I am familiar with the well-thought out system he has
identified. The last 3 years my tango studies have switched to milonguero
style tango. I will refer here in particular to turns.

The grapevine (forward - side - back - side) exists in both open and close
embrace styles.  However, in tango milonguero, it is not used as much as
'rock step turns' - clockwise and counterclockwise turns that achieve
turning through rotating rock steps.

Aside:
- For those who are not familiar with the tango milonguero repertoire, this
includes a variety of options for turning, including the familiar 'la
cunita', but more commonly used are 'rock & return' sequences which result
in the woman returning to a closed (feet) position or cruzada in front of
the man after a rock back and forward (or side out and back). These rock
steps can be varied in orientation, degree of rotation (no turn up to half
turns) and in rhythm ('slow' & 'quick' rocks) to provide a variety of
options for dancers. The ocho cortado is part of this family of sequences.
(We teach these in a course we call 'Rock around the clock')

The rock step turns are part of the core repertoire of tango milonguero, yet
these patterns are rare or non-existent in open embrace styles. I don't know
if anyone has codifed this rock-step system, but it does constitute a core
part of the 'structure of the dance' in tango milonguero.

Ron




Another chain was started by Gustavo Naveira and involves people such as
> Fabian Salas, Chicho Frumboli (and possibly Pablo Veron).  Naveira with
> contributions from his compratiots developed a systematic way for looking
> at all the movement possibilities in tango.  Walking is divided into
> parallel and crossed systems.  Turns are seen as two sets of four-count
> right and left turns.  Ochos are seen as part of the sytem of turns,
> boleos are seen as interuptions in turns, back ochos are seen as
> equivalent with crossed walking.
>
> If we think of the dance as being made up of these elements discovered by
> these dancers/professors, we develop an understanding of the structure of
> the dance
>
> I recommend reading Brian Dunn's interview with Gustavo Naveira:
> http://pythia.uoregon.edu/~llynch/Tango-L/2006/msg04984.html
> http://pythia.uoregon.edu/~llynch/Tango-L/2006/msg05040.html
>
> Some video tapes come to mind for a visual representation--those by
> Gustavo Naveira and Olga Besio and those by Daniel Trenner.
> See: http://www.tejastango.com/video_resources.html#Structure
>
> The Pugliese videos might also be helpful, but they are bit less direct
> that they are teaching from a structural system.
> See http://www.tejastango.com/bridge_tango.html#Pugliese
>
> With best regards,
> Steve
>
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