[Tango-L] to the Dancer and the Musician

[Keith Elshaw]

I'm wondering if I'm not far off in thinking that a high percentage of
people reading this discussion can relate to both "sides" of the argument
we have been reading.   ;-)

Who does not appreciate the years of study, work and dedication the
musician has invested to be able to stand up there and play? To
watch/listen to a fine musician is always a touch daunting for one who
cannot play. (An oft-heard refrain: "If only I hadn't stopped my lessons
when I was young ..."). Anyone who has had this thought will be generous
in judging performance.

When non-musicians applaud after a performance, some of the energy in
their clap is for that appreciation - often mixed with the wistful tinge
of personal regret.


It might be easy to almost dismiss the opinions of excitable dancers/dj's;
but in my lifetime, I have found that good musicians are such because they
have attained (through singular dedication and learned/earned humility) a
state-of-grace which does not allow them to dismiss easily. Even if they
are maybe being so dismissed. Musicians do typically have a high ground.

As was mentioned in the thread today, style of "argument" presentation is
important.


If you were to ask me which side of this "argument" today I am on, I would
tell you that I come down firmly on  ... both sides.

I completely understand the excited generalizations of the dancer who
wants what they want now because we want to dance. Been there, done that.
The moment is all there is right now. A band without a sense of timing or
ability to appreciate what the dancers want is asking for feedback they
don't want. And they'll get it.

Being a musician and 2 bucks gets you a coffee.

Being a dj or dancer and 2 bucks gets you a coffee.


In terms of musicians playing in a milonga setting for dancers and being
accepted, play SHORT and tight and varied and only if you are having fun
doing that.

A milonga setting is for dancers. Seems to me dancers have a right to
demand music for dancing. There are so many concert venues and so few
dancing venues.

Playing for dancing is a specialty. If you accept the challenge, it would
be wise to pay attention to the non-musicians who are your
patrons/audience. No?

I think it all comes down to how wise and motivated to please the band
leadership is.

If the band accepts an engagement to play for dancers, make dance music.
Make 'em get up because your music is so spirited they can't sit.

If your energy is infectious and your evening flows along putting smiles
on faces and happiness in hearts, you can slow it down and get as
expressive, artistic, creative you want later on. Don't be too serious
early.

Make their feet move for a while - THEN break their hearts with your
passion for inventiveness.

A good musician has done nothing but challenge themself all their lives.
What - now there is no need to any more? You can just do what you want
without regard to where you are playing and for who?

Fine. Don't put yourself in front of dancers.

As for how much credibility "just" an excitable dancer or dj should have,
I offer this McLuhan-cited quote:

"Critics? Don't even ignore them."

:-)


Keith Elshaw

ToTANGO.net


Should I declare the biases I hold which make sme respect everybody?

Yah, I dance and dj. But, I produce and engineer music; which means I
record WONDERFUL players but edit them so they never make a mistake you
will ever hear. Ha!

We all have our place.