[Tango-L] getting educated

[Floyd Baker]

You have them listed thing in order of 'importance'.  It's all good...
The 'end result' of all the learning...

But I did notice the order is  just the reverse of a good order to
actually teach and learn to Tango.   It's probably some natural law of
inverse 'something or other' that accounts for it... 

So I've flipped them from top to bottom to show this. 

>- For the woman, the knowledge of how to respond to the man's movements.

>- For the man, a knowledge of how to move his body so as to guide the  
>direction of the women's steps.

What are the leads iow...   

*****

>- For both men and women, an internalized familiarity with the  
>characteristic movements of tango, such as walking, crossing, and  
>pivoting.

How to make use of them.

*****

>- For the woman, the ability to absorb the music in her body and feel  
>immersed in it, and then to receive and respond to what the man  
>transmits.

>- For the man, the ability to absorb the music in his body and feel  
>immersed in it, and then to transmit what he is feeling in the music  
>to his partner.

How to relate to each other and possibly to 'connect'.

*****

>- Familiarity with the music (including milonga and vals) so that the  
>dancer hears, feels, and can dance to the rhythm, and is sensitive to  
>the musical development in typical pieces of tango music.

How to enjoy it fully.   Along with everything else.., the end goal.

*****

Although I'd leave out milonga.  :-)    It's only danced to burn off
excess energy.   I personally rest during milongas.., so I don't have
to rest during the Tangos that follow.  :-)     

Floyd





On Fri, 2 May 2008 16:27:47 -0500, you wrote:

>Jeff wrote:
>
> > So people, what in you opinion would you count as a good basic  
>education
> > for someone who wants to do tango?
>
>I would define the skill set that results from a good basic education  
>in tango as follows, more or less in order of importance.
>
>- Familiarity with the music (including milonga and vals) so that the  
>dancer hears, feels, and can dance to the rhythm, and is sensitive to  
>the musical development in typical pieces of tango music.
>
>- For the man, the ability to absorb the music in his body and feel  
>immersed in it, and then to transmit what he is feeling in the music  
>to his partner.
>
>- For the woman, the ability to absorb the music in her body and feel  
>immersed in it, and then to receive and respond to what the man  
>transmits.
>
>- For both men and women, an internalized familiarity with the  
>characteristic movements of tango, such as walking, crossing, and  
>pivoting.
>
>- For the man, a knowledge of how to move his body so as to guide the  
>direction of the women's steps.
>
>- For the woman, the knowledge of how to respond to the man's movements.
>
>These skills are acquired by months and years of listening and dancing  
>to the music, and practicing, and dancing with good partners.  
>Instructors can help in all of this, but for the most part, dancers  
>learn by doing and being around tango. The music teaches you, mileage  
>on the dance floor teaches you. Watching other good tango dancers  
>teaches you.
>
>
>
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