[Tango-L] Nuevo Theory vs Practice: Creating a Social Nuevo

[RonTango]

----- Original Message ----

> From: Alexis Cousein <al at sgi.com>
> Sent: Wed, December 9, 2009 10:19:38 AM
> Subject: Re: [Tango-L] Tango Political Correctness gone wrong
> 
> RonTango wrote:
> > There are tango dancers outside Argentina who would like to have a milonga 
> environment that has some 
> >  of the characteristics of Buenos Aires milongas.
> 

> What I object to is something entirely different: objections to a couple on 
> purely stylistic grounds,
> without any regard for whether a couple cause any disruption or not. And in that 
> I find people
> *outside* of Buenos Aires to frequently be a lot more catholic than the pope.

The objection is to disruption, not to style. Of course, different people have different ideas about what is disruptive. A nuevo dancer may believe he is not disruptive as long as he does not create any collisions. Some tango milonguero dancers would argue that rapid movements and frequent changes of direction characteristic of many nuevo dancers puts tango milonguero dancers into a 'defensive driving' mode. This causes bodily tension and disrupts the flow of energy of the tango milonguero dance. This is felt, not seen. On the visual end, the nuevo dancer will not perceive that he has been disruptive. He could also argue that it's time for the tango milonguero dancer to 'lighten up' and allow the nuevo the dancer the 'freedom to express himself'.  

> 
> > customs of dancing in a line of dance, keeping you feet on the floor 

> Ah. Obviously, there's no problem with that (well, except that "keeping your 
> feet on the floor"
> is something that no dancer does; you don't shuffle or roller-skate, you walk.
> But I presume you mean keeping your feet well away from interference with other 
> couples,
> which forbids a lot of types of wide ganchos, wide boleos, some wide colgadas, a 
> lot of
> rather adventurous adornos, and many figures that need lots of space and cannot 
> be danced
> in compressed space).

Yes, the term 'feet on the floor' is understood by most to mean 'close to the floor' or 'within one's space', so those using this terminology should probably change it to more accurately describe the placement of feet.

> As you were commenting on:
> 
> "separate venues for dancing tango milonguero and neuvo [sic]"
> 
> are we once again to deduce that anyone dancing "nuevo" (wherever you draw the 
> line) presumably
> kicks everyone, can't hold the line of dance, and refuses to dance to classical 
> tango, even when
> faced with a packed dance floor? 
> 
> Aren't you trying to demonise and build a "Feindbild" just a little here?

The 'enemy' creates a picture of itself by its self-identification and behavior. There have been numerous protests here and elsewhere that nuevo can be danced in compressed space and not invade the space of other dancers. Assuming that is possible, I do not believe tango milonguero dancers would protest. In fact, at some point that particular nuevo loses its distinguishing characteristic of exploration of space and ceases to be nuevo and therefore is within the variation of tango de salon. My impression is that sightings of the Loch Ness Monster are more frequent than sightings of dancers identified as dancing nuevo doing so within a compressed space and not impinging upon the space of others. Can you explain or, better yet, provide a video link to nuevo danced in compressed space on a crowded floor? I would like to be able to recognize it when it occurs. (:->)    

> 
> Rude people are rude people. There's also no need to attach a label of "nuevo" 
> to them, and
> their existence predates any particular style.

Or maybe just label it 'bad dancing'. Then we could divide tango venues into 'tango de salon' and 'bad dancing' but my guess is the second type of venue would be poorly attended due to difficulties in self-identification. 

The real problem is what nuevo may be in theory and what is is in practice. This stems from what is taught in workshops by instructors who self-identify as 'nuevo' (vanishingly few, who prefer to label themselves as 'merging the traditional tango with new elements' or some similar PR nonsense) or who are perceived by students as 'nuevo' instructors (the overwhelming majority of instructors traveling in the US and probably worldwide). One need only read Tango-A to see workshop after workshop after workshop teaching 'volcadas', 'colgadas', 'boleos and ganchos in all directions', etc. to realize that what is being taught is a smorgasbord of steps, not principles of partner connection, musicality, and navigation. Sequences of movements are taught in expanded space, without regard for navigation. This is reinforced by thousands upon thousands of YouTube videos of nuevo exhibitions that reinforce dancing in a manner that is unsuitable for the social dance
 floor. 

If nuevo is to be believable as a stylistic variation within tango de salon, it needs to be taught and exhibited and socially danced in a manner that is in accordance with the codes and customs of navigation for the milonga dance floor. Otherwise social nuevo will join the Loch Ness Monster as one of the great persistent myths of modern times.

Ron