[Tango-L] Naming figures and decorations

[tony parkes]

hi david

from following the tango-l posts for around 2 years now it seems
evident to me that most american contributors are in alignment with
what i see as the american psyche being steeped in statistics and
analysis, and by extension putting a name to the outcome of those
numbers and figures. and not just tango, but also politics, sports,
etc etc. there have been many times when i have been mesmerised at the
extent to which a contributor has explained a particular step; or
whether the beat it is a 2-2-2-4 or a 2-2-4-2 or whatever, or the size
of space per person in el beso - how  can one have feeling for the
music and the dance form in one's heart when so much information and
detail is twirling around in your head. and i suspect this phenomena
extends to nuevo

i dance many figures with my partners without a clue as to their
labels, or the time beat, i know that i dance differently to a tango
to a vals to a canyengue to a milonga, i dance differently when gricel
is full to the sardine can than when in maipu when almost empty. i
dance differently to de angelis than to pugliese. i dance differently
with a follower who is my peer than with someone who is say
intermediate. all without a referring to a notebook full of stats,
explanations or figures

the important part for me is my connection to my partner, the music,
the floor conditions, and ultimately our joint satisfaction

cheers
tony


On Thu, Feb 11, 2010 at 11:54 AM, David Burnett <daviburn at gmail.com> wrote:
>
> My teacher did not use such names when he taught in the sixties, but that
> may just have been his style of teaching. He taught no figures, but focussed
> instead on musicality, connection and balance, encouraging us to improvise
> within the rhythmic patterns the music provided. This approach seems to have
> been lost for the most part and replaced by a sort of paint-by-numbers
> version of Tango.
> db
>
> On Thu, Feb 11, 2010 at 10:24 AM, Tango22 <tango22 at gmail.com> wrote:
>
> > Is it true that most of the names for decorations and figures were
> > invented or coined for the consumption of foreign students?  I notice
> > that some of the naming conventions in the US are different from other
> > places.  Is the language of export Tango changing with the 'export'
> > styles?
> > J
> >
> > 1) Walking
> > 2) Ocho Cortado
> > 3) Molinete to the man's left
> > 4) Molinete to the man's right
> > 5) Back ocho
> > 6) Boleo
> > Surely a Cruzada and possibly a Pasada. Also a Rebound or Rock-Step.
> >
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> >
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--
cheers
tony