Kenon Dean Renfrow, Committee Chair Abstract The purpose of the doctoral essay is to examine the performance practice, the musical structure, and the social and musical history of the Argentine tango. The pedagogical information needed to teach the principles of tango and its performance is the essence of this study.
In special "Musings with the Maestros" sections we plan to publish interviews with notable figures in the contemporary world of tango.
There is no perfection in this, as the dance is so difficult to capture in words; nonetheless, my hope is that some will find themselves thinking differently about their tango experience after considering these six thoughts.
Tango is not about leading and following; it is about dancing. A tanguera is at a milonga to dance, not to follow. A great tanda is magical coming together of two sentient, creative beings ready to make something happen in motion, in harmony with each other, with the music, and with the room.
Both individuals are creating the dance in fluid response to the sensuous ebb and flow of the music. In this process, the man is placed in charge of navigation; but both will lead and follow as the creative process unfolds. Just as the tanguera does not like it when she is squeezed, pushed, or pulled by the man, as these actions limit her freedom to dance, the man does not want to be leaned upon or otherwise used to support the weight of his partner, as this will limit his freedom.
When the man—the technically capable man, that is—leads the accomplished tanguera to a calesita, she does not use her arms and his to maintain her balance. She uses the floor and the resources of her own body her musculature, her poise, her core. Study, and practice Because technical mastery is so essential to the dance, it is imperative that the dancer, whether man or woman, practice.
This is best done under the guidance of a competent teacher or coach. Unfortunately, technique classes are sparse, and group classes rarely focus on anything but steps and sequences. Consider either working with a private instructor that you trust, or seek out group classes that focus on technique rather than steps.
Most often, however, this is simply not true. Ask a tanguero whom you admire, if they have had to earn the right to win dances from the best tangueras. Of course they have! But dancing with poor leaders can adversely affect your dancing.
Bad dancers may transmit their bad dance habits to you; after a woman dances with a bouncy man, she may start bouncing with every partner! If you are dancing with unsuitable partners, you are neither enjoying the dance as you deserve to, nor improving yourself.
Rather than going out nightly to milongas to dance poorly with bad leaders, consider investing your time in classes which allow you to focus on improving your own dance.
This in itself is a rewarding process. And when you have improved, without a doubt, your dance options at the milongas will expand, as will your enjoyment of the dance. Dance to your body first This may sound counter-intuitive in tango. Yes, in certain sequences, it is important for the woman to know where to step in relationship with the man; and it is important for the man and woman to maintain the same distance from each other.
Dance to the music!Argentina and the Tango Essay example - The curtain rises on the streets of late 19th century Buenos Aires as a simple quadruple meter begins to ring. Two figures emerge from the darkness and begin to flow into a sensual, impressive dance.
The tango is considered a harder dance to learn, so it is best to go to an instructor for a few weeks. There are plenty of videos online, but you do not get the benefit on an angry Russian woman berating you for your every move. The purpose of the doctoral essay is to examine the performance practice, the musical structure, and the social and musical history of the Argentine tango.
The pedagogical information needed to teach the principles of tango and its performance is the essence of this study. The reader is introduced to the cultural circumstances behind the Argentine tango, its history, the piano evolution and.
In its essence, the “step” in tango is a “transfer of weight.” If we have not made a full and proper transfer of weight, we have not executed our step.
If we overshoot this transfer of weight, we are making more than one step, and this will also cause problems in our dance. In the heat of two Argentinean bodies intertwined, lives the sensual music of the Tango.
Art is an extension of life; and the Tango was an extension of the low Argentinean social class "orilla (History of the tango /5(5).
A formal fallacy, deductive fallacy, logical fallacy or non sequitur (Latin for "it does not follow") is a flaw in the structure of a deductive argument which renders the argument kaja-net.com flaw can neatly be expressed in standard system of logic.
Such an argument is always considered to be wrong.