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The Argentine Tango As Described by Wikipedia.org

Argentine Tango consists of a variety of styles that developed in different regions and eras, and in response to the crowding of the venue and even the fashions in clothing. Even though they all developed in Argentina and Uruguay, they were also exposed to influences reimported from Europe and North America. Consequently there is a good deal of confusion and overlap between the styles as they are now danced - and fusions continue to evolve.

Argentine Tango is danced in an embrace that can vary from very open, in which leader and follower connect at arms length, to very closed, in which the connection is chest-to-chest, or anywhere in between. Close embrace is often associated with the more traditional styles, while open embrace leaves room for many of the embellishments and figures that are associated with Tango Nuevo.

Tango is essentially walking with a partner and the music. Musicality (i.e. dancing appropriately to the emotion and speed of a tango) is an extremely important element of tangoing. A good dancer is one who makes you see the music. Also, dancers generally keep their feet close to the floor as they walk, the ankles and knees brushing as one leg passes the other.

Argentine Tango relies heavily on improvisation; although certain patterns of movement have been codified by instructors over the years as a device to instruct dancers, there is no "basic step." One of the only constants across all Argentine Tango styles, is that the follower will usually be led to alternate feet. Another is that the follower rarely has her weight on both feet at the same time. Argentine tango is a new orientation of couple dancing. As most dances have a rational-pattern which can be predicted by the follower, the ballast of previous perceptions about strict rules has to be thrown overboard and replaced by a real communication contact, creating a direct non-verbal dialogue. A tango is a living act in the moment as it happens.

Argentine Tango is danced counterclockwise around the outside of the dance floor (the "line of dance") and dance "traffic" often segregates into a number of "lanes"; cutting across the middle of the floor is frowned upon. In general, the middle of the floor is where you find either beginners who lack floor navigation skills or people who are performing "showy" figures or patterns that take up more dance floor space. It is acceptable to stop briefly in the line of dance to perform stationary figures, as long as the other dancers are not unduly impeded. The school of thought about this is, if there is open space in front of you, there are likely people waiting behind you. Dancers are expected to respect the other couples on the floor; colliding or even crowding another couple, or stepping on others' feet is to be avoided strenuously. It is considered rude; in addition to possible physical harm rendered, it can be disruptive to a couple's musicality.

Differences from Ballroom Tango

[edit] Competitive vs Social Dance

Ballroom tango steps were standardized by dance studios in order to better facilitate judging at competitions. The steps have been relatively fixed in style for decades.

However, Argentine tango is a constantly evolving dance and musical form, with continual changes occurring every day on the social dance floor in Argentina and in major tango centers elsewhere in the world.

Argentine Tango is still based heavily on improvisation. While there are patterns or sequences of steps that are used by instructors to teach the dance, even in a sequence every movement is led not only in direction but also speed and quality (a step can be smooth, pulsing, sharp, ... etc.).

The Embrace (Abrazo)

A striking difference between Argentine tango and ballroom tango is in the shape and feel of the embrace. Ballroom technique dictates that partners arch their upper bodies away from each other, while maintaining contact at the hip, in an offset frame.

In Argentine tango, it is nearly the opposite: the dancers' chests are closer to each other than are their hips, and often there is contact at about the level of the sternums (the contact point differing, depending on the height of the leader and the closeness of the embrace). In close embrace, the sternums of both the leader and the follower are in complete contact and they are dancing cheek to cheek (or in the case of a larger height difference chin to forehead). In open embrace, there can be as much space as desired between the partners, but there should always be complete contact along the embracing arms to give optimum communication. Since Argentine tango is almost entirely improvisational, there needs to be clear communication between partners. Even when dancing in a very open embrace, Argentine Tango dancers do not hold their upper bodies arched away from each other; each partner is over his own axis. Whether open or closed, a Tango embrace is not rigid, but relaxed, like a hug.

Walking (Caminata)

Another interesting difference is that the leader may freely step with his left foot when the follower steps with her left foot. In English, this is sometimes referred to as a "crossed" or "uneven" walk (or as "walking in the crossed system") in contrast to the normal walk which is called "parallel" or "even." In ballroom tango "crossed system" is considered incorrect (unless the leader and follower are facing the same direction).

The nomenclature originated with the Naveira/Salas "Investigation Group." Early on, they used 'even/uneven' to describe the arrangement of legs in the walk (or turn). By the mid-'90s they began using 'parallel/crossed' and later 'normal/crossed'.

The music

Argentine tango music is much more varied than ballroom tango music. A large amount of tango music has been composed by a variety of different orchestras over the last century. Not only is there a large volume of music, there is a breadth of stylistic differences between these orchestras as well, which makes it easier for Argentine tango dancers to spend the whole night dancing only Argentine tango. The four representative schools of the Argentine tango music are: Di Sarli, D’Arienzo, Troilo and Pugliese. They are dance orchestras, playing music for dancing. When the spirit of the music is characterized by counterpoint marking, clarity in the articulation is needed. It has a clear, repetitive pulse or beat, a strong tango-rhythm which is based on the 2x4, 2 strong beats on 4 (dos por cuatro). Astor Piazzolla stretched the classical harmony and counterpoint and moved the tango from the dance floor to the concert stage. His compositions tell us something of our contemporary life and dancing it relates much to modern dance.

Steps

While Argentine tango does not teach amalgamations of steps like swing, salsa, or ballroom dances do, there are some recurring figures that are taught. Here is a fairly typical order of steps that may be taught in a beginner classes.

  • Walks - a couple, in embrace, walks in unison

  • Salida Simple, or "eight-count basic" - salida as "the way out" onto the dance floor

  • Cruzada - (from cruzar - to cross) Action of the follower crossing her left foot over her right at certain points in the dance

  • Ocho - a figure-8 traced by the follower's feet when moving forward or backward.

  • Media Luna - a half giro.

  • Lapiz - "the pencil" - curved figures traced by the toe as an adornment

  • Molinete - "windmill" a turning figure of the follower around the leader (synonym for Giro)

  • Giro - a turn (in either direction)

  • Sacada - one partner displaces the other's unweighted leg

  • Gancho - one dancer hooks their leg around their partner's leg.

  • Barrida - one partner sweeps the others foot, displacing it along the floor

  • Arrastre - (= drag) synonym for "barrida"

  • Volcada - rotating the woman around her axis, while her axis is tilted toward the man, causes her to "capsize" making the free leg "spill" tracing a figure on the floor

  • Colgada - both dancers lean away from each other and outside of their standard axis. The weight shift is more analogous to sitting in a chair than leaning counter to one another as the shoulders stay positioned above the hips and the back is not rigid.

Related Dances

Argentine Tango dancers usually enjoy two other related dances: Vals (waltz) and Milonga.

Tango dancers dance the Vals much like they do tango only with a waltz rhythm that has one beat per measure (at a beginner-level). This produces a rather relaxed, smooth flowing dancing style in contrast to Viennese Waltz where the dancers often take 3 steps per measure and turn almost constantly. Experienced dancers alternate the smooth one-beat-per-measure walk with syncopated walks, stepping on one- two- or (rarely) all three beats in a measure. Vals is characterized by its lack of pauses, and continual turns (giros) in both directions.

Milonga is essentially Tango; the differences lie in the music, which has a strongly-accented beat, and an underlying "habanera" rhythm. Dancers avoid pausing, and often introduce syncopations called traspies and broken rhythm into their walks and turns. Milonga uses the same basic elements as Tango, with a strong emphasis on the rhythm, and figures that tend to be less complex than some of those danced in some varieties of Tango.

Milonga is also the name given to tango dance parties. This double meaning of the word milonga can be confusing unless one knows the context in which the word "milonga" is used. People who dance at milongas are known as milongueros.

[edit] Styles of Argentine Tango

Tango canyengue

"Tango canyengue" refers to a style of Tango danced until the 1920s. Reportedly, the long tight fashion in dresses of that era restricted the follower's movements. Consequently, the style involves short steps. The dancers tend to move with knees slightly bent, the partners slightly offset, and in a closed embrace. The style tends to be danced to a 2/4 time signature.

Tango Orillero

Tango orillero refers to the style of dance that developed away from the town centers, in the outskirts and suburbs where there was more freedom due to more available space on the dance floor. The style is danced in an upright position and uses various embellishments including rapid foot moves, kicks, and even some acrobatics, though this is a more recent development.

Salon Tango

Salon Tango was the most popular style of tango danced up through the Golden Era of the dance (1950's) when milongas (tango parties) were held in large dance venues and full tango orchestras performed. Later, when the Argentine youth started dancing rock & roll and tango's popularity declined, the milongas moved to the smaller confiterias in the center of the city, resulting in the birth of the "milonguero/apilado/Petitero/caquero" style.

Salon Tango is characterized by slow, measured, and smoothly executed moves. It includes all of the basic tango steps and figures plus sacadas, barridas, and boleos. The emphasis is on precision, smoothness, and musicality. The couple embraces closely but the embrace is flexible, opening slightly to make room for various figures and closing again for support and poise. The walk is the most important element, and dancers usually walk 60%-70% of the time during a tango song.

When tango became popular again after the end of the Argentine military dictatorships in 1983, this style was resurrected by dancers from the Golden Era: Gerardo Portalea (still living), El Turco Jose (still living), Milonguita (deceased), "Finito" Ramón Rivera (deceased), "Lampazo" Jose Vazquez (deceased), Virulazo (deceased), and Miguel Balmaceda (deceased)in the milongas at Club Sin Rumbo, Sunderland, and Canning. One of the most famous examples of the elegant Salon style is the [Villa Urquiza]' style, named after the northern barrio of Buenos Aires where the clubs Sin Rumbo and Sunderland are located.

"Estilo milonguero" (tango apilado/confiteria style)

This style originated as the 'petitero' or 'caquero' style in the 1940s and 50s in closely packed dance halls and "confiterias", so it is danced in close embrace, chest-to chest, with the partners leaning - or appearing to lean - slightly towards each other to allow space for the feet to move. There are not many embellishments or firuletes or complicated figures for the lack of space in the original milonguero style but now also those figures are danced, which only at first glance seem impossible in close embrace. Actually, a lot of complicated figures are possible even in milonguero.

Although the rhythmic, close-embrace style of dancing has existed for decades, the term "Milonguero Style" only surfaced in the mid- '90s when the name was created by Susana Miller, who had been the assistant to Pedro 'Tete' Rusconi. Many of the older dancers who are exponents of this style (including 'Tete') prefer not to use the label.

Tango Nuevo

Tango Nuevo is a dancing and teaching style. Tango nuevo as a teaching style emphasizes a structural analysis of the dance. It is a result of the work of the "Tango Investigation Group" (later transformed into the "Cosmotango" organization) pioneered by Gustavo Naveira and Fabian Salas in the 1990's in Buenos Aires. By taking tango down to the physics of the movements in a systematic way, they have created a method of analyzing the complete set of possibilities of tango movements, defined by two bodies and four legs moving in walks or circles. This investigation provided a view of a structure to the dance that was expressed in a systematic way.

In walks, their explorations pioneered what were once called "alterations" and are now called "changes of direction" or "cambios". In turns, they focus on being very aware of where the axis of the turn is (in the follower/in the leader/in between them). This tends to produce a flowing style, with the partners rotating around each other on a constantly shifting axis, or else incorporating novel changes of direction.

Many of the recent popular elements in tango vocabulary, such as Colgadas, owe their debut on the tango scene to the popularity of Gustavo's and Fabian's approach.

From this teaching style, a new and unique style of dancing has developed, called by many a "tango nuevo" style. The most famous practitioners of "Tango Nuevo" are Gustavo Naveira, Norberto "El Pulpo" Esbrés, Fabián Salas, Chicho Frumboli, and Pablo Verón. Interestingly enough, all of these dancers have highly individual styles that cannot be confused with each other's, yet can be easily recognized as Tango Nuevo.

Tango Nuevo is often misunderstood and mislabeled as "Show Tango" because a large percentage of today's stage dancers have adopted "tango nuevo" elements in their choreographies.

Show tango

Show tango, also called Fantasia, is a more theatrical and exaggerated form of Argentine tango developed to suit the stage. It includes many embellishments, acrobatics, and solo moves. Unlike other forms of tango, stage tango is not improvised and is rather choreographed and practised to a predetermined piece of music.

The advent of "alternative Tango music"

While Argentine Tango has historically been danced to traditional tango music produced by such composers as Osvaldo Pugliese, Carlos Di Sarli, Juan D'Arienzo, in the 90's a younger generation of Tango dancers began dancing Tango to what was referred to as "alternative tango music"; music from other genres like, "World Music," "Electro-Tango," "Experimental Rock," "Trip Hop," & "Blues," to name a few. Artists like Kevin Johansen, Gotan Project, Otros Aires, Tom Waits, Portishead & Louis Armstrong are among those favored in alternative tango music playlists.

Tango Nuevo is often associated with "alternative tango music", see Nuevo tango, but depending on the dancers, any of the other Tango styles may be danced to it.

Tango films

A culture developed for tango films in the Cinema of Argentina beginning in the early 1930s. See Category:Tango films.

Culture and Community

Festivals

  • google-map with tango - tango festivals and cities, worldwide, up to date.

  • Cosmotango Organizers of the "Congreso Internacional de Tango Argentino" (CITA) ("International Congress of Argentinian Tango")

Tutorials

Retrieved from "http://en.wikipedia.org/wiki/Argentine_Tango"

 

 

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