I agree with you Heather. I've noticed over time that the level of tango is becoming tied to more and more complex gyrations that are very difficult to coordinate with traditional tango music. Strangely enough, there are more "musicality" classes being offered all the time. IMHO, what people are failing to understand is that musicality is mostly associated with dancing rhythmically to the tango music. In other words, musicality means more ease or skill with the basics of the tango dance such as observing the code of the dance and learning to use the turns. Yes, there is a lot of pressure to come up with interesting names and descriptions of classes to attract attendees. The trick is to actually represent what the class will really be like and what the students can expect to get out of it. The best musicality class I ever took was from Gustavo Naveira back at the first CITA. It was wonderful, he demonstrated how he moved to different styles of orchestras. He showed how he interpreted the music with his own movements and with different postures and expressions. True, it was not exactly a class of instruction about how to dance musically, but it certainly was an eye opener and a real inspiration. Sadly, every other class in "musicality" that I've taken since then was a total, boring waste of time, precisely because they were elaborate, cerebral works of dance deconstruction.
Cheers, Manuel visit our webpage www.tango-rio.com > From: [EMAIL PROTECTED] > To: [email protected] > Date: Thu, 15 Nov 2007 05:38:07 +0000 > Subject: [Tango-L] Smart tango consumers > > > > > I know it must be difficult to constantly try to find new ways to sell > classes and workshops but when it comes to musicality we as consumers should > be weary of language that treats the subject like a math equation. To over > intellectualize is to tear the music apart. Deconstructing it from an > academic perspective kills the essence of this beautiful music and promotes > dancing from the neck up. You then create, at best, a kind of clever but > soulless form that dances on top of the music merely illustrating how the > music works. The best dancing doesn't come from following this path. The best > dancers don't use this method but teachers will to sell another class with a > title a mile long convincing you that they can unlock the secret. > > Just something to think about the next time your subdividing your syncopation > on the downside of the upside of the quicker slowbeat- in what timing? I > forget. > > Don't be so smart your stupid. > > > Cheers :) > > > _________________________________________________________________ > Windows Live Hotmail and Microsoft Office Outlook – together at last. Get it > now. > http://office.microsoft.com/en-us/outlook/HA102225181033.aspx?pid=CL100626971033 > _______________________________________________ > Tango-L mailing list > [email protected] > http://mailman.mit.edu/mailman/listinfo/tango-l _______________________________________________ Tango-L mailing list [email protected] http://mailman.mit.edu/mailman/listinfo/tango-l
