Workshop learning
Someone recently commented in passing that it is extremely difficult to learn and progress in Tango by attending special one-off workshops. By the way, he is quite a good dancer, and he is certainly not disputing the value in workshops. It’s just the instructional benefits which he has serious doubts about. For example, there is a lot to be said of the awe-inspiring nature of workshops, which gives all of us the extra impetus to carry on.
The elusive Tango Nuevo
Recently there has been some at times rather intelligent (for once) discussions on the Tango-L mailing list about the “elusive” Tango Nuevo, the term Nuevo meaning “new” here.
After reading the different opinions and drawing from my own experiences, I tend to agree that, instead of being a style of dancing (in the sense of a group of people adopting so-and-so’s steps, figures, postures, or responding to the music in a particular way, etc.), Tango Nuevo means more as a way of thinking and analysing the dance.
Imagination
Had a ‘revelation’ in the shower last night.
I firmly believe (and have experienced) that if I held the image, or more of a sensation really, of a ‘model’ dancer in my head while dancing, I can begin to approach the style of that particular dancer. Since I am one of a very few slightly more experienced leaders in Singapore who has slightly resisted against dancing as a follower (despite all the commonly perceived benefits of leader dancing the role of the follower, I might add), just had the crazy idea that, perhaps I can approach the follower’s role the same way!? Anyway, should have a chance to find out tonight!
Music taking the lead?
A recent visiting teacher Chan Park raised an interesting point while fielding questions on his opinions of the development of Tango music.
According to Park, danceable Tango music stopped evolving by the mid-80’s, as evidenced by the fact that most of the modern and major milongas worldwide plays predominantly music from the 40’s, the so-called Golden Age music. Why?