April 30, 2011
Tango as a Philosophy
Tango means different things to different people. For men, it is leading; for women, it is following. For beginners, it is about learning steps; for seasoned dancers, it becomes an expression of music and emotion. For lovers, tango is a relationship; for attention seekers, a show. For heterosexuals, it stands as gender expression; for homosexuals, it offers a space for gender-neutral play. Social dancers view tango as a personal escape; professionals treat it as a craft to captivate an audience. Casual enthusiasts approach it as recreation; devoted milongueros live it as a lifestyle. To foreigners, tango might be a curiosity or cultural fascination; for Argentinians, it is a deeply ingrained emblem of national identity and heritage. Each of us dances tango in our own way, shaped by who we are and how we relate to it.
Tango philosophy explores the issues that make us distinct as dancers and individuals. Below is an incomplete list of such issues, each open to multiple answers. Some answers may lean more correct or incorrect, others might simply reflect personal preferences that are neither right nor wrong. Collectively, these varying views and choices shape the way we dance, behave, and categorize ourselves. By examining and exchanging perspectives on these issues, we can deepen our understanding, learn from each other, improve our dance, and, hopefully, achieve mastery through a holistic grasp of all aspects of tango.
1. What is tango
2. Why people dance tango
3. Tango styles
4. Embrace-oriented style vs. step-oriented style
5. Close embrace vs. open embrace
6. Social tango vs. performance tango
7. Artistic sublimation vs. vulgarism
8. Cultural bias and impacts
9. The relationship of the two sexes
10. The gender roles in tango
11. Gender neutrality vs. gender expression
12. Independence vs. interdependence
13. Feminism and its impact on tango
14. Individualism and its impact on tango
15. Individual performance vs. teamwork
16. Tango as a skill vs. tango as a fellowship
17. Elitism vs. populism
18. Movements vs. feelings
19. Steps vs. chreography
20. Romanticism vs. gymnastics
21. Prioritizing look vs. prioritizing essence
22. Imitating steps vs. developing skills
23. The unity of form and content
24. The danceability of tango music
25. Classic tango music vs. alternative music
26. Dancing steps vs. dancing music
27. Dancing to rhythm vs. dancing to melody
28. Three theories on leading
29. Self-centered leading vs. partner-centered leading
30. Active follow vs. passive follow
31. Simplicity vs. complexity
32. Elegance vs. fanciness
33. Progressive dancing vs. spot dancing
34. Reliance vs. lightness
35. Reform vs. tradition
36. Comfort vs. beauty
37. Creativity vs. standardization
38. Liberty vs. milonga codes
39. Cabeseo vs. verbal invitation
40. The freedom in tango
41. Tango and the outlook on life
42. A dance that teaches the world to love
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Do you regard all of these pairs of concepts as strict dichotomies? I think some of them are actually hard to separate out, such as "movement orientation/music-feeling orientation" or "personal enjoyment versus show-off" (we want to look good while we're dancing so as to get more dances and hence more enjoyment!) or "elegance vs. comfort" (if your aesthetic involves a very natural, smooth look, which is also comfortable to dance) or "rhythm versus melody" (I am still sceptical as to whether we can really dance to the melody, as opposed to the rhythms within the melody). It sounds as though there is potential for some interesting discussion.
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We hope beauty and comfort go hand in hand, but that is not always the case. Movement oriented dancers like to do fancy stuffs that catch eyes and use whatever embraces that help to expand movement possibilities, often at the cost of their own and their partner’s comfort. On the other hand, those who dance for personal enjoyment may be embrace specific, use simple steps, focus only on personal feelings and don’t care much about how they look.
ReplyDeleteDance to the music does not only mean stepping on the beat, it also means dancing with cadencia. When in motion, the body produces a momentum in each step, which can be maneuvered by accelerating and then halting the body motion to create a lilt or cadence in the horizontal direction, like a wave of motion across each step in correspondence with the rhythmic flow of the music. The rhythm is faster, regular, and less emotional. The melody is slower, more sentimental and often irregular. Dancers with good musicality can use different cadencia and other means, such as slow motion and pause, to express different emotions.
ReplyDeleteTo: Terpsichoral. I certainly appreciate your comment. But, in reply to your statement that reads “we want to look good while we're dancing so as to get more dances and hence more enjoyment!”. It seems that you’re dancing to impress others instead of concentrating on your partner and how she feels and how you connect with her. If she is pleased with your dance, I can guarantee she will tell other ladies and they will want to dance with you. If she is not pleased with your dance because you are focused on putting on a show for others, then she will tell her friends and they won’t want to dance with you.
ReplyDeleteI’ve seen this happen so many times at Milongas.