It is clear, at least to us, that the Argentine Tango is the most complex of dances, and this complexity is due in part to the need for coordination between two people, for the use of the structure, the rhythm, the technical quality of execution, etc., etc. etc. …. The result of this situation is perhaps the most shocking of Tango: an unusual and countless choreographic possibilities be they sequences, steps, figures and the consequent infinite variety of shades.
The lifetime is not enough to travel such a vast choreographic territory. However, there are some movements or “choreographic ideas” that emerge from such vastness as representative, i.e. define the dance genre, defines the “tango”.
There are probably several good reasons why these figures have won that category. Maybe it’s because of their visual appeal, perhaps because of its difficulty or ease of execution, perhaps because of the spirit they bring, or maybe because they are unique and original. The truth is there is no tango without these “inventions” and wherever you see them you see the Tango. We speak of: the “sacadas”, the “boleos”, the “barridas” and the “ganchos”.
As already mentioned, the Tango territory is vast, and there might be those who would think that in this group of 4 just defined, something is missing or something has been removed perhaps…
We believe that those who master these four “ideas” can rightfully say they know how to dance tango. But of course … to excel in the great four one must master more things … you have to turn well, you have to control the pace, you have to master the coordinated balance between two people … you have to handle the weight transfer, you have to … well … the list is very long …
Our intent with this program is to work in depth on the great 4 from the basic technique of each one, through rhythm, the range of possible variations, so one can carry them out in their isolated form or within ingenious combinations. You may also get some a bit crazy variants … that might, perhaps, be an insight into the future. We look forward to seeing you at class. REGISTER HERE.
This workshop consists of the thorough analysis of the act of turning from all its facets. Keep in mind that the slightest change of coordinates in the orientation of the upper body of the dancers, is somewhat already installing some kind of rotation in the development of the couple dancing. It is also known that almost all, or at least most of the time, tango choreographic ideas involve some sort of rotation, either from one of the dancers, or the couple as a whole.
The old milongueros used to say in 80-ies, “the woman learns to dance tango when she learns to turn …” It is interesting that at that time, even without a thorough analysis of the tango dance technique, they had, albeit partially, the intuition of the truth … That intuition of what it really takes to learn to dance. And yes … certainly when women learn to turn well they can dance with anybody without any problems.
But … why “partially”? Which was the part of the problem that those old milongueros didn’t see? …
What they didn’t see is that the woman is using the turn step all the time while dancing, even in the straight line walk….. and that also the man learns really to dance the tango when he learns “correctly” how to bring the woman into the rotation…
Now, the turn can be “to the right” or “to the left”. It is also possible during a turn, to change the direction of it and keep turning to the other side … This is there where the problem is…
The Changes of Turn Direction are fundamental to understanding of the structure of the dance in depth and from that understanding, ostensibly to improve the quality of improvisation.
We firmly believe that the concept implicit in the changes of turn direction was, if not the main, then one of the most crucial elements that triggered the astonishing choreographic development of Argentine tango that occured in the last 30 years.
The particular choreographic moment in which the Change of Turn Direction occurs is always in itself a beautiful figure, but we can also, since all tango figures contain some form of rotation, “apply” these changes of turn direction to any other choreographic idea like boleos, ganchos, sacadas, etc, and even more, to all kinds of choreographic situations, which provides an incredible amount of new possibilities to the tango dance. This analysis is really deep and offers a truly modern vision of dance technique.
It is also important to note that this workshop consists of a lot of material. We think that the practice of many variants, significantly improves understanding of dance, strengthens the body’s reaction, creates both physical and cognitive memory of how should we react in unexpected choreographic situations, and a number of other advantages. Some may think that by doing a lot nothing is really done, but we believe that in this case to do ‘a lot’ eventually pays off.
Also we’ll insist on an interesting and necessarily related aspect: the rhythmic possibilities of those turn direction changes. We‘ll try the regular timing, double, special cases, etc. All these variants will require a profound exercising of control and precise space handling of course … but most of all a fine ability to listen … that by the way, is also trainable.
We hope you enjoy it, and foremost that results will prove useful…
with Gustavo Naveira & Giselle Anne.
NO CLASS @ 8pm. Milonga starts at 8pm.
Performance some time between 10-11pm.
DJ: Hernan Brizuela
LOCATION: Ultimate Tango, 5 High Street, Medford, MA 02155.
$30 until 09/14 , $40 at the door
$35 – ‘table for 4’ reservation
(includes bottle of Malbec, 4 glasses,
seating for 4 people)
$30 – ‘table for 2’ reservation
(includes bottle of Malbec, 2 glasses,
seating for 2 people)
$15 – 1 space at the shared table
(includes glass of Malbec,
1 seat at the shared table)
Gustavo Naveira and Giselle Anne are one of truly legendary couples and pioneers of modern Argentine Tango. And when we say ‘modern’ do not get confused. Different meaning can be assigned to the word ‘modern’. Tango as any living language develops and grows with time. New things get noticed, added and improved, not to contradict or erase what already exists, but to research and find explanation why things work the way they work and go further forward based on the gained knowledge.
Naveira is the name that you shall know and remember (and learn to pronounce) and you shall definitely take every opportunity to see them dance and experience their teaching. They truly are excellent teachers.
Gustavo Naveira and Giselle Anne focus on close embrace, milonguero style of dance with even the most complicated elements mastered to the point that they can be just casually ‘mentioned’ during the dance without great effort but with elegance and smoothness we all strive for.
Feel like you are in Buenos Aires and reserve your table to share with your friends and catch the best view of the performance. No videotaping allowed so you REALLY want to see it from a good place.