Introduction to Argentine Tango

Transcription

1 Introduction to We collected the following ideas to assist in comfortable dancing. These ideas are not absolutes. Many of the following items may help the dancer's comfort & confidence. The Figure Descriptions are, as near as we can tell, the current way we use them in ROUND DANCING and may not agree with the descriptions found in Ballroom literature, education, and elsewhere. Also, by modifying slightly, from the original ballroom terminology, some of the figure names, we hope to make them easier for the average Round Dancer to pronounce and cue. History: The Gauchos in Argentina created the tango, inspired by the music played in the local taverns. The addition of an unusual musical sound -- violins and an Argentine squeeze box called the Bandoneon -- added to the dance. can be a very suggestive dance and the Argentineans banned it just before World War I. It surfaced again in Paris where certain refinements made it popular all over Europe. Many people associate this rhythm with Rudolph Valentino, who made it popular when he danced it in a 1921 movie. The International Tango, perfected by the Germans, employs a more staccato type of movement and a military-like precision, quite unlike. Characteristics: The character of is smooth, flowing, slow and quick movements, as opposed to the staccato movement used in International Tango. Since the tempo of is moderately slow, even a beginner will not find it too difficult. In the more advanced figures, the man manipulates, twists and sometimes kicks near the lady's legs. The man leads the dance by applying pressure to the lady's waist, hand and arm (We call this system of leading Marcacion, or marking). is not a violent nor a sexist dance. It is a dance of feeling in which the man drives (leads) the woman. It's like two persons talking without words. We often compare to two people in love: They fight, they're happy, they disagree, but at least they are together. has a variety of different types of figures. Below is a list of the more common figures, by group: BASIC Basic American Basic Backing Basic TRANSITIONAL Tango Draw Back Tango Draw Back Tango Close FIGURE 8 Doble Cruzada Doble Ocho Estorbar Ocho Para Atras Ocho Pasada Sentada PICTURE Back Corté Oversway Oversway Flicks Promenade Sway Side Corté CROSSING/SWIVELING Advance Corté Cobra Crisscross Doble Cruz Lanzadera Outside Swivel Promenade Vine Puerta Same Foot Fans Serpiente Vid STOPPING Parada Left Ending for Parada Right Ending for Parada Lady's Gancho Man's Gancho Continuous Gancho WALKING/ROCKING Gaucho Argentine Walks Progressive Tango Rocks Curving Progressive Tango Rocks Medio Corté Back to Leg Lift Forward to Leg Lift Turning Doble Corté Parallel Rocks Promenade to Counter Promenade Tango Crosses and Flick AT - Intro - 1

2 Some figures resemble those done in International Tango, American Tango and Paso Doble. We refer to the figures, listed in the section above, as Argentine Tango. Choreographers may opt to use additional figures from International Tango, American Tango, and Paso Doble. Timing: We dance to four-count music that usually has a marching type sound. Most basic figures require one to two measures of music. A few sources described with 2/4 timing (slow equal 1 beat, quick equals 1/2 beat), but we are describing the figures in this section as using 4/4 timing. Rhythm: has two basic rhythms: SLOW-SLOW QUICK-QUICK-SLOW and SLOW-SLOW SLOW-SLOW. For this discussion, SLOW (S) equals two beats of music and QUICK (Q) equals one beat of music. Body Mechanics: The top line and hold in are somewhat similar to that in International Latin. Stand 6-9" apart with the body and head upright. Your body weight is over the balls of the feet, not back on the heels. Each partner supports his or her own weight only. Keep your shoulders parallel to your partner's on all closed, open and contra-banjo figures. The man places his right hand on the lady's left shoulder blade with his elbow slightly rounded. The lady places her left hand around or on top of the man's right arm with her elbow rounded and over the man's elbow. Hold the man's left arm approximately between the lady's eye level and the top of her head. The more advanced Argentine Tango dancer may wish to have the man's right arm further around the lady's back, almost to the center of her back. Also, the lady may wish to place her left hand on the man's shoulder, neck, back or upper arm. We keep the heads upright, whether in closed or open position, depending on the figure. When the couple is comfortable with the mechanics of the figures and the body, they can use a variety of other head positions, to give the tango more flavor. These head positions include, forehead to forehead, man's right cheek to lady's left cheek, man's & lady's right cheeks together and looking at partner with heads tilted slightly towards one another. It is proper technique to Flex the legs, with the body weight over the supporting leg, in most cases. Movement: We use the Latin, ball-to-flat type action, while dancing the Argentine Tango. We point the toes outward, always, keeping the ankles and the knees veered inward. Take your steps using a series of tracking motions, an almost dragging of the big toe or heel forward and a dragging of the big toe backward into most figures. In several figures the knee of the moving foot is the first part of the leg to move. Forward Movement: {Heel Leads} Created by lowering into the knee of the supporting foot (i.e., right foot). The free foot (i.e., left foot) moves forward. The movement begins from the knee and then progresses to the hip. As you take the step, release the heel of the AT - Intro - 2

3 supporting foot. Roll onto the flat of the free foot as you release the weight from the supporting foot. {Ball Leads} Created by lowering into the knee of the supporting foot (i.e., right foot). Drag the big toe of the free foot forward lightly, with movement beginning from the knee and progressing to the hip. Take the step with the ball of the foot, releasing the heel of the other. Slightly drag the big toe of the free foot (i.e., left foot) forward beginning from the knee and progressing up to the hip. Roll onto the flat of the free foot, releasing the weight from the supporting foot. Backward Movement: Bend the knee of the supporting foot, then lower into the supporting leg (i.e., left foot). Reach the ball of the free foot (i.e., right foot) back from the knee and then stretch it from the hip. As you roll onto the flat of the free foot, leave the supporting foot in place, but release the weight. Side Movement: Lower into the knee of the supporting foot (i.e., left foot) and veer the knee slightly more inward. Reach the inside edge of the free foot (i.e., right foot) to the side. Release the weight on the supporting foot but leave the it in place as you take weight on the flat of the free foot. Draw Movement: The Drawing Movement is similar to the Side Movement without weight change. Lower into the knee of the supporting foot (i.e., right foot) and veer the knee slightly more inward. Veer the knee of the free foot (i.e., left foot) towards the supporting leg. Then draw the inside edge of the big toe toward the supporting foot. Do not release the weight on the supporting foot and leave the foot in place. Do not take weight on the free foot. Rise And Fall: There is very little body or foot rise and fall in. is a very level dance that employs linear and circular movements but not much upward or downward movement. Shoulder Lead: The Shoulder Lead occurs when the same foot and shoulder move forward or backward at the same time, e.g., the right shoulder and the right foot move forward on the same step. Contra (Contrary) Body Movement: Contrary Body Movement (CBM) is the action of turning the opposite hip and shoulder towards the direction of the moving leg, and is used to begin most turning movements. Contra (Contrary) Body Movement Position: Contrary Body Movement Position (CBMP) is the position attained by placing the feet in the same track. It requires a shoulder lead or CBM to attain the proper body alignment. Steps taken in Banjo (BJO) position should end in CBMP. Sway: employs very little body sway. Some picture figures which may employ a slight amount of body sway. AT - Intro - 3

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5 ALPHABETICAL LISTING OF TERMS WITH PRONUNCIATIONS Atras (äträs) Medio (mädêô) Cobra (kōbrá) Ocho (õchõ) Corté (kôrtā) Para (párá) Cruz (krōōz) Parada (párádá) Cruzada (krōōczádá) Pasada (pásádá) Doble (dôblā) Puerta (pwârtá) Estorbar (estôbär) Sentada (sentádá) Gancho (gonchō) Serpiente (sûrpêentā) Gaucho (gouchō) Vid (vêd) Lanzadera (länzäderá) AT - Intro - 5

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