Nuevo Tango

“How do you like your tango? Rare, medium or well done?”

2011-10-04T09:35:00.000-07:00

I do not have a television nor do I listen to the radio, however, I do play music every day. In addition to tango, I listen to Jazz, R&B, Soul, Pop, and Classical while writing for my various blogs or creating a lesson/workshop outline. A useful tip for the aspiring DJ, know your music well and most important recognize what may sound great in your living room may sound not at all well for a salon. The majority of the music I use for lessons, workshop or salons is instrumental. Vocal numbers, I try to be very selective.

For all my lessons and workshops I do use a mix of tango, neo and alternative music. Neo or alternative music, if used during some basic exercises, can help relax the students and help them concentrate mastering their tango element. Similar music can also help create another dynamic or inspire variation to the element. Changing back to classical tangos during a lesson or workshop can add new energy that otherwise would have been missed. More importantly, most of what I would label “workout” music I would not use for a salon and so should the aspiring DJ is critical with their selections.

Constructing a mix

During my neotango travels from 2002 to today, what I missed most was a sensible buildup of music that stimulates a dancer to expand his/her musicality and improvisation. Compare this classical salons, much of the appeal of a tanda is that I can expect 3 or 4 numbers that will inspire me to constantly improve the connection with my partner. Unfortunately, in some neotango salons I found the fluctuation of music so disturbing and no better than an iPod “shuffle” selection; the flow of music became disjointed and too unpredictable or in the extreme very flat.

Most tandas, a collection of three, four or five numbers by the same artist, have a flow that creates a nice dance for say 10 to 15 minutes. In traditional salons, dancers will experience 2 tandas of Tango followed by either a tanda of Vals or milonga as a change of rhythm (TTV or TTM). Dancers, if you listen well, you will find the number of songs per tanda will decrease as the evening progresses. This reflects the djs skill to build up peaks and cooling off periods through change of tempo. This creates a pleasurable experience for the dancers.

Introducing neo-numbers (treading softly)

This depends on several factors, the dj knowledge of neotango music and the experience of the dancers. I know of some djs who will cautiously place 2 neotango numbers within a 60 minute block of music and to their surprise most dancers welcome the change. A standard 60 minute block of standard tango music may look so; TTV, TTM; two tandas of tango, followed by vals and the last half hour two more tandas of tango, followed by milongas.

Integration of neotango might be simply reducing the last two tandas to be replaced by two neotango numbers grouped together; TTV, T T-1, M-1, Neo. As the evening progresses, you can increase the neotango numbers while gradually reducing the others by an equal time length. Note: do realize neotango numbers have a longer play time than classic tango.

Moving toward the deep end (50/50)

Let us take a look at the numbers. At an average of 2 ½ minutes per standard tango music you just may have 12 tracks played in 30 minutes; in that same amount of time you may play 7 neotango pieces. As a dancer, I would like the time to build a rapport with my dance partner and that would be a near impossible task if the music switched back and forth between standard and neotango. Three numbers of either tangos, vals or milonga is nice minimum to work with, so my 30 minute block would be filled with two tandas tango, one of vals and one of milonga; T, T, V, M.

A good dj should also be aware neotango numbers can also be grouped together with similar rhythm qualities as 4/4, 3/4 or 2/4 tempo. So, remembering the difference in time, two neotango numbers may be equal in length to three traditional pieces let us play with the sequence. T, N, T, N, V, N, M alternating neotango between standard classic tangos might not win you a prize, but let us try a different construction. N, T, V, N, T, M, N, this would offer a nice introduction to a salon. You would quickly set expectations as you are prepared to offer a broad selection of music in the first hour. The skill of the dj is to build a rapport with his/her dancers and that can be done through the kind of music you play, the tempo you maintain, and how well you transition between “tandas”.

My next post will expand on this theme with a sample playlist. Even better, if you in the Netherlands you are invited to come dance with us every second Saturday of the month at Flor de Fango, Wezenstraat 5, 21. 00 to 01.30 hrs. We also offer workshops prior to the salon to sharpen your skills and increase your creativity.

Regards,

“Mr. DJ, can you play …?”

2011-09-14T02:50:00.000-07:00

I began my DJ journey while in the US, during the 90’s. This was a time when stores selling Tango music were scarce, so most of us swapped music with one another. Online stores were relatively unknown so many a djs library became well known as it was heard often. When Gotan Tango Project arrived, the dancers were delighted with the change and asked for more. This often meant spicing up your tango music with some Jazz, Blues or Rock numbers. Luckily, new groups formed shortly after Gotan Tango Project; Narcotango, Tanghetto and Otro Aires to name a few. Slowly, there were a few daring djs who initiated salons which offered only neotango/alternative music. This did not last long.

To my pleasant surprise, when I moved to the Netherlands, more neotango music was played than in the US. Those were the years I traveled far and wide to any salon that advertised a mix of neotango music. Further to my delight, neotango lessons and workshops were becoming common. Then, history repeated itself.

In their quest for “new” sounds, some DJ’s have resorted to offering all kinds of music to fill the void. I began to wonder if Gotan, Narcotango, Bajofondo, Tanghetto, and the like had been reclassified “classical”. Unfortunately, these different sounds left me “cold” as a dancer. This was neither Lounge nor Chill but something similar to two cats fighting or what I would term “elevator” music; I am not going “up”, but “down” and out the door.

For the aspiring DJ reading this, do not despair. Recently, I have returned to doing DJ work and really enjoy it. At most of the salons I do mix classical with neotango and in some cases the mix may reach 50/50. I will share in my next posting, useful tips for DJs who like to mix classical and neotango music.

Regards,

"Tears on the dancefloor"

2011-08-18T03:56:00.000-07:00

Tango lessons for some schools start next week and next month, September, most of the regular salons will reopen their doors for tango enthusiasts. In general, this has been one of the most unusual summer seasons, plagued with bad weather which closed many of my favorite salons. The salons that were open on the weekend were small in number, so I took the opportunity to visit some of the smaller salons available during the week.

I think I am not alone in thinking there are three ingredients for a memorable salon; good music, good dancers and a good floor. You can expect an outdoor salon to not have the best floor, but certainly the first two ingredients must be present if I and others are to return. Wooden floors are great, but linoleum or such floor covering are just as good as long as the surface is even. For every hole on the dance floor, there is always a stiletto heel that will find it. Does the floor need to be large? This depends on the number of “enthusiastic” artists you expect, but good dancers can navigate and improvise in small areas, so long as the milonga is moving at a steady cadence. This brings me to the next ingredient, dancers.

Good dancers are not necessarily the most “experienced” dancers. I have had very good dances with beginners, but if you are thinking they do not know Colgadas, Volgadas, etc. then think again about what the essence of the dance is. I shall save that subject for another posting, but I would like to direct some tips given to me by Argentine maestros; make your dance simple, but magnificent. Those readers who have followed my lessons or workshops will know about the four phases of a music piece and how best to dance during each phase. This is universal, that is dance technique which will apply equally to classical tango or neotango music.

This brings me to the final ingredient, the music. I believe the aspiring dj should ask him or her, why do you want to become a dj? If you are satisfied with your answer, the next step is to travel to other salons and listen, look and ask. Listen to the music, take note of the tanda and how it is compiled, which tanda follows, does the music move seamless into the next; look to the dancers and how they react to the music, are they filling the floor up or leaving, take note of the decor and finally ask questions of the DJ. These can range from technical to music selection, but do ask and become knowledgeable about a DJ’s craft.

I shall cover the subject of becoming a DJ, pleasing the tango community while pleasing you in my next post.

Recommend:
Neotango Website: http://www.neotango.info// and for the neotango forum, click the tab labeled Forum Discussion.

What is Tango Liquido?

2011-03-02T03:12:00.000-08:00

According to most tango terminology websites, Tango Liguido is the fluid movement using open and close embrace. Not yet recognized as a style, but one in my opinion reflects the “Heartbeat” between two dancers, moving in and out with the music.

For the leader, the skill is making clear the intention to open or close the embrace while maintaining his axis and the follower also must very alert to distinguish the moments of transition between the two and adjust her embrace while keeping her axis. The key to the subtle change is minimizing muscle use and recognizing the natural organic action of the movement.

In the series workshops we will review the movements for both open and close styles, learn how to transition without breaking the dynamic, how to enhance your improvisation skills, how a follower can actively participate and open new doors to creativity and more. We will also be introducing new combinations which can be used, not only for neotango music, but for classic tangos, vals and milongas.

We will also work on how to control the movement to maintain our “line of dance”, which style best reflects the moment in the music and how to bring this all together into a memorable dance at your next salon.

Back Secadas for the leader – special request

2010-12-02T01:32:00.000-08:00

Altraciones – variations and musicality

2010-11-30T10:14:00.000-08:00

Altraciones – expanding the options

2010-11-18T03:29:00.000-08:00

Altraciones – changing direction

2010-11-18T03:08:00.000-08:00

Improvisation skills - foundation of a good dancer

2010-11-18T02:22:00.000-08:00

Lesson six - Colgadas – the basics

2010-10-25T04:33:00.000-07:00

Lesson five: review Volgadas

2010-10-25T04:31:00.000-07:00

Lesson four: In and Out of axis (Volgadas)

2010-10-11T14:01:00.001-07:00

Lesson three: Expanding the Nuevo Tango Buffet

2010-09-30T03:10:00.000-07:00

Lesson Two: Control, changing the dynamic, a basis for improvisation

2010-09-23T03:34:00.000-07:00

Introduction to Nuevo tango basics

2010-09-16T05:49:00.000-07:00

New Season starts September 15

2010-09-05T01:50:00.000-07:00

Musicality, slow, fast, high and low

2010-06-24T01:53:00.000-07:00

Colgada combinations

2010-06-16T23:10:00.000-07:00

Musicality: Rock steps

2010-06-16T23:04:00.000-07:00

Revising old elements; Cunita

2010-06-08T01:46:00.000-07:00

Boleo’s and secada combinations

2010-05-26T23:59:00.000-07:00

Back Secadas with combinations

2010-05-24T23:58:00.000-07:00

Back secadas for leader and follower

2010-05-13T08:25:00.000-07:00

Integrating elements into your dance

2010-05-10T01:13:00.001-07:00

Al Reves

2010-05-10T00:06:00.000-07:00

Barridas with the feeling of ease. (part two)

2010-04-14T01:19:00.000-07:00

Barridas with the feeling of ease.

2010-04-06T01:19:00.000-07:00

Piernazos or leg wraps – part two

2010-03-26T00:03:00.000-07:00

Piernazos or leg wraps

2010-03-17T09:18:00.000-07:00

Musicality and review - part two

2010-03-15T08:15:00.000-07:00

Musicality and review

2010-03-03T00:02:00.000-08:00

Soltera with gancho and boleo combinations

2010-02-24T01:02:00.000-08:00

Lesson five: Split weight changes

2010-02-23T03:53:00.000-08:00

Technique: the lightness of the lead

2010-02-15T02:42:00.000-08:00

Out of Axis - part two

2010-02-06T10:58:00.000-08:00

Season 2010

2010-01-29T02:47:00.000-08:00

Season 2010

2010-01-23T03:32:00.000-08:00

Review and How to create a dance

2009-12-18T08:13:00.000-08:00

Leg Wraps

2009-12-18T08:09:00.000-08:00

Enhancing your technique and musicality

2009-12-03T02:11:00.000-08:00

Solteros and Soltadas, (part two)

2009-11-26T01:08:00.000-08:00

Solteros and Soltadas (part one)

2009-11-22T09:11:00.000-08:00

Colgadas and Volgadas part two

2009-11-13T08:09:00.000-08:00

Out of axis; Colgadas and Volgadas

2009-11-13T07:30:00.000-08:00

Improvisation - part two

2009-11-03T00:52:00.000-08:00

Improvisation - part one

2009-10-22T11:30:00.000-07:00

The Cruzado extended

2009-10-15T05:07:00.001-07:00

Cruzado times twenty-four

2009-10-10T11:07:00.000-07:00

Lesson Three

2009-10-03T11:35:00.000-07:00

Lesson Two

2009-09-24T02:39:00.000-07:00

2009-09-17T02:15:00.000-07:00

One of the many goals of this blog is to serve lesson updates for my students. As time allows, I will add photos and videos as teaching aids, however, at the moment, the text below will hopefully remind the student of key elements during a given lesson evening. For the casual reader, this may not make a lot of sense, but then take one of my classes (big smile). I teach nuevo style (12 years) and though I do dance classical or salon style, I have found the newer style has a lightness in movement, has increased d my speed without excessive muscle use and improved my balance, not only for myself, but for my partner as well. This is heaven on the dance floor.

Why is this so different from the classical teaching. In my experience, classical teaching of tango required rote memory of steps set into a prescribed sequence. For me, this is the death sentence for my creativity.

Cosmo Tango, started 16 years ago by Gustavo Naiviera and Fabian Salas, brought another level to how we dance Argentine tango. Their analysis presented a better understanding of how we moved and executed various figures, but also improved the way we learned the dance. It was their students that brought “nuevo” or neotango to the forefront, such as, Chicho Frumboli, Sebastian Arce, Pablo Inza, Esteban Moreno and many, many others. Combined with tango electronic, tango had reached a new level of creativity and appeal, especially among younger dancers and older dancers who felt young at heart.

Back to basics.

In my weekly programme, I divide my lesson into three phases; exercises to condition the body and improve balance and connection, followed by our theme for the evening, and lastly variations. How do we improvise? What I suggest is to work like the best Argentinean dancers. Perfect your technique of the element, repeat the element but execute much slower. Repeat again, but play with the distance between axis. The point here is to reach a bench mark that you know is your limit. Now repeat the process doing the mirror image. Ah, discovering new problems?

I have found, students who work this way, are better at navigating and can apply body discipline to improve their musicality.

So, relax and go with the flow.

Lesson One.

2009-09-17T02:13:00.000-07:00