(以下純是個人觀點)
Tangotang 又再次邀得 Javier & Andrea 來香港，Richard 問我們本地老師可否撰文推介。 我直認 Javier 是我最欣賞的舞者，當然 Richard 唔問我都會寫。誰不知我末動筆，所有的class已於首兩小時登記便售出了。我很高興，因為我感覺到本地的tango智慧步向較成熟的方向，何出此言？Coleman 不是很 “pro-nuevo” 嗎？呵呵！
是的，過去4年， Tangotang引入了很多新一代的老師，世界興起了一片 “Nuevo 風”所影響，十居其九都是 “Nuevo” style。 Pablo & Dana, Matias & Kara (我的恩師及好朋友), Gaston & Mariela, Gonzalo & Mariel, Pablo & Noelia 等。每年來港的5對中便有3、4對 “Nuevo 風” 舞者。我亦因此學了4年多的nuevo technique。亦曾經認為 “nuevo” 是最好的…
4年前我首次參加 Taipei Tango Festival，第一次上了 Javier & Geraldine (J 的前舞伴)….印象不太深刻…..不是他們不好……他們絕對是一級棒的舞蹈家……只是我完全不明白他們上堂講什麼………J&G 在堂上完全用西班牙語授課……間中須要organiser Daniel 以普通話 翻譯……可是對我來講沒太大意義…….因我的普通話聽力不比西班牙語好很多。結果上 J & G的幾堂都是跟近50人迫在一起不斷「狂操」steps, 有時只能從舞室內的鏡子看到 Javier的腳在「搞」乜東東….有些掃興，沒法， Javier & Geraldine 是 Salon Tango之明星，人人爭著一睹他們的風采。
過去兩年，Youtube上多了很多 Argentine Tango的video，關於 Javier & Gerladine 及 Javier & Andrea 也有很多，而不只有 Nuevo 的如 Chicho, Sebastian & Mariana, Pablo & Dana。我因此可以欣賞到不同風格的表演。
你今天問我喜歡那一種style，我會答你…..不是什麼 “villa urquiza”、”salon”、”Nuevo”、”tango fantasia”、”close embrace”、”milonguero”…..這些只是名稱而已、每一種style都有跳得很出色的舞者、同時亦有跳得很「爛」的。
我會跟你說 「就像是 Javier那樣！」。
我不是要否定 “Nuevo style”，起碼過去10年間 “Nuevo” 的興起有助 Argentine Tango reach more people。”Nuevo tango” 是一個tango史上的革命動力多於是一種舞風。Nuevo的老師一般都很年青‧很有活力，超級友善、丁點兒架子都沒有、授課時非常有耐性。”Nuevo style”比較科學化，每種動作都要找出 core concept去support and explain，尤其對我們一眾自以為授過高等教育，每樣事物都要用羅緝去justify，而前一輩子都沒有跳過舞的人來說，”Nuevo tango” 的確很吸引、因上課時只要你的腦袋跟你說「lead 這個voleo的core concept」很合羅緝，大家便很有滿足感，立時覺得自己已學會跳舞、覺得”argentine tango”原來很易跳。”Nuevo tango” teachers are very friendly, and “Nuevo tango” is very user friendly，making tango more popular than ever。
但又如何呢？ 雖然 “Nuevo tango” 有這麼多「優點」、promises，但看了無數 video and live performance, 沒有幾多次令我真正感動。看了一些 Nuevo performers的表演，我會 …..高聲歡呼「利害!!」、「好野!」、「有創意！」、「很有趣！」、「他真是敏捷!」….
但看過 Javier 的表演，我沒話可說，真的是找不到貼切的句子來形容。我只覺得他用身體來唱歌、把自己溶化在樂章中。從 Javier 的表演、我深深體會好的 “musicality” 不只是 follow the beat (sense of rhythm) 那麼膚淺，不是只在一兩個bar內玩一些特別的拍子，而是駕卸在整篇樂章上，不被強烈的基本節奏所吞噬，快慢有序，有強弱、有層次的演繹出樂章的意境及氣氛。
你沒有看錯！我不是在說Choreography，我是在講Javier improvisation的能力…
很多人喜歡 argentine tango就是因為 “improvisation”一詞，誤以為等於不用花時間聽音樂，以為只要「識lead」很多「花」便能跳好argentine tango，以為只要跟到beat便足夠了….完全沒留意旋律變化、沒留意整首舞曲想營造的情緒高低起復。看過個Javier 後，你可能有新的體會。
若我告訴你，有無數次我看完Javier 跟partner perform 後，我被感動得差點哭起來，請不要笑。
我真的有哭。
簡簡單單的walking，畢廷神氣的posture，緊密的embrace，乘巧而不經意的adornment，加上一對好耳朵，便比別人跳得更震憾，更悅目…
若你還認為跳好argentine tango便是要懂十八般武藝，首首音樂都要拿你的partner來做齊全套high, low, linear, circular, back and front voleo, 什麼什麼colcada，什麼什麼volcada，什麼什麼soltadas….無數個前後左右 rebounce，只講opposite energy, dynamics and impulse…或你發覺跳了3年後仍然覺得自己像在與舞伴搏擊一樣的感覺，而從未有一次感受過自己身體、舞伴、音樂及舞池上其他couples連在一起的浪漫感覺，那便是時候看看Javier那一派。
看Javier之 performance與新一派Nuevo之對比，令我聯想起被喻為過去一世紀最偉大的鋼琴大師 Vladimir Horowitz 霍洛維茲之演奏…. (待續)
Thursday, May 01, 2008
Monday, February 11, 2008
Tips of dancing in a crowded milonga - Emily
I wish all of you enjoyed Milonga del Corazon at Xperience last saturday. I always recalled New York New York in Taiwan and even El Beso in Buenos Aires when I danced in Xperience for its cosy space. Dancing in an atmospheric bar or restaurant is always nice - but one problem may occur in this occasion. The dance floor, like that of Xperience, may not be as big as those of a dance studio or a dance hall, and people have to squeeze themselves on a crowded dance floor. This may end up leaders have less intention to invite ladies for a dance since the floor seems not to have enough room. But I think all of us, including leaders and followers, can make an effort to make a small and crowded dance floor a heaven to enjoy the music and dance with your partner. Being a dj, who always have a full observance of the dance floor’s traffic, I would like to share some tips of dancing in a crowded dance floor that I got from crowded floors in BsAs and my tango teachers. These are not golden rules of no reasons - all are originated from our considerations to other dancers on the same floor and our care to your partners.
General Etiquette
1. Line of Dance
Line of dance is always one of the key factors defining a good and a bad milonga. While Nino Bien and Salon Canning getting the fame of the most popular and crowded milongas in BsAs, they also become notorious for bad traffic and bumpings. One reason, that many people believe, is that more and more tourists, who usually have less awareness to the importance of traditional dance etiquette in milongas of BsAs, are attracted to these popular milongas, making the dance floors lacking good discipline. Milongas of good traffic in most of the time, like El Beso, are always my favourite. As you can observe from the video showing a regular milonga at El Beso, there are actually roughly two lines of dance - one is around the boundary of the dance floor, and one in the inner circle. Thanks to the interior design of El Beso, having huge column in the middle of dance floor, dancers who favour fancy steps can hardly enjoy themselves in the middle, making the dance floor one of the best in BsAs. Dancers should keep moving in a dance floor at the exterior circles, maintaining a smooth traffic. The middle of the dance floor should be remained to beginners who have less experience of following the line of dance or those stubborn dancers who are obsessed with fancy steps.
2. Type of Embrace
Credits should also give to the milongueros in El Beso who prefer close embrace, which allows more rooms to dance in a smaller dance floor. If the floor is already quite crowded, it is absolutely unwise to show off the steps of nuevo style which demands open embrace and bigger space. Even you really make sure your steps cause no disturbances to other dancers, your steps may scare other dancers who want to squeeze in away.
3. Steps
It is always wise for leaders to avoid big steps or any steps that may let the ladies kicking people around you both, like gancho and high boleos. I am sure most ladies would enjoy more with the leaders’ smaller steps of good musicality, then the heels of her elegant Comme il faut being forced to kick the chair leg behind her! Leaders should also avoid back steps unless you make sure no one is behind you, since back steps would interrupt the smoothness of the line of dance. I think leaders should take more responsibility on this since the ladies have less control about the steps while they may have their eyes closed in the embrace. Turning on the same space and doing hero in close embrace would also help yourself getting away from a traffic jam.
4. Embellishment
Ladies can try to keep their embellishment smaller to avoid kicking your leg to the people at your back. I make this fault sometimes too… = (
5. Cortina
Cortina is a good chance to reshuffle the traffic of the dance floor. It is always good to leave the dance floor when cortina is played. Invite your favourite partner once again later, chance is there!
Sunday, January 06, 2008
Celebrating Milonga del Corazón First Anniversary with Norberto "Pulpo" Esbrez & Luiza Paes on 2 Feb & 9 Feb
Thank you very much for your long support...MDC is just one year old and we are celebrating its birthday in February. It is really not easy to have a themed milonga for more than a year. We can't grow without you! Please come and share the joy with us, since you are one of the most important motivation for me to get more good music from BsAs! Please keep supporting our milonga and our passion of classic tango music!
Welcome Milonga Including mini-performance, soft drinks and biscuits
Date: Saturday 2 February 2008, 9.30pm-1.30am
Venue: Amico Studio, Amico Studio, 2/F, 167-169 Hennessy Road, Wanchai, HK
Tickets: $120
Grand Milonga to Welcome the Year of the Rat
Including buffer dinner and performance
Date: Saturday 9 Feburary 2008, 9pm-3am
Venue: Xperience, G/F, 33 Lockhard Road, Wanchai, Hong Kong
Tickets: $180 in advance; $220 on the door
Dj: Emily
To book tickets, visit http://www.hktangolab.com/ and download a booking form, or contact:
Hong Kong Tango Lab Simon Cartledge, scartledge@bigbrainsltd.com / 852 - 9746 5279 / http://www.hktangolab.com/
Milonga del Corazón milonga.corazon@gmail.com/ /Coleman - 852-92676627 / Emily - 852-94060996
Sunday, November 18, 2007
Get the Secrets of Milonguero Style from Hsueh-tze Lee - 5 Secrets for Dancing Close -- Ssh!
Who teach? Hsueh-tze LeeWhen? 1 Dec, 2007 (Sat), 8.00 - 9.30pm (the class), 9.30 pm - 1.30 am (the milonga)
Where? Amico Studio, 2/F, 167-169 Hennessy Road, Wanchai
Who can attend? Everyone can benefit from the class if you never try milonguero style. What you need is your curiosity about the milonguero embrace. You will learn the spirit and essence of tango, not the steps!
How much? FREE! $80 for the entrance of Milonda del Corazón - with drinks and snacks always! No extra fee for the class.
I want to know more! Contact Coleman - (852) 9267 6627 / Emily - (852) 9406 0996 /email your question to milonga.corazon@gmail.com
Feedback on her teaching: http://www.ixidanza.com/the-art-of-tango-workshop/testimonials
P.S. Thank you for those who join the class and for Hsueh-tze's fabulous sharing!
Saturday, October 13, 2007
....用7-11紙杯享用 Petrus一樣可憐......
我一向鼓勵對美麗的事物最好能保持一種 “passionate ownership”的態度。
尤其是 Argentine Tango 如此美麗至極的舞蹈…..
昨天晚上在舞會 “milonga” 中跟一位剛剛接觸「阿根廷探戈」不久的女生 (一位漂亮的年青醫生) 講起一些關於這種舞的歷史故事….
我們講到「她」的起源，例如這種舞於上世紀初並不是傳言般在妓院內由妓女跟客人跳出來的，而由男人跟男人跳出來….
我們講到一些「她」 的 “etiquette” 「禮節」，例如正式來說女生主動請男生跳舞是「不禮貌」的，例如在阿根廷的舞會中男女生都要靠「眼神接觸」”cabezio”來作為邀請/答應對方的訊號，男生萬萬不能在女生未示意前便走到面前….
我們亦講到一個正規的tango舞會，DJ不能亂播音樂的，應有系統地運用 “tanda” 「歌節」及 "cortina” 「間場短曲」來控制舞池的秩序….
我們也講到1930-1950’s 年的探戈音樂是最具代表性的，因此被喻為 “Golden Age”，大部份的探戈舞步都是在這時期的音樂下成形的….
我們更講到男女間如何「活用」每節 ”tanda” 內固定歌曲數目來「策略性」拒絕或接受邀請，從而保持大家良好之感覺….
最後我跟這位可愛的女生說了一個比喻，形容我學習「阿根廷探戈」的態度……「學探戈，就像是學飲紅酒一樣，不能只學那一堆堆生硬的味度形容，什麼fruity、full-bodied、acidic、tannic…..等等。亦要學習了解年份、產區、葡萄品種對酒味的影響….亦了解為什麼要用不同形狀、不同厚薄的玻璃的酒杯去品嚐不同種類的餐酒……因此學探戈只學舞步，有如用7-11紙杯享用 Petrus一樣可憐….」。
這就是我上面所指的 “passionate ownership”!
這亦是我和Emily堅持辦一個以1930-1950’s年代經典探戈音樂為主題的定期 “milonga”的目的，因為只有在孕育探戈成長的傳統音樂下跳舞，才更能培養出一種蜀於探戈獨特的心情及氣質…….
這亦是為什麼我們的milonga 叫 “Milonga del Corazon” --意譯 「心之舞會」。
Coleman
www.romanticotango.com
尤其是 Argentine Tango 如此美麗至極的舞蹈…..
昨天晚上在舞會 “milonga” 中跟一位剛剛接觸「阿根廷探戈」不久的女生 (一位漂亮的年青醫生) 講起一些關於這種舞的歷史故事….
我們講到「她」的起源，例如這種舞於上世紀初並不是傳言般在妓院內由妓女跟客人跳出來的，而由男人跟男人跳出來….
我們講到一些「她」 的 “etiquette” 「禮節」，例如正式來說女生主動請男生跳舞是「不禮貌」的，例如在阿根廷的舞會中男女生都要靠「眼神接觸」”cabezio”來作為邀請/答應對方的訊號，男生萬萬不能在女生未示意前便走到面前….
我們亦講到一個正規的tango舞會，DJ不能亂播音樂的，應有系統地運用 “tanda” 「歌節」及 "cortina” 「間場短曲」來控制舞池的秩序….
我們也講到1930-1950’s 年的探戈音樂是最具代表性的，因此被喻為 “Golden Age”，大部份的探戈舞步都是在這時期的音樂下成形的….
我們更講到男女間如何「活用」每節 ”tanda” 內固定歌曲數目來「策略性」拒絕或接受邀請，從而保持大家良好之感覺….
最後我跟這位可愛的女生說了一個比喻，形容我學習「阿根廷探戈」的態度……「學探戈，就像是學飲紅酒一樣，不能只學那一堆堆生硬的味度形容，什麼fruity、full-bodied、acidic、tannic…..等等。亦要學習了解年份、產區、葡萄品種對酒味的影響….亦了解為什麼要用不同形狀、不同厚薄的玻璃的酒杯去品嚐不同種類的餐酒……因此學探戈只學舞步，有如用7-11紙杯享用 Petrus一樣可憐….」。
這就是我上面所指的 “passionate ownership”!
這亦是我和Emily堅持辦一個以1930-1950’s年代經典探戈音樂為主題的定期 “milonga”的目的，因為只有在孕育探戈成長的傳統音樂下跳舞，才更能培養出一種蜀於探戈獨特的心情及氣質…….
這亦是為什麼我們的milonga 叫 “Milonga del Corazon” --意譯 「心之舞會」。
Coleman
www.romanticotango.com
Wednesday, August 01, 2007
Monday, July 16, 2007
The 1st movie with sound in the history of Argentinian films
This is simply amazing. You can see how milonga looked like in the 30s. See the line of dance and the traffic of the dance floor and how people embraced and imvited lady to dance with cabecio!!!
Emily
Thursday, July 12, 2007
New!! Tangotang Tango Preface for Beginners - by Coleman and Fiona
很久已沒有寫blog 了，主要原因是工作忙，第二原因是手寫板似乎還未太熟悉我的寫法，太幸苦了、第三是忙於學習set-up 我和 Fiona 的 blog http://tangoromantico.blogspot.com/
我相信我是古代的人，父母亦給了我一個「古」姓，因此電子媒體對我來說仍然是新科技 (!!!) 知道嗎？還有我的職業是賣來自三億五千萬年前的鑽石，我最愛用1953年德國製造的喇叭........
Anyway, 有重要事要宣佈，我和 Fiona 會再次幫 Tangotang 教 Tango Preface (Beginner's course), details 請參考 http://www.tangotang.com/
一共6課，第一課於8月4日開始，每課 1.5 hours, 全部於 Amico Studio 舉行，全部在晚上8pm-9:30pm, 價格非常優惠....HK$750 include one year Tangotang membership fee!!!!
我與Fiona 都是義務幫 Tangotang, 連 transportation 都是自付的，全因我們熱愛 Argentine Tango，亦欣賞 Tangotang 之宗旨，希望各位可以盡力宣傳一下，讓更多新力軍加入「阿根廷」探戈！！
Coleman
我相信我是古代的人，父母亦給了我一個「古」姓，因此電子媒體對我來說仍然是新科技 (!!!) 知道嗎？還有我的職業是賣來自三億五千萬年前的鑽石，我最愛用1953年德國製造的喇叭........
Anyway, 有重要事要宣佈，我和 Fiona 會再次幫 Tangotang 教 Tango Preface (Beginner's course), details 請參考 http://www.tangotang.com/
一共6課，第一課於8月4日開始，每課 1.5 hours, 全部於 Amico Studio 舉行，全部在晚上8pm-9:30pm, 價格非常優惠....HK$750 include one year Tangotang membership fee!!!!
我與Fiona 都是義務幫 Tangotang, 連 transportation 都是自付的，全因我們熱愛 Argentine Tango，亦欣賞 Tangotang 之宗旨，希望各位可以盡力宣傳一下，讓更多新力軍加入「阿根廷」探戈！！
Coleman
Friday, June 15, 2007
Want to have a look of how Francisco Canaro conducted?
I just wish I were there - what can be more attractive than watching the live show of Canaro with dance at the same time?
Wednesday, June 06, 2007
The Sound of a Milonga
Salon Canning
Suddenly I want to write about the sound of a milonga, mainly because I received a few complains during Javier and Andrea's grand milonga. Actually, not only that milonga, but in J&A's guided practica too. "Emily, your music is great, but would you please turn the volume down a bit? It's too loud."
Every time I received this kind of complain, I always have one of the following response,
(1) "Well, the teachers say this volume is just perfect." (I didn't make this up, this was really true, when Javier & Andrea/Pablo & Dana were here.)
(2) "Ok, will do." (Then I would turn down a little bit, then after a few mins, I would just turn to the "normal" volume gradually without causing others' attention.
(3) "This is exactly the volume in the milongas of Buenos Aires," I said only to my closer friends.
In my memory, Salon Canning has the best sound system. The Salon has very high ceiling, hanging speakers from the above, along the shape of the dancefloor. No matter how crowded the dance floor was, and how noisy the people were, I could always indulge myself into the music in a man's embrace. Since the music is loud enough to overwhelm me - what I conscious about is only - the music, and the bodies. As I remember, Nino Bien has similar sound system too.
Actually a milonga, is similar to a disco - a place of music and dance. Yes, a milonga should be more elegant, calm and romantic, but we have to admit that this is a place mainly for dance, not exclusively for eating nor chatting.
I'm sure some people may feel annoyed by this - but really, this is the authentic culture of BsAs too. Some argentinean teachers told me, "just ignore those people. This is what a real milonga should be."
I have to admit that almost all milongas and practica space in HK don't have a sound system like Salon Canning. The speakers are always put aside of the dance floor, so the sound is always louder at one side of the dance floor, and less loud on the other side.
It is really hard to make a balance.
Suddenly I want to write about the sound of a milonga, mainly because I received a few complains during Javier and Andrea's grand milonga. Actually, not only that milonga, but in J&A's guided practica too. "Emily, your music is great, but would you please turn the volume down a bit? It's too loud."Every time I received this kind of complain, I always have one of the following response,
(1) "Well, the teachers say this volume is just perfect." (I didn't make this up, this was really true, when Javier & Andrea/Pablo & Dana were here.)
(2) "Ok, will do." (Then I would turn down a little bit, then after a few mins, I would just turn to the "normal" volume gradually without causing others' attention.
(3) "This is exactly the volume in the milongas of Buenos Aires," I said only to my closer friends.
In my memory, Salon Canning has the best sound system. The Salon has very high ceiling, hanging speakers from the above, along the shape of the dancefloor. No matter how crowded the dance floor was, and how noisy the people were, I could always indulge myself into the music in a man's embrace. Since the music is loud enough to overwhelm me - what I conscious about is only - the music, and the bodies. As I remember, Nino Bien has similar sound system too.
Actually a milonga, is similar to a disco - a place of music and dance. Yes, a milonga should be more elegant, calm and romantic, but we have to admit that this is a place mainly for dance, not exclusively for eating nor chatting.
I'm sure some people may feel annoyed by this - but really, this is the authentic culture of BsAs too. Some argentinean teachers told me, "just ignore those people. This is what a real milonga should be."
I have to admit that almost all milongas and practica space in HK don't have a sound system like Salon Canning. The speakers are always put aside of the dance floor, so the sound is always louder at one side of the dance floor, and less loud on the other side.
It is really hard to make a balance.
Monday, June 04, 2007
Andres Laza Moreno y Samantha Dispari
I'm so happy that they are still dancing together!!! I thought Samantha has changed her partner!
Emily
Friday, May 25, 2007
Guided Practica by Javier Rodriguez y Andrea Misse - jiaotong
Thank you very much for jiaotong for allowing us to publish her article here. - Emily
第一次見Javier Rodriguez，我還以為他會像其他的老師一樣，在Guided Practica示範難度高的舞步，然後在學生旁邊點撥一下。出乎意料，他請男女生分開來坐，然後跟Andrea Misse一起，告訴學生一些應當知道的舞會的規矩和社教禮貌。
**以下文字，可能跟老師的原意不盡相同，如有出入，以本文為準。
男生如何請女生跳舞?
首先是眼神接觸，不論兩人是咫尺距離，還是天各一方，先要透過眼神接觸，這是含蓄的暗示，如果你喜歡對方，可以回應默許的眼光，否則，假裝看不見就是了。
男生有什麼是不應該做呢?
例如出其不意走到女生面前邀舞，「她大概不會不給面子吧。」
我已經望著她，但她好像沒有注意我，「還是直接走向她，漂亮的女生比較搶手。」
拉著對方的手臂，「老兄，人家有權選擇耶，你不要強人所難。」(女生)
雙手拉起女生，「我跟你好像不太熟，不用太熱情吧!」(女生)
得到女生的默許了，當你差不多走到她前面的時候，忽然有另一位女生站起來，誤會你想請她跳舞，這個時候該怎麼辨?首先我們要明白，近視眼，焦距模糊的人比比皆是，若你不想令對方尷尬，可以將錯就錯，跟她跳舞，或者可以跟屬意的女生先跳，再禮貌地請她。不過遇上膽小的男生，可能會裝著看不見，繞路就走。假若事情真的發生，女生用不著太難過，畢竟這是令男人想破頭的哲學問題!
在跳舞的時候，男士們，請務必使出你的風度和耐性，跟隨舞場的方向和路線。打個譬喻，你跟心儀的女性約會，正在公路上開車，剛巧前面有位不爭氣的仁兄，以蝸牛爬行的車速，一直擋在前面，你會怎麼樣?你可以用靈活的技巧越過他，或者繼續忍耐。相同的情況，發生在舞場上，你也可以用高明的技巧，越過前面的舞者，不過搞不好，對方可能誤會你很的莽撞，又或者，你可以從容自若，與女伴享受細膩的每一步。
你有超凡的舞技，不在眾人面前炫耀就太可惜了，縱然如此，亦請認清環境，三思而後行。例如，在擁擠的舞池，或旁邊有其他人，大動作的bolero，實在不適宜，別忘記你的女伴穿著心愛的comme il faut，被尖細的鞋跟踩踏了，可不是開玩笑。套用Andrea的講法，跟粗魯的男生跳舞而踩著別人，覺得很沒面子。
這時有人提出，我可以在第三首tango的時候，請女生跳舞嗎?我先說出自己心裡的想法，如果你很喜歡某女生，為何讓伊人等到憔悴?應該在第一首音樂響起的時候，就馬上請她。Andrea說出另一種看法，「第三首音樂才請我跳舞，是out of pity」，意思是出於好心或憐憫，不想見我坐冷板凳，所以請我跳舞。坐了整夜冷板凳的女生，心情一定不好，難免自怨自艾，覺得自尊心受損。
cortina響起了，男生應該帶領女生返回原來的座位。如果各人有固定的座位，就最好不過了，至少男生知道心儀的女生在那裡，否則也不應該佔去別人的座位。然後趁短暫的過場音樂，尋覓另一位舞伴。
「我很喜歡她，可否連續跳兩set音樂?」
以下四個方案，你認為哪一個比較可行?
一、可以，不過先要領她返回座椅，得到同意，再返回舞池。二、可以，兩人約定，晚一點再跳舞。三、可以或不可以，因為可能有特殊的暗示。四、不可以，你只顧跟某一人跳舞，其他人就不會再請你。
萬一男生有任何不合體統的行為，Andrea給女生的提議，最好是以退為進，「你跳得太好了，讓我不好意思，不如我練習一下，有機會再跟你跳舞吧!」說罷，離開。如果那不知好歹的傢伙，繼續死纏，就要發揮girls power，提醒同場的好姊妹，謹慎提防。
基本上男女雙方，基於禮貌都會接受邀請，Javier說，「不過如果我心裡不願意，會跳得很差，對方也不會好受。」
後來我看到他跟一位女士跳舞，舞步很溫柔，沒有花巧的動作，像謙謙君子護照懷裡的舞伴。我見過太多超卓的舞者，他們跟任何人跳舞，都是使出慣用的舞台動作，好像在告訴對方，我就是這樣，你想跟我跳舞，得看你的本領。當看到Javier專注和誠實的態度，就特別值得欣賞。
我想起有些老師說，舞場其實是人生的縮影，你跟某人跳舞，是一種愛和關懷的表達，有些人只會跟幾個要好的朋友跳舞，雖然玩得開心，但對其他人卻視若無睹。 cortina的出現，大概是出於好心慷慨而建立的社交秩序，使你有機會認識不同的朋友，跟他們跳舞，不想跳的時候，也可以互相交談。因此，如果男生坐了很久，都不出去跳舞，特別是旁邊也有女生坐著，就算是不禮貌。再說，這份互相傳遞的關懷，會能tango社群發展得更成熟，人們的相處更輕鬆和諧。
PS Javier幾次提到星期六的milonga，我沒有出席，不知道有什麼令他看不順眼的事情，因而要在guided practica花了近兩小時，解釋舞場上的禮儀，或者是做人的道理。
我以前覺得阿根廷的探戈舞會，規矩繁多，阿根廷人真太迂腐，這樣的舞會讓人很沒趣吧!我最近改變了想法。
Monday, May 21, 2007
The essense of a milonga
"A good milonga needs two things - one, the atmosphere, and another, the music," said Andrea.
"La musica, es el corazon (para una milonga),"Javier said. (The music, is the heart. (for a milonga) )
That is what they told me in the Grand Milonga last Sat. What they said really gives me more energy to keep djing... millions thanks for them...
Emily
"La musica, es el corazon (para una milonga),"Javier said. (The music, is the heart. (for a milonga) )
That is what they told me in the Grand Milonga last Sat. What they said really gives me more energy to keep djing... millions thanks for them...
Emily
Friday, May 11, 2007
A site listing tango videos on youtube - Emily
http://eng.tango.info/videos/
This site offers a list of tango videos (I'm not sure if it is a complete one) on youtube, listing by the names of performers. You can also get the names of the song that them performed with. But mind you, the names of the songs are not always accuate. It is a good reference though.
Emily
This site offers a list of tango videos (I'm not sure if it is a complete one) on youtube, listing by the names of performers. You can also get the names of the song that them performed with. But mind you, the names of the songs are not always accuate. It is a good reference though.
Emily
Tuesday, May 01, 2007
ladies dancing excellent milonga...
Coleman asked me to put this...I feel stunned! i recall the old days when I danced with Royce!!
Emily
Tuesday, April 24, 2007
Pensalo Bien - Think it well - Emily
I guess many of you may have heard D'Arienzo's "Pensalo Bien", which became popular after Sally Potter's "Tango Lesson" using it as part of the soundtrack.
The lyrics of this song, I think, is very touching...and it means so much for me, as a tango lover.
Think it well,
before taking that step,
that perhaps tomorrow may be you may not go back.
Think it well,
I have loved you so much
and you have sent me into the past perhaps for another love.
Tuesday, April 10, 2007
My little thoughts on Close embrace - by Emily
Otros Aires DOS is finally released! Otros Aires is always regarded as one of the rare electro musicians who mix traditional tango and milonga music with modern lyrics or melody in an interesting way. Unlike many electro musicians who completely deconstruct the rules and sequences of traditional sound (it doesn’t mean that their music is bad though), Otros Aires definitely draws more on the traditions and seems to have a happy marriage with it. It is even regarded as an “electronic-archaeological tango band”! They are very well received in Europe and BsAs, and their albums are always the top sellers in Zivals. (visit http://www.otrosaires.com/ for their website and the cd cover)
The claim of their archaeological mission sounds valid to me when I see their cover design of their second album. There is a couple embracing closely in milonguero style, on a funky electro music album!
May be the graphic sounds nothing special to you. But the design carries a lot of meanings to me. Because nowadays the role of close embrace (not to mention milonguero style particularly) gradually become less and less important as it was with the tango evolution in the recent decade– the new technique, music style…etc. My feeling on this grows even stronger after I watched the wonderful performance of Esteban and Evelyn on their website- they don’t have any forms of embrace but simply connected by their holding hands! (go to http://www.eyetango.net/video1.htm for the video)
The “new style” has become a big hit in many places including Hong Kong, and many dancers (I was one of them actually) are easily attracted by the technique like opposite energy and many other fancy steps. At the same time, I hear some people talking about their conceptions about close embrace. “It is old fashioned, “it is boring”, “I can’t even turn when I’m embracing”, “I can’t play with steps at all”, “I don’t do close embrace because it is totally different from the style that I learn”, etc. Gaston told me that Buenos Aires actually encounters the same phenomenon, where new dancers tend to appreciate the embrace less than the older generation does.
Then I start to wonder – don’t we really need the close embrace from now on? Has the embrace, perhaps, gone with Gavito?
I still remember in one of the writings of Daniel’s blog – he was asking Miguel Angel Zotto about his perception about the recent changes in tango. Daniel quotes from M. Zotto, "En el escenario se puede entrar y salir del abrazo, pero siempre hay que volver a la esencia." Daniel translates in Chinese, “舞台上可以在舞姿上面做變化，但總是要回到探戈的本質。“本質是什麼呢？應該指的就是“擁抱“吧（abrazo，也就是阿根廷對於探戈舞姿的稱呼）。(for the full writing, please visit: http://www.wretch.cc/blog/tanguero&article_id=4752078)
I am very touched by Daniel’s comment. What make tango different from other dances after all? Tango is the only dance who requires a man and a woman embracing each other (please correct me if there is other) But now more and more people seem underestimate the importance of close embrace of all styles, having no interest of feeling it and knowing how it works. Now, one can easily tell others that he or she knows how to tango – without experiencing the intimate embrace of tango and its magical energy behind.
It is undeniable that embrace closely is never a Chinese culture. We seldom embrace each other in every day’s life, unlike many westerners do. But we also can’t deny that that embrace is one of the most important elements in tango. If you want to have a fuller picture of tango, I think everyone, no matter what style you like, should at least have a taste of it and experience different styles of close embrace, and have a basic understanding of how the embrace works. Nowadays many people adore some masters like Pablo and Dana or Gaston and Mariela and want to dance like them. If you know them well and observe carefully how they dance, you will find out the way they dance is different with some younger dancers who have never had traditional dance training. These masters have a sense of unspeakable elegance underneath their footwork and technique, that they benefit from the so called “boring and old-fashioned” way of dance.
Many teachers, like Dana Frigoli, dances with close embrace in social dancing. These masters seem to have a clear distinction the difference between performance and social dancing. They know that dancing in a milonga with their friends is not the same as performance - it is not the time to show off. Since the milongas in BsAs (especially those famous one in peak seasons) are always full, you will be easily annoyed by bumping if you don’t embrace your partner closely. Actually it is rather easy to understand why we need close embrace in tango – cos we simply don’t have enough space to dance if everyone doesn’t embrace closely with each other! The embrace, in this sense, can be regarded as a form of manners which is used to respect other dancers on the same dance floor. Of course in BsAs nowadays there are milongas like La Viruta where you are have more freedom for fancy steps. But the dance floors in Hong Kong is far less crowded than those in BsAs, but we still always encounter bumpings (of course it is solely because of the style of embrace but also the lack of traffic too…)
When people praise the new elements in tango, shall we also respect the treasures of the traditions – regardless you like to dance with it or not? Sometimes I feel frustrated when people criticize about something before they really have experienced what it really it. Can you imagine someone says he hates chocolate given that he never has a taste or it?
I always think we should learn tango like those masters who can have the flexibilities to handle different forms of embrace – just like Pablo and Dana, Julio and Corina or Javier and Andrea. They change their form of embrace regarding different dance environments, partners, steps, mood or music. Very often, they tend to dance with both open and close embrace with the same song. Indeed, the change of embrace can add colors and variations to the dance.
Totally denial of other styles, I believe, would only limit our understanding of tango. That is why I always appreciate those young dancers like Matias who devotes to study the embrace again after years of Nuevo tango training.
To be a good follower, as Corina de la Rosa told me, should be well-prepared to leaders of different embraces. She should know how to adjust her embrace with different leaders.
I still remember before I went to Buenos Aires, I knew very little about the different styles of close embrace. I was annoyed when teachers like Fernanda Ghi, Leandro and Andrea asked me to lean my chest forward – I didn’t feel comfortable cos I was new to the technique and I couldn’t handle it.
But I told myself I should not give up when I saw how elegant they dance, especially when I cannot enjoy dancing with milonga music with open arms as much as with close embrace. Since the rhythms of milonga music require us to move fast with the music, I realize I just cannot enjoy the milonga if I sense the lead in a less prompt and less efficient way without the close embrace.
Two years ago, I got a chance to spend 5 weeks in Buenos Aires. At one night in Salon Canning, I saw a very old and famous couple dancing milonguero style – I was so touched and moved! I wish one day I can still dance like them when I’m as old as them. Cos I know I cannot jump and move like I can now when I’m 60 years old.
Then I told myself, I should learn, seriously, how to embrace.
I ended up spending 4 weeks studying milonguero style in BsAs. It was not only because Royce recommended me very good teachers, but simply, I want to learn something that I knew nothing about it. For me, the embrace of milonguero style is the trickiest one among all kinds. When I started to manipulate the technique, gradually I started to enjoy the movements and the postures that Fernanda and Andrea taught me before (their technique is not totally milonguero, but having similar logic) - something that I once felt strange and uncomfortable with. Once I can handle the logic of close embrace, I find myself enjoy tango in a different way – I start to feel the subtle signals and energy that I receive from the leader’s chest, and the magic of merging with other’s body in tango with my eyes closed. I start to feel that tango can really combine two units into one. The embrace also demands me to polish every steps that I walk, helping me to be a better dancer.
I wish, for those who really love tango, can have a taste of all different elements of this sophisticated dance.
The claim of their archaeological mission sounds valid to me when I see their cover design of their second album. There is a couple embracing closely in milonguero style, on a funky electro music album!
May be the graphic sounds nothing special to you. But the design carries a lot of meanings to me. Because nowadays the role of close embrace (not to mention milonguero style particularly) gradually become less and less important as it was with the tango evolution in the recent decade– the new technique, music style…etc. My feeling on this grows even stronger after I watched the wonderful performance of Esteban and Evelyn on their website- they don’t have any forms of embrace but simply connected by their holding hands! (go to http://www.eyetango.net/video1.htm for the video)
The “new style” has become a big hit in many places including Hong Kong, and many dancers (I was one of them actually) are easily attracted by the technique like opposite energy and many other fancy steps. At the same time, I hear some people talking about their conceptions about close embrace. “It is old fashioned, “it is boring”, “I can’t even turn when I’m embracing”, “I can’t play with steps at all”, “I don’t do close embrace because it is totally different from the style that I learn”, etc. Gaston told me that Buenos Aires actually encounters the same phenomenon, where new dancers tend to appreciate the embrace less than the older generation does.
Then I start to wonder – don’t we really need the close embrace from now on? Has the embrace, perhaps, gone with Gavito?
I still remember in one of the writings of Daniel’s blog – he was asking Miguel Angel Zotto about his perception about the recent changes in tango. Daniel quotes from M. Zotto, "En el escenario se puede entrar y salir del abrazo, pero siempre hay que volver a la esencia." Daniel translates in Chinese, “舞台上可以在舞姿上面做變化，但總是要回到探戈的本質。“本質是什麼呢？應該指的就是“擁抱“吧（abrazo，也就是阿根廷對於探戈舞姿的稱呼）。(for the full writing, please visit: http://www.wretch.cc/blog/tanguero&article_id=4752078)
I am very touched by Daniel’s comment. What make tango different from other dances after all? Tango is the only dance who requires a man and a woman embracing each other (please correct me if there is other) But now more and more people seem underestimate the importance of close embrace of all styles, having no interest of feeling it and knowing how it works. Now, one can easily tell others that he or she knows how to tango – without experiencing the intimate embrace of tango and its magical energy behind.
It is undeniable that embrace closely is never a Chinese culture. We seldom embrace each other in every day’s life, unlike many westerners do. But we also can’t deny that that embrace is one of the most important elements in tango. If you want to have a fuller picture of tango, I think everyone, no matter what style you like, should at least have a taste of it and experience different styles of close embrace, and have a basic understanding of how the embrace works. Nowadays many people adore some masters like Pablo and Dana or Gaston and Mariela and want to dance like them. If you know them well and observe carefully how they dance, you will find out the way they dance is different with some younger dancers who have never had traditional dance training. These masters have a sense of unspeakable elegance underneath their footwork and technique, that they benefit from the so called “boring and old-fashioned” way of dance.
Many teachers, like Dana Frigoli, dances with close embrace in social dancing. These masters seem to have a clear distinction the difference between performance and social dancing. They know that dancing in a milonga with their friends is not the same as performance - it is not the time to show off. Since the milongas in BsAs (especially those famous one in peak seasons) are always full, you will be easily annoyed by bumping if you don’t embrace your partner closely. Actually it is rather easy to understand why we need close embrace in tango – cos we simply don’t have enough space to dance if everyone doesn’t embrace closely with each other! The embrace, in this sense, can be regarded as a form of manners which is used to respect other dancers on the same dance floor. Of course in BsAs nowadays there are milongas like La Viruta where you are have more freedom for fancy steps. But the dance floors in Hong Kong is far less crowded than those in BsAs, but we still always encounter bumpings (of course it is solely because of the style of embrace but also the lack of traffic too…)
When people praise the new elements in tango, shall we also respect the treasures of the traditions – regardless you like to dance with it or not? Sometimes I feel frustrated when people criticize about something before they really have experienced what it really it. Can you imagine someone says he hates chocolate given that he never has a taste or it?
I always think we should learn tango like those masters who can have the flexibilities to handle different forms of embrace – just like Pablo and Dana, Julio and Corina or Javier and Andrea. They change their form of embrace regarding different dance environments, partners, steps, mood or music. Very often, they tend to dance with both open and close embrace with the same song. Indeed, the change of embrace can add colors and variations to the dance.
Totally denial of other styles, I believe, would only limit our understanding of tango. That is why I always appreciate those young dancers like Matias who devotes to study the embrace again after years of Nuevo tango training.
To be a good follower, as Corina de la Rosa told me, should be well-prepared to leaders of different embraces. She should know how to adjust her embrace with different leaders.
I still remember before I went to Buenos Aires, I knew very little about the different styles of close embrace. I was annoyed when teachers like Fernanda Ghi, Leandro and Andrea asked me to lean my chest forward – I didn’t feel comfortable cos I was new to the technique and I couldn’t handle it.
But I told myself I should not give up when I saw how elegant they dance, especially when I cannot enjoy dancing with milonga music with open arms as much as with close embrace. Since the rhythms of milonga music require us to move fast with the music, I realize I just cannot enjoy the milonga if I sense the lead in a less prompt and less efficient way without the close embrace.
Two years ago, I got a chance to spend 5 weeks in Buenos Aires. At one night in Salon Canning, I saw a very old and famous couple dancing milonguero style – I was so touched and moved! I wish one day I can still dance like them when I’m as old as them. Cos I know I cannot jump and move like I can now when I’m 60 years old.
Then I told myself, I should learn, seriously, how to embrace.
I ended up spending 4 weeks studying milonguero style in BsAs. It was not only because Royce recommended me very good teachers, but simply, I want to learn something that I knew nothing about it. For me, the embrace of milonguero style is the trickiest one among all kinds. When I started to manipulate the technique, gradually I started to enjoy the movements and the postures that Fernanda and Andrea taught me before (their technique is not totally milonguero, but having similar logic) - something that I once felt strange and uncomfortable with. Once I can handle the logic of close embrace, I find myself enjoy tango in a different way – I start to feel the subtle signals and energy that I receive from the leader’s chest, and the magic of merging with other’s body in tango with my eyes closed. I start to feel that tango can really combine two units into one. The embrace also demands me to polish every steps that I walk, helping me to be a better dancer.
I wish, for those who really love tango, can have a taste of all different elements of this sophisticated dance.
Sunday, April 01, 2007
Leandro y Andrea Misse dancing Milonga
I think this is the best interpretation of Canaro's "De Mis Tiempos" so far!
Emily
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