Ballroom dancing and Argentine Tango are two entirely different beasts (we’ll also post about the different beasts within the world of Argentine Tango eventually). Having a background in Ballroom dancing allows us to fully appreciate just how insane it is that instructors/studios of primarily ballroom dances are teaching Argentine Tango.
In Toronto, those ballroom studios who teach Argentine Tango (and most of them do since it is all the craze) have instructors who have never set foot in our city’s milongas!? Plus they offer this definition of Argentine Tango (which we stumbled upon on the Arthur Murray Dance Studio website):
“Argentine Tango: (arrabalero) A dance created by the Gauchos in Buenos Aires. It was actually an attempt on their part to imitate the Spanish dance except that they danced it in a closed ballroom position. The Tango caused a sensation and was soon to be seen the world over in a more subdued version.”
What, what, what?!
The history of Tango is a blur and that seems to be the only historical guarantee. The other guarantee is that Argentine Tango is NOT danced in a closed ballroom position. A reminder of the difference between a hold and an embrace can be found here.
We know it when we hear it. We had learned the name and seen a picture of this interesting instrumental contraption while in Buenos Aires… but we always forgot it! It was only today that Jorge finally discovered the “violin corneta” again when La 2×4 radio station discussed Julio De Caro.
- As is the bandoneon, the violin corneta is a German invention
“In 1920s Buenos Aires, Julio De Caro, a renowned Tango orchestra director and violinist, used it in his live performances, and was called “violin corneta” (cornet violin) by the locals.” – Wikipedia
After being offline for some time, our blog is back up and running! With the help of a friend (thank you!!!), we have edited many of our previous posts. We want to do our best to share what we have discovered Argentine Tango to be with our readers… and now we feel that our posts do that better than before.
Thank you for being patient :)
Although a strange way to begin anew… A posting of the following comment on our Facebook generated so much positive feedback that we decided to make it our “first” post.
“…like all learning, the early years of tango are crucial. And the early years of tango are often a sea of unknowing. We don’t know what tango really is, we don’t know the music, we don’t know what constitutes a good leader, we don’t know about different styles of tango, we don’t know whether a tango teacher is any good. We bounce like a demented ping-pong ball from teacher to teacher, from leader to leader, from close embrace to open hold, from milonga to milonga from country to country seeking enlightenment without knowing what it is we really need to know. And our eyes beguile us and we fall in love with followers who dazzle us with gorgeous footwork and foolishly believe that our goal is to mirror their tricks and look exquisite and be able to perform at will with anyone and dance to any music. And at the end of all our seeking, and if we’re very lucky, we begin to understand that no, that’s not it all. That there is a still, soundless, timeless, eternal centre to this dance and that the way to this centre is through the embrace. And that, above all else, our own part in the embrace is where our focus needs to be.”
– Lynn’s comment on Melina’s post