Tango Styles

Anul trecut pe vremea asta au inceput sa ma intereseze foarte mult stilurile in tango. Am facut la vremea respectiva o cercetare pe net, dar nu am gasit foarte multe materiale din pacate; de atunci sunt sigura ca au mai aparut multe informatii, iar problema s-a discutat mai mult pe net, insa nu am reusit niciodata sa actualizez "baza de date" asa cum mi-as fi dorit; am salvat toate datele gasite (propozitii si fraze), intr-un tabel si le-am categorisit; din toate stilurile pe care le-am gasit (Salon, Milonguero, Club, Orillero, Canyengue, Liso, Nuevo, Fantasia (Show Tango), Liquid tango, Nuevo Milonguero) am tras eu de cloncuzie ca in mare ar fi cam trei-patru mari categorii: salon, milonguero, show si nuevo, principalele deosebiri dupa parerea mea fiind in: imbratisare, preferinta pentru un anumit gen de muzica, elementele folosite pentru interpretarea muzicii, si tehnica utilizata. Vor aparea evident inadvertente, vor fi gasiti aceeasi oameni la mai multe categorii, si poate multi vor contrazice ceea ce e mai jos.

Am pornit initial in cautarea unui anumit stil, Villa Urquiza, si de aceea va aprarea ca stil distinct, el poate fi incadrat la stilul salon, o derivatie a stilului salon; a fost un studiu, o analiza pentru mine, pentru curiozitatea mea, si as vrea s-o impartasesc cu lumea. Poate in felul asta se vor isca discutii pe subiect si vom avea cu totii de castigat! : ) Am incercat sa gasesc parteneri de discutii pe subiect si de atunci incoace am tot ciulit urechile cand se vorbea de stiluri, dar nu am gasit prea multi cu care sa pot vorbi... vad cu bucurie insa ca dupa un an si multe seminarii si festivaluri lumea incepe sa-si puna in sfarsit problema!

The trends, in any case, hardly draw up general lines: common characteristics, airs of familiarity. As it has always happened with tango, there are so many ways to dance as there are dancers (it is what highly distinguishes it from almost all other forms of popular social dance). And in the same way, there will be so many opinions on the question as the number of people on the dance floor

Villa Urquiza Style

Characteristics of Villa Urquiza Style:
  • long steps, touching the floor as if they are wearing gloves on their feet
  • the habitués of half century ago
  • I am not talking about figures, it's about the musicality and the quality of the movement.It's about a wealth of knowledge so subtle and complex that for the ordinary eye is imperceptible
  • that is characterized by elegant and pure walk, musical adornments and spry movements with abundance of giros, enrosques, lapices, arujas
  • tango style of "Villa Urquiza", which is characterised by its solemn elegance and surprising virtuosity
  • Milonguita’s protégé, El Turco José Brahemcha, lent his own inimitable quality to the expression of this style by widening the space of movement. Miguel Manzini defined the character of the gancho in the style by synchronising it with the movement of the partner and the culmination of the music. Juan Luna served as a role model for dancing the Milonga without traspies. Osvaldo Mozzi ("El Nene Fó") engaged in listening and walking puristically
  • characteristic of Villa Urquiza style: stepping in the space beyond the notes
  • Villa Urquiza style – the traditional and elegant salon style of Buenos Aires
Representative of Villa Urquiza Style:
Jorge Dispari (Known for having one of the best "caminatas" (walk) in tango today and a master of enrosques, agujas, and lapices).
Marita "La Turca" (has a unique musicality and is precise in her use of adornments) They both learned from Gerardo Portalea, "El Turco" Jose, "Milonguita", Carlos Estevez "Petroleo", "Cachito" Montegaza, "Finito", Jose Lampazo, and Alberto Villarrazo;( the original dancers who developed the Villa Urquiza style of tango).
Maria del Carmen Romero and Jorge Díspari belong to the very few teachers of the Villa Urquiza style; (Maria and Jorge have trained some of the today's world' top dancers, including Geraldine Rojas (their daughter, 24), Javier Rodriguez, Sebastian Arce, and Samantha Dispari (their youngest daughter, 14), Andres Laza Moreno 'Bichy'

Almagro Style or "Milonguero" Style or “Apilado“ Style
Characteristics of Milonguero Style:
  • closely embraced and whose short steps adjust synchronously to the beat
  • Very similar to the typical style of the downtown night clubs of the 40's
  • This style developed in the crowded clubs of downtown Buenos Aires and is danced in a very close embrace. The focus of this style is on the connection with your dance partner and with the music. It is not danced for show, rather for the shared experience between dance partners. The steps allow dancers to create very compact choreographies. When the dance floor is very crowded the best dancers can still dance, dancing literally in the space they can stand in
  • The apilado style uses compact choreography that creatively employs the limited space of the social dance floor. It is a rich and complex form of subtle body signals that profoundly respects tango's rhythms
  • The quality of tango is when it is danced into the floor. This occurs when the body contact is at the correct points. Balance, fluidity, musicality depend on these points of contact. With them you can paint pictures on the floor for such orchestras as Pugliese or D'Arienzo
  • Milonguero Apilado is a very efficient and easy to learn style of tango. Start dancing sooner, if you already know salon tango, milonguero will dramatically improve your leading skills because it forces you to use your torso effectively
  • Tango Milonguero refers to a distinct form of dancing tango, close embrace and styled with attitude. This "Milonguero Style" is also referred to as Confitera style, club style, Apilado style. The term Apilado can be interpreted as lean towards the leader for the follower, which describes the kind of close embrace used by the milongueros from the centre of Buenos Aires Milonguero style of dancing is clearly a very close embrace philosophy with full upper body contact. As the dancers lean towards each other they share a third axis, creating, vertically from the heels, a pyramid "/\" formation, using simple walking and turning steps
  • Milonguero = staccato movement, no separation for turns, apilado embrace with the appearance of a lean
Representative of Milonguero Style:
Susana Miller; Cacho Dante, Luis Sanda and Guiselle Chartier with their "Almagro" style, Rosana Devesa, Ana Maria Schapira, Tete and Silvia, Jorge Firpo, Flaco Dany, Maria Plazaola

Salon Style
Characteristics of Salon Style:
  • The embrace for Tango Salon is close but often with little or no contact at the chest. It has a more elegant and upright style than Milonguero and, with both partners having their weights forward, i.e. forming an inverted ‘V’ shape, the first contact is often made at the head. In Buenos Aires it is not uncommon to see couples dancing with their foreheads touching
  • Unlike in Tango Milonguero, the embrace in Tango Salon can change from a close embrace to a more open one. It is this characteristic that gives the dancers the greater freedom necessary to dance a much wider variety of steps and figures than is possible in the Milonguero Style. The woman in particular has much more opportunity to express and impose her style and personality on the dance, rather than merely being a passive follower
  • Salon = smooth movement, a slight separation for turns, offset V embrace with an upright posture
  • Also known as "tango de salon," salon-style tango is typically danced with an upright body posture with the two dancers maintaining separate axes. The embrace can be close or open, but it is typically offset (with each dancer's center slightly to the right of their partner's center) and in a V (with the woman's left shoulder closer to the man’s right shoulder than her right shoulder is to his left shoulder). When salon-style is danced in a close embrace, which is common in Buenos Aires, the couple typically loosens their embrace slightly to accomodate the turns and allow the woman to rotate more freely. When salon-style is danced in an open embrace, which is uncommon in Buenos Aires, the distance between the partners allows the woman to execute her turns more freely and pivot without requiring much independent movement between her hips and torso. If the woman rotates her hips through the turns independently of her upper torso, the embrace need not be loosened as much. Salon-style tango is typically danced to the most strongly accented beat of tango music played in 4x4 time, such as DiSarli. Those who dance salon-style tango to Juan D'Arienzo or Rodolfo Biagi typically ignore the strong ric-tic-tic rhythm that characterizes the music. Salon-style tango requires that dancers exercise respect for the line of dance
Representative of Salon Style:
Julio Balmaceda and Corina De La Rosa, Javier Rodriguez and Andrea Misse, El Flaco Dany, Gabriel Misse and Alejandra Martinan, Fernando Galera and Vilma Vega, Jorge Dispari and Maria La Turca, Gustavo Chidichimon, Andres Laza Moreno 'Bichy', Orlando Paiva Sr

Nuevo Style
Characteristics of Tango Nuevo Style:
  • Unfolds all the imaginable variety of figures which the previous couples can do without
  • The faithful followers of his method of combination of steps and figures consider it "the acme of creative improvisation ". The detractors, who detest the way in which the Naveira dancers move around the floor looking for space for their movements, define them as "the patrol cars of the dance floor."
  • “Now, what is arising is a system of improvisation of an even greater variety of combinations. And these changes are also transferred to the marking techniques to lead the woman". (Naveira)
  • Nuevo -- Nuevo tango was originally intended as an analysis of tango movement, but for some dancers, nuevo tango has taken on some dimensions of a style. I have identified it as a style, but some disagree with that categorization
Representative of Tango Nuevo Style:
Gustavo Naveira, Giselle Anne, Salas, Chicho

Stage or Show-Tango or ‘Fantasia’
Characteristics of Show-Tango:
  • Elite with technical formation, that alternates between the social dancing at the milongas and the professional stage performances
  • Fantasia -- Fantasia is a combination of social tango movements with ballet and modern dance intended for the stage
  • Tango Show- Fantasia on the other hand has a pre-established choreography adjusted to a particular music. The dancers may be lifted in the air for scenic effect more frequently than in salon tango.
  • The technique, balance and agility required for Show-Tango far exceeds that required for salon dancing. The average dancer can greatly improve the quality of his/her salon dancing by learning some Show-fantasia tango moves
  • Many of those moves are learned for the stage only and are not used in social dancing
Representative of Show-Tango:
Miguel Angel Zotto, Milena Plebs, Virulazo, Antonio Todaro, Guillermina and Roberto Reis, Vanina Bilous and Roberto Herrera, Pablo Veron and Carolina Iotti, Carlos Copello and Alicia Monti, Alejandro Aquino, Gustavo Russo and Alejandra Martinan, and many, many others


Irina a spus…
acest articol a picat la fix in aceasta perioada pentru mine. ca sa poti da o forma coerenta dansului mi se pare folositor sa stii pe ce muzica dansezi, ce stiluri exista, cum arata dansul celor mai buni...si urmand ultima idee am inceput sa-i caut pe youtube pe rand pe cei prezentati ca exemplu in articol. sunt geniali...am ramas fara cuvinte, iar cand i-am vazut pe Gustavo Naveira si Giselle Anne pot sa spun ca am aplaudat in fata calculatorului. avem cale lunga, dar macar stim cum arata destinatia. mersi Nana

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