Dupa ce am publicat articolul despre "Tango Lesson - the movie", un prieten mi-a dat acest link, cu un interviu cu Pablo Veron care mi-a placut foarte, foarte, foarte mult! Ar fi fost pacat sa-l tin numai pentru mine, asa ca il impart si cu voi aici pe blog. Interviul mi-a placut enorm si atinge foarte multe aspecte din tango... pe care va las sa le descoperiti singuri. Voi pune doar cateva paragrafe in acest post, si cititi voi tot articolul pe link-ul de mai jos. Pe pagina pe care veti ajunge aveti mai intai articolul in spaniola, in original, si mai jos traducerea in engleza. Enjoy!
ENGLISH TRANSLATION
"Reclaiming the roots"
Interview by Carlos Bevilacqua
Exclusive for El Tangauta
Photos: Courtesy Pablo Verón
“Those who believe that they dance “nuevo” are mostly using the same old elements.”
[...]
Are you speaking of what is called “tango nuevo”?
Speaking of tango nuevo as a dance is difficult because the name proposes a division with the past and that is very debatable, relative and deceitful. It is the definition of the music of Piazzolla and to copy the name, as if that was enough to be equivalent and thus to be different, does not seem correct. It is as if they want you to believe that they invented tango. In that case: What was danced before? Tango is tango and has always been transforming itself since its origins and if each renewal was a new tango, today we would have many new tangos. Tango was made by all of us dancers of all generations who contributed something, and this has been happening for more than 100 years! They thought that tango was no man’s land and they planted the “nuevo” flag but what is new is not inevitably better than the old and I do not believe that you can go far if you start by denying or opposing the past. I recognize in what is called tango nuevo the merit of asking for the reasons, of trying to explain the way movements work and to associate the material in a different way, but it is still in diapers and generates quite a bit of confusion. Although it fills a need of the market, because it is thought as a commercial maneuver, it lacks solid bases to be called a “methodology”.
The fact is that those who believe that they dance “nuevo” are mostly using the same old elements. The movements already existed, it is a shame that they do not say so: turns, ganchos, boleos, sacadas of the man and of the woman to all sides, changes of direction, arrastres (dragging), paradas (stops), corridas, leaps, crossed steps, etc. The other day they told me that there are people who believe that turns were invented by one of the “prophets” of today. Petróleo invented turns over 50 years ago!
What is truly new is the increasingly more massive commerce around tango at various levels. The dance has been renewing itself for a very long time thanks to many people and this process accelerated in recent years because it has become a very interesting way of making a living.
“To dance thinking is the least advisable way, it restricts to the maximum every creative impulse. Dance is emotion, senses, instinct.“
Don’t you think that tango nuevo generates new dynamics?
The proposal of challenging the axis is interesting, but it so happens that for every three steps they take, two are out of axis and this becomes a parasite of the whole dance, from the very first classes. These patterns are repeated permanently, given that they are idealized because they are “fashionable” and from this results a predictable, monotonous and stereotyped dance. They dance as if they were doing it to the beat of a metronome and not of a great orchestra! Thus the dance of the man loses dynamics, presence and what I call dance: moving dynamically, walking, turning, true velocity, varied complexity. What the dancer should work on should be stimulated, and I do it: the axis, why to take care of it and how to use it, identifying a good posture, deep connection with the woman, different ways to embrace, quality of the movement, where is he coming from and how to express that.I have to say this: this generating of absurd fashions, the “star system”, the VIP wave, the disinformation of history for one’s own benefit, of those ones who proclaim themselves inventors of figures or movements that are a collective heritage, are deplorable phenomena. The people I learned from were more exacting and less ambitious. They were not “fast food”. Some “geniuses” when they do their exhibitions are also “fast food” and they dance like professors, because they learnt like professors, they learnt absolute truths and therefore you see them static. They do not dance to be unique artists, they dance so that the student feels that he can also do it and the underlying message is “I teach you this little trick, you come, pay me and you are in”. For me the last great couple was that of Roberto Herrera with Vanina Bilous. They proposed something exceptional, inimitable and super esthetic. For now, the “nuevo” esthetics are poor and superficial and many professionals of the dance, whose way of seeing things is not conditioned and who are not into the “fad” prefer Gloria and Eduardo, for example, any time. Of course there are people who dance well, but you can see general confusion and mediocrity, a lot of people dancing alike, as if cloned. Today the idea is to dance like someone else and before it was exactly the opposite, it was prohibited. It does not get to your heart, it is as if it does not have a soul, it seems like a fashion show.
But that standardization, is it a product of tango nuevo or of this system of transmission which is more academic than that of the golden era?
Tango nuevo for now gives me the impression that it is that: a pretense of academic transmission that enables to teach people and give them the sense of security of having the total truth. To produce teachers that in turn will create other teachers and, therefore, increase the public more and more. But it is clearly seen that it does not produce better dancers. Before there were more personal styles because there was less commerce, less manipulation. There was a more intuitive system of transmission, more direct and honest. Today they play with people’s ignorance. I hope that the dance of the past will be studied more to rescue dynamics that are sort of hidden, to revisit them and from there to take off with a good base. If it were researched, they would see how those who today call themselves inventors of this or that, copied a lot from teachers that are no longer with us. If I sought personal recognition I would also be able to say that I am the inventor of tango nuevo." [...]
The source: here
In this video: Pablo Veron y Geraldin Rojas
Comentarii
Noapte buna!
E posibil sa nu fiu singurul, si chiar daca as fi...
:)
Dorin