La un moment dat m-am intrebat si eu care este diferenta intre Neotango si Tango Nuevo. Explicatia pe care am primit-o la vremea respectiva a fost mai mult in termeni de muzica. Ceea ce am retinut este ca muzica Tango Nuevo pastreaza constructia tangoului “clasic” de 4/4 si structura compozitiei, se pastreaza si instrumentele, dar are o sonoritate noua, are influente ale muzicii din ziua de azi, in timp ce Neotango nu pastreaza nici un fel de structura a vechiului tango si doar pe ici pe colo mai are ceva ce ar semna, ce ar aduce mai mult sau mai putin cu tangoul ca sonoritate, dar nu pastraza structura si nici instrumentele. Iar ca dans, Tango Nuevo, mi-a fost explicat ca tango doar in imbratisare deschisa (ceea ce duce implicit la libertate si explorare a miscarilor din tango, dar asta nu mi s-a mai spus si nici nu m-a dus mintea sa vad, ca eram prea mica si nu aveam cunostintele necesare) iar reprezentantii de seama al nuevo-ului erau Salas, Naveira, Chicho, Veron (vezi filmul “The Tango Lesson”)
Acum, cautand mai mult decat stiam despre aceste doua curente si datorita internetului, gasesc ceva mai multa informatie, dar nici asta prea multa, fapt ce indica ca i-a mai mancat si pe altii curiozitatea, dar pe extrem de putini... lucru care iarasi nu ma mira.
Aditional la ce stiam eu, lucruri care se confirma, mai aflu ca diferentele intre acestea doua sunt o chestiune foarte contestata si ca:
Diferente nuevo-tango/ neotango
- revolutia Tango-Nuevo a fost initiata de Astor Piazzolla (moment pe care il putem puncta cu scandalul din 1953). Iar Neotango a aparut mult dupa acest moment, prin anii 2000, si de fapt Neotango a evoluat din Tango Nuevo.
- Tango-Nuevo isi are originile in Argentina, pe cand Neotango deriva mai mult din SUA si Europa
- In timp ce Tango Nuevo se bazeaza, sau este similar cu tango traditional, Neotango este dansat foarte mult pe muzica care nu este de tango, sau o fuziune intre tango si muzica electronica, si este o forma total noua de dans.
- imbracaminte in Neotango este “hip”, cu pantaloni largi, salvari etc.
Tango-Nuevo
Tango-Nuevo are doua componente separate dar interconectate: muzica tango-nuevo si dansul tango-nuevo.
Tango-Nuevo - Muzica
Originea muzicii Tango-Nuevo poate fi legata direct de compozitorul, dirijorul si bandoneonistul Astor Piazzolla. Piazzolla a cantat bandoneon in orchestra tipica a lui Anibal Troilo pana in 1944. Dupa aceea si-a format propria orchestra tipica (din 1944 pana in 1949) care a deviat de la tangoul acelei vremi atat in ritm cat si in complexitatea armonica. Piazzolla a plecat la Paris sa studieze muzica si s-a intors la Buenos Aires in 1955 unde a format Octeto Buenos Aires – de aici a inceput sa compuna si sa dirijeze Tango-Nuevo, combinand caracteristicile tangoului traditional, muzicii clasice si ale jazz-ului. In mod ironic, in timp ce astazi este foarte aclamat, Piazzolla a fost pentru foarte multi ani renegat de milongueri argentinieni care au catalogat compozitiile sale ca otravind tangoul.
Site-ul oficial al lui Astor Piazzolla spune despre originile Tangoului Nuevo ca: ”influenta lui Piazzolla incepe sa fie atat de puternica incat toate par sa se imparta intre “inainte” si “dupa” Piazzolla.
Muzica Tango-Nuevo a evolut mai departe in timpul anilor 1970, 80 si 90 cu influente de jazz, care au impins tangoul intr-un gen cu mult mai experimental - care (prin anii 2000) au dus la Neo-Tango, o evolutie logica.
Tango-Neuvo – dansul
Cu privire la componenta dans a Tango-Nuevo, aceasta a aparut in jurul anilor 1990, mai ales ca o consecinta a analizei structurale a dansului de tango facuta de Gustavo Naveira si Fabian Salas.
Inainte de 1990 Tango-ul Argentinian era predat cu o metoda didactica care presupunea ca elevi sa copieze exemple aratate de instructor. Nu se punea accentul pe “cum” sau “de ce” miscarea era facuta intr-un anumit fel. Incepand cu 1990 in Buenos Aires, grupul Tango Investigation Group (mai tarziu transformat in organizatia Cosmotango) fondat de Gustavo Naveira si Fabian Salas a aplicat principiile kinesiologice ale dansului din dansul modern pentra a analiza fizica miscarii in tangoul argentinian. Luand ceea ce au invatat din aceasta analiza au inceput sa exploreze toate posibilitatile miscarilor in cadrul tangoului. Din munca acestor fondatori ai Tango Nuevo, a aparut o schimbare in toate stilurile de tango departe de a preda “ce sa dansezi” si mai mult spre “cum sa dansezi”.
In ciuda insistentei fondatorilor miscarii Tango Nuevo ca acesta nu este un stil diferentiat, a devenit un termen acceptat ca fiind un stil de tango separat si distinct. Practicantii cei mai fainosi ai acestui stil sunt: Gustavo Naveira, Norberto "El Pulpo" Esbrés, Fabián Salas, Esteban Moreno, Claudia Codega, Sebastián Arce, Mariana Montes, Mariano 'Chicho' Frumboli, si Pablo Verón. Toti acesti dansatori au un stil individual propriu care nu poate fi confundat unul cu altul, si cu toate acestea toti sunt considerati de multi ca adepti ai tango nuevo.
Critici a ceea ce unii numesc stilul tango nuevo spun ca cu toata emfaza aceasta catre fizica dansului, noile generatii de dansatori au pierdut conexiunea cu muzica, feeling-ul si traditiile tangoului argentinian. Referitor la noile generatii de dansatori de Tango Nuevo, unul dintre fondatorii miscarii Tango Nuevo, Mariano 'Chicho' Frumboli spunea intr-un interviu:
"They are completely lost! I learned with the last great milongueros, I took the information directly from them... The problem is that we missed something in the teaching, I take total responsibility, and other colleagues should do so as well. I can't pass on what I have learned. I was crazy about creating, because I saw a new vein in the evolution of the movement. I threw myself into that, and I lost the way to be able to pass on the tango essence that I have very much inside. Because of this I feel that lately there are a lot of people who don't understand or know what the real essence of this dance is."
"Today you do a volcada and a colgada and it is the same because they are there, commercially speaking, in the same package. Then, between doing a sandwichito or a volcada… people do a volcada! Because it's more eye-catching... They are not going to make a sandwichito to enjoy that moment, but whatever shows them more and better."
In mod foarte interesant, Gustavo Naveira scria odata ca:
“There is great confusion on the question of the way of dancing the tango: call it technique, form, or style. The term tango nuevo is used to refer to a style of dancing, which is an error. In reality, tango nuevo is everything that has happened with the tango since the 1980s. It is not a question of a style... The words tango nuevo express what is happening with tango dancing in general; namely that it is evolving. Tango nuevo is not one more style; it is simply that tango dancing is growing, improving, developing, enriching itself, and in that sense we are moving toward a new dimension in tango dancing... There has been much recent discussion, in the community of tango dancers, on the problem of the embrace, dividing the dance into open or closed style, which is also a matter of great confusion. Open embrace or closed embrace, dancing with space or dancing close, these are all outmoded terms. This is an old way of thinking, resulting from the lack of technical knowledge in past eras. This simple and clumsy division between open and closed is often used by those who try to deny the evolution of the dance, to disguise their own lack of knowledge. Today it is perfectly clear that the distances in the dance have a much greater complexity than a simple open or closed... We have learned, and we have developed our knowledge. The result of this is a dance of greater possibilities, and also of a much more artistic quality.”
“It is a general thought that one of your talents is the capacity to analyze the dance and to dissect it to the smallest (almost molecular) structure. Are you in agreement with this thought from your own students? Is this type of analysis deliberate, when you practice?”
“Yes, yes... It is a very accurate description of our way to face tango when we dance. It was always that way, we both use this approach, even before we met. When we started dancing together, we realized that we needed a more intellectual or academic scheme for this dance. We had not seen such an approach before ... I think it is not exactly a tendency to structure it. Because if I say that the dance is becoming more structured there could be a thought that we are seeking a standard sequence, and that is not what we are looking to do. We are aiming at understanding the elements that form the dance. We want to understand how the elements coordinate to make it work ... We have developed a didactic method that elaborates and combines the ideas, concepts, and tendencies proposed by the best known Argentine teachers, integrating them with our personal understanding and experience. We believe that the movements, relations, and the body gestures used in the tango nuevo the way we teach it are important for gaining body awareness and, above all, that they can also be applied to the more classical way of dancing the tango. The tango nuevo is not something different from the tango: the basic movements and relationships are the same, but the characteristic elements change. In the nuevo they are more extreme and alternate the close embrace with a form that leaves more freedom of movement, which is often required to interpret the new electronic sounds more effectively. We would like to emphasize that with the same basic movements of the tango nuevo, you can dance any tango.”
“The subject of 'tango nuevo' is something... it is a name that some people have started to use to identify something that is thought to be a new style. I don’t agree with that concept. I never called what I do ‘tango nuevo’ and do not intend to call it that because I think it is wrong, but I can’t argue or prevent others from calling it by that name. I just have a different opinion. I think what has happened is that tango has evolved and logically there are a number of new aspects that enrich the dance, that were previously not known. There is a more elaborate choreography that makes the dance look a little different, obviously, because of complexity and detailed, broader, dense. This does not mean that there is a nuevo tango; that’s an illusion. I think what it is there is a better tango. Tango has evolved and today we are seeing the results of such evolution. I don’t think it is very wise to try to 'box' every style and put it in separate 'boxes' or categories. I don’t think it happens that way.”
Naveira si Salas sunt recunoscuti pentru deconstructia atomica a elementelor de tango si analiza corelatiei acestor elemente. Aceasta a rezultat intr-o metoda didactica care da posibilitatea dansatorului sa-si construiasca propriu tango via interpretare personala.
“Metoda didactica“ nu a mai foat aceea care ii invata pe elevi secvente de pasi pana acestia erau complet memorati, a devenit mai degraba o metoda prin care miscarile individuale au fost evaluate si recompuse intr-un mod mai natural, fluid si spontan, iar punctul de concentrare a fost experimentarea personala si creativitatea. Caracteristicile acestei metode includ:
- experimentarea personala
- confortul;
- utilizarea piciorului liber, in special pentru a explora spatiul din jurul partenerului
- frecvente dezasocieri de imbratisare
- agilitate
- controlul axei
Pentru a rezuma in cateva cuvinte, ceea ce este un gen si o miscare/fenomen foarte complex, Tango-Nuevo are urmatoarele caracteristici:
- Muzica: isi are originea in 1950 in muzica compusa de Piazzolla, care a adaugat noi instrumente, complexitate si ritm care nu erau folosite in tangoul traditional.
- Dansul: din perspectiva dansului, termenul Tango-Nuevo a aparut la inceputul anilor 1990, datorita experimentarilor lui Gustavo Naveira si Fabian Salas, carea au analizat dansul din punct de vedere structural.
- Originea: deriva din Argentina.
- Influente: muzica este influentata la greu de alte genuri, de exemplu jazz - aici Tango-Nuevo si Neo-Tango se suprapun, cu toate ca Neo-Tango isi extinde experimentarea chiar mai departe.
- Coregrafia: noi combinatii de pasi, imbratisare si combinari, in special schimbari de directii in intoarceri, folosirea imbratisarii libere (loose), si exporarea spatiului dintre picioarele si in jurul corpului partenerului. Inca odata este o suprapunere semnificativa cu Neo-Tango, in orce caz ultima impingand experimentarea mult mai departe.
- Postura: postura dreapta in care dansatorii isi mentin propria axa.
Compozitori/Orchestre:
To be continued : “Neo-Tango”
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