Hello 2022! Is this the year that we have finally recovered from COVID? At least I've stopped freaking out about being in a crowded space without the semblance of a shield called a facemask, just as I have mysteriously also never tested positive for COVID yet having the classic symptoms of its later manifestation. All that is to say, it's back to milongas and lessons in somewhat full force and having amnesia for the last 2 years.
In the middle of Embrace Berlin right now which is an interesting coalition of turbocharged Tango milongas happening throughout the week, primarily enjoyed by the local community and feeling more of a home-turf Tango situation vs. an international weekend of cross country travelling. First ever lessons with Horacio Godoy y Maricel Giacomini and what a trove of historical/musical facts - musicality at its finest.
1930's Milonguero
- 1920's and earlier music rhythm was based off a habanero rhythm with the melody line emphasising the beat on 1 and 3
- This changes in the 30's (1935-1941) era where all orchestras moved to a more even rhythm line (4/4) and melody line is also more of a driving force of equal beat
- Dancing is chest to chest and hips are flat (no twisting as this takes time and disconnects the enbrace), ochos are more linear as a result
- Spiral the steps to make it more socially driven and on the spot, milonga friendly
- Follower - steps to left with left leg (open), cross around with right leg spiral, left leg and right leg collect and repeat
- Play with the emphasis, when its driving and energetic, move with the rhythm; 2 beat accent or 4 beat accent dictates the speed, dynamics and visuals
- Milonguero rhythmic requires a here and now emphasis, within the couple and raw "rock n roll"
- n shape, emphasis on the down energy
1940's Salon
- Salon style started in the suburbs, space was bigger so moves could be more fluid and traveling
- No rebound steps; less emphasis on the half beats
- Work on being waterlike and fluid, the phrase emphasis is wherever you want it to be, don't feel the need to step on beat
- Dance expansively and outward
- Small circular movement rocking from toe to heel, generates a circular energy which is fluid rather than angled and makes it easier to transition and move directions (like a roundabout, the car can move off anywhere)
- Basic step (side, back, back, cross), but instead, the first back is a small weight transfer on the spot, energy gathered then back cross with speed
- Leader moves to left, changes weight to right (20%), back to left then forward (for followers cross)
- u shape, emphasis on the up energy
In the middle of Embrace Berlin right now which is an interesting coalition of turbocharged Tango milongas happening throughout the week, primarily enjoyed by the local community and feeling more of a home-turf Tango situation vs. an international weekend of cross country travelling. First ever lessons with Horacio Godoy y Maricel Giacomini and what a trove of historical/musical facts - musicality at its finest.
1930's Milonguero
- 1920's and earlier music rhythm was based off a habanero rhythm with the melody line emphasising the beat on 1 and 3
- This changes in the 30's (1935-1941) era where all orchestras moved to a more even rhythm line (4/4) and melody line is also more of a driving force of equal beat
- Dancing is chest to chest and hips are flat (no twisting as this takes time and disconnects the enbrace), ochos are more linear as a result
- Spiral the steps to make it more socially driven and on the spot, milonga friendly
- Follower - steps to left with left leg (open), cross around with right leg spiral, left leg and right leg collect and repeat
- Play with the emphasis, when its driving and energetic, move with the rhythm; 2 beat accent or 4 beat accent dictates the speed, dynamics and visuals
- Milonguero rhythmic requires a here and now emphasis, within the couple and raw "rock n roll"
- n shape, emphasis on the down energy
1940's Salon
- Salon style started in the suburbs, space was bigger so moves could be more fluid and traveling
- No rebound steps; less emphasis on the half beats
- Work on being waterlike and fluid, the phrase emphasis is wherever you want it to be, don't feel the need to step on beat
- Dance expansively and outward
- Small circular movement rocking from toe to heel, generates a circular energy which is fluid rather than angled and makes it easier to transition and move directions (like a roundabout, the car can move off anywhere)
- Basic step (side, back, back, cross), but instead, the first back is a small weight transfer on the spot, energy gathered then back cross with speed
- Leader moves to left, changes weight to right (20%), back to left then forward (for followers cross)
- u shape, emphasis on the up energy
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