Showing posts with label tango uk. Show all posts
Showing posts with label tango uk. Show all posts

Sunday, 29 September 2019

Petroleo one of the great maestros of Tango argentino (In spanish)

This is an article i found when in my second year of dancing and learning argentine tango. It opened my eyes as a dancer and created more ability to understand something of the nature of tango. I don't pretend to have the answers and neither does Petroleo, but he certainly wasn't affraid to own new steps he thought he had discovered. Petroleo is known in these days as one of the great Milongueros and revered amongst close embrace dancers who say free leg moves have no place on the dance floor. See my other article of my own views on this topic, its not an easy question and have a multitude of angles. This article is truly writing about improvisation and understanding through trying, failing, trying and creating new beautiful movements to dance...



ENTREVISTA A PETROLEO (CARLOS ALBERTO ESTÉVEZ)
by Rolando Valdivia on Tuesday, 8 November 2011 at 17:05

        PETROLEO     

    Reportaje de Sergio Criscolo.





Bailarín (1912 - Mayo de 1995) 

Nombre real: Carlos Alberto Estévez



En el momento de este reportaje, Petróleo estaba a punto de cumplir 80 años, nacido en 1912 comenzó a bailar en 1928.
Fue bancario durante 36 años y vivía en el barrio de Villa Devoto. En 1988 dejó de bailar por una afección en sus rodillas,
desde entonces vive de sueños. Me pusieron Petróleo porque tomaba mucho vino. Era un borracho. Desde hace algún tiempo
tomo gaseosas, pero es peor, oxida. Siempre me gusto el tango sencillo. Al baile del tango lo cambié yo. Yo inventé el
giro, el contrafrente, cambiar de posturas, los boleos. Además, yo desprendí el sexo de la danza. Antes el hombre iba a buscar
una pierna no una bailarina, iba a apretar no a bailar. Yo iba a bailar. Conocer a través de los ensayos a la pareja es muy importante,
de ese modo uno conoce el manejo. A mi mejor pareja, con la que después viví, la conocí en un baile, fue en 1930, se
llamaba Esperanza Díaz. Ensayábamos mucho. Bailamos juntos hasta 1949 y un año después se fue. ¡En buena hora!. Ya no
quise tener otra. Cuando había alguna exhibición me entendía bien con la negra Martita que acostumbraba a bailar en el Agusteo,
de Sarmiento y Uruguay, también en el Unione e Benevolenza, que estaba a la vuelta del otro y el dueño era el mismo. En Villa
Devoto bailé en el Club Rosa de Abril y en Villa Urquiza en muchos: Pinocho, Sin Rumbo, etc. En el club Atlanta conocí a
Juan Carlos Copes que andaría entonces por los 20 años. En los salones estaba prohibido bailar con corte, si lo hacíamos alguien se
acercaba y nos decía: "Pase por boletería" y allí nos recomendaban e nos echaban. Nos llamaban compadritos. Hubo épocas que los
bailarines organizábamos bailes para los presos cuando salían libres. En realidad los que bailaban el tango eran todos chorros
o aspirantes a serlo. Si uno había estado un año preso poníamos diez o veinte pesos cada uno hasta juntar unos quinientos y
se lo dábamos para que empezara a caminar. Cuando a esas fiestas comenzó a asomarse la policía no las hicimos más. Allá por
1930 se hacían fiestas que duraban una semana. Para el cumpleaños de la Parda Lucia, compañera de Nicolás "El Buchón" (por la
forma de su pecho como la de los palomos) se realizó una milonga en Parque Patricios. Como siempre fueron cirujas, carteristas,
carreros y milongueros. La pista se hizo con una lona robada al ferrocarril, de esas que cubren los vagones. La estiramos en
el piso y la rayamos con vela, para encerarla y conseguir mejor deslizamiento. Todos aportaban algún peso para vino y carne
para el asado. Las minas eran coperas de cabaret, yiros, ladronas de tiendas. Cuando alguno tenía sueño se tiraba en un colchón
de los que poníamos por ahí y dormía un par de horas. El séptimo día hacíamos un torneo de tango.

Entre nosotros había mucha competencia, no nos dábamos pelota. El bailarín es ególatra, se cree el mejor. Yo me creía el mejor.
A mí me gustaba uno que se llamaba Mendieta, era un fenómeno. El vasco Orradre fue el mejor que interpretaba la orquesta de
D'Arienzo. Con las figuras se destacaba un tal Méndez que era muy ligero de abajo. El Cachafaz era bueno, pero hubo mejores.
Virulazo también era bueno, bailaba a la manera de Antonio Todaro, que es el mismo maestro que le enseñó a Miguel Ángel
Zotto, el que más me gusta de los nuevos porque tiene linda postura. A Gardel lo conocí en el teatro 25 de Mayo de Villa Urquiza,
sin dudas el mejor cantor. Era bueno porque te decía lo que sentía. Pero bailar no sabía, daba unos pasitos, era un maleta, además
de gordito.

Se puede aprender a bailar, pero hay que trabajar mucho y además se tiene que sentir la música. El tango no viene de golpe. A mí
me enseñó un profesional, Navarro, me entregó sus pasos, después yo saqué los míos. El tango es una emoción contenida que
después explota. No se puede decir así se baila el tango, uno lo baila como lo siente, es una creación. El tango es un sentimiento
triste, es cierto, pero a veces depende de como le encara la orquesta. Mi orquesta preferida fue la de Carlos Di Sarli y, cuando
tuvo la suya Anselmo Aieta, un músico terrible. Nunca salí de gira porque tenía mi trabajo en el banco, pero hice unas dos mil
exhibiciones. Mi sueño siempre fue bailar mejor que todos. Inventé muchas figuras, transformé el tango, pero tendría que haber
realizado más. Me faltó inspiración para crear el tango verdadero. Hoy lo haría distinto. Como cada tango dura tres minutos, lo
dividiría en prólogo, desarrollo y epílogo. Aparte del tango tuve locura por las carreras de caballos, iba un poco todos los días,
gané mucho y perdí mucho.

Cuando me jubilé del banco vendí mi casa y con esa plata seguí jugando. ¿Para qué la quería? Tangos, carreras y alguna mujer.
No hay que agarrar la vida en serio. Yo viví como quise. Se puede vivir en serio con trabajo y honestidad, pero no es tan divertido.

Uno tiene que vivir sus sueños, ahí está la verdad».

Originalmente publicado en la revista LA MAGA el 6 de mayo de 1992



What is a phrase in music, an often controversial topic in our performance group

During Compania Cielito performance group rehearsals we often came into dispute about phrasing of the music and exactly what this is. After a number of heated group discussions i felt it important to research and get to the bottom of why this question kept arising and why everyone felt so strongly about it. The article below by Bradford says it all in my opinion and expresses what i myself feel when hearing the music i dance.






Phrasing in music – what is a musical phrase?
By Bradford on July 3, 2012 in Lessons and Tips, Music Theory Lessons


Phrase group of three four bar phrases in Mozart's Piano Sonata in F, K. 332


Phrase group of three four bar phrases in Mozart’s Piano Sonata in F, K. 332





Let’s start with a definition from the Oxford’s Music Dictionary:


phrase. Short section of music of a musical composition into which the music, whether vocal
or instrumental, seems naturally to fall. Sometimes this is 4 measures, but shorter and longer
phrases occur. It is an inexact term: sometimes a phrase may be contained within one breath,
and sometimes sub-divisions may be marked. In notation, phrase-marks are the slurs placed
over or under the notes as a hint of their proper puntutation in performance. The art of phrasing
by a performer is often instinctive and is one of the features by which a supreme artist may be
distinguished from one of lesser inspiration, whether singer or instrumentalist.


I like the following from the above definition:


* “the music seems naturally to fall” – music and the human body are very connected. Vocal music
follows many physiological requirements such as phrase length not exceeding what the lungs can
handle.
   
 * “it is an inexact term” – music can be abstract and there is often more than one correct answer to
a phasing question. You might get different teachers telling you to phrase differently. Just remember,
you are dealing with the expression of ideas. Ideas change and are interpreted in different ways.
    
* “is often instinctive” – Listen to lots of music in the genre or era you are studying. Also, go to
concerts and see how the pros pull off phrasing. You need to absorb the lessons of performance.
Studying theory, history, and musicianship in a class or with a teacher can certainly help. Regardless,
you need to gain enough experience so you can understand as well as feel the phrasing.

Saturday, 17 March 2018

Tango Stories: (1) Rooftop in Buenos Aires

This is the first of our stories collected from our original post asking for submissions two years ago. These were made into a book that sold out within a month and wasn't reprinted to keep the project special and unique. After all it wasn't about the money out about making a final creation that could be shared amongst those submitting stories and their families.




Rooftop in Buenos Aires


There were many things that lead to this moment standing with what i could only describe as my first love. I had girl crushes and the idea of loving many times before but not the all consuming feeling of wishing to know someone, wanting to be in contact and sharing more of myself than i ever had done before.

I went to a tango salon with my dancing partner in Canning, a great traditional salon for dancing. My dance partner wanted to dance  with some of the most experienced dancers in the room but because he wasn't known there found that they turned him down more often than danced. While he was not really in the mood for dancing i soon found the eyes and cabaceo of a man sitting two tables over from us. We danced a tanda (4 songs) and then sat down again at our own tables. i found the first dances challenging and not so comfortable. So it sort of surprised me that i said yes again a little later on. In the end we danced 4 tandas which is quite something seeing that my dance partner pretty much sat throughout and more than one tanda in a evening tends to imply a closer relation or leading that way.

We exchanged numbers and emails. Leaving the milonga with my dance partner i found a cheeky email waiting for me when i got home in the early hours of the night. He invited me to come to a milonga the next evening and meet him. So this time going alone i found myself dancing the whole evening. This guy introduced me to various people at the salon and we tried our very bad English and Spanish on each other. He got me to try an empanada for the first time and introduced them as some of his favourite food. He asked more about me and also if i would be interested to practice with him. i was in Buenos Aires to learn and so i thought why not. i invited him to the tango house where i was staying which also conveniently has a dance floor that can be used.

We met and practiced for 3 hours solid, he drilled me at every turn and i had the feeling afterwards of not being able to dance anymore. in the end he saw this and i think felt a bit bad about it. It was a really hot evening so we went up onto the big open roof that overlooked the skyline of Buenos Aires and gave hints of the neighboring buildings in Barrio Boedo. We sat there for hours sharing stories. He realized i could lead and asked me to lead him. We danced on the rooftop and the lesson continued. Then in one moment he showed how it was to lead a specific movement, then taking one hand and placing it on my waist. Another hand going to my face where he brushed away a piece of hair blown by the hot breeze. He must have seen my softly wild look at these gestures and returned his own, eclipsed only by the kiss that followed.

Anonymous Author, 2016

Monday, 25 January 2016

Make tango history and upload!


 


Introducing 10 tips to find great tango on the web


In this day and age the internet and all things social media are opening up some interesting options for niche groups like Argentine tango lovers to share and bring new information to the surface. Many tango dancers resist all things modernized in the upkeep of the old ways and the charm that comes with them. While i too must confess to being in love with many of the social and practical etiquettes of tango, i am also loving the new information at my fingertips. Like the old black and white videos of people dancing in prehistoric tango times or the up and coming dancers doing their first promotion videos.

Much of tango history has gone uncatalogued making it harder for those who would like to spread informed and widely respected information about Argentine tango. Whether about how tango was danced in the early days with the stories of that time, or indeed techniques every student should learn to become a good dancer. We each have our ideas on this, but with time some of the best resources have diminished with the ageing of orchestra leaders and notable dancers who were around in the good old days when Argentine tango was forming and being shaped. With the natural cycle of life and ageing come the deaths of some of our most renowned maestros and the generations that have witnessed a lifetime of tango and its evolution. Prompting a wish amongst the many Tangueros out there to preserve some of this knowledge in the shape of video interviews, documentaries, articles, and online resources making this information available to the world.

We can actively take part in our Tangos history by becoming active in uploading old footage and publicizing the new dances being created. Below is a short list of some of these new fountains of knowledge, in no particular order.


Tip 1: TENGO UNA PREGUNTA PARA VOS por Pepa Palazon,


A video series where Pepa interviews many of the worlds best known tango dancers. Getting their take on all things tango. Search the above title in youtube to find a huge number of video interviews. Including Julio Balmaceda, Gloria y Rodolfo Dinzel, Milena Plebs. (spanish)
http://www.youtube.com


Tips 2: The Youtube search


Type any of the following words in together and you will find a whole wealth of old videos of everything from D’arienzos dramatic leading of his orchestra in the 1940s to black and white movies of some of the first tangos ever recorded on film. search terms to try: tango orquesta, 1920 tango, 1930 tango, 1940 tango, golden age tango. (various languages) http://www.youtube.com


Tip 3: Todo tango website


Probably one of the best known tango website resources out there, giving deep and informative information about dancers, musicians and all things tango. If you understand spanish then its well worth checking the spanish pages and each language has a different amount of information available. I found the rap sheets on the orchestras useful in getting a feel for how all the different musicians interrelated and through this how the end result we hear today came to be. (Spanish, English, German, Portugese) http://todotango.com/


Tip 4: Tango.info site


This is very basic in the way it looks but if you are interested in no fuss information it provides a great source of information laid out in a utilitarian but easy to understand way. (various languages due to user content submission). https://tango.info/

Tip 5: To tango net


This site has some great articles about everything included in the tango genre http://www.totango.net./


Tip 6: Cyber tango site by Cristian mensing


An incredibly useful site with listings such as links for journals around the world, articles, books, websites and blogs for more information about tango. Its a great resource. (english) http://www.cyber-tango.com/e/art_e.html


Tip 7: Articles and book by Christine Denniston


i found her articles and website when i first started dancing and in want of more knowledge. With easy to understand and informative writing style, this is a great place to start reading about tango history. (english) http://www.history-of-tango.com/


Tip 8: Tejas tango dictionary


A great regularly updated tango glossery of terms explained. (english) www.tejastango.com/terminology.html


Tip 9: Argentine tango videos net


This is a website dedicated to videos old and new, http://www.argentinetangovideos.net/

Tip 10: Tango and Chaos


Read stories of recent times in Buenos aires with Tango and chaos website - (english) http://www.tangoandchaos.org


With the new information coming to the surface all the time it enables us to further research argentine tangos murky beginnings and hopefully write with a more informed approach than the regurgitation of tango histories out there. Many containing the same play on words, vocabulary and factual information. Wanting to offer my students a history of tango on my website at one time or other, i was also culprit of this. With the continual new information we have a very natural record being created like never before. There are many ways to be an active part in the history of tango, come and join in the fun.


Other articles in the dance genre:

'A Vision of Tango'

'Abundant obsession', Argentine tango

Why we love Pilates (and you should too)

Wednesday, 16 December 2015

Bounderies in tango?

 4/11/10

Just a thought really from dancing at a milonga. i am wondering what is happening with peoples bounderies as we dance more tango. i see a different ideal of the sort of things that are acceptable in a traditional milonga and a more alternative one. Many sorts of bounderies are possible, important ones? well theres a question. but i do wonder how relationships survive in a milonga where its culture finds it absolutely acceptable that a woman comes and sexually kisses a mans neck from behind, in full view of everyone including the mans wife. i don't mean a peck on an intimate spot but full on kissing, biting, sucking! i know the couple well and didn't want to be part of what went on due to respect to the mans wife.

so questions arise, why did he act as if this is normal behavior from someone who is a 'friend'? is it for people around to make judgements? if she is indeed a friend does she respect either the man or his wife? aside from a judgement should i have to accept something that breaks down inhibitions that we as a culture slowly come to find 'normal' because of our acceptance? There are a lot of tango events out there that unconsciously or/and deliberately break down peoples bounderies. but where is the social responsibility to putting these people back together or indeed asking permission before you therapise someone. and when people are in an unbounderied state what does this mean for their relationships, friends, husbands, wives, lovers, the group? And importantly respect for each individual as they come, complete.

i am still in the process of questioning as you can see from what i have written above. Questions hihi. but the reality of this through answers is an interesting one. what happens when you ask yourself some of these questions. from two perspectives: 1. from an acceptance of other individuals to make their own choices in life and 2. how you feel deep down. are good healthy bounderies that protect your individuality and individual specials relationships (friendships, lovers, relations of any personal kind) being broken down?