The Persistance of Memory
When I took my very first tango class, I memorized the step sequences that the teacher demonstrated that day. The next week, I added to my vocabulary by memorizing new sequences as they were presented.
Unfortunately, after a couple of months I was no longer able to remember all of the sequences from previous weeks. In every class, I would learn something new, but I would forget something from an earlier lesson in the process. I began to wonder whether I was wasting my money.
Terminology
In tango classes and workshops the teacher often presents a series of movements to be executed sequentially. This series of movements is commonly known as a 'step', as in, "Do you remember the step from last week's class?"
The word 'step' is somewhat misleading in this context. A 'step' more accurately describes a single, atomic unit of dance movement, such as taking one step forward or one step to the side. For clarity, I'll use the word 'sequence' to describe a series of contiguous dance movements. Some people may prefer the words step, figure, pattern, or combination. Rest assured that they all mean the same thing.
Analysis of Sequences
It wasn't long before I realized that I would need a methodology to analyze and categorize the sequences that I was learning. Otherwise, I keep forgetting what I had studied in class.
I began with a comparative approach and eventually learned more formalized and rigorous methodologies. I have summarized the most important methods below.
Method 1 - Comparative Categorization
My first attempt at making sense of tango structure was to compare sequences while noting their similarities and differences. If two sequences started the same way, or if they contained a common technique, I would associate them as belonging to a similar category.
This approach helped me to remember more effectively what I was learning in classes. As I gained experience in recognizing common elements in sequences, I began to understand how to recombine those elements in new ways.
Method 2 - Combining Concepts
With the help of knowledgeable teachers and some brilliantly organized workshops, I realized that fundamental principles that I had been leaning in my classes (parallel and cross system, turns, walking, changes of direction) could be used to describe many of the techniques and positions that occur within tango sequences.
Most tango dancers understand these central concepts. Analysis based on these fundamentals can be interpreted and utilitzed by a wide audience.
The sacada system provides a ready example. Forward and back sacadas can be described in terms of steps entering the unique steps of the turn (forward, side, back). A map of sacada possibilities can be generated by combining the steps of the turn with all of the entrances possible in both cross and parallel systems.
One constraint of this approach is that it doesn't explain derivative movements thoroughly (e.g. boleos and ganchos). A more rigorous approach would be needed to map the possible launch points for such movements.
Method 3 - The World As Seen Through a Turn
I'm mentioning this method for completeness, although I don't feel that it has much utility. During a workshop, the teacher suggested that steps could be described in terms of the two partners each moving in their own molinete. The molinetes could be going in the same direction or in opposing directions.
For instance, where the partners take side steps together in parallel system (i.e. Step 2 of the 8-Count Basic), that's similare to concurrent side steps of opposing molinetes. It's difficult to visualize without an in-person demonstration, and the practical applications are limited, but the approach did offer some interesting insights.
Method 4 - Systematic Analysis
Argentine tango took an interesting turn in the 1990's when Gustavo Naveira and Fabian Salas began to analyze tango using the principles of dance kinesiology. Their research resulted in a detailed mapping of fundamental tango movements. This mapping can be used to describe existing sequences as well as to formulate new possibilities.
The knowledge and practices that grew out of this approach became known as Tango Nuevo.
People have varying impressions and opinions about Tango Nuevo. Some associate the term with a particular 'style' of dancing that tends to be experimental, non-traditional, and youth-oriented. It's an understandable conclusion - most of use have seen performances that would support such an impression. But Tango Nuevo is more than an energetic form of tango danced to electronic music.
Tango Nuevo provides a methodology that can be used to analyze and create tango movements regardless of style or period. The methodology works with tango choreography from any era. It can be used as a tool for notation, for teaching, and for developing new and or revised choreography, in advance or improvised in real time.
The Fundamentals of Tango Nuevo
Tango Nuevo is based on a series of simple steps (single movements in this case) -
- the forward cross step (related to, but not the same as the basic "cross"
- the back cross step
- the forward open step
- the back open step
- the side open step
- the independent, non-traveling movement of pivot
Each of the five of the fundamental steps can be influenced by a series of modifiers. For instance, if we stop a forward cross step early (before the foot touches the floor), we can transform it into a linear boleo. If was add a pivot modifier as well, the movement becomes a circular forward boleo.
A Basic Example
As an illustration, I'll notate first the standard 8-Count Basic (Salida) using these concepts. Afterward, I'll generate a new sequence by using the methodology to modify the Basic 8.
Notation for the Familiar 8-Count Basic
The information is organized into rows of two columns. The leader's movement is expressed in the first column, and the follower's movement in the second.
Step #. Leader / Follower
1. Right open back step / Left open forward step
2. Left open side step / Right open side step
3. Right forward cross step / Left back cross step
4. Left open forward step / Right open back step
5. Right open side step shortened * / Left forward cross step shortened **
6. Left open forward step / Right open back step
7. Right open side step / Left open side step
8. Left open side step shortened (weight change) / Right open side step shortened (weight change)
* Think of the leader's Step 5 as a weight change to his right side. You can also think of it as the shortest possible side step.
** The follower's Step 5 is what's colloquially known as "the cross." You can also think of it as the shortest possible forward cross step.
A Word About Notation
The notation system above is not standardized. I use this format because it's readable and it's easy to type into Excel.
I have seen other notation systems that use a set of symbols and abbreviations, but over time I have difficulty remembering what the symbols mean without a key. I prefer to notate the movements using English words in spreadsheet-friendly, row-by-row format.
The format of the information is less important than the information itself. Feel free to use any format that appeals to you.
Creative Possibilities
Now, let's modify the 8-Count Basic Salida notated above. We'll begin by replacing the original movements in Step 4 with something different, something that will open up new possibilities and take the sequence in a new direction.
We could modify any of the 8 steps for either or both partners. I selected Step 4 at random. As an exercise, try modifying Step 2 or Step 3 to see where that will take you. I'll explore this technique in greater detail in a future blog post, but this should help give you an idea of how it can be applied.
Step #. Leader / Follower
1. Right open back step / Left open forward step
2. Left open side step / Right open side step
3. Right forward cross step / Left back cross step
Pivot the follower to the right before the next step.
4. Left back cross step / Right back cross step
Note: The leader and follower are now in a symmetrical position. Each is stepping backward onto the leg that is farther from the other partner (back cross steps).
Pivot the follower to the left before the next step.
5. Right open side step / Left back cross step
6. Left forward cross step shortened (looks like the follower's cross in the basic, but the leader is doing it here) / Right open side step
7. Right open forward step-Sacada / Left forward cross step
8. Left forward cross step Sacada / Right open side step
Note: We have executed a molinete. The remainder of the sequence will be identical to Steps 3 through 8 of the original basic. The notes for the asterisks in Step 11 are the same as for Step 5 in the original sequence.
9. Right forward cross step / Left back cross step
10. Left open forward step / Right open back step
11. Right open side step shortened * / Left forward cross step shortened **
12. Left open forward step / Right open back step
13. Right open side step / Left open side step
14. Left open side step shortened (weight change) / Right open side step shortened (weight change)
Explanation of the Modified Sequence
Steps 1, 2, and 3 are identical to steps 1-3 of the 8-count Basic.
Step 4 - We break the standard pattern. The leader pivots the follower to the right, and then the leader and follower both execute a back cross step. Now we can explore the possibilities of this new position.
Step 5 - The leader initiates a turn (molinete) by leading the follower to take a back cross step with her left leg as the leader takes on open side step with his right.
Step 6 - A touch of flair. As the follower takes an open side step to the right (continuing her turn), the leader steps over his right foot with his left in a motion similar to the follower's cross in the basic. The leader transfers weight onto the crossed left leg.
Step 7 - Sacada. The leader executes a parallel system sacada (right leg) to the follower's left forward cross step.
Step 8 - Sacada. The leader executes a parallel system sacada (left leg) to the follower's right open side step.
Steps 9-14 are identical to steps 3-8 of the basic, i.e. walk to the cross and resolve.
All of the steps in this new sequence are executed in the parallel system.
First, we interrupt the standard 8-Count Basic with parallel back ochos. Then we convert the follower's ochos to a molinete with two sacadas (to the forward and side steps). We return to Step 3 of the traditional basic and move through the cross to the standard resolution - simple, elegant, creative, and fun.
Using the principles of Method 4, we can modify and enhance the Basic Salida in countless ways.
Conclusion
I hope that this discussion has illustrated the utility of a methodology for analyzing and notating tango movements. We notated and modified the Basic 8-Count Salida as a demonstration of Tango Nuevo's principles in action. It's interesting to note that the resulting step does not have a particularly new look. It looks very traditional. The methodology can be used to generate steps in any style.
I realize that this post is not an easy read. It might require some time and some practice to understand the material covered here, but that understanding will help your tango grow in new and exciting ways.
Remember, the harder you work, the more fun that you'll have!
¡Buena suerte amigos, y muchas gracias!
Daniel
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