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Tangonova Registration Policies -
Guest Instructor Workshop Registration Policy:Fall 2008
Applies in cases where a class is anticipated to fill up with either one gender or the other, and in which the instructor has requested gender balance within two. Notable exceptions are students from other Atlantic provinces, as outlined below.
Intermediate/Advanced level classes: Registration priority will be given to intermediate/advanced level students who have remained actively enrolled in tango training in Halifax, or equivalent training elsewhere, for the past 4-6 months. Active means engaged in regular classes or privates, not merely attending a festival,guest instructor weekend or practica.
Registration priority means you have 5 days (or up to given date) to pre-register before non-priority registrations will be accepted. Non-priority registrations will be held in order of being received and processed as soon as the priority period is over. You are encouraged to send or phone in your requests ASAP.
Individual Assessments: Anyone returning to Tangonova classes or workshops after a long absence is encouraged to meet with a Tangonova instructor in advance to determine the best re-entry level for you.
Registering with a Partner: both individuals must meet the registration requirements.
Exceptions:
Insufficient enrollment to meet the costs: At the discretion of the organizer, the instructor may choose to lower the level in a specific class in order to attract a larger number of students, to help meet expenses and guarantee the success of the whole weekend.
Out of Town Dancers: Tangonova welcomes the participation of dancers from other communities, and recognizes the need for mutual support among all tango communities in the Atlantic provinces. Tangonova applies creative methods and flexible level standards to encourage workshop participation from members of OuiTango in New Brunswick and Tango on The Edge in NFLD, and other regions where the opportunity to study is less and the interest keen. A pre-registration discussion with the organizer is recommended to ensure the best class selection for you and your partner.
By Permission of Instructor: The teacher may request exceptions to the policies.
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Common questions about Argentine tango -
What are some distinguishing features of Argentine tango?
Unlike ballroom tango the Argentine tango is essentially an improvised dance, based on a moving embrace, a listening connection between an active leader and a receptive follower. The dance is designed to express the rhythm and sensuality of the music; music created in a cultural melting pot, among immigrants and Criollos whose common experience was love, loss, hope, disillusionment and renewal. The tango provides a dignified container for our shared experience of humanity.
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What are the traditonal musical genres and dance forms included in Argentine social tango?
The music and dance trilogy of the Argentine tango includes: tango, tango-vals (3/4 time waltz) and milonga. The word milonga can refer to either 1) a specific dance type and musical beat, faster and more rhythmic than tango, or 2) the formal dance gathering, the tango dance party. At a milonga, people dance tangos, tango-waltzes and milongas.
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What is the difference between Argentine tango and ballroom tango?
The dance vocabulary: Argentine tango refers to the indigenous social dance originating and still evolving in the tango clubs of Buenos Aires and now around the world. This broad category includes both close embrace or milonguero style and open embrace or salon style. Both styles are improvised. The stylized tango that became part of the International and American ballroom repertoire is a codified group of steps, and figures, adopted from the Argentine original,categorized as tango, and taught as part of a ballroom curriculum of four traveling dances: waltz, tango, foxtrot and quick-step.
The teaching method: Rather than memorizing a prescribed group of steps, as is done in ballroom, the students are encouraged to learn how to lead and follow with each step being an invitation to further exploration.
The structural patterns that are taught train the dancer in the fundamental mecahnics of a moving embrace, until it feels natural to move together. Ideally the connection between the two bodies is as famously described by Juan Carlos Copes, “One heart and four legs.”
The individual: Class rotation of partners and an emphasis upon learning the dance as an individual rather than a couple, allows students to master the language of tango as a universal communication. It they trave, and many tango dancers do, they can easily dance with strangers in Moscow or San Francisco.
The music: The dance is intended to express the music, so a desire to hear and respond rhythmically is essential. The improvisational basis of the dance, fundamental to all types of Argentine social tango makes dynamic musical interpretation possible. Argentine tango is one of the most spontaneously creative dance forms in existence.
Non-competitive: Argentine tango is rarely judged by an outside panel. The real judge of one's dance ability is the receptivity of one's partners. People dance tango for the joy of the connection, the expressive use of its complex structure the love of the music and the intimate tango trance. Thy do not care about a strict adherence to external form and rules. They care about how well you can communicate your intentions on the dance floor.
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Where can I see this tango being done?
There are several movies featuring Argentine tango (see resources). We have a milonga once a month, and a practica on Sundays. See the schedule for details. If you are traveling to Montreal, visit a club there to see a more developed tango community in action. See www.milonga.ca for a list of Montreal clubs.
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Do I need a partner?
No, it is not necessary to register with a partner but the classes are more or less gender balanced so sometimes you may be wait-listed until such balance is achieved. Provided the class is not full, registration with a partner guarantees immediate acceptance.
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Do I need special shoes or clothes?
Please bring smooth-soled glidable shoes for dancing. Rubber grip soles not recommended. To test, try on your shoes, put your weight on the ball of your foot and see if you can pivot easily. Women often prefer a heel, but do not wear anything higher than is comfortable for you. No backless shoes or sandals. Skirts should not inhibit your stride or be too long and billowy.
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What about the music, what is it like and where can I get it?
Traditional tango dance music was recording in Buenos Aires from 1920 to the present. Most of the music being played today comes from the period between 1927 and 1950. There are many styles, some quick and march like, some flowery and elegant, some modern and not appropriate for dancing. Many North Americans cannot find the beat of traditional tango music at first and I recommend listening to it a lot, as well as watching videos of people dancing to it. See resource section of this web site for more info on traditional tango recordings.
Because tango is a fluid dance language, it can be done to many types of music. The term alternative refers to the non-traditional used by tango dancers, usually blues, R&B, or modern “electronic” tango recordings. Most ballroom tango recordings do not work for Argentine tango because they fail to create the flow and syncopation inherent in the original Argentine music and the dance.
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How can I get started?
Come to a drop in class on Sunday to try it out and/or register for a course.
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Isn’t Argentine tango a sexy dance with a lot of dramatic flair and a rose between the teeth?
The style of tango done on the stage for performance is referred to as tango fantasia. It is generally choreographed, and if done with an Argentine basis, will reflect many of the steps and structure associated with the traditional tango, but done larger and more open so as to be seen by an audience. The image of the rose between the teeth and the rigid outstretched arms was created in a movie role by Rudolphe Valentino in the 20’s and stuck as a camp image of tango. It is NEVER done by tango afficionados. The experience of dancing tango socially is sensual, and often feels dramatic due to the surprise element of improvisation, but ostentatious dancing or those who dance to show off steps, are not especially popular as partners.
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About Tangonova Programs -
What classes do you offer?
Tango Level I = for new Beginners and returning beginners.
Tango Level II = preequisite: two sessions of Level I or equivalent. Approx 16-20 weeks of tango.
Tango Level III = prerequisite: mastery of Level II curriculum.
Tango Level IV = by permission of instructor.
Other classes
On occassion clsses are offered in Milonga & tango-vals. Generally its best to complete one session of Level I before trying these classes.
Weekly Practicas are a tradition in Argentina and in every tango community. Students at all levels are invited to apply what they are learning in class in a relaxed social environment. Practicas also provide a space for visitors and friends to experience the dance and the music. There is no registration and no formal teaching. Students arrive and leave as they like. Participants generally help one another perfect their technique on the dance floor and occasionally serve as DJs as a way to learn more about tango. Practicas are hosted by volunteers from the tango community on a rotating basis.
Weekend Workshops: The tango is not only a dance. It is a complex culture that also involves music, lyrics, dress codes, and social interaction. Weekend workshops conducted by Margaret and her guest instructors provide an opportunity for students at all levels to explore this culture in an intensive format, greatly accelerating their learning curve and understanding of the essence of tango. Each of these weekends is a unique dance experience.
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© Copyright Margaret Spore 2004
Painting by Craig Rubadoux, Courtesy of the artist
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