Musicality Vs. Interpretation

What you’re about to read is a very radical concept for some people, one that will cause you to reject it out of hand, until you dig a little deeper and discover the why part. So radical in fact that you’ll dismiss it as the crackpot rantings of a delusional madman who’s delivering ‘alternative facts’ in Conway fashion.

The statement ? There is no such thing as ‘Musicality’ in Argentine Tango.

To be clear. Yes, there is a word in the English Oxford Dictionary which is defined as “Musical Talent or Sensitivity”. However, as you can see, with regards to Argentine Tango, one thing does not mean what it has come to mean when we reference this word. Essentially we have bastardized this word to come to mean something entirely different than it’s English dictionary cognate.

So what do we really mean ? “To place Argentine Tango vocabulary, sequences, patterns, and figures, in time to the musical beat, pauses, and phrases of a particular song so as to create, or convey another level of meaning of the song that is either not in the song literal or is implied directly in its emotional context”.

Hmmmm…does that sound like ‘Musicality’ to you ? Or perhaps something else…

Enter, the literal definition of the word ‘Interpretation’ which means, “the action of explaining the meaning of something.” or “a stylistic representation of a creative work”.

Hmmmmm….gosh, doesn’t that sound more like the definition of ‘Musicality’ than anything else ?

So what we’re really doing is actually ‘Interpreting The Music’. How’s that ? If you consider for a moment that when you are dancing, regardless of level, you are constantly listening to what’s happening in the music, making navigational changes (regardless of role), which in turn affect your vocabulary/patterns/steps/figure choices, which in turn affects how and when you can execute anything. That entire process of affectation is Interpretation.

You’re going to ask yourself, “Who the frak cares if it’s ‘interpretation’ or ‘musicality’ ? It all means the same thing, right ? Well, actually, you should. Here’s why: When you stop and think about it, when you’re talking to someone and use the word ‘Musicality’, what do you think comes to their mind ? Any one of a dozen different ideas ranging from its literal definition above, to possible vocabulary choices, or a specific figure, or dancing milonga, or, or, or….you see where this is going right ? Lots and lots of places for confusion. Instead, if we employ the phrase “Interpreting The Music” it creates a state of absolute clarity with your language and what you intend to mean. Further still, it also gives you creative license to keep doing what you’re doing because you’re ‘Interpreting The Music’ the way you hear it. Stating ‘Musicality’ as ‘Interpretation’ removes all doubt of your intent. This is why there is a need to be crystal clear with our verbiage/language here. When describing what we’re working on, or what we want to work on, or how we would like to dance, or describing a problem that we’re having, wouldn’t it be better to be precise than to be vague ? 

MORE REMINDERS

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Architecture. There are certain things we want to do with our bodies in relation to Argentine Tango and Social Dancing, one of them is to ‘close our fingers’ or bring our fingers together in every possible place where we lay our hands on our partners or they come into contact with our partner’s bodies.

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The fact is that while open toed shoes can be lovely to look at, they have a practical downside that no one likes to talk about – one wrong move and you’re lookin’ at a serious injury!

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Lead Bashing

Bashing ? Meaning that you’re throwin’ some shade, picking on, pointing out the errors of, giving some shit, pointing fingers at, trash talking, talk down, blaming and shaming, and the euphemistic UK’ism “taking the piss”. While that last one is more about making fun of someone, that’s not actually what this idea is all about. It’s about disparaging someone, or in this case, from a Tango perspective, the L/lead’s abilities (the person, and the action).

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Physiological Control

Control is a really hard thing to get. It takes a while to have precise, or precision, control over exact foot placement, which is insanely important. It takes time to build up the necessary minute control that one needs to have over one’s body. A millimeter here, a millimeter there, cumulatively, can make all the difference between a dance that sucks (for both parties) and one that is absolutely fabulous. Precision control is where all the toys are at.

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More Classes

At some point along the curve of your tango life, continuing to take classes seems like a really stupid idea. You’ve learned everything you need to know to get around the floor. Practice isn’t really that important any longer. And going to Milongas is really the important part, so who needs to practice ?

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Discipline

Ballet dancers know all too well that a good dance teacher is strict, hard as a nails, and won’t let you get away with anything. While it may be hard on the body, and hard on the ego, the fact is that dance teachers like that are a godsend. However, the teacher is only one component to the educational process.

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The Female Lead

This post isn’t about the benefits of learning to lead for the woman that dances, of which there are many. No. Nor is it about the hyper awareness of all the things you do not want to do as a Follower, which is going to happen by default. Nor is this post about the supposition that women of a certain age swap shoes and end up leading because no one wants to lead them anymore. Not. Nor is it about the fact the simple fact that some women do enjoy leading quite a bit and are actually (contrary to what you might believe) pretty good at it. No. Today’s Tango Thought is all about Women that WANT to Lead! (Just as a side note, most of this stuff also applies to the male lead too, you need the reminders).

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Men. Oy. Tango is hard enough, but adding ego to the equation just creates a whole other level of issues that most women can agree is a lot like a pissing contest. Before we lay into this like white on rice: Being fair, not all men have an ego when it comes to Tango. A smaller number of them do recognize that Tango is a study. As such it requires them to do their homework, on a regular basis. And ‘homework’ in this case means private study, solo practice, solo study, musical study, on a daily basis.

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The Practica

The idea of a Practica is ‘theoretically’ to Practice what you have learned. To try out what you have been shown, with multiple partners, as if you were in a class rotation. It is ‘theoretical’ because while the theory is nice, the reality is a little different.

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Keep something in the back of your mind: What you’re seeing in a youtube video is a couple that is performing for the 15th row for a room full of people. They’re not social dancingWhereas this website is all about ‘Social Tango’  or how to make things function on a social dance floor. Social Dance floor ? Your local milonga! They are showing you flashy moves as a presentation, to show off! But not stopping and talking about how this works which is what you need to see. This website and all of it’s content show you the how and  why you’d want to put that piece of vocabulary there, or how to make things work. This website is all about those things and more!

You could watch Tango YouTube videos and thereby spend your time, trying to infer, and figure out how things may work in that particular situation. Bend your body this way or that, twist and force this position or that. Place your foot here or there and figure it out. This is known as Tango Twister.  Which can be a lot of fun, but more than likely it won’t help you, because you’re missing something: The explanation from an experienced teacher showing you how to properly excute this stuff from a Leading Perspective as well as from a Following Perspective!

The goal of YouTube videos is to get you to study with those teachers in person. The goal of Tango Topics videos allows you to work at your own pace, in the comfort of your own space, so that you can play them over and over again to improve your understanding of the vocabulary or technique being described to therefore better your dancing experience. The goal of classes and workshops is to get you to come back over and over and over again, thereby spending more money with that teacher. This website and the videos under it are here to act as a resource for you to help you to improve your dance. Pay once and you’re done.

Eventually, one way or another you’re going to pay for this lesson, either here and now, or with them. TANSTAAFL! The difference between that lesson and this ? Is that you get to play this lesson over and over and over again. Further still, there are supporting materials (other videos) that help to explain the language and the underlying technique of how and why things work, so you can easily reference those things in the corresponding articles that go with the material, and or any language in the Tango Topics Dictionary. 

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