The Men's Tango Mentor Creator of the "Permission Seduction Tango Learning System™"
and the "Tango Improvisation Mastery™" Online Home Study Program
Tango Mojo, LLC firstname.lastname@example.org
Sunday, March 16, 2014
Another Sunday "Rose Vine Tango" video
March 2, 2014 Today I'm posting a video of a recent performance in a Buenos Aires milonga by one of my favorite "Rose Vine Tango" couples, Sebastian Jimenez and Maria Ines Bogado. When you watch the video please take note of how simply Sebastian is dancing most of the time. I would say that about 90% of what he's doing are basic tango elements with which most intermediate tangueros are familiar. All of these 90% are explicitly taught in my "Rose Vine Strategy of Tango Improvisation" program, the second section of "Tango Improvisation Mastery" online home study program. The other 10% are either easy variations of the walks and figures in our program, or they're more advanced turns, which we will study in Tango Mojo University's fall program "Tango in a Square Meter". (For information and application write to email@example.com.) Sebastian and Maria Ines are dancing here to Carlos Di Sarli's instrumental "Milonguero Viejo". Here is the video link: http://www.youtube.com/watch?v=DsUrRxH7k8c&feature=share&list=LLoVwWhyqGQrAJObcJzgaLNQ I love this performance, but one thing perplexes me. Maria Ines, whom I admire and can watch for hours, is doing something here that I've never seen her do before, and it's something that disturbs me! She's "collecting" her feet between steps. What I consider to be "unnessary collecting" begins about one minute in to the video. Compare to this any video of this couple between 2010 and 2013, and watch her feet carefully. (Here's one on my blog, to "Esta Noche de Luna"!) Maria Ines generally unites her feet very rarely, but rather leaves her free leg relaxed and free through the tango, which is a characteristic of many Villa Urquiza style ("Rose Vine Tango") dancers. That's something I love about this style of dancing. But in this recent performance, she has begun to collect in a way that looks to me obedient to an academic rule. She also frequently uses the embellishment of crossing her free foot behind the ankle of the standing foot, in a tight little gesture. The collecting and the tight crossing behind give me a sense of her dance being closed and tight, rather than open, fluid and free, as I've always seen it before. I don't know about you, but I hope she finishes experimenting with collecting soon, and leaves her free leg free once again! But in favor of this tanguera, who is one of my favorite contemporary tango artists, please also observe how her masterful and powerful molinetes allow Sebastian to do his trickiest enrosques and turns on one foot. (No, we will not cover the showy stuff in our fall "Tango in a Square Meter" program!) I hope you enjoyed this video and the concepts in the linked articles. Abrazos and wishing you a great week ahead!