January 01, 2010
tango photos
Continue reading "tango photos"
Posted by joegrohens at 03:06 AM | Comments (0)
July 24, 2008
Authority
Anyone who conducts an argument by appealing to authority is not using his intelligence; he is just using his memory.
Leonardo Da Vinci
This phenomenon can be found in the world of tango dancing.
Posted by joegrohens at 11:21 AM | Comments (0)
July 16, 2008
This Is Your Art
I remember a class with Gavito where he stopped the class right in the middle of our practicing some sequence he had shown. He cut the music, and ordered us to stop right there. Then he said something like, "Look, I'm not joking here. You want to be in this class, do the work. Be serious. I'm an artist, and tango is my art. I'm a painter, only I paint with my feet. This, right here, this is a dance floor. When you come onto this floor, whether you like it or not, you are a dancer. You are an artist. This is your art. Act like it. Or don't come onto this floor."
I'm paraphrasing from distant memory ... now about 10 years ago. But I remember the mood in the studio that afternoon, while he was talking. You could hear a pin drop. That guy could lay down some heavy vibes. He got very steamed up sometimes with frustration during teaching. He'd blow his top, then five minutes later he would go around apologizing.
Jeff Allen's interview with Gavito (In "Quickstart to Tango" 1998) quotes Gavito as saying something very similar to what he said in our class that day.
A student would say "We are not dancers". Listen lady, from the moment you step a foot, you are a dancer. That's a dance floor. If you don't feel like that, then get the hell out of here! Because if you want to put your foot there, you are insulting me, if you say your problems. Because that's a dance floor. That is not a shop, a market, a cafe, a restaurant. That's a dance floor. So from the moment you decide to put on a pair of shoes and come and put a foot there YOU ARE A DANCER. I'M GOING TO TREAT YOU LIKE A DANCER!!! And I want the same response. I want you to be a dancer!!
Posted by joegrohens at 12:51 PM | Comments (0)
July 15, 2008
The Role of the Dance Artist in Society
The artist should belong to his society, yet without feeling that he has to conform to it. He must see life fully, and then say what he feels about it. Then, although he belongs to his society, he changes it, presenting it with fresh feelings, fresh ideas. Art should be a reflection and a comment on contemporary life.
-- Anna Sokolow, "The Modern Dance: Seven Statements of Belief"
Posted by joegrohens at 12:08 PM | Comments (0)
July 11, 2008
Inner Vision
X. and I were chatting about the previous night's milonga. She brought up the subject of dancing with the eyes closed.
"I used to think people closed their eyes to help them get into the dancing better," she said. (Probably even better when they keep their mouth open as well. - editor)
"Now I think it's so they can imagine they are dancing with someone else," said X.
So much the rather thou, celestial Light,
Shine inward and the mind through all her powers
Irradiate. There plant eyes.
--Paradise Lost
Posted by joegrohens at 06:58 PM | Comments (0)
July 10, 2008
Ezequiel & Eugenia at TangoCamp 2008
This photo is an excellent opportunity to study important details of technique and posture.
I notice, for example, that Eugenia's body weight is evenly split between front and back legs, she has both toes opened out slightly, her back knee is completely stretched, her spine is vertical, she has a twisting orientation toward's Ezequiel's center, and her arms are lengthened and relaxed looking. Eugenia's left arm reaches all the way across Ezequiel's back, and her left elbow and shoulder are released enough that her arm comes back behind the plane of her back. Her shoulders are level.
Ezequiel gives the gancho with his outside leg, generating considerable spinal twist so that he can remain facing her. His outside arm (left) is lengthened forward to allow Eugenia's arm to stay comfortably in front of her right shoulder (rather than pulling her arm toward him more). Ezequiel's standing foot is pointed at a 90° angle away from the line between Eugenia's feet. And his shoulder's are turned towards Eugenia so much that they are also in this same 90° angle to her line. His right arm reaches across her back. One thing that doesn't look right to me is that his gancho appears to be hooking the front thigh of her trailing leg. Wouldn't it be more normal to hook underneath her forward leg? I mean, if he is really hooking the leg. I suppose he is just throwing a boleo between her legs.
I assume that this is a counter-clockwise turn, and I would call it step 1 of the turn, since she is stepping forward with her left leg. He could have done a back sacada (more typical) during her forward step, but instead it's a gancho.
This looks like a difficult move. I wonder what happens next.
Posted by joegrohens at 10:57 AM | Comments (0)
June 10, 2008
eyes, camera, acting
This is a nice photo. I keep looking at it wondering (1) how she did her eye makeup, and (2) whether she's really into it or just acting. The obligatory eye closing always makes me suspicious. I guess I suspect that she did her makeup just so it would look good when she closed her eyes to dance tango.
Posted by joegrohens at 06:11 PM | Comments (0)
June 09, 2008
Tango of the 70s and 80s
In Jackie Wong's interview with Gloria and Rodolfo Dinzel, she gets them to talk about when they met and what tango was like in the 1970s and 1980s.
I clipped two quotes that I have been mulling over.
With the politics at that time, the young people were very rebellious. In our era, when they killed Che, the men were rebellious against the politics. So they wore long hair.
I was the first ballerina at the Teatro Colon but I moved into Tango because I am Argentine and Tango is Argentina.
--Gloria Dinzel
The way she refers to Che by his first name, the idea that Che is the explanation for men wearing long hair, and counterculture and hippy rebellion. At first it shocked me, and then it moved me. When I meet Argentine people through tango who were touched by that period, it is unavoidable to consider that tango, though apolitical itself, becomes a medium of individual political expression. And I realize that the generation who nurtured the revival of tango in in Buenos Aires was the cognate of a generation in other countries who participated in protest movements, civil rights demonstrations, and an international crisis of conscience about political oppression and injustice.
[T]he Tango is a dance that fosters liberty and it encourages people to come together and do their own interpretation of the dance... and this is the definition of democracy. My liberty ends in the moment that your liberty starts. So everyone on the dance floor can do their own thing until it interferes with someone else. Therefore a milonga is a great school for democracy and liberty, if you look at it this way, as we mentioned during class. It is my opinion that the military felt the same way. In the history of Argentina, when the military has control, Tango is repressed. When there is democracy, Tango grows and prospers. There is evidence of this in the numbers.
--Rodolfo Dinzel
That is one reason why rebellion is in the DNA of tango.
Posted by joegrohens at 05:27 PM | Comments (0)
The Three Pillars of Tango
OPINION
Tango dancing has three pillars of personal development: taking lessons, practice, and dancing at the milonga. Each area of tango activity reinforces the other. Of the three, I personally think that practice is the most important.
Improvement in tango has a simple formula: for each hour of tango practice a person gains one hour of improvement. For each month of tango practice, a person gains one month of improvement. No practice, no improvement.
Continue reading "The Three Pillars of Tango"
Posted by joegrohens at 03:44 PM | Comments (0)
Research on high heels and flip flops
A new study suggests that walking down stairs while wearing heels raises the chance of foot and ankle injuries. But don't go too far the other way: A second study shows that flip-flops may lead to lower-leg pain.High-heel researcher Lalitha Balasubramanian says several studies have shown that just walking down the street in heels can lead to everything from blisters and bunions to backaches and sprained ankles.
In what she believes is the first study of its kind, Balasubramanian and colleagues looked at the motion of the ankle joint in 11 college-aged women as they descended a flight of stairs. Balasubramanian is a graduate researcher in bioengineering at Louisiana Tech University in Ruston.
Posted by joegrohens at 03:34 PM | Comments (0)
April 02, 2008
dance and the brain
via mash on tango-l
"How can watching one dance performance, whether classical ballet or the newest modern choreography, be so engaging—even thrilling— and watching another leave us indifferent? Dutch choreographer and researcher Ivar Hagendoorn argues that contemporary neuroscience points at the answer. The limbs move, but it is the brain that dances." Posted by joegrohens at 12:10 PM
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Beatriz sends me links to several of the artistic masterpieces of monuments that one finds in Recoleta. Posted by joegrohens at 11:32 AM
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See also: Interview with Yvonne for El Once Firenze ... KI DOJO ... Tango - Articles - Styles of Tango, Part I Continue reading "yvonne on tango styles 2" Posted by joegrohens at 02:28 AM
Firenze ... KI DOJO ... Tango - Articles - Styles of Tango, Part II INTERVIEW “STYLlES OF TANGO” - Part II Salon Tango can also be danced with a close embrace, as many tango tourists to Buenos Aires have noticed. This was, and remains, the practice in the centre of Buenos Aires, whereas in the Salon Tango of the barrios, or outer districts (Saavedra for example) the dancers keep a certain amount of space between the leader and the follower, while still maintaining the other features mentioned above. In the province of Buenos Aires (for example Avellaneda) the couples assume a horizontal V position with the apex at the right hand shoulder of the leader. Salon Tango uses steps that we can still define as “figures”, but these are not pre-determined and are not always danced from the beginning to the end of the sequence, as they can be interrupted according to the sense of the music and the available space in a salon. Posted by joegrohens at 02:24 AM
Tango lessons for blind teens - Nightly News with Brian Williams- msnbc.com Posted by joegrohens at 10:25 AM
As Dekay and others have noted, Pablo, the not-so-good leader, is blogging again. Tango: my life as a not so good leader -the sequel- Posted by joegrohens at 04:34 AM
Tina, in her blog Things to consider - siguiendo mi corazon, talks about what she is learning about tango while she is in Buenos Aires. She starts by talking about the differences between tourist tango dancers and the native ones. And that tango dancers in Buenos Aires are not all professional dancers like the teachers we meet here in the U.S.; they are "regular people with families, jobs, normal lives, who just like to go out dancing." Then she hits on the point-of-view of the native milonga-goer of Buenos Aires And then, here's the good part: Posted by joegrohens at 11:57 AM
On her blog Sallycat’s adventures, Sallycat tells the story of facing a choice between having connection or learning choreography. Posted by joegrohens at 01:02 AM
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Posted by joegrohens at 06:40 PM
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Sorin's Review of the NY Tango Festival (Oct 2007) expresses frustration with beginners who enroll themselves in advanced classes. Well stated, Sorin. I have been at festivals where the festival hosts put you into one of three groups, based on what they knew about you. You had to stay in your group and rotate with your cohort into each teacher's class. Some people rebelled against this and jumped into another group, which caused some problems in gender balance. For the most part, I thought that I was in the right level for me. Also, teachers do not have to teach in such levels as "beginner" and "advanced". The teachers could give something for everyone. It's the participants who want to have 'advanced' classes, which seems pointless given the way that beginners overestimate themselves and underestimate the tango. Even dancers of 3-5 years experience often underestimate the tango. Posted by joegrohens at 07:39 PM
Brassai, Conversations with Picasso, excerpt S is the shape of the ocho. Flip an S and superimpose it on another S, and you have 8. Posted by joegrohens at 06:38 PM
Juan Carlos Caceres has a new album out. Listen to: UTOPIA MP3 samples Posted by joegrohens at 12:33 PM
Paintings, Engravings, Commentaries by Roberto Scadutto. "Tango Que Me Hiciste Bien" (Tango that you did to me well) Posted by joegrohens at 09:59 PM
Following tango workshops I frequently hear women say that the guys weren't "ready" for the level of class they were in. I can understand the frustration, because in a class the women are at the mercy of the men in a way. On the other hand, it often happens that these very same women who are complaining have put themselves in an intermediate or advanced class when they themselves are also beginners. It's no excuse that the men did the same thing, but women who have sufficient experience will know enough to work effectively with the men in a workshop at higher levels. One of the young women who went to a national festival in August told me in detail about the low abilities of the men in the intermediate and advanced classes. But she herself started learning tango last Spring. I said, but, why were you not in the beginner classes? She said she thought the men would have been even worse on those classes. It makes sense that you will progress more if you are practicing with someone better than you. But it is very difficult to build good tango skills and concepts when you skip over the fundamentals, impatiently going for the more difficult material, the fancier movements, the styling, etc. When I study with ANY teacher for the first time, I take his or her beginning classes. One finds the most detailed explanations of that teacher's personal technique philosophy in the foundation classes. And everyone is brought up to speed together. One learns a lot. Whereas it is possible to come away with nothing when taking a class above your level, because if you can't experience it in the class you can't retain it. Another think that I see is that men need to have someone to practice with. Otherwise they won't learn anything. As soon as women start to get good they avoid classes and just take privates or the occasional workshop. From the woman's point of view it may possibly be the right thing for her development. But it doesn't help to grow the men so that we end up with a nice community of dancers. Maybe men need to practice with each other until they are good, like in the old days. When I practice doing the woman's part, I don't mind practicing with men who don't know what they are doing, because together we can usually figure out what they and I both need to do (tactfully). But I really dislike practicing with guys who think they know what they are doing when they really don't. They tell me what to do and blame me for not doing things right. They talk rather than lead. That's hell. I would expect that women should feel the same way - enjoy practicing with men who are "learning" and not enjoy men who tell them what to do despite the man's ignorance. But that doesn't seem to be the case. Women often only want to practice with the best dancers. And maybe that's because the men dominate them and abuse/hurt them in practice situations. Everyone is in the game to enjoy dancing, and there should be a way for beginners and advanced dancers to practice together with mutual enjoyment. I personally think that dancers of all levels should take the same classes together and practice together, and the teacher should have material in every class that is suitable for beginners as well as advanced. That's how I try to teach (but people don't seem to like it). I guess people feel that they need to be socially promoted and don't like being in a class with less experienced dancers... as if they are being held back from learning things. Sometimes that can happen, I guess, but I think that everyone needs to help pull each other up. Posted by joegrohens at 11:22 AM
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by Kevin Johansen Posted by joegrohens at 02:49 PM
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The Greatest Maestro of Tango in The World Terence Clarke, writing in the September 12, 2007 issue of Blog Critics, describes the teaching and impact of Gustavo Naveira following on his workshops in San Francisco this summer. Posted by joegrohens at 02:26 AM
Robert Fulghum, OFFICIAL Website - Recent Entries Robert Fulghum is learning tango and writing about it very nicely. Posted by joegrohens at 09:24 PM
Petroleo was an influential dancer who is said to have changed the tango during the 1940s. Something like the Gustavo Naveira or Fabian Salas of his day, I suppose, in terms of innovation and scope of influence. Petroleo died in 1995. Below are some articles that reference Petroléo.Recoleta

above Liliana Crocciat

Rufina Cambacerres
Luz María García Velloso -La Dama de Blanco-
March 19, 2008
yvonne on tango styles 2
Yvonne Meissner on Tango Styles
Tango de Salon - Stile Milonguero - Stile Tango Apilado
Interview with Yvonne Meissner
(translation E. Marsiglia)
We continue the interview with tango teacher Yvonne Meissner concerning the different styles and terminologies of Argentine tango, which was published in 2000 on the “E-American List”.
(Y = Yvonne, J = giornalista)
J: We’ve arrived at the term “Tango Salon”. I have heard different definitions of this, such as Club Style, Milonguero Style and others, but do these expressions always refer to the same style of tango?
Y: The expression Tango Salon encompasses all the styles of tango which are danced in a social context where, collectively, it is necessary to consider the movements of other couples. The name itself derives from the kind of place in which it is danced. It was born in the 1940s, when the middle classes began to attend the milongas (dance halls), and has two particular characteristics: 1) that the couple keeps the front part of their bodies and their shoulders directly facing each other throughout the entire dance, and 2) that the couple respects the speed and direction of the “ronda” (the rotating movement of the entire group in the milonga). Also in this salon style the dancers keep their heels on or as close as possible to the ground and do not execute figures that might interfere with other couples on the dance floor. The essential feature is that the dancing remains within the physical space created by the couple.
J: We can say then that the term Tango Salon refers to all the styles of tango that are danced socially, but how many of these styles exist?
Y: There are a number of forms of Tango Salon: Tango Liso, for example, is a simple tango walk. At most, the follower is led into a cross, but there are no turns or other figures. This form of tango was born at the beginning of the forties, when a part of the middle class in Argentina became interested in the tango and began to frequent the milongas (the daughters always being accompanied by some member of the family). They wanted to experience the pleasures of the new dance without having to mix with the lower social classes, who had been dancing the tango since the end of the thirties. Some of their figures, the ‘gancho’ for example (which in the thirties was only performed by men) or other similar sequences, had a sexual connotation both for the dancers and for those watching. Because of this, Tango Liso became the only form of tango that the daughters of the ‘respectable’ classes were allowed to dance. Some milongueros today still dance the Tango Liso but only in the authentic milongas, which the tango tourists do not normally attend. Tango Confiteria and Club Style are also forms of Tango Salon which are danced socially in the milongas, either with a close embrace or with a certain distance between the leader and follower
J: Tell me ’one last thing’: what differentiates Milonguero Style from Apilado Style?
Y: The Milonguero or Close Embrace Style are terms which describe the tango danced by the milongueros of Buenos Aires in contrast to the Tango Fantasia which was introduced by Todaro, and is now danced throughout the greater part of Europe. In 1993, a performing group of authentic milongueros came to Holland and taught what they called the Milonguero Style, which, for them, was just a general term for Tango Salon, but because they danced with a close embrace, Milonguero Style became the term for this ‘Buenos Aires’ way of dancing. Tango Salon in the Apilado manner is the same as Milonguero Style i.e. with the couple dancing in a close embrace. The term Apilado can be interpreted loosely as “put yourself forward” for the leader or “lean towards the leader” for the follower, which describes the kind of close embrace used by the milongueros from the centre of Buenos Aires. As the dancers lean towards each other (more or less according to preference) they share a third axis, creating, vertically from the heels, a /\ formation in which the apex of the /\ corresponds to the upper part of both bodies where the couple are in contact. In addition the follower embraces the leader by putting her left arm around his neck towards his left shoulder. Since the 1990s, this style of tango, which historically was danced only in the centre of Buenos Aires, has become more and more widespread, especially in Holland.
J: Thanks, Yvonne.December 12, 2007
Tango Lessons for Blind Teens
In an age of hip-hop, rock and salsa, they and about two dozen other blind or visually-impaired teens were learning the intricate art of Argentine Tango, and in the process found they had gained a whole lot more in terms of physical stamina, social skills and confidence in themselves.
"This class has helped me mature a lot," said Alvarez. "I'm not a big ice-breaker. To start to ask somebody to dance is not my thing, but I can do it now that I've gotten more involved in this class."
December 09, 2007
Pablo Redux
December 08, 2007
What it's like to dance tango with an Argentine man
The rest of the porteños in the milongas are people who don’t always have the extra money to pay for private lessons every week. Or perhaps they don’t feel the need because technique isn’t necessarily their main goal. A lot of times they are people who learn in the milongas and have a deep “something” inside for Tango that is hard for us to understand consciously … they are what we call milongueros.
Sure, some of them do want to challenge themselves and sign up for lessons here and there, but what I witnessed when I was in Buenos Aires and took a class with Geraldine Rojas and her husband Ezequiel, was that most of the students were foreigners. I found out that they really don’t get a lot of locals.
Next time you are lucky enough to have a lesson with one of the Tango greats down there, try to be sensitive and remember that not everybody in Buenos Aires is able spend their money on lessons with expensive teachers.
Why do I have a preference for dancing with the men of Buenos Aires? It’s not because they know fancy steps that they learned from a well-known teacher, and it’s not because they lead perfect turns. It’s because they dance WITH ME. They’re not dancing with me to see how well I follow, to test me, to show off, to see if I’m good enough - they are dancing with me to dance with me. They find me, they find where I am in the music, they somehow magically understand where my center of gravity is and take good care of me on the dance floor. This, my friends, does NOT come from countless private lessons with (insert hot shot teacher here). In my opinion, it comes from something else.
Connection vs Steps
The first time I danced with Carlos in April it felt like a dream come true. [...] I hadn’t cared what he had done with his feet, what his technique was like, whether he led the ‘wow’ moves… oh no, none of that. And perhaps more to the point he hadn’t cared what I had done with my feet. He was dancing with a beginner, but he never once showed me that he noticed. He never spoke a word about my tango. He just made me feel beautiful.
November 06, 2007
Cicero on Dance
"For hardly any man dances when sober, unless he is insane. Nor does
he dance while alone, nor at a respectable and moderate party.
Dancing is the final phase of a wild party with fancy decorations and
a multitude of delights."
["Nemo enim fere saltat sobrius, nisi insanit, neque in solitudine
neque in convivio moderato et honesto. tempestivi convivi, amoeni
loci, multarum deliciarum comes est extrema saltatio."]
--Marcus Tullius Cicero, Pro Murena
October 29, 2007
More on Levels
Group classes - My frustration with group classes was renewed. Unless one goes with a partner, it's a complete waste of time. There were people in the advanced class that could not lead or follow the cross. So, for whoever reads this, taking a group class significantly above your level is not only a waste of your money and time, it's also a waste of money and time for whoever is unlucky enough to be partnered with you. I wish teachers would have enough balls to kick people out of the class if they are not at the level required.
October 24, 2007
The line of the S
Among all the letters of the alphabet, the capital S is the most graceful.
"And what other movement determines the S line? Its aesthetic efficacity has long been noted by artists; the great English painter Hogarth, in his Analysis of Beauty, even extols it as the most perfect line, calling it the 'Line of Beauty.' In the engravings that illustrate his book, which he himself did, he shows multiple examples of its success, in the forms of the human body, in those of a flower, in the felicitous fall of a drape, or in the outline of a piece of furniture" (René Huygue, La puissance de l'image).
October 23, 2007
Utopia by Juan Carlos Caceres
October 07, 2007
Tango Art by Roberto Scadutto
October 01, 2007
Levels in Tango Workshops and Classes
September 17, 2007
La Tangomana
September 14, 2007
Review of Gustavo Naveira in San Francisco
A class from Gustavo and Giselle Anne begins simply enough. He is not a tall man, in his forties with very dark hair, who dresses for the classes simply in a pair of slacks, a sport shirt and shoes. Seeing him walk across the street, you would not suspect that you were watching a volcanic arbiter of great dance and a noted historian of the genre.
[...]
When she and Gustavo first walk onto the dance floor to address waiting students, those who are unfamiliar with them will not be prepared for what they are about to see ... and to learn. Gustavo will begin with something like, "Well, today we are going to think about 'ganchos'," the widely-known move in which one partner's leg encounters that of the other partner in a kind of hooking motion. It's an invasion by one partner of the other person's space that, when done properly, provides an electrifying moment of conflict, engagement, and resolution. It at first appears, if not impossible, at least rather risky, and to be sure there are simple ganchos as well as very complicated ones.
Gustavo will survey the circle of students, holding his hands out, his shoulders hunched, a questioning look in his eyes. "Now what do you suppose a gancho really is?" he will ask, and therein begins a long, thoughtful, and conscientious discussion and demonstration of a move in tango that defines the very form itself.
He and Giselle Anne will demonstrate the various concepts of the 'gancho' upon which they've based their ideas, and the demonstrations become more and more complicated as the session moves along. What is heart-stopping is the beauty of what they have to show and the organization of thought that Gustavo brings to his teaching. They have ruminated deeply about these moves and interactions, and this is especially clear in the interplay between showing the thing to their students, helping the students do it, and then talking about it. The dance sequence takes just a moment. But the practicing and the talking may take all day, with many, many more illustrations, in which the gancho changes from something we students have seen and maybe can do in some elementary way into a living, breathing personification of the entire history of tango ... and all the possibilities that exist in it for people of ability and adventuresome creativity.
September 08, 2007
Robert Fulghum
September 05, 2007
Who is Petroleo?

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Luis Rubistein composed "Inspiracion" and many other famous tangos. His grandson has now produced a beat-track remix of several of these pieces.
You can listen to them on this website: Rubistein Revisited
On the next page I reproduce a message I received from his grandson, Mariano Rubistein.
Continue reading "Luis Rubistein Revisited"
Posted by joegrohens at 07:24 PM
August 01, 2007
Tango for Parkinson's
RADIO KWMU NewsRoom: Parkinson's patients tango their way to treatment
(Click to enlarge)
St. Louis, MO - Two researchers at Washington University's School of Medicine in St. Louise are studying the therapeutic benefits of dance.
This article talks about a program where Parkinson's patients are assigned to various movement forms - Tango, Tai Chi, Fox Trot, Waltz.
Excerpt:
Madeleine Hackney is one of two researchers conducting the study and is also the dance instructor. She was a professional dancer in New York City for 11 years.
"The tango in particular is a very improvisational dance form," Hackney notes. "So, the steps are varied, they can choose the steps that they want. They are seldom wrong by choosing a particular step."
Hackney says they're finding the fox trot and waltz are also promising therapies, because the steps are more codified. So after step A, B must follow. This helps with balance and mobility in the patients.
The people in the study span in age from 37-79. Some are assigned to tango, and others are assigned to Waltz and Fox Trot, or Tai Chai, which they're also looking at as a possible therapy.
Dr. Gammon Earhart, assistant professor of Physical Therapy and the project's main researcher, shows off the technology as he asks patients to stand on one leg or with one foot in front of the other for as long as they can.
"We also have this device here on the floor which is an instrumented walkway," Earhart said. "It's like a piece of carpet with sensors built into it. And as a person walks along that walkway their footprints are painted on the computer screen.
"And we can analyze all the different features of their walking from those data."
An MP3 radio broadcast of this story is also available on the website.
Posted by joegrohens at 06:03 PM
Finding Connectedness in Buenos Aires
Finding Connectedness in Buenos Aires:
Argentine Tango as Antidote to the Human Condition
(PDF) by Steven F. Freeman
An interesting academic paper describing the writer's experiences of Tango in Buenos Aires.
Posted by joegrohens at 12:46 PM
July 30, 2007
Maria & Matias
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{ From .trip.tango.paris.: stage 10 juin advertising a workshop. } This is a good example of tango dancer's torsion, as well as lattisimus development. What do you think they are doing, back ochos, front ochos, a turn to the left, a turn to the right? Can't tell because the technique is the same for all of them. |
Posted by joegrohens at 11:17 PM | Comments (1)




