Monday, 29 June 2015

Go outside and look now

Look towards the sunset right now and just above the roofline of a house as far away as the other side of a car park there are Venus (big) and Jupiter very close together (small, higher, to the left - or lower and to the right, if you are in the Southern Hemisphere - no, wait - it seems like that should work but I am not sure there is anywhere you could actually see them from). My binoculars are not achromatic, and my eyes are not perfect either, but in the twilight I can see one, maybe two moons of Jupiter; and convince myself that Venus is a fat crescent, like the lady in Midsummer Night's Dream, with her belly toward the Sun.

TITANIA

    Set your heart at rest:
    The fairy land buys not the child of me.
    His mother was a votaress of my order:
    And, in the spiced Indian air, by night,
    Full often hath she gossip'd by my side,
    And sat with me on Neptune's yellow sands,
    Marking the embarked traders on the flood,
    When we have laugh'd to see the sails conceive
    And grow big-bellied with the wanton wind;
    Which she, with pretty and with swimming gait
    Following,--her womb then rich with my young squire,--
    Would imitate, and sail upon the land,
    To fetch me trifles, and return again,
    As from a voyage, rich with merchandise.
    But she, being mortal, of that boy did die;
    And for her sake do I rear up her boy,
    And for her sake I will not part with him.


A passage the context of which had made little impression on me as a youngster. The speech was much stronger when I looked it up just now, compared to what I remembered.

Update: most readers will have missed that because it took me so long to fix the formatting, but the bright thing at at 3 o'clock from the Moon right now (or 9 o'clock if you are the other way up) is Saturn, and in my binoculars it is an oval blob, not a circular blob like Jupiter is.

Monday, 22 June 2015

58, crore, and 27

This is brilliant. I've known about crores and lakhs since about 2001, although I always have to look up what they are (one lakh is a hundred thousand, written "1,00,000"; one crore is a hundred hundred thousand - or ten thousand thousand, or ten million, written "1,00,00,000"). If you don't know them already, you will meet them a lot if you start reading articles about bribery and corruption in cricket. But this video gets way better than that. My favourite part:

"and I think that's one of the best things about linguistics, about being human, about all of this, someone on the other side of the world, something that they will consider absolutely normal, will completely blow your mind".

Sunday, 7 June 2015

The Travels of Tuneage - Dark Eyes

It appears that the words of the song known as "Dark Eyes" were written by a Ukranian poet called Yevhen Pavlovych Hrebinka, who published a Russian version in 1843, possibly as a compliment to the woman he later married. It was then set - it doesn't seem clear by whom or when - to a waltz written, probably in Russia, perhaps as early as the 1810s, by a German (or possibly French) composer called Florian or Feodor Hermann.

First, here's the playlist link for this post, in case you want to open it in another window and just let it play.

The title of this waltz is given by Wikipedia and others in French as "valse hommage", but this pianist, Alexander Zlatkovski of Alaska,  calls it "Recollection", which seems to me like a reasonable translation. His research has found one account saying it started out as a march and was changed to a waltz by the composer, which is interesting in relation to what happens later, although he's not at all convinced.



The result - perhaps with a minor rewrite adding some gloomier words, since Hrebinka and the young lady seem to have got on fine - was the song popularised by the Russian bass Feodor Chaliapin. The title Очи чёрные is written in several ways in Roman letters, but most often as "ochi chornye". A similar version is played by violinist Albert Sandler in this Pathé clip (not on the Youtube playlist).



At about the same time - 1915 to 1920 - it seems to have been rewritten with English words by an British Italian composer, Adalgiso Ferraris. He made one big change; the rhythm. Here's Al Bowlly singing. Rhythmically and melodically, and minus the over-drastic changes of speed towards the end, this would be a sweet tango, a bit like Rafael Canaro's French ones. It doesn't have enough oomph for me, and it's too dominated by the vocalist, but it's quite nice.



Ferraris is also the credited on this '78 by Harry Parry and his radio sextet; but they're taking it in a totally different direction, dancewise.



Toto, I don't think we are waltzing any more.

Nor, apparently, did Louis Armstrong, or his percussionist:



That's the one that started me making this little collection, when Deborah Segantini posted it on Facebook.

 So, we get lots of different versions, each artist adding their own riffs to complement the simple and memorable tune.

Django Reinhardt called it "Les Yeux Noirs".



This French movie version of Les Yeux Noirs, is a waltz again, with accordion. But only until the end of the vocal line. Then it changes at 1:50 and goes for the 'gypsy' sound.



This bombastic performance by the Red Army Choir does the same thing. Eventually.

There's also a German waltz version which seems to be just a translation - Schwartze Augen - of Chaliapin's hit, and, in my opinion, need not detain us, not even on the playlist. I far prefer the drunk-sounding jazz one from the soundtrack of Das Boot.

Chet Atkins' version follows Les Yeux Noirs in starting out as a waltz and then changing after the first minute and doing something else.



I can't really compare all these very different styles of music. But of all the ways this melody gets extended and enhanced, I think Francisco Canaro's B-tune in Ojos Negros is exceptionally good. Instead of brilliant variations on the tune and rhythm, this beautiful tango - with Roberto Maida singing the Spanish words - adds a second melody the equal of the first. As far as I know, the second melody is original to this piece - if anyone knows otherwise, do put it in the comments.



Now, let's meet a totally different sound world. This one was written in Sundanese (the language of the western part of Java) by an Indonesian composer Ismael Marzuki in honour of his wife, who was from round there.



It actually reminds me, a bit, of the more lyrical kizombas (kizomba is the "angolan tango" that I sometimes play at work to drown my colleagues' wittering - check it out on YouTube. It varies a lot).

 Panon Hideung comes in a Karaoke version, with dancing. Go on, click.



You may already be wondering what this song is called in Japanese.

It's called Dark Eyes. The title is written 黒い瞳 and pronounced Kuroi Hitomi. Embedding is disabled on this version by popular 50's crooner Frank Nagai, whose singing I must say is lovely. I thought I had the wrong thing at first, but then realised it does the reverse of what Canaro does: the words have their own, different melody, and Dark Eyes doesn't come in till 1:38, with the instrumental section. There's a very regular ballroom tango beat.

Once you know how to copy/paste the title, you can quickly find versions with the "Dark Eyes" melody sung. Here's a Karaoke one. I notice "J. Iglesias" is mentioned in the opening credits. Investigating Julio Iglesias' involvement with this particular tune is left as an exercise for the reader. there are probably lots more directions we could go in.

I will sign off for the night, however, with this indescribably sweet Japanese choral take. It's a waltz to begin with, then changes, like Les Yeux Noirs. It seems a lot of mid-twentieth-century French songs have versions in Japanese, and that may well be where this came from.



Special thanks go to Deborah Segantini for the idea and to Hidemi Asano for her Japanese research.

Sunday, 24 May 2015

Guess the winner

Here's a bit of fun. The Campeonato de la Ciudad de Buenos Aires (City Championship) is different from the Mundial (World Championship) and in my opinion a bit more watchable.

Here are the tango, vals, and milonga finals. The same couple won all three, which apparently isn't what usually happens. Why not watch them and see if you can guess which one it was? I don't know if I would have guessed right or not, because I happened to see who had won before I found these videos (so will you, if you Google it, so don't if you want to play).

All the videos are courtesy of Aires de Milonga, and as far as I can figure out it's okay to embed them. Go ahead and visit the website, there's all sorts of interesting stuff on there. First the tango:


Milonga:


And Vals (this one includes the introduction of the couples - ff to 03:15 to skip that):


There's a copy of the rules and format available at Puntotango.ar - I don't know if it will remain there. The part about what the judges are looking for is headed DEL CERTAMEN (PARÁMETROS DE EVALUACIÓN).

But the reason I posted this is that I really like the result. I really, really like their dancing, and I think they look as though they are dancing for fun with each other rather than trying to show off. As though they are really surprised and delighted to be there, but not letting it get to them. In between dances they do the sorts of things that people normally do when the music stops, like looking a bit hot and out of breath, fidgeting, flapping about and bumping into their neighbours (which incurs no penalty, between tracks). They are very rhythmical and musical; they are not scared to stand still at the right moments. To find the answer you can watch the presentations: either go to Aires de Milonga and scroll down for the whole lot, or watch the first one, the vals, here (04:43 for first place) and the milonga here. Note; there are ties for fifth place in the vals and second place in the milonga. I like the presentations too. Everyone looks so pleased. It must be lovely to have someone in your life who is having such fun and wants the same thing so much.

On Following

Ok, this started in a facebook thread about a video. But it's too long. To summarise, a lot of people are very anxious to spell out that "following does not mean the woman is submissive in tango". I can see why. I can see lots of causes for people feeling bothered about the possibility that people might think that. People saying silly things on Strictly Come Dancing is only the most obvious. But I also think we often make this too complicated. And people worry sometimes about whether the terms "lead" and "follow" are the best terms.

I think that particular debate is backwards. If I were teaching this to someone else, I would use "leading" and "following" rather than any other terms; but I would point out what they actually mean, along with a couple of other things.

"Following" someone, or something, is an active process by definition. It is impossible to "follow", other than on purpose. I can "follow" you home, or along a crowded street, whether you like it or not, but under no circumstances can you "lead" me, in any context, unless I make a continuous and active choice. Leading, by definition, is acting in such a way that one or more people decide to follow you and thereby attempt something which they have now decided should happen. It is quite possible to lead accidentally, at least for a while, if someone takes it into their head to follow you. And success in leading - in any context - can only be defined in terms of other people's actions.

For me the terms are fine, and following is obviously and by definition the beginning, heart, and end of the whole process. The dance starts with one person's decision to follow another, continues with their decision to continue, and ends with their decision to stop. Leading, and everything else, is the play and fun of finding out what the couple can do with that.

The delightful 'floating' sensation of non-volition which you sometimes get when following, especially as a beginner, is not because the leader is magically making you do stuff; it's because a lot of the cognitive and physical skills you are using are ones that you're not normally conscious of at all. So you have no idea they are happening, or how unbelievably complex and powerful they are; you just use them without thinking about it or realising you've done so. You think it's happening without will, when in fact it's just happening without consciousness. It starts out as animal process, and you get better at it by refining and building on what the animal can do.

The better I get at leading, the more ability I will have to 'follow back' those followers who do it well enough that they communicate to me what their animal wants to do. This is a lot of fun.

The fact that this dance is, at the same time, a specifically gendered role-playing game, may add to the fun in many ways (at least, it certainly does for me) but it also misleads our thinking. The only reason anyone ever interprets the concept of 'following' as anything less active and self-determining than, say, a batsman hitting a good bowler for six1, is that in the evolution of this dance it is the female gendered role. If this were not the case, then "following" would be interpreted in the sense that a hunter "follows" prey.

It's not the other way around. It's not that women are assigned a passive or subordinate role. It's that the role assigned to women is therefore misinterpreted as being passive or subordinate, despite that interpretation ignoring the normal meaning of the word and completely erasing the real process of improvisation and the core of the dance itself.

You do not have to feel low-status because you are not currently deciding what specifically happens next. You can delegate responsibility for that question without feeling guilty or ashamed about it. What specifically happens next is not really where the creation happens or what the dance is all about. Any creation that happens is already in terms of you. You can also, in my view, enjoy a gender role-playing game without feeling guilty about it. Do what gives you pleasure; that is precisely what partner dances are for.

----------------------
1 Not actually a bad analogy for following some difficult or overexcited professionals. You might object that bowler and batsman are adversaries, not cooperating. Of course they are cooperating. They are cooperating in a game of cricket. The only matter of dispute is who wins, which is nothing more than a factitious notion technically required to get the best out of the partnership. We know this because people climb up Kilimanjaro and sail to to Antartica specifically in order to play cricket with each other in calderas or surrounded by penguins.

Saturday, 25 April 2015

Approach to Leading

Since about January 2014 I've been taking my leading more seriously. I was curious, and wanted to dance with the women as well. They're great. So that meant I needed to choose an approach to how I was going to do that.

I have had a lot of education and I know a lot about how I learn. If I take a class as a leader, with not much experience of leading, then I will spend 99% of my time and effort trying to work out what the teacher wants me to do. Physical actions that you cannot already do yourself are very difficult to comprehend visually. It takes a lot of time and repetition. Actions you can already do, intentionally not just physically, are easy to comprehend.

This is true even in high quality classes. If the class covers something I can't already do, I'll be very lucky indeed if I ever get to work on that thing in any meaningful way.

For basic classes, there's also the problem that I'll be dancing with beginners, which is fine for an enjoyable dance if you already have the skill-set for it as a leader, but is extremely inefficient for learning.

I've also already taken a lot of classes, in which I paid attention and stored the information which I'd never have been able to remember if I'd been trying to lead at the same time. Most classes are, in my experience, much more potentially useful to the followers than the leaders, even - and often, especially - the kind where they don't really talk to the followers at all. I say potentially, because you have to think about what's happening to get the best out of them. But as a follower switching partners, you get the opportunity to really listen, plus lots of great practice and reliable experimental data.

As an experienced follower learning to lead, I already know what I should be doing, what I can do, what I can't do, and what I want to learn. I also have a lot of friends who are really good followers, and who are willing to help me out, and in some cases are doing the same thing themselves, so we can swap.

When I have access to a suitable floor and a suitable person to practice with, I want to spend 100% of my time putting in the miles and the physical effort and experimentation that's necessary to go from knowing it to doing it and understanding it. If you have a full time job and you dance socially as well, practice time with a floor and the motivation and a good follower is a scarce resource.

But I still need to decide what to do in each session.

Everybody knows that collecting moves doesn't work; the right approach is to work on skills. If you have the skills then the moves are not a problem, you just do them. If you don't have the skills then you can learn moves, but you'll be faking them and it will show. But - you work on skills by doing some particular movement. And there is absolutely no substitute for dancing in the milonga.

So, from about this time last year, I've been making sure I lead sometimes in social dancing, practicing, and studying.

Studying? Yes. Since I started dancing, there has been an explosion of high quality videos of high quality dancing. I can download the ones I find useful from YouTube using something like savefrom.net, put them in my secondhand tablet, and study them on the Underground on the way to and from work. I can watch people do things and try to deduce how they're done.

So, my approach is to work on a skill if I know exactly what it is that I need next, and can work on it in isolation. I always have in mind some overall idea of what skills I am currently working on; what it is that my body needs to get the hang of.

But when deciding where to start in a practice session, I can pick something from a video that I want to do and can't do, watch it over and over on the Tube and try to imagine how it functions, and when I actually have a partner in front of me I can try to do it. Normally, it won't work at the first attempt. We can then both try to find out why not, or find some part of it or some related thing that does work. Then I can go away and watch again, armed with this new information, and I will probably discover what I misunderstood or what skill was missing and has to be learned first, before whatever this is will work. Often, I find that I totally misunderstood what was happening; I've sometimes been doing a mirror-image. Then I can try it again next time I have access to a partner to practice with. Something, even if it's not what I aimed for, will click that time or next time. If not, I can work on something else and come back to it later. By repeating this process, I will almost always learn something, and whatever it was has a decent chance of staying learned.

Another thing videos are useful for is seeing different approaches to music. I might have danced a certain orchestra with someone who hears it one way, and liked it, but then find that that approach just doesn't work for me as a leader. I may find a video with an equally good one, that does. Or I may find a video with a particular orchestra that suggests a more practical, achievable or floor-friendly way of dancing it than my first instinctive response.

One thing I've really noticed is that as I learn more movements as a leader, it becomes easier to comprehend visually what other people are doing. I recognise more and more elements of what I see. I spot movements that it would not have occurred to me to make, and how they are being used. Suddenly I realise which different things are really the same, or have something in common.

Once I can already fairly easily do most things in the class, only then does it become possible to take the class without feeling that it's a complete waste of time. Most of the time, though, they aren't my best opportunity for progress.

The process is also a ton of fun. I enjoy doing it myself far too much to pay someone else to help me, beyond advice and feedback if I get stuck with technique. Although that doesn't mean I don't want to hear people's thinking and different descriptions of how they do things. I do. You can learn a lot from the differences and the common ground.

Thursday, 19 March 2015

Strictly Come Dancing and the Tango World Championship

This post is here to clear up some mysteries about Argentine Tango on Strictly Come Dancing. It's going to be pretty long and it is VERY old news, that is, several years. [Update - I've just been forwarded a press release for "The Last Tango" dated 24th April 2015 repeating the claim "Vincent Simone and Flavia Cacace - World Champions", so maybe not such old news after all.]

So, the mysteries. I have started from the premise that I am seeing, not a wickedness or an incompetence to be criticised, but a mystery to be explained.

If you're an SCD viewer and not particularly into tango, you may want to refer to Argentine Tango for TV Viewers. If you haven't got time, then just take it as read it's a ballroom show, and that's a totally seperate, unrelated community and practice to what I talk about on this blog.

The mysteries, in essence, are:

1.Why is it that when the Argentine Tango comes along, the celebrities usually look like perfectly decent beginners (and the men tend to look better than the women), but the professionals look awkward, stiff, effortful and disconnected? Sometimes, with good choreographies, this doesn't happen - but usually it does.
2. Why do the judges and commentators sometimes give technique advice for tango that appears to  contradict what we normally do in tango?
3. What exactly were Vincent and Flavia "World Champions" of?

It turns out, after some research, that the answer to each of these things explains the others, in reverse order. So I'll start with number 3.

What exactly were Vincent and Flavia "World Champions" of?


Here is the un-forgettable Bruce Forsyth, in an episode broadcast on 9th December 2007. At twelve seconds in, he says:
"Please welcome the two-times World Argentine Tango Show Champions, our very own Vincent and Flavia!"


Vincent Simone and Flavia Cacace are a dance teaching and performance partnership who appeared on SCD for a few years. There is currently no such claim on their official site, but there is something like it on the website of their stage show, http://www.dancetildawnonstage.com/staff/:
Titles include: UK Professional Ten Dance champions 2002–2006; UK Professional Showdance champions 2003–2006; UK Argentine Tango champions 2006 (first time competition has ever been held); World Argentine Tango Show champions 2005/2006; UK Ballroom champions for several years; World and European Ten Dance and Showdance finalists 2002–2006. 2006 saw their move away from competitions, and from the fourth series onwards, into recurring roles on BBC’s Strictly Come Dancing.
The UK part is clear. In 2006 there was a UK feeder competition for the Tango World Championship or Mundial de Tango, held at Negracha Tango Club.  According to friends and acquaintances who were there, there were very few entrants, and not of a high standard. Vincent and Flavia did a professional job, treated the event with respect, and won. No similar event was organised again until 2014 (see mega-footnote 1).

The "World Champions" part is the mystifying one. It sounds like the next level up of the same competition; but that's not true.

 This is the performance that won the Escenario ("Stage", or "Show") category of that same tango word championship ("Mundial de Tango") in Buenos Aires in 2005. The couple were German Cornejo and María de los Angeles Trabichet, of Argentina. German Cornejo, incidentally, is the choreographer of the current Tango Fire show at the Peacock, which I reviewed here.



In 2006 it was won by a Colombian couple, Carlos Alberto Paredes and Diana Giraldo Rivera. I can't find video of the performance, but there is plenty of video of them doing later demonstrations. Here's a tango-nuevo one, the style I think they look most at home in.

Neither of those couples, obviously, is Vincent and Flavia.

The Tango World Championship, or Campeonato Mundial de Baile de Tango, has been held in Buenos Aires annually since 2003. It has two categories, Salon (which means ballroom, that is, improvised dancing suitable, at least in theory, for a sufficiently roomy social dance floor) and Escenario (which means stage, that is, choreography suitable for the stage). It's very well known. I should clarify that not everyone who dances tango is particularly crazy about either the concept or the contents. Competition isn't much of a thing in tango communities; and a lot of excellent dancers, maybe the majority, maybe even a large majority, are uninterested in the Mundial or the styles of dancing that it promotes. However, it gets entrants from all over the world who dance extremely well in those styles. Most people who dance tango have heard of it at least once. It's definitely the only tango competition of which that is true. It's difficult to win, it's definitely prestigious in a certain way, and people get substantial career benefits as teachers and performers from doing well in it.

Although the official website of the championship is unhelpful, Wikipedia has a convenient listing of the winners from 2003, when it was first held. The first few years have had  to be compiled from newspaper reports, so I included those links above.Vincent and Flavia have definitely never won it in any year. So what was Brucie on about?

The obvious path is to email Vincent and Flavia at the address given on their website, and politely ask what competition it was that they won. So I did that. I got the following reply:
Hi Flavia

Can you help me with the answer to this one, or shall I ignore it? G X X 
This is what your web site used to say
2002-2006 UK Professional Ten Dance Champions,
2003-2006 UK Professional Show Dance Champions,
2006 UK Argentine Tango Show Champions,
2005/6 World Argentine Tango Show Champions,
2002-2006 World and European Ten Dance and Showdance Finalists

(Highlighting mine). This was actually rather helpful, as otherwise I wouldn't have been sure that they'd ever made any such claim themselves. Since it seemed needless to pursue an unwelcome correspondence, when I'd stopped laughing, I did a bit more asking around, with the help of a few friends.

The extremely careful and detailed stats website Ultimate Strictly has the following rather different information:


  • Negracha club UK Argentine Tango Champions, 2006
  • IDO World Argentine Tango Finalists, 2005/2006 (3rd place overall - winners, Show Tango section)
  • Aha! Ultimate Strictly to the rescue. So we're talking about an Argentine Tango championship created by one of the many general dance competition organisations, in this case the International Dance Organisation, IDO. They organise loads of  competitions, for all sorts of dances, and they classify Argentine Tango along with Salsa, Merengue, and West Coast Swing, under the "Special Couple Dances Department".

    The IDO's website says this:

    "Special Couple Dances department

    Some of these dances are traditional favorites all over the world. Salsa and Argentine Tango have probably some of the largest dance communities in the world today."
    My compliments to the writer. I might have done the same if I'd been paid to write copy for the website. It allows the reader to infer, if they wish, that this competition has a connection with that large dance community, without in any way saying so. Nicely done.

    The IDO's website only has results since 2008. So I emailed them, and they were extremely helpful, just as I would have expected from a professional ballroom dance organisation. The Vice-President, Klaus Höllbacher, said that no official results were available for years before 2008, but he was able to confirm the following from his personal notes:
    They have danced for the UK in Seefeld, Austria:
    European Championship Tango Argentino 2005 = 4th Place
    World Championship Tango Argentino 2006 = 3rd Place
    Unfortunately, no detail was available on the 'tango-show' section, if any. So, to summarise:
    • It looks as though they were, in 2006, placed first in an the "Show Tango" subcategory of an Argentine Tango category of a multi-category competition organised by IDO. They placed third overall. The IDO office was unable to confirm the Show Tango part, as they have not retained detailed records from that year, but there is still such a category, so this is surely correct.
    • The IDO competition does claim to be a "World Championship". It  is certainly not the one that people have heard of, as far as tango is concerned, but it is called a world championship by the people who do it.
    • They were in 2005 placed 4th in the IDO European Championship.  I don't understand the "2005/6" thing, but my best guess is that it  refers to some progression from IDO European to IDO World Championships, not a "two-time" anything.
    • They did once enter the UK section of what would normally be referred to as the "Tango World Championship", on that night at Negracha in 2006, where they won.

    I looked for video of the IDO competition, to get an idea of it, and I found this of the "Vals" final in 2012, and this of the "Milonga" semi-final. I would describe the milonga as awkward, hurried, disconnected, stiff and clumsy flailing in the general direction of the music; some of the vals is better, and looks like you might see from some long-term students in the intermediate class at a tango-salon kind of place in London. I am less inclined to criticise the samples of show-tango from 2012; I think the first one of those is sweet, sincere, technically nice, and more meaningful, musical, and engaging than tango-shows normally allow themselves to be. As for the second, although it doesn't look quite like what you'd see in Tango Fire, I've certainly seen far worse from people who ought to know better. It's interesting to see two such different approaches. Sadly, the first couple don't seem to have been placed. But they're dancing more like Mundial-style tango-salon, so I can understand that.

    It seems only fair to mention at this point that I haven't seen Dance Till Dawn, but I'd expect it to be better than Tango Fire. Tango stage shows tend to be technically accomplished but unimaginative,  and shows that use a variety of dance styles do a better job of being entertaining.

    As for the original claim in the video - the "two-times" part is an reasonable reading of the "2005/6" thing, but it appears to be wrong. It would be equally understandable for the viewer to assume that "World Argentine Tango Show Champions" referred to the Mundial, if they were aware that it existed. But mistaken. However, I think that most Strictly viewers who were into ballroom dance would be more likely never to have heard of the Mundial, and to correctly understand it as referring to something like the IDO competition. In their case, the only misunderstanding would be the assumption that it was world-class tango, which in my opinion is also very mistaken. But they might well not make any such assumption at all.  The general public might assume that world championships in dance are the same kind of thing as world championships in sport - but that's probably not a safe assumption for any kind of dance, least of all those that have real social communities.

    2. Why do the judges and commentators give such surprising technique advice?


    Short version: If you want to win a ballroom dancing competition that has AT as an event, like the IDO one we discovered above, all the advice given on Strictly is probably pretty good. Just don't expect anyone at a milonga to think you dance well.

    Long version about how it's a bad idea to "kick! from the knee!", as advised on an ITT episode in December - edited out: if you want some better advice, Oscar Casas explains it briefly at 00:42 here. To me, the difference is huge and explains the huge difference in how everything looks; but I also think you have to know what the tango way looks and feels like, and you have to try both methods in the context of dancing as a connected couple, to appreciate what the difference is and why it matters.

    On the same show, I thought following was explained completely wrong, but talking to ex-ballroom-professionals revealed that the explanation made sense from that point of view, given the changes they have to make to adapt to tango. So this also depends where you start from and what you are trying to achieve.

    As for arguments about the embrace, tango people argue about that all the time anyway.

    3. Why do the celebs look like perfectly decent beginners, but the pros tend to look just stiff?


    The pros are generally ballroom pros who have carefully adapted their dance in way that would do well under the rules and description of Argentine Tango for the IDO competition (page 81 in the PDF). Tango dancers - social and professional - use a range of rather different techniques which it would take far too much time for a ballroom pro to learn, and which the videos suggest wouldn't benefit you in that sort of competition.

    The celebs haven't been through this training, so they look like beginners who are trying to lead and follow, which normally looks fine. And the reason why the men look better than the women is that they mostly aren't being told to "kick from the knees", or indeed kick at all, and they also aren't attempting to do anything that physically can't work. Both the beginner women and the professionals are usually trying to do things that only look good if you've got a specific, very relaxed technique that just isn't there. Doing what Oscar says at 00:42, and having it work, physically takes more than a week's or a month's practice.

    It's certainly possible to do a good job of Argentine Tango coming from a ballroom/latin background, especially with the right partner, but I would expect it to be quite a lot of effort.

    As for the question of why nobody sorted this out before, I think the answer is that nobody cares. It's taken me bloody ages, and I think these interactions, confusions and relationships are actually  interesting.

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    1. The attempt to hold a UK competition was not repeated, as far as I know, until a different organisation had another go at the franchise in 2014, billing it as a "European Championship" and accepting entries from various countries, which is a whole other story. I watched the first round, and got a lot more entertainment for my £20 than I expected. There were thirteen couples, generally of a low to reasonable standard, but there was, again, one professional couple who turned up and treated the event with a great deal more respect than it deserved - for their own reasons which became clear afterwards and had to do with qualification for the actual European Championship in Turin. They were disqualified on the second night after (a) spectators had concluded they could not lose, because they really were genuinely rather good and (b) the representative from Buenos Aires pointed out that they were, in fact, not eligible to enter in the London section under the London organisers' agreement with Buenos Aires, despite the fact that the organisers had taken their (steep) entrance fee and confirmed in writing that they were, as well as so claiming in the list of eligible countries on their website (of course I have screenshots). The excuse given was that Valentin was "from the wrong part of Russia". The only sensible response to which was, "What?" followed by a lot of bemused but exciting speculation as to what could possibly really have happened, how many pissed-off Russians the tango world can handle, and how this made any sense when Russia is so hard-to-miss that even random rocks from space can find it all the time. Generally, it was the worst-organised sporting event I have ever had the privilege to see. Obviously, it was always going to start an hour late. But if you have the job of announcing the competitors' names, which are in several languages you don't know, this is what you do: you ask each of them beforehand to pronounce their own name for you two or three times, try it, get them to correct you, then write down what you said, phonetically, next to the name on your list. Then you concentrate and read it out. You do not stand there and insult the efforts of the competitors and the intelligence of the audience by foolishly simpering a mangled mess of names as you glorify your own cluelessness. And if you're going to run a sporting event certified by a governing body, you make sure you publish, and use, and stick to, a correct version of the rules. I am really not crazy about the Mundial, the dancing is boring at best, but I was embarrased at how the competitors had been treated in my country. Regardless of standard, they'd stood up and put themselves out there, and they deserved better. I was, though, happy with the result in the Escenario section, as the winner after the disqualification was in fact the performance I most enjoyed of the three total entries. It was somewhat well executed, and thoroughly sincere. I've never seen happier legs in my life. If you want to enjoy next year's edition, good luck.

    This epic footnote is in memory of Terry Pratchett.