Einer der l\u00e4cher\u00adlichs\u00adten Tan\u00adgo-Begrif\u00adfe, der mir in letz\u00adter Zeit h\u00e4u\u00adfi\u00adger begeg\u00adnet, ist der \u201enew\u00adclas\u00adsic\u201c (bzw. \u201eneo-klas\u00adsi\u00adsche\u201c) Tanzstil.<\/p>\n\n\n\n\n\n\n\n
Als \u201emusi\u00adka\u00adli\u00adsche Str\u00f6\u00admung, die klas\u00adsi\u00adsche Tan\u00adgo-Orches\u00adter\u00adtra\u00addi\u00adtio\u00adnen in einem moder\u00adnen Kon\u00adtext neu inter\u00adpre\u00adtiert\u201c gibt es den Begriff schon l\u00e4n\u00adger, dar\u00adum soll es im Fol\u00adgen\u00adden aber nicht<\/em> gehen. <\/p>\n\n\n\n Bevor wir uns mit dem Tanz\u00adstil besch\u00e4f\u00adti\u00adgen, schau\u00aden wir uns erst\u00admal den Begriff etwas genau\u00ader an. \u201eNew\u201c bzw. \u201eNeo\u201c evo\u00adziert grund\u00ads\u00e4tz\u00adlich bei den meis\u00adten Men\u00adschen Posi\u00adti\u00adves: \u201eNeu\u00ades\u201c ist bes\u00adser, auf\u00adre\u00adgen\u00adder und inter\u00ades\u00adsan\u00adter als \u201eAltes\u201c. Mit \u201eKlas\u00adsik\u201c bzw. \u201eklas\u00adsisch\u201c asso\u00adzi\u00adiert man im Deut\u00adschen musi\u00adka\u00adli\u00adsche Hoch\u00adkul\u00adtur und denkt an Mozart, Beet\u00adho\u00adven und Haydn. \u201eNeo-Klas\u00adsik\u201c (bzw. \u201eNeo\u00adklas\u00adsi\u00adzis\u00admus\u201c) bezeich\u00adne\u00adte urspr\u00fcng\u00adlich die anspruchs\u00advol\u00adle Musik von z.B. Stra\u00adwin\u00adsky, Hin\u00adde\u00admith und Pro\u00adkof\u00adjew, heu\u00adte ist aller\u00addings meis\u00adtens die Musik von Kom\u00adpo\u00adnis\u00adten wie Ludo\u00advico Ein\u00adau\u00addi oder Nils Frahm gemeint. Auch die\u00adse Musik wird aber inzwi\u00adschen weit\u00adge\u00adhend als \u201ekul\u00adtu\u00adrell hoch\u00adste\u00adhend\u201c akzep\u00adtiert. \u201eNew\u00adclas\u00adsic\u201c klingt also nach etwas Wert\u00advol\u00adlem und \u201eEdlem\u201c.<\/p>\n\n\n\n Sehen wir uns als n\u00e4chs\u00adtes an, wel\u00adcher Tanz\u00adstil mit die\u00adsem Begriff beschrie\u00adben wird. Soweit ich wei\u00df, wur\u00adde \u201enew\u00adclas\u00adsic\u201c durch die\u00adsen Bei\u00adtrag<\/a> von Amo\u00adry Vio\u00adlet (\u201eVio\u201c) bekannt: \u201eNew\u00adclas\u00adsic aims to be so for\u00admal and ele\u00adgant that it may seem rigid and limi\u00adt\u00aded. The music seems to be all the same. We also see a con\u00adfor\u00admi\u00adty and limi\u00adta\u00adti\u00adon about sizes of steps and moti\u00adon of the body. Loo\u00adking across the dance flo\u00ador, we don\u2019t see a lot of diver\u00adsi\u00adty; most of the cou\u00adples are using a fixed embrace who\u00adse distance doesn\u2019t chan\u00adge, most are moving in simi\u00adlar ways and doing simi\u00adlar move\u00adments. Their bodies use very litt\u00adle ran\u00adge of moti\u00adon so that it seems the only move\u00adment is below the kne\u00ades, and the emo\u00adtio\u00adnal expres\u00adsi\u00adon is uni\u00adform and unchan\u00adging. The feet don\u2019t go far from the flo\u00ador, the spi\u00adne is kept moti\u00adon\u00adless, and smi\u00adling is much more res\u00adtrai\u00adned. The faces and mood could even be descri\u00adbed as hea\u00advy and humor\u00adless at times.\u201c So zu tan\u00adzen bezeich\u00adnet die Autorin als \u201edevo\u00adlu\u00adti\u00adon\u201c (R\u00fcck\u00adent\u00adwick\u00adlung<\/em>).<\/p>\n\n\n\n Lei\u00adder ver\u00adlinkt der Arti\u00adkel kei\u00adne Vide\u00ados, bei dem man sich die\u00adsen \u201eStil\u201c kon\u00adkret anse\u00adhen k\u00f6nn\u00adte. Mich erin\u00adnert die Beschrei\u00adbung z.B. an die\u00adses \u201eTan\u00adzen\u201c<\/a>. \u201eEle\u00adgant\u201c kann ich nir\u00adgends ent\u00adde\u00adcken, daf\u00fcr viel \u201econ\u00adfor\u00admi\u00adty and limi\u00adta\u00adti\u00adon\u201c. \u201eMost are moving in simi\u00adlar ways and doing simi\u00adlar move\u00adments\u201c, in ers\u00adter Linie dre\u00adhen sie an der Stel\u00adle, ganz ver\u00adein\u00adzelt sieht man mal einen fuz\u00adze\u00adlig klei\u00adnen Ocho cor\u00adta\u00addo oder die Andeu\u00adtung einer Molinete.<\/p>\n\n\n\n Wenn im Tan\u00adgo etwas als \u201eklas\u00adsisch\u201c bezeich\u00adnet wird, dann meint man die 1930er und 40er Jah\u00adre, also das \u201egol\u00adde\u00adne Zeit\u00adal\u00adter\u201c. Schau\u00aden wir uns mal an, wie damals getanzt wur\u00adde. Es geht zun\u00e4chst um \u201ethe style danced in the north of Bue\u00adnos Aires in the 1940s\u201c [Her\u00advor\u00adhe\u00adbun\u00adgen von mir]: \u201eThe shape drawn by the cou\u00adple on the flo\u00ador as they dance tends to be long straight lines<\/strong>, punc\u00adtua\u00adted with a sud\u00adden, very com\u00adpli\u00adca\u00adted move\u00adment<\/strong>. [\u2026] The arche\u00adtyp\u00adal step in this style is a sal\u00adi\u00adda in which the lea\u00adder takes just two steps to the four taken by the fol\u00adlower, fol\u00adlo\u00adwed by wal\u00adking in line with fre\u00adquent weight changes.\u201c<\/p>\n\n\n\n \u00dcber den \u201estyle of the south\u201c hei\u00dft es: \u201eThe inter\u00adpre\u00adta\u00adti\u00adon of the music invol\u00adves many pau\u00adses, and many rapid move\u00adments<\/strong>. This is the style whe\u00adre gan\u00adchos and bole\u00ados were danced<\/strong>. The arche\u00adtyp\u00adal step is one whe\u00adre the lea\u00adder takes the fol\u00adlower off her axis<\/strong>, taking respon\u00adsi\u00adbi\u00adli\u00adty for her weight, and per\u00adhaps wal\u00adking her around the foot she is stan\u00adding on.\u201c (Quel\u00adle<\/a>)<\/p>\n\n\n\n \u201eLan\u00adge, gera\u00adde Lini\u00aden\u201c, \u201ekom\u00adpli\u00adzier\u00adte bzw. schnel\u00adle Bewe\u00adgun\u00adgen\u201c, \u201eGan\u00adchos und Bole\u00ados\u201c und Off-Axis Figu\u00adren \u2013 nichts davon sieht man auf den heu\u00adte \u00fcbli\u00adchen \u201etra\u00addi\u00adtio\u00adnel\u00adlen\u201c Milon\u00adgas, Mara\u00adthons und Encuen\u00adtros [Auf Encuen\u00adtros ist das meis\u00adte davon ja eh ver\u00adbo\u00adten.] An einer ande\u00adren Stel\u00adle hei\u00dft es in o.a. Arti\u00adkel: \u201eSeve\u00adral clas\u00adsic move\u00adments that have now all but dis\u00adap\u00adpeared from new\u00adclas\u00adsic tan\u00adgo are: bar\u00adri\u00adda, sand\u00adwi\u00adchi\u00adto, and the pivot para\u00adda.\u201c Das ver\u00adbrei\u00adte\u00adte \u00f6de Rum\u00adste\u00adhen bzw. \u2011dre\u00adhen an der Stel\u00adle hat also abso\u00adlut nichts<\/em> mit \u201eklas\u00adsi\u00adschen\u201c Tan\u00adgo zu tun. Wenn man sich rich\u00adtig alte Tan\u00adgo-Vide\u00ados anschaut (wie z.B. die\u00adses<\/a>), dann sieht man, dass die Leu\u00adte wirk\u00adlich \u201etan\u00adzen\u201c und nicht nur mit klei\u00adnen Fuz\u00adzel\u00adschrit\u00adten an der Stel\u00adle krei\u00adseln. (Dass auch die Musik viel abwechs\u00adlungs\u00adrei\u00adcher war, als \u201eTra\u00addi\u00adtio\u00adna\u00adlis\u00adten\u201c uns heu\u00adte weis\u00adma\u00adchen wol\u00adlen, habe ich bereits in die\u00adsem Bei\u00adtrag<\/a> beschrieben.)<\/p>\n\n\n\n Woher kommt denn \u00fcber\u00adhaupt die Vor\u00adstel\u00adlung, dass man Tan\u00adgo \u201eumar\u00admungs\u00adfo\u00adkus\u00adsiert\u201c mit klei\u00adnen Schritt\u00adchen brav im Kreis tanzt? Gehen wir zur\u00fcck in das Jahr 1983, dem Ende der Mili\u00adt\u00e4r\u00addik\u00adta\u00adtur [Aus\u00adlas\u00adsun\u00adgen sind zum Zwe\u00adcke bes\u00adse\u00adrer Les\u00adbar\u00adkeit nicht<\/em> mar\u00adkiert, Her\u00advor\u00adhe\u00adbun\u00adgen sind von mir]:<\/p>\n\n\n\n \u201eThe fall of the mili\u00adta\u00adry jun\u00adta in Argen\u00adti\u00adna in 1983 began a spec\u00adta\u00adcu\u00adlar Tan\u00adgo Renais\u00adsance in Bue\u00adnos Aires. The atmo\u00adsphe\u00adre was extra\u00ador\u00addi\u00adna\u00adry. Sud\u00adden\u00adly ever\u00adyo\u00adne wan\u00adted to move. It was as though a phy\u00adsi\u00adcal weight had been lifted from them. The ear\u00adly peri\u00adod of the Tan\u00adgo Renais\u00adsance was domi\u00adna\u00adted by com\u00adplex steps<\/strong>. The\u00adre can be a tre\u00admen\u00addous exci\u00adte\u00adment to doing com\u00adpli\u00adca\u00adted steps, espe\u00adci\u00adal\u00adly if they are done with the tech\u00adni\u00adque used by tho\u00adse who lear\u00adned Tan\u00adgo in the tra\u00addi\u00adtio\u00adnal way \u2013 nati\u00adve spea\u00adk\u00aders of Tan\u00adgo, if you like. When done in this way, steps are part of the emo\u00adtio\u00adnal con\u00adnec\u00adtion that defi\u00adnes the essence of Tan\u00adgo<\/strong>. <\/p>\n\n\n\n The next style to come into fashion was one based on the style of the geo\u00adgra\u00adphi\u00adcal cent\u00adre of Bue\u00adnos Aires and the cent\u00adre of the south of the city in the ear\u00adly 1950s. This is a style that is cho\u00adreo\u00adgra\u00adphi\u00adcal\u00adly rela\u00adtively simp\u00adle, rely\u00ading on the con\u00adnec\u00adtion bet\u00adween the dancers, and their con\u00adnec\u00adtion with the music. The gre\u00adat attrac\u00adtion of this style is in the con\u00adnec\u00adtion within the cou\u00adple which is neces\u00adsa\u00adry to make it work, and which, when done well, is tre\u00admen\u00addous\u00adly seduc\u00adti\u00adve. One of the most pro\u00admi\u00adnent cham\u00adpi\u00adons of this style, Susan\u00adna Mil\u00adler, coin\u00aded for it the term \u201eEsti\u00adlo Milongue\u00adro\u201c, milongue\u00adro style. The word milongue\u00adro, though it lite\u00adral\u00adly means someone who spends a lot of time in milon\u00adgas, had come to be used to mean someone who had been a regu\u00adlar Tan\u00adgo dancer during the Gol\u00adden Age, befo\u00adre the 1955 coup. While the choice of the term was obvious\u00adly inspi\u00adred by the desi\u00adre to distin\u00adgu\u00adish this style from the steps domi\u00adna\u00adted style danced on stage, the unfort\u00adu\u00adna\u00adte and unfo\u00adre\u00adseeable con\u00adse\u00adquence was that it set up the idea in people\u2019s minds that this was the only<\/em> authen\u00adtic social Tan\u00adgo style<\/strong>.<\/p>\n\n\n\n The dancing of the peo\u00adp\u00adle who were dancing in the Gol\u00adden Age remain\u00aded unch\u00adan\u00adged<\/strong>, and one could still go to milon\u00adgas away from the cent\u00adre of Bue\u00adnos Aires and see peo\u00adp\u00adle doing the most fabu\u00adlous\u00adly com\u00adpli\u00adca\u00adted steps in a tru\u00adly authen\u00adtic and com\u00adple\u00adte\u00adly social way<\/strong>. But by 1995 the style various\u00adly known as \u201cclo\u00adse hold\u201d, \u201cshort steps\u201d, \u201cTan\u00adgo club\u201d or \u201cmilongue\u00adro\u201d had come to domi\u00adna\u00adte the dancing of the peo\u00adp\u00adle in Bue\u00adnos Aires who were part of the Tan\u00adgo Renais\u00adsance.\u201c (Quel\u00adle<\/a>)<\/p>\n\n\n\n Es ist also schlicht\u00adweg Unsinn, wenn ein Wider\u00adspruch zwi\u00adschen \u201esozia\u00adlem Tan\u00adzen und \u201eSchrit\u00adte tan\u00adzen\u201c kon\u00adstru\u00adiert wird. Und es ist eben\u00adso his\u00adto\u00adrisch falsch, wenn behaup\u00adtet wird, dass der Tan\u00adgo im \u201egol\u00adde\u00adnen Zeit\u00adal\u00adter\u201c aus\u00adschlie\u00df\u00adlich im Milongue\u00adro-Stil getanzt wurde.<\/p>\n\n\n\n Fazit<\/strong>: \u201eNew\u00adclas\u00adsic\u201c als Bezeich\u00adnung f\u00fcr Rum\u00adste\u00adhen ist (auf gut Bay\u00adrisch) ein \u201eSchmarrn\u201c. Weder ist irgend\u00adwas dar\u00adan \u201eneu\u201c, noch hat es irgend\u00adwas mit \u201eklas\u00adsi\u00adschem\u201c Tan\u00adgo zu tun. Es ist unsin\u00adnig, einen \u201eStil\u201c, bei dem kaum noch (bzw. gar nicht mehr) \u201egetanzt\u201c wird, mit einem sol\u00adchen Begriff aufzuwerten.<\/p>\n","protected":false},"excerpt":{"rendered":" Einer der l\u00e4cher\u00adlichs\u00adten Tan\u00ad\u00adgo-Begrif\u00ad\u00adfe, der mir in letz\u00adter Zeit h\u00e4u\u00adfi\u00adger begeg\u00adnet, ist der \u201enew\u00adclas\u00adsic\u201c (bzw. \u201eneo-klas\u00ad\u00adsi\u00ad\u00adsche\u201c) Tanzstil.<\/p>\n","protected":false},"author":25,"featured_media":15559,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"wp_typography_post_enhancements_disabled":false,"footnotes":""},"categories":[8],"tags":[76],"class_list":["post-17783","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-alg","tag-tango"],"_links":{"self":[{"href":"https:\/\/jochenlueders.de\/index.php?rest_route=\/wp\/v2\/posts\/17783","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jochenlueders.de\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/jochenlueders.de\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/jochenlueders.de\/index.php?rest_route=\/wp\/v2\/users\/25"}],"replies":[{"embeddable":true,"href":"https:\/\/jochenlueders.de\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=17783"}],"version-history":[{"count":12,"href":"https:\/\/jochenlueders.de\/index.php?rest_route=\/wp\/v2\/posts\/17783\/revisions"}],"predecessor-version":[{"id":18281,"href":"https:\/\/jochenlueders.de\/index.php?rest_route=\/wp\/v2\/posts\/17783\/revisions\/18281"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/jochenlueders.de\/index.php?rest_route=\/wp\/v2\/media\/15559"}],"wp:attachment":[{"href":"https:\/\/jochenlueders.de\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=17783"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jochenlueders.de\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=17783"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jochenlueders.de\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=17783"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}