Karina
Colmeiro & Raul
Masciocchi
Interview with Raul Masciocchi
by Robert Madrigal
Following our workshop (Brussels 30 October) on
improvisation and musicality, I had a chance to talk
with Raul about the changes we are experiencing in
tango. Changes, primarily in how we learn tango and
mostly being influenced by the newer generation of
tango instructors. On average, in their mid twenties,
they stress the dynamics of movement and together with
your partner creating a very strong connection with
the music
What brought about the change in
the classroom?
We were getting lost in all the
complicated steps and not enjoying why we started
tango. You see dancers as soon as they get on the
dance floor and begin to do every step they know. They
lose contact with the music, their partner and also
with the other people on the dance floor. We wanted to
change this.
You talk much about the new
generation of tango teachers, who are they?
These are ones who started
developing and practicing their style over the past
two or three years, like Maria Eugenia Parrilla (today
working with Chicho), Adrian Veredice, Alejandra
Hobert, Ezequiel Paludi, Federico Farfaro, Anabella
Diaz Hojman, Melina Brufman (for me one of the best
teachers in woman's technique),
Add to this list, Karina Colmeiro,
Lucila Segura, Damian and Celine, and me. Many of
these are good dancers and highly respected teachers
of today and others are arriving. All have been
influenced by Gustavo Naveira, Roberto Herrera, and
Chicho.
That is why we see more elements
or movements instead of a long sequence of
steps?
Yes, a deeper understanding of the
dynamics of how we move and keeping contact with our
partner is more important than learning steps. If you
can do that, then your improvisation skills will
increase tremendously. You will also have a better
connection with the music. With that skill as a basis,
then you can go back to the patterns you learned and
work on them from a different perspective.
I have had various musicality
classes before, but none mentioned the division of the
music into parts as you have.
A good dancer will understand the
parts and how they can help influence your dance. The
introduction is the first step in becoming acquainted
with your partner. You say hello and introduce
yourself and she does the same. The second part works
as a bridge between the introduction and the third
part. Here the dancers express their questions and
give answers. The third part repeats elements of the
introduction; this works almost as a reintroduction.
In the final or fourth part has the greatest demand of
improvisation. Here, the secrets moves or your
favourite movements are done.
You will see dancers with less
experience do everything they know within the shortest
time and there is yet still more music to dance to.
They will then have no other option but to repeat
everything they did before. The experienced dancers
know a lot, but need very little to dance because they
will add more content into each step.
Tell me more about Tango Duelos.
How does this workshop work with two couples as
instructors?
This is something we do in our
practicas in Buenos Aires and we shall introduce this
in Brussels. At the end of November (26, 27 & 28),
Vincent Morelle and Maryline Lefor will work with us
on the first of a series of Tango Duelos. Vincent and
Maryline will begin with a short demonstration of
their style and sequence will be taken and used as the
first segment. The students learn this piece. Then we
(Raul and Karina) add a sequence to their last
movement. The process repeats with each instructor
adding a movement to the last sequence in their turn.
Students who learn this way are seeing a high level of
variation and improvisation skill. They learn quicker
as they are helped now by not two but four teachers.
The idea is not to see who the better teacher is or
who has the better style or moves but to offer the
best classes possible. It also does not matter the
difference in styles because this is the challenge
between the two couple teachers. We do it because we
have a passion for this dance.
How do you select the
participating teachers?
We look for teachers with a high
level of improvisation. That is the key to the success
of Tango Duelos. We have four workshops already
planned and just maybe this idea will grow in
Europe.
Raul Masciocchi and Karina Colmeiro performed with the
Narcotango concert in Amsterdam, 16 September and in
Rotterdam on September 18th. Photos of the concert in
Amsterdam can be viewed at Tangotalks.nl
or of the Rotterdam concert at Eenliefdevoortango.nl.
Raul and Karina will be back in Amsterdam to give
two workshops on
Saturday
the 20th of November at
the Bokschool. All interested in participating see
Tangoland.nl
(Roland and Patty) for reservation details. There will
also be a salon following the workshop with a
demonstration by Raul and Karina.
Reservations for Tango Duelos,
in Brussels, are required, as the class is limited
to 15 couples. That is,
Saturday, 27
November, Tango Bar, Rue de
Dublin 13 in Brussels. More information or
reservations email Nathalie at almadeltango@hotmail.com.
Robert Madrigal
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