![]() ![]() ![]() Hearing how to do a quick-quick-slow with the time, if you get that, is really accomplishing a pretty big thing that not everyone gets.Įspecially in Argentine tango there’s not a lot of live music out there, so we’re always dancing to recordings. A lot of people have a hard time just hearing the beat. There’s lots of accenting in strange places, a lot of syncopations. Again, right when you come into the dance, at least with Argentine tango, it’s hard to even hear the slow beat. And you can be proficient on a basic level – the slow-quick-quick-slow – but there’s a lot of stuff that’s beyond that.Īnd then the first question was how do I define musicality or what makes someone musical… It starts with the ear, the ability to hear what’s in the music. But in social dance, if you dance salsa or swing or tango or ballroom or whatever, if you’re not with the music you’re just not dancing. You can have great steps, but if it doesn’t fit the music… That’s why I say in social dance, because I’ve seen modern dance performances and there’s a very, for me, unusual sense of musicality, if there is any musicality there. If you go disco dancing, a good disco dancer is someone who’s moving to the music. I think dance, at least social dance, is moving to the music. You touched on musicality earlier in terms of what makes an enjoyable dancer, so let’s talk about how you define musicality and why you think it’s so important in the dance. Watch the video, then dive into the interview. In case you’re not already familiar with Alex Krebs – or even if you are – here is a video of him dancing with Evan Griffiths in 2006 (Alex is the tall one!). This second part covers his approach to musicality and his unique experiences with forming a tango orchestra and learning the bandoneón. Part 1 covered how Alex discovered tango as well as his reflections on connection and flow. Revisiting this interview was a great experience Alex is an excellent dancer, musician, instructor, and thinker with a great perspective on the dance. It is finally here in two parts (due to length). Photo by Okke VanOudgaarden (Since posting an article about my interview with Alex Krebs at Tangofest in 2008, I have received several requests to publish the fully transcribed interview.
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