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The modern version !
The modern version !
The modern version !

We've already said that : the Toupie is not a waltz, a Parisian musette tango does not resemble a ballroom tango, a paso-doble in the racatti style doesn't look like a paso doble taught in the schools, a java is not only danced with the hands on the lady's buttocks (a pity, I know...), etc.

Initially, let's avoid too much mixing with other dances (especially with the Argentine Tango, as is sometimes seen). 

Not because the influence of other dances isn't of interest, on the contrary !

But it is rich, very rich, too rich for the Musette which almost doesn't exist any more and which would end up by being totally swamped, in the the way that little civilisations have been absorbed by big ones... 
It is not a case of "building walls" but of "protection"... 

Let's try to talk about the "danced Musette", to make it known again in France and abroad, to revive the atmosphere with "themed dance evenings"...

Let's take an interest in musicians of various origins. 
Musette music can evolve without waiting.
Anyway, this style knew how to mix other styles, and this since the 20's and 30's : swing and manouche, amongst others... 
Then the image was destroyed by the interpretation of certain accordionists which was commercial, tacky and common : it's useless naming them, they're unfortunately amongst the best-known. 
Therefore, starting now, it's necessary (also in this case) to polish up this image 

new musicians = new music, new instruments, new songs and new lyrics more in tune with today's tastes and today's public.

Where rhythm remains dance will follow : an increase in the number of dancers, a younger cross-section... 
The evolution will follow by itself :

new dancers = new ways of listening to the music, new ways of moving to the music, and new dance moves of pure creation which will enrich the dance.

New silhouettes too !

Anyway, Salsa dancers weren't fooled - they knew how to rediscover the Cuban salsa, then the Puerto-Rican salsa and now they are moving it towards new styles such as the L.A. or the New York style...

In the same way, Lindy dancers didn't make mistakes either - they first re-launched the "Savoy" style, then rediscovered the "Hollywood Style" and now enrich their dance patterns with movements brought in by new Lindy dancers coming from the Hip-hop culture (...and it's pretty "cool"...)

Neither did Argentine Tango dancers - they initially sought to imitate dancers in major international revues, then returned to a more traditional, ballroom style before moving on towards a Tango which now evolves in new directions every day, thanks to the "new blood" and their contributions !

In our opinion, the survival and evolution of the Musette is therefore :

Not in the "theft" of complete patterns, borrowed from well-established dances... but in the contributions from different international artistic cultures which induce different manners of moving : hip-hop, modern, contemporary and others...

Again, this is a long way off for the Musette...
And we would like to reassure older people : it won't quite be tomorrow that we'll spin on our heads !!!

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