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Argentine tango blog
/ with Interaction Design interludes / by Oleh Kovalchuke |
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December 2004
Dec. 31, 2004 - Happy New Year!
Skied at A-Basin with Lyuda and went to Merc swing/milonga party afterwards. I need to pick Lindy Hop again - maybe it's champaine but we had oodles of fun dancing the pitiful little steps I could remember from seven years ago when Lindy was all the rage. Lyuda begins to dance tango rather well even though it is still mostly technical as opposed to both technical and emotional following. Too young I guess.
Random
Two books:
The Hite Report. A Nationwide Study of Female Sexuality - every woman should have read this book, every man who is interested at some point in their life to have sex with a woman should read it too
Final Edition - a one-issue-only magazine. Interview with Noam Chomsky and the editor contributions are very well worth reading.Dec. 23, 2004 - So, how long do you dance?
Neil Liveakos, the Godfather of the Memphis Argentine Tango Society reports from Buenos Aires:
Sylvia, porteña, asked how long I had been dancing. I said six years. She said that she didn't believe me. She said it felt more like six months.
Goes to show that how long you dance is not as important as where and how you dance.
Dec. 22, 2004 - Tango article in Wiki encyclopedia
Discovered Wikipedia today (like Columbus years after native Americans). Search for tango produced quite a few results including well informed article on tango the dance. The well informed description is not surprising since anyone can add, edit articles at wiki - it's the nature of these sites. I have edited the article too. A few things I wasn't aware of:
- apparently similar to Finnish tango there is Chinese variety of the dance.
- link between fashion and dance style: tango canyengue was danced in the 1920s and 30s when the long tight fashion in dresses restricted the follower's movements. Consequently, the style involves short steps.
Random
The Last Picture Show - bored incestuous little town.Dec. 19, 2004 - The way we dance... (in Argentina and in the US)
From Buenos Aires travelogue by a couple from Houston:
"Rick and I danced several times but we are not able to easily negotiate on a crowded dance floor. We like and are accustomed to taking big steps which isn't possible in Buenos Aires. I danced a few times with Osvaldo too which was interesting since he dances a different style than we are accustomed to."
No kidding...
Dec. 18, 2004 - Musicality, what to do during pauses in the music
Jay Rabe from Portland on pauses:
The problem of pauses is that, if you let the movement of energy die when you cease the physical step movement, then you've lost something critical to the connection to your partner and the music. The trick is to keep the energy moving, swaying, rising/falling, but moving, while you're pausing. You can do this with intention, very subtle body movement, or with breath, always slow and controlled and intentional, inhale to raise the energy, or exhale to release it as you prepare for the next movement/step.
Great observation. I didn't analyze it (and no one taught me this) but this is exactly what I happened to do. Basically keep connection dynamic at all times. It's a subtle (invisible to a third party), vacillating movement in the torso full of anticipation of upcoming surge in the rhythm. Build up and release.
Even though controlled breathing sounds a bit too convoluted to me, more and more I shift my dancing from feet to my solar plex. Feet follow (with a good partner).
Random
Picked "Attacking Poodles" by James Wolcott at library.
One has to admire a person who describes Niel La Bute (correctly) as a subversive petty sadist.Dec. 16, 2004 - Musicality, step sets and step patterns
Steve (de Tejas) about using the same steps while dancing to different music:
I mean leaders who ignore the rhythmic signatures of their movement and force the same set of steps or step patterns, some which might be regarded as advanced, onto whatever music is playing, whether it be Donato's A Media Luz, D'Arienzo's El Flete, Tanturi's Cuatro Compases, Di Sarli's Bahia Blanca, Calo's Tristezas de le Calle Corrientes, Pugliese's La Bordona or Color Tango's Zum.
What do you mean? For instance I would do back ochos, rock step, cross and ocho cortado to all of the songs you give as examples. I would change the amplitude of these steps and relative frequency to reflect the music but otherwise they would be recognized as the same steps.
Moreover all of us have individual subsets of the steps, which we favor and most probably will use throughout music played at a milonga (different subset for milonga, the music). The subsets change over the years but will likely be the same at any particular milonga.
Do you mean sequence of steps when you write about set of steps? If so then explanation is simple: a lot of people take classes (workshops) where sequences of steps are taught and dance what they have been taught. Teaching patterns of the steps is very common approach to tango instruction. For me a breakthrough in my understanding of the dance occurred after four months of sequence based instruction when I took a workshop with Brigitta Winkler, an instructor who does not teach patterns. Another instructor who does not teach patterns (at least at workshops I have taken) is Hsueh-tze Lee.
It looks like Steve meant that people do not adjust the amplitude and rythm of any given step to the music. Here are couple examples he gave in his reply:
I saw one leader use the same volcada with every partner to every orchestra. The way he executed the volcada fit well with slow, dramatic music, but it didn't reflect the staccato rhythms of D'Arienzo. I wouldn't say that he was off the rhythm, but that the movements did not well express the rhythmic elements of the music. I saw another leader use the same staccato turn with an ocho cortado that he used with all music, even as the orchestra was taking a dramatic pause. Again, he wasn't off the rhythm, but it was like watching a snare drum solo in the middle of .
Of course, we can say that the teaching of tango as step patterns contributes to the problem, but I was not writing about beginners or even intermediate dancers. Rather I was writing about people who in many ways might be identified as advanced dancers. (One individual I saw was a regional teacher who was dancing the same showy moves with every partner to every piece of music.) I think a lack of feeling for tango music is the problem.
Dec. 12, 2004 - Rio de Janeiro travelogue
If you intend to travel for tango to Rio de Janeiro here are some interesting impressions: Parts 1 and 2.
December 11, 2004Dec. 11, 2004 - Almost perfect day
Highlights:
- $68 speeding ticket instead of $140 (the difference in 10 and 20 miles per hour over the speed limit fines).
- Sunny, warm but not slushy day of snowboarding and skiing at Keystone. Hot chili for lunch on top of the mountain. A bit of night skiing - deserted mountain, pinch of frost.
- Goosebumps - submerging exausted legs into welcoming heat of almost boiling water at thermal caves in Idaho Springs.
- Delicious dinner and subtitled black and white movie at Forrest Room 5 in Denver - customers inquiring what is it I am eating that looks so good (pork stuffed with apricot chutney with wild rice, their spicy chicken looks and tastes even better).
- Holiday milonga at Turnverine in Denver. Unfortunately hall renovations made even extended Extasis sound somewhat dull.
- Freshly made bed. No quibbles about this one.
Dec. 10, 2004 - Istruction by performance (stage) dancers
In a follow up to the "On quality of instruction at tango festivals" post Sergio Vandekier asked:
Would you say that Pugliese, Zotto, Nito, Diego, Carlos Coppelo, Naveira, Chicho, Salas teach social dancing?
Christopher L. Everett replied:
I have all of Salas's instructional DVDs, I'd say much of it wouldn't fly in crowded settings (needs at least 1 meter of clearance for safety). If Chicho and Nito teach what I've seen them do on DVD, then much of that won't work in a crowded setting without modification (I say that with much regret as I deeply respect what they bring to tango). I've had a number of bad experiences changing fronts traveling down the line of dance, I don't care to do that on crowded floors anymore.
Rai added:
Zotto is a great dancer, I doubt if he brings much as a teacher. In general most Gustavo, Fabian, Chicho "steps" are useless for social dancing, however stuff they teach greatly improves one's social dancing skills... Personally of these I like way Gustavo dances!!. I don't like Fabian, Mauricio style;). But I think they all are great teachers, may be the only 'teachers' among all those big names.
Dec. 9, 2004 - Beginners' crushes and other matters of passion
Lily Cheng in Hong Kong wrote:
I'm learning argentine tango with my boyfriend, we learn it together and enjoyed it very much, but when we start to go dancing in social events and he honestly told me that he had some special feeling with a girl when he danced with her. I have had the same feeling of nearly falling in love with a guy cos the dance we danced was so good, i understand this feeling. But i still feel so uncomfortable thereafter whenever i see him with the other girl.
Is this normal? Is there anyone having the same feeling who can share with me how you deal with such jealousy?
On jealosy - very simple, don't be jealous because (from the observant post by Astrid in Japan):
...keep in mind, that feeling passion for and totally in tune with someone on the dance floor (un)fortunately does not automatically translate itself to feeling or doing anything with each other off the dance floor. After the most breathtaking encounter on the floor, you stand next to each other awkwardly tongue tied off the floor, find out that you have nothing in common mentally or spiritually, and, soon, one of you will rush off to experience another high with the next person.
Tango is a bit like virtual reality. When the last curtain falls, the actors take off their costumes and go home.
The ambiguous brakets in the (un)fortunate bit are so true. More wisdom from Tanguero Chino:
Lily wrote:
> ... you can't escape talking with them off the dance floor...
> ... you start knowing him and understand more about the person ...Off the dance floor, the ordinary social norms of the society apply.
The milonga is only one of the many ways men and women get to meet each other. Couples have come together, couples have separated, and real affairs have happened off the dance floor, and this will continue to take place. On or off the dance floor, we are still humans.
The milonga is, after all, supposed to be a social occasion. Talking to others in the milongas is part of the social aspect. It is how much you allow your feelings on the dance floor to cross-over into real life that would dictate what would happen in your relationships. For that, only the person involved can determine what is appropriate.
More from Bob Morris:
These stories remind me of an incident shortly after my sister-in-law discovered dance as a social activity (nevermind tango). She called her sister one day and asked, plaintively, "Do I have to go to bed with ALL of them?"
The correct answer is "Of course not, dear, only with good dancers". Guys, keep practicing.
Dec. 8, 2004 - Leaps of logic or On Quality of Instruction at Tango Festivals, the sequel
Just some cheerful banter from Tango-L. Emir made several curious and some valid statements in his message to the list:
Let's see...
#1
I would understand if these people knew how to dance both; i.e: open, close, stage, social whatever... and choose dancing "close/social" .You suggest here that everyone should perform on Broadway before they decide if they like stage tango and choose to focus on social variety of the dance. Well, it's an interesting concept, but I would argue that Broadway broad as it is still a bit too small to accommodate most of aspiring tango dancers.
#2
...so many people are buying those bullshit and following them! I think that is even more sad than that.This is valid and commendable statement. People should dance their own tango. But I saw Life of Brian and therefore join you in your well justified bereavement.
#3
Let me give you another example (which irritates me as much as the topic above): most tango dancers keep saying that tango is the hardest dance! How do they know?The answer to this is of course in the previous statement #2. Some dancers do dance other dances besides tango. They share there opinion and many people repeat it. I personally find social tango to be very easy to dance because there are so few restrictions. Once you understand the fundamentals of communication, it is very easy to lead and to follow.
#4
They are all part of their marketing to survive, to get the money of the people, to be the most "popular" etc...? Where does this come from? Would you send me $1000 in unmarked bills because I wrote this message? Need to survive... Please?
#5
Don't lie to people,This very much valid statement is often footnoted to Bible. I always find this reminder to be exceptionally timely and very refreshing. Also do not lie to dogs and cats or better yet do not lie at all.
#7
I can do whatever you are doing AND MUCH MORE THAN THAT!
#6
do not talk like you know the best."It's getting curiouser and curiouser..." Among many questions I have regarding the combination of these two statements is this obvious one: how the heck do you know what I am doing?
Dec. 7, 2004 - Tango festivals in the US: recent developments and geography
Tom has posted his perception of recent developments at tango festivals and a list of tango festivals emphasizing social dancing. Couple interesting observations:
Tango Festivals are really maturing in the US. There are at least 12 each year. Festival attendance of 400-500 is not unusual.
In my opinion, the cause of the improvement is that the focus at many of the festivals has turned toward social dancing rather than step-collecting, stage, or athletic tango. Teachers are chosen who focus on musicality, navigation and social dance skills.
The second change is that milongas are as much of a draw as the classes. Half or more of the attendees come only for the milongas.
Several inexpensive tango festivals in the US that specifically emphasize social dancing:
January 21 - 24, 2005
- Ann Arbor, MI
- 3rd Michigan Tango Fest (maybe about 200 people)
- $100 (includes milongas)
- instructors: Alex Krebs, Brigitta Winkler, James Friedgen, Robin ThomasFebruary 18 - 21, 2005 (Feb 21 is Prez's Day)
- Portland, OR
- 8th Valentango (maybe about 450 people)
- $140 (plus milongas)
- instructors: Many teachersApril 8 - 10, 2005
- Atlanta, GA
- 1st Southern Tango Social
- $135 Festival Pass (includes milongas)
- instructors: Brigitta Winkler, Tomas Howlin, Robin Thomas, Jennifer Bratt, Robert Hauk, Ramu PyreddyMay 25 - 30, 2005 (May 30 is Mem Day)
- Denver, CO
- 6th Memorial Day Tango Festival (maybe about 450 people)
- $135 Festival Pass (includes milongas)
- instructors: Brigitta Winkler, Hsueh-tze Lee, Alex Krebs, Robin Thomas, Robert Hauk, Dan Boccia, Ramu PyreddyOther festivals include: Miami (May), Boston (June), San Francisco (July), Las Vegas (September), Austin (November).
New York
New YorkDec. 5, 2004 - Sunday in New York, New York
New York is fascinating urban jungle where tunnels and bridges cross the path and engulf your car. Construction scaffolds adorn buildings with yellow cabs hunting for and spewing out the passengers down below. Simply driving through the city is fun around here.
New York is also a place where you can go to three different milongas on Sunday. And so I did.
"La Milonguita Ideal". $10. 6:30-8 pm (out of 5:30-9:30 pm). West 25th Street (between 6th & 7th Aves.). This was exactly how I have imagined a milonga in New York should look like. You get to a dark indescript high-rise covered with those construction scaffolds. Locked glass door has tiny piece of paper taped to it informing that there is tango on eleventh floor and another one instructing to use buzzer 17. Very much unadorned elevator takes you up. Door opens and suddenly tango is heard.
Pay $10 to an amicable Carribean (not tango) dancer and she will let you in a room decorated with heavy red curtains, with support column in the middle and sofas, armchairs and plain chairs along the walls. Three couples are dancing and doing it rather well to tell the truth.
At it's most crowded there were probably ten couples dancing at this milonga. Most are rather young and somewhat hip. Mostly good close and some open embrace dancers with one nuevo couple doing their stuff. Host cooks hot empanadas in a toaster oven and free and fruity wine cocktail is served. As far as free food goes this is the best tango place I have ever been to. Music wasn't as great. About one third of it was with Julio Sosa singing - rich voice, poor dance music. Fortunately my hunger and delicious empanadas kept me busy. Once the hunger was satiated I moved on to Esmeralda at Session 73. By the way, before I move, it’s a small tango world after all - met the not so clandestine BsAs New Yorker at this milonga.
"Esmeralda's" at Session 73. $10. 8:30-10 pm (out of 5-10 pm). Corner of 1st Ave and 73rd St. Session 73 is club/restaurant where curious pedestrians can and do observe tango through large windows. Two floors are similar to those in Porteno y Bailarin in BsAs except about two times smaller and have benches instead of tables along the floor. A bit tight considering how many beginners dance here. Good music with cortinas and some salsa. Older and sizable crowd. Forty or so dancers with 2/3 of them women. Fortunately some of the women can lead and not afraid to do so. Clever hostess doubles as a coat checker and enthusiastic promoter of restaurant's kitchen. Danced for half an hour and had an interesting tango conversation with New Yorker who have just returned from three week stay in BsAs. Good dancer. Unconsciously and unfortunately prefers V-frame. Danced also with pretty good dancer visiting from Finland.
"El Recodo" at Dancesport Dance Studio. $10. 10:40 pm-12:30 am (out of 9 pm-12:30 am). 1845 Broadway, 2nd floor at 61st Street. Usual dance studio with small "milonga tables" surrounding the floor. Met several people whom I know from tango festivals (Boston, New York, Texas and me), which makes this milonga the best-known Sunday milonga in New York City I guess. Mixed crowd in all senses. About 60 dancers. Not bad music but I got a bit worn out by this time.
And so, if you are good dancer, like cosy armchairs and hungry - go to La Miloguita Ideal. If you are older than fifty and a leader head for Esmeralda's. If you are a couple go to either of two. Otherwise El Recodo is an all accommodating choice on Sunday in New York, New York.
By the way on Sundays you can park for free on Streets (not Avenues) in NYC.
Dec. 3, 2004 - On quality of instruction at tango festivals
One of the reasons I didn’t plan to take many classes at Austin festival was selection of instructors. It is my perception that all of them, except Alex Krebs, are more accomplished as performance than social dancers (notice the “more” not “exclusively” qualifier). As a result they focus on teaching what they know the best - the “wide and high” performance sequences/steps instead of connection and communication (my favorite topics). The question I have is this - do all 150 people who registered for the classes plan to perform on stage? If not why take lessons from performing artists as opposed to social dance instructors? There are quite a few actual teachers from the trenches, who have years of experience teaching complete beginners in their communities to dance socially both in US and abroad by now. I know because I saw some of them in Denver.
I think the main reason is ignorance of beginners perpetuated by festival organizers. I have heard the same about festival in Miami. Tom Stermitz in Denver is an exception of course.
Dec. 1, 2004 - Ordering custom shoes from Fattomano in BsAs and getting help from Tango-Listeros
I have ordered custom shoes from Fattomano when I was in Buenos Aires based on their good reputation. Two months and two unanswered emails later with no shoes at my door I have cautioned listeros at Tango-L about my experience with the shop. The response was overwhelming: five people from BsAs or going to the city have offered to help. Some have called Fattomano and it appears that the shop has made the shoes but lost my mailing address (why not answer my emails?). The shoes are on the way now.
I tend to rely on my own resourcefulness however sometimes having community to side with you is very valuable. On second thought it's not so much community as individuals who decided to help on their own voltion. Thanks people.
Update. I got my shoes! It took only two days by FedEx. The shoes do not have perforated leather in front, otherwise they are as ordered and fairly comfortable.
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