Tangodurians

It's been a good year for dancing if not for every other aspect of my life. 2 travels to Shanghai and Singapore, 1 homegrown festival and on a smaller scale Tangoblitz and other lessons with visiting teachers. New tango venues in town and the community continues to attract people on mid-length stints in Malaysia, providing a base for these expats. Started DJ-ing a couple of times. 3 more pairs of shoes. Oops. Above all shifting my POA yet again. This time into more stable dancing and translating this into being more grounded and collecting better. I think I've figured my lag between learning something and putting it into action is about 8 months... Been a good year, will spend next year continually honing the skills even more and being exposed to even more variety of dancing globally.

  Anoche de nuevo te vieron mis ojos, anoche de nuevo te tuve a mi lao. Pa'que te habré visto, si después de todo fuimos dos extraños mirando el pasao... Ni vos sos la misma, ni yo soy el mismo, los años, la vida, quién sabe lo qué... De una vez por todas mejor la franqueza: yo y vos no podemos volver al ayer! Last night I really laid my eyes on you again, last night again I had you right here at my side. What did I see you for if we're only, in the end, a pair of strangers looking back on other times? You're not the girl you were, I'm not the same young man: the years, the lives, who knows what anyone can say... Once and for all it's better to put the matter frankly: you and I can never go back to yesterday. Paciencia... la vida es así. Quisimos juntarnos por puro egoísmo y el mismo egoísmo nos muestra distintos, para qué fingir...   Paciencia... la vida es así. Ninguno es culpable, si es que hay una culpa. Por eso la mano que te

One of my most favouritesttttttttt song ever, melody, lyrics, emotion, everything! Como son largas las semanas  (How long are the weeks) cuando no estas cerca de mi  (when you are not close to me) No se que fuerzas sobrehumanas  (I don't know what superhuman strengths) me dan valor lejos de ti (give me courage far away from you. ) Muerta la luz de mi esperanza  (The light of my hope having died) Soy como el naufrago en el mar (I am like the shipwrecked in the sea) se que me pierdo en lontananza  (I know I get lost in the far horizon) mas no me puedo resignar  (but I cannot resign myself)   Ah!... que triste es recordar,  despues de tanto amar (Oh! how sad it is to remember after having loved so much) esa dicha que paso,  flor de una ilusion, (that happiness that went by, flower of an illusion) nuestra pasion se marchito ( our passion has withered) Ah!... olvida mi desden  (Oh! forget my scorn)  retorna, dulce bien (return, my sweet) a nue

If we could dance with ourselves. If. That would be good, because then you'd know how you're initiating movements, how you feel, how you embrace. I mean, people have been very lousy at describing you to yourself right? After all, it passes through their judgement, their comparison filter, their physicality, their thoughts before arriving back again to you. But I guess just as we can never see our own image, in the same manner, can we never really know how we are like when we are dancing. How we are reacting to someone else. This is where the good teachers differ from the not so good teachers, because they are able to accurately explain your issues and more importantly, what to do as a result of that. This weekend I grasped a palm in my hand, and I could feel his heartbeat. That is what's amazing about this dance, the stillness and calm that occurs allows for a connection that we just don't get in life often, save between you and your loved ones. We connect on that

I'm always thankful for new people on the scene because it always brings me back to the beginning. It's like being able to return temporarily to breaking down the dance again and again and viewing it through the lens of someone who is noticing things for the first time. Where answers and opinions have not been formed and set in stone through old habits which seriously bring new meaning to the expression, 'old habits die hard'. Also forces us to revisit our 'answers' that we've picked up through the years and see whether our points of awareness have changed or not. Sometimes I think I'm on my way to being a very confused zen-tango-taoist-master...tango is tango....tango is the silence...tango is in the in-betweens...of course the problem with enlightenment is bringing people with you because you can be enlightened all you want but what's the good in that if you can't teach it? Sometimes I wish we all sat around more with mate under a willow tre

I seem to be picking up more songs with 'voz' in its title, maybe because the 'voz' plays so much to the channel of who we are, through what we say. Te oí decir..adiós, adiós ... I heard you say .. goodbye, goodbye ... Cerré los ojos y oculté el dolor ... I closed my eyes and hid the pain ... Sentí tus pasos cruzando la tarde... I felt your footsteps crossing the afternoon y no te atajaron mis manos cobardes... and my hands do not heed them cowards. Mi corazón, lloró de amor ... My heart wept for love y en el silencio resonó tu voz... and silence your voice boomed tu voz querida, lejana y perdida... your dear voice , distant and lost tu voz que era mía... tu pálida voz... Your voice was mine ... your pale voice. En las noches desoladas, que sacude el viento... At night desolate , wind shaking brillan las estrellas frías del remordimiento... cold stars shine remorse me engaño que habrás de volver otra vez... and deception that

Much like any other discipline, once you get past the nitty-gritty of technical details and get to expand beyond worrying whether you're going to step on the other persons foot, you get into the real meat of it. Musicality, feeling, sense, intuition. The essence of Tango, the intent, these things are told to us over and over again from the start, disassociate, strenghten your core, stretch! All these are not steps, but they are way more important than a dictionary of moves, because all this, creates the most magical feeling even within the simple walk. The angle of your foot, the power and precise distance of a side step, the weight change and landing in time to the music. Sends shivers up my spine when done well. It's an art, in the manner of a canvas, paint and a painter. Only thing is that the brush strokes are invisible and so is the paint for that matter, oh and there's more than 1 painter-you, your partner, the music, the floor-. Beautiful mess.  

  Mauricio y Javier The Singapore Tango Festival was magical. Absolutely magical, mainly because of the presence of Sexteto Milonguero for two of the nights. Dancing to live music is SUCH a treat and it seriously made me feel like my soul was soaring. Some amazing dances were had. I got told by a lead who I hadn't danced with in over a year that I had changed my dancing style (better I hope), and I agree with him. Very happy with how I'm dancing right now, but obviously more to improve! Taiwanese guy made me so so happy by saying that I danced really really well =P. Self promotion I know, but it was a very smooth dance and there was a particular move that fit the music so well and with so much precision that even I was surprised. The final saturday at UP from 4-7am took the cake though. Beautiful environment, soaring ceiling, springy wood floor, gorgeous and friendly hosts. One not to be repeated unfortunately since UP is shutting and they're moving countries.

I can go on for hours about Tango. Seriously. I can talk about connection, music, lessons, experiences, analogies, memories, love. Sometimes I wonder whether people who haven't been bitten by the bug, who have no interest in seeing, listening or participating in this madness, view me as being insane. I guess I don't mind? As long as they TRY it. See this is what annoys me about people sometimes, when they whine and moan and groan about how life is so boring, but when asked to put in 1)Time  and 2)Effort into trying something, they immediately freeze up and make up some crap excuse about being untalented, or being too short, or unfit. Or something. Anything. Anything but to try. TRY DAMNIT, MAYBE YOU'LL LIKE IT. Ok lah, biased here, try Tango, Salsa/Swing/Ballroom, wtv. =P But sometimes you fall in love, you fall in love with the music in a store and take 8 years to realize you can actually DANCE to this. You fall in love with the elegance, the intrigue of 'h

“ And those who were seen dancing were thought to be insane by those who could not hear the music.”     -Friedrich Nietzsche Yes, you, my tall skinny actor friend, I shall restart my use of pseudonyms from now on ;), this is a continuation of my thoughts on this topic that encapsulates this dance that we've chosen to torture ourselves with. This topic came up twice tonight, once at the 5pm meetup and yet again at the 9pm meetup by two different sets of people. What is this elusive 'entrega'? How can I entrega when I'm trying to be musical, to have my own axis, to not be heavy! ¡Maldito sea! es imposible! IMHO, I guess entraga is this, it is me telling you to move to the right, but giving no indication of HOW far to move. It is me telling you one thing, but indicating something else with my body language. It is me...almost being confused, and how about you? It is you telling me one thing, leading me to believe one thing, yet in your heart, preserving your own tru

Bloody awesome rhythmic display! Jazzy Tango

   

Cascabelito Entre la loca alegria volvamos a darnos cita misteriosa mascarita de aquel loco carnaval. Donde estas Cascabelito, mascarita pizpireta, tan bonita y tan coqueta con tu risa de cristal. Let's have us a rendezvous amid the mad festivity, my little mask of mystery and carnival craziness. Where did you go, little jing-a-ling. my cutie-pie maskette, my pretty, my sweet, my coquette, with your crystal little laugh. Cascabel, Cascabelito; rie, rie y no llores que tu risa juvenil tenga perfumes de tus amores. Cascabel, Cascabelito; rie, no tengas cuidado que aunque no estoy a tu lado te llevo en mi corazón. Little bell, my little jing-a-ling. giggle away and don't cry; your laughter's youthful ring has the fragrance of your loves... Little bell, my little jing-a-ling, keep laughing without a care; you might not have me there, but I've got you in my heart. Mascarita misteriosa, por tener mi alma suspensa me ofreciste en rec

Ruben y Sabrina -Separate the body into three parts, shoulder, hip and leg -Elasticated points at the hips to the knees and knees to the feet. Be grounded, use the floor, if you are too light overall then you are floating like a butterfly, as a result the guy has no clue where you are. Lightness in the sense comes from the top half and not the legs -Think of yourself as dancing in a cylinder, always circular, always containing the energy, dance along the wall in this sense Martin y Maurizio -To balance yourself within the giro, keep the structure of your top half, collect your ribs inward, like a corset sucking in -When following the chest lead in the motion, think of it as your right rib cage always seeking theirs (when rotating to the left) -Moving back into the sacada, foot should be placed big toe first, rather than little toe Virginia Pandolfi -When preparing for the embrace, hips should be above the heel and your chest above your toes -The bend in the back does

Doing the recent lessons made me realize something which I've already voiced out. Tango does not give you the inherent tools to be good at Tango. It really doesn't. Showing me a nice ocho and no matter how many times I practice that Ocho, it will never be nice if I do not have good posture and balance. Also, on musicality, I am superbly thankful for a musical background so I can pick out a full beat from a half beat. Just saying. This was inspired of course by the practice in which we had to stay on our tiptoes and continuously flick our free foot back and forth. Short of being a ballerina or a yoga master, I would be unable to do that for long without flailing all around the place. Which is why I say, you need more than Tango, to be GOOD at Tango. Of course people disagree with the concept, and that the fault lies with the fact tha the dance has just turned into yet another 'showy' discipline, that true milonguero essence is giving way to stage moves and broken embr

Came and went in a flash of an eye, 1:30 am rock n roll dances and DJ-ing. It's been some time since I've been in a group setting, and short of being back in Ann Arbor with the initiating crew, I don't particularly like group lessons at this stage in which I'm in. I do miss the community effort of teaching, it's harder with maestros because all you want to do is impress them (and screw up instead), rather than really having fun with the learning. Key tips from this round... Women's Technique (Laila Rezk y Tamara Bisceglia) Short, slight, razor cheekboned Laila and Tall, curvy, Ankle-fied Tamara. What a pairing. Good session there doing a crash course in position, weight change, ochos and molinetes. First exercise was to stay on one foot on tip toes. Owch. Hardest things in the world these yoga-like positioning, I honestly think Tango needs a ballerinas background what with all the weight holding positions we end up doing. Things to remember: (Weight p

This is the last piece of the night. The wrap-up of a practica/milonga/festival that you've travelled down the road, or halfway around the world and 10 time-zones away for. This. This the finale. The End. Reserved often for a special other. You respect that, one of the certainties in an unstructured dance. Also the saddest song to hear on the dance floor. Not in terms of melody, but in terms of significance. (Lyrics are depressing as hell..what's new?)

First Asian trip for a festival! I guess May Madness in Ann Arbor counts as an international trip, but that was done in conjunction with a lot more goals in mind than just Tango. Super excited anyway! Shanghai last year looked amazing what with the venue and Sexteto Milonguero live! I am upset that this year doesn't seem to have such stunning venues and live music, however what makes it better is that Martin y Maurizio will be there and so will Ariadna y Fernando! Crazy that its been two years since lessons with them. Strong contingent of 10 going. Not confident about this gender balance though, but I'm sure it'll work itself out.

No se para que volviste si yo empezaba a olvidar No se si ya lo sabras llore cuando vos te fuiste No se para que volviste, que mal me hace recordar La tarde se apuesto triste y yo prefiero callar Para que vamos a hablar de cosas que ya no existen No se para que volviste ya ves que es mejor no hablar Que pena me da saber que al final De ese amor ya no queda nada Solo una pobre cancion da vueltas por mi guitarra Y hace rato que te extraña mi zamba para olvidar Mi zamba vivio conmigo, parte de mi soledad No se si ya lo sabras mi vida se fue contigo Contigo mi amor contigo Que mal me hace recordar Mis manos ya son de barro, tanto apretar al dolor Y ahora que me falta el sol, no se que venis buscando Llorando mi amor llorando Tambien olvidame vos I don't know why did you come back, if i was starting to forget about you I don't know if you already knew it, but i cried when you left. I don't know why did you come back, it' hurts me to remember. Now the eve

Welp, as they say, when things don't go your way, DO something about it. Latest goal is to be the best fricking lead ever. PERIOD. Guys. Pft.

From the very beginning of learning this dance, back, back, way back to the fundamentals of walking backward (in flipflops no less), I've heard it said again and again and having espoused it myself, that if you can walk, you can Tango. Makes it sound so easy until you're grappling with music, space, embrace, another person, arms, legs, timing, tangled. ARGH. But it's true isn't it? Lead comes from the top. I've been having trouble describing the difference between Tango and Salsa to people who don't really know either dance. Calling Salsa showy and loud soon begged to be re-assessed when you think of the pained and contorted expressions that often end up on our face in Tango (sometimes...sometimes it's really an uninhibited expression of what we were feeling at that time). But I think I've found it. You dance Salsa with your legs, you dance Tango with your chest. That's it really, that's how it's so different. You learn Salsa with

The White Chapel lyrics by Hector Marcó In the white chapel of a town out in the provinces very close to a crystal clear creek, your hands drove me to prayer. Your hands that used to enflame my child’s heart, and the foot of a Holy Christ you gave me a drink from the waters of tenderness. Happily the moon watched us come down the mountain following the stars, drinking among your goats a little dose of love… and today those timid bells are dark birds that toll from afar the call to prayer. Your voice died in the river, and in the white chapel it left an empty space… empty, like both our souls. La capilla blanca En la capilla blanca de un pueblo provinciano muy junto a un arroyuelo de cristal, me hincaban a rezar tus manos. Tus manos que encendían mi corazón de niño, y al pie de un Santo Cristo, las aguas del cariño me dabas de beber. Feliz nos vio la luna bajar por la montaña siguiendo las estrellas, bebiendo entre tus cabras, un ánfora de

Who are we when we dance? When do we embody the little quavers, the running trills, the long sweep of a bow, the staccatoed steps of a quick beat and weight change, the spiralling ochos and giros leaning upon a centered foot and a delicate balance of weight? We start a story everytime we enter a dance situation, a strung together version of a longer epic Homer-type story that continues through the ages, forges through and chases each other like white sea-foam horses gallop and dissipate across a vast ocean. Nothing but a drop. This dance is music personified, it is a cloak we wear, which is why music is fundamental, THE core to everything. The puppet-master.

Gracias Tango por lo que me diste me diste un lenguaje  me diste un amigo me diste el amor? me diste pasión me diste llanto me diste soledad me diste envidia me diste admiración Gracias Tango por lo que me ensenaste me ensenaste que un lugar en la milonga no se compra, se gana me ensenaste a conocer gente, buena y mala me ensenaste a decepcionarme y a perdonar Gracias Tango porque me hiciste llorar reir mirar ver sentir ser… Thank you Tango for all you’ve given me you’ve given me a new language you’ve given me friendship you’ ve given me love? you’ ve given me passion you’ ve given me tears you’ ve given me loneliness you’ ve given me envy you’ ve given me admiration Thank you Tango for all you’ve taught me you’ve taught me that you earn your place on the dance floor you can’t buy it you’ve taught me to see people, good and bad you’ve taught me how to be disappointed and to forgive Thank you Tango for what you’ve allowed me to do to cry to laugh

This song. This gorgeous gorgeous song. And this gorgeous gorgeous band, and these gorgeous gorgeous lyrics. I'm in love. Tibio está el pañuelo, todavía, Your handkerchief is lukewarm, still que tu adiós me repetía I kept reliving your farewell  desde el muelle de las sombras. On that shadowy dock Tibio, como en la tarde muere el sol, Lukewarm, like the dying afternoon sun mi sol de nieve, sin esperanza y sin alondras. My snowy sun, with no hope and no songbirds Tibio guardo el beso que dejaste I keep the lukewarm kiss that you left en mis labios al marcharte On my lips when you moved on porque aún no te olvidé... Because I still havn't forgotten you Tú... You yo sé que el cielo, I know the heavens el cielo y tú, The heavens and you vendrán acá para salvar Will come to save mis manos presas a esta cruz. My hands bound to this cross Si esta mentira audaz If this audacious lie busca mi pena, Seeks my pain no la descubras tú You will not discover que me condena. That it conde

In this, my 3rd KL Tango Festival did I finally hit the right combination of feeling, fun, musicality which matched the stage I am in perfectly. In this, did I finally get that emotion and elation of what my first ever tango moments felt like. Not the grand festivals, but the small workshops, the little moments of sharing a great moment with someone. That darkened Vitosh guesthouse. It peeked around the corner, smiled at me and extended a hand and I finally, willingly got up and gave it a go. I was not disappointed. Finally.

The best tango dances are things you don't go searching for. They come out of nowhere, like 80 year old dancers in the hot environment of a Tango school in New York asking you to dance, you in your flats. You in your flats compared to the 4-inch CIF's whizzing past you. You in your flats, only a few months into this dance...yet knowing a bit more of your surroundings, being aware of the hierarchy, but not of how to handle yourself in this particular hierarchy. It's like your body is doing one thing while your mind is doing another. The best dances are not anticipated, because the more your anticipate, the more it becomes a struggle. The best dances come and make you feel like a comet whizzing through the night sky, like each of you is a twirling star in this galaxy of ours, and you're charting your own set course, never bumping into each other. Dance. Dance. Dance as though no one is watching you. Because in that moment you're in your own little universe and

Monday lands on me with a bang after an awesome dancing weekend. NEED MORE. The Boys were fantastic. Before I start giving my thoughts on this years festival, this is something I need to keep here because it explains it all. http://tangoaddiction.wordpress.com/2012/01/28/sensuality/ "And this is what I am looking for in the dance. Not to control, to force, to shape. But to somehow access something much bigger than I am as an individual. To harness, to hitch a ride on, to flow with, the natural patterns imposed by the structures of the homo sapiens body, by the gravitational constraints of our marbled blue-and-emerald planet, by the physical laws of our universe. To take a profound pleasure in my own physical being and to try to connect with that of others. Tango need not be sexual. But it can be sensual in the extreme."

Seis pasos ya, son casi siete Contar más no sé Mil pasos y más, me quedo de pie ... Six Steps already are nearly seven Having more does not know A thousand steps and more , I stand ... ¿ Y cuándo volverás ? Un dia o jamás When will you return ? A day or never

Being too safe in lessons is an extension of not really knowing. I can't tell the maestro what I want from him/her if I don't what what I want myself and that is something that needs to be worked on continuously. It's not about copying though, it's about finding the essence of the dance that someone has shown you, a way of placing a foot, or taking a step that you would want to be able to do on a basic level. So what do I really want to learn? - How to angle my feet outward more so I don't look so pigeon toed - How to embellish with confidence - How to step smoothly and naturally - How to setup the pivot so my feet move and swivel better - How to always be in control of my weight and momentum - How to stop moving my feet around in odd ways (tics and habits) - How to do a natural gancho