Tangodurians

I've been mulling over a couple of topics in my head recently as the list of things to explore keeps growing and growing. It's not like these topics have not been covered before by any other Tango blogger, rather, I'd like to think this is an interpretation which best suits me, much like understanding math equation or concepts... The recent one revolves around why I want to improve. Certainly, as we progress in this dance, do we believe we reach a 'plateau', whether this be limited by our physicality, our understanding, or expectations, or judgement against one another. As a follower, my moves are limited in the sense of a structure and phrasing to what the lead is suggesting and obviously if the dictionary which the lead is reading from is only this big, so will I be mirroring it, no matter how nice my own collection, stability, axis, or stretch may be. So yes, the maturity of a community does determine how far we can reach both individually and as a collect

"Why do we close our eyes when we pray, cry, kiss, dream, (dance)? Because the most beautiful things in life are not seen but felt only by heart." Going back to basics often allows me to discover the elements of very simple things which make up this dance. Coming back to this with slightly more experience eyes, allows for greater appreciation and understanding of these elements and how they enrich the dance. Shutting my eyes started out as the only path through which I could somewhat follow what was happening, or allow someone else to takeover my movements.  Nowadays, shutting my eyes allows me to pick the minute vibrations of someone's intent, like a snake which slithers out of its hole at the un-felt tremors of an inevitable earthquake. The sensations that get picked up now pass through the filter of conscious Tango knowledge so that from the outside, visually, it looks like no cue was given for the movement that just occurred, as though a mental note was pas

I tried something new last night and went for Kizomba, after watching it a couple of times and with the encouragement of a new salsa - convert friend, I crossed over to the dark side. *gulp*. It was kinda fun, also completely disorientating to take everything that Tango tells you NOT to do and amp it up about 10x. One things for sure I get very confused having to swing my hips in a regular direction, and also the energy transfer is much more independent than it is in Tango where you're so reliant on the guy to tell you where to go and for him to be sure of where you are in return. The heartbeat and the use of newer music overlaid with that pulse is definitely interesting. One thing I can see is how this dance attracts so many more guys than Tango does, there is a far more raw intimacy that borders on full on sexuality, coupled with the rolling that is expected. Interesting. I have said though that I cannot take on any more new activities, Tango will always be my drug of ch

Some performance really make their mark - Noelia y Carlitos - Una Vez; Chicho y Juana - Milonga del Ayer; Mariaangeles y Tombari - Invierno I've always been someone who hooks onto a song because of a particular phrase or particular enunciation of the melody. Recently this one caught my eye because of the pauses. That sheen of sweat on the back of her neck, his momentary eyes shut moment. Perfectly timed, perfectly expressed without movement. Top 5. For sure, and the next maestra I would love to learn from. There's something about Italian men and French women combinations. Explosive!

Tonight. An avalanche of men. A tanda with a solid dancer. A playful vals with the lilting ochos. A dramatic sweep and trampolining skirt ganchos. A heavy rhythmic Noelia wannabe impersonation for the Milonga. An accented weight change that is not off-putting but very...interesting. Music was divine. All the solid songs strung together. Safe. But a good kind. Weight on point. Mindset on point. You see, Tango. It gives you these moments, these moments of pure fun, of showing off, of enjoying the music and really dancing to it while keeping an eye to what your partner is suggesting. If you stick with Tango you unlock levels as you go. Friends. Lovers. Strangers that turn into the most intimate acquaintance for 12 minutes. Being able to give and receive joy, this is where the true essence is. Forget about hierarchy or rank. Forget about being hesitant or snobbish about dancing with that one who doesn't look that good. Focus on yourself in the dance, even the quietest talker

Ah, Musicality. So hard to teach. So so hard. Lessons with Bichi and Luciana who are a lovely couple. Facing all our very blur and quizzical faces and off tempo walking, totally patient and totally strict on the fundamentals. Tough love! Side Runs - Side step then forward outside for the guy, side-collect x3 by the fourth a walk forward, change weight, step back and repeat the whole sequence - To maintain the step and collect to the side, elevate the follower and keep the side on intention clear so she does not end up doing a grapevine, don't let the hips run free (square feel) - Additional post side run will be to rotate the follower so she is on the side of the lead, keeping thighs somewhat close and doing a back-cross sequence x3 as well; the accent is on the back, the cross is a tuck and more of a quick transfer into the next step rather than a rock-step - Do not change the height with the side step, that does not mean that you lock the knee but you try and maintain th

It's always interesting dropping in on beginners classes because with far more expanded vocabulary, a key understanding of what works and what wasn't and all the sufferings and experiences you've gone through in crafting the final, somewhat balanced you for now, you can see how trying to transmit this to fresh slates reflects on a teachers craft. What better way to test your own understanding then in trying to teach? A far more technical class than I have ever encountered on the fine art of presenting an intent and where to put your arms. Take all the rules, learn them. Then break them all. As long as it works :). On the Beat - Movement is required to arrive to a place, if you want to get to your right leg by the fourth beat, you already have to start the momentum moving BEFORE the fourth beat. If you are still thinking about this concept by the third beat, you're probably too late. The Compression - Send the intent forward, followers will have to respond by ex

The more and more I think about WHERE I want to be with this dance, the more I'm leaning toward being a visually fun and fantastic person to watch. I know, everyone says the best Tango can never be seen, and I do not disagree with that, in fact I wholeheartedly agree, but at the same time, I find that putting on an 'act' or a persona, allows me end up inhabiting my moves so much more. That the fact that you can fake it til you make it actually has some truth to the matter. When we see teachers, and when we see professionals dance, all I see is the gloss and polish and shine. The confidence is palpable, sometimes because they have a set choreography (which can either be discernible or not), sometimes because they have practiced together since they were 5 and know how just about every sequence will feel like before it is done. Practice. One thing I've always tried to not do is..not practice. I have always felt that practicing takes away the rawness of matching energi

To go forward you go back, to go left, you go right. Yes, sounds a lot like mumbo jumbo but its mumbo jumbo that works. Newton's 3rd law never came so much into play like it does with this level of teaching. CC 6 years ago loved new age stuff, seeked alternative tandas and poo-pooed MATC's stringent DJ-ing codes and way of teaching. Little would I know that this dichotomy continues and permeates through most of the world, especially in these surrounding areas, these surrounding countries. Re-discovering that taste buds have changed and much as like nuevo has become incorporated in some of the stuff we do, so has my taste veered back to danceable, dramatic but still traditional (read 1950's) music. Eeps. Tips to take away: - Embrace by sending out the chest, seeking for the other person's heart, everything should be led by the chest. Everything. - The arms then become a comfort blanket, changing and ebbing with the flow, but the heart is always connected. This

Made a holiday out of it this year by combining the Marathon with sightseeing. Istanbul has always had a strong Tango scene. Sometimes I wonder whether cities where "huzun" features so strongly in the DNA of a place creates such fantastic musicality. Do you really have to understand the death and decay in order to move and express yourself? Perhaps? It makes sense then that they hold their own dancing with such pride. If B.A. is the birthplace, then no doubt, Istanbul is its protege. It's fascinating watching the examples of what an advanced community looks like. The fact that there are so many schools, so many people dancing that no one quite knows everyone else makes you realise that in this community, there is no need to travel elsewhere to find new dancers. They're all here. Every night of the week. That being said, it was also highly frustrating wanting to dance but not being able to cabaceo. I really need to work on the eye contact thing and get over how

What is your ultimate goal? Do you dance because you want to become a professional? To make a living out of it? To perform on stage? Do you dance in order to connect? To socialise? Because a loved one started with you and its a part of you that you can never quite let go of, because it means that the final bridge is forever gone? Is it because a younger you once felt something inside you move so much that your perspective was forever shifted to a B.T. and A.T? Is it because it is a language that is global, allowing you to plug into any community and be instantly connected, without language, without culture, without boundaries? Perhaps you as a woman just want to be held, to connect with someone of the opposite gender, to feel led, guided and comforted in a world where gender norms are collapsing. Or perhaps, you are that masculine figure, tenderly protective of the person who has entrusted their sight to yours, letting the guard of personal space down to nestle in your arms an

Ladies Technique - Extension of leg represents the maximum movement that the woman can reach on her own from a distinct and settled point, what therefore creates a move and the distance travelled is the energy given by the man - Both legs are actively engaged but the functions change as you shift the weight from one to the other, the free leg is always the 'man's leg', the moment it transforms to your grounded root, is where the move is cut off - Think of the molinete as a right angled line with an arc, this makes sure you do not interrupt the circular movement of the guy, after all you are moving with lines around a circle, the shapes already provide a challenge for a smooth movement - Keep the upper torso strong, the legs can do what they like, but never let the core collapse because it is where the information is received - As an exercise, stick out your right foot to the front, then pivot 180 open toward the left, collect and do the same for the left side; in the

So sad they've split up! Would have learnt a wealth of information from them about music, musicality, steps and really listening to the structure of Tango on another level. Time to find Erdemsel somewhere in this world then! This brought me back to a concept that I think is really relevant for Tango though, in order to understand Tango beyond dance steps, it's the realisation that the evolution of this dance is so much a combination of lifestyle, of music and of tradition. For me, the Universe of Truths in Tango consists of : - Embrace - Music - Movement What is real Tango? Is it the lost years of the 30's? Where we only play 'Golden Age' stuff and conform to a notion of 'tradition'.Where we look at old recordings and find confusion in the boxy, non-disassociated steps of the past maestros. Where up to now I look at the elderly women who have more meat, who have seen more, and wonder why the maestros call them '80 kg of Tango'. How does

There's a lot of ways to learrn Tango Foundations. Obviously we first start with very basic things, like how to walk foward, backward, how to deal with having someone in front of you either giving you signals, or you giving the signal as a lead. The frame of the embrace, where to put that hand, how to put that hand. How much pressure? More, less? Varying? How much can you move out of this frame? How much should you move out of this frame as a follow on your own, vs. what you're being allowed to do? The concept of ochos, of linear vs. circular movements. Sacadas, Ganchos, Boleos. All the good stuff that forms the concepts and movements which we use as the core. Beyond sequences and steps, then comes the hard part. How to connect, how to convey ideas. The bane of musicality, of understanding music/orchestra, familiarity with the music and familiarity with the movements that should suit the music. How to keep your own weight, to collect neatly and embellishments as the icin

The more I learn things about this dance the more I do find myself getting frustrated. Yes I can move better, yes I can hold my own weight, yes I can do about 99% of moves but can I do it in a way that is beautiful, inspiring, musical, effortless? Likely not. The body is the tool, we receive the energy and direction through the chest, telling us: - Speed - Time - Direction - Force which translates from top to toe. Energy received up top, sends down all the way to the toes and that is why you never look at the feet, because it will tell you nothing. Everything is a movement generated from the chest. Everything. And yet again you hear, disassociate, disassociate, disassociate. Truly, this is the core of it, because if you can't do that, then everything will be reactionary and lag, rather than being complementary and together. Privates with Ariadna & Fernando, truly one of the first great couples that I encountered by hearsay in 2010 and then again with lessons in 2011.

Moría en los rayos de sol  la niebla de un día sin luz.  Y luego en la tarde serena  huyeron mi angustia y mi pena The fog of a dark day Died in the rays of the sun And then in the calm evening My anguish and my sorrows fled. Soñaba aquella tarde con tus besos  Sentíame feliz con tu regreso.  Y al verte de nuevo ante mí  Cantaba en mis sueños así:  Una vez, sólo te vi una vez  Y te amé, sólo bastó una vez.  Hoy no sé si me faltará tu cariño  ¡Ay de mí, que estoy solo sin ti! I dreamed that evening of your kisses I felt happy that you’d returned. And on seeing you before me once again I sang like this in my dreams: “One time, I saw you only one time, and I loved you, one time was enough. Now I don’t know if I’ll ever get enough of your affection Woe is me! How alone I am without you!” Sólo tú me sabes comprender  Siempre tú, para poder vencer.  Nunca más, yo te lo juro vida mía  Nunca más podré vivir sin ti. Only you can understand me, Always you, for

Was having an interesting conversation the other day about being critical. Someone was entirely shocked when she got pulled aside by a lead and got a thorough 'lesson' on following. I'm sorry, until you spent more time following than leading do you have a right to criticise someone for your perception of them not 'pivoting' their hips enough to chase your stupid chest around a molinete. Gosh. Especially when I know that follow, and she's a marvelously fine follow the way she is.... Which got me thinking again of what it means to be in someone's shoes. Especially being a lead and crossing over the roles. I think some criticism may be justified, such as if the follow is being heavy, or if they really are not holding their own weight, but that should really be the crux of it. Don't say that you can do a step better than I can, and if I can't read a complex move, then don't try it. I think this sums it up quite well really. "I welcome co

It has been a while since I have managed to bring myself back toward elements of beginning stages. Back to the days in tiled Union lobbies with an exasperated ponytailed guy telling me to shut my eyes and just feel. To stop fighting the lead and to surrender. What does it mean to be a good dancer? I sometimes think we are so caught up within this dance that we do not utilise everything else outside of it to inform our progress. Metaphors and imagery resonate so much stronger than describing a step ever will. What does it mean to be a good speaker then? Is it necessary to be Oprah before we deem ourselves worthy of the title? Hardly! Then why is it that we expect to dance like Rojas, like Hurtado, or any other headlining name? Maybe because Tango is so accessible, so fundamental in nature, like walking, that we believe we can partake in it, and expect to at a very high level. Truth is, it really does require training, it requires years of dedication much like ballet, gymnastic, yog

I have been shifting focus internally all over the place recently. Sometimes I wish this conscious incompetence would just go away for a while, so I can shut up the critic in my head that seems to have gotten louder the more I dance. Are you balanced? Did you embellish to that quaver? Why is your rotation on the left so weak? Knees keep banging into the guy! Ochos not feeling supported! Don't hang off him! Disassociate damnit! Left toes also feeling a lot more pain recently. Hello bunions, you can go away now please. Looking forward to KLTF. Had a quick discussion about egos in Tango as I am getting irked by certain people because of this. The ones who think they are "the shit" and where they can barely acknowledge the people who supported them from the start, thinking that they were the only ones responsible for their current outcome. Bullshit. Which only serves to remind myself never to turn into them (at the risk of course, of going the opposite way an

Energies. Went for a 'yin' yoga class yesterday which was quite different. Slept really well thought, so something definitely relaxed within my body that allowed this to happen better. It also gelled well with a note that I had made a few days ago about how Tango unite two separate energies, two different movements that blend together to form a whole. Thinking more about what it means to lead and exploring the functions that create this dance from the viewpoint of the leader is such a different beast for me. As a follower I am receiving energy, transmitting it, changing it at the whim of an imperceptible shift of weight, capturing and releasing. As a leader I am generating energy, sending it out clearly, giving and also receiving. Without the receiving, you are doing nothing more than talking without truly listening. We are dancing the same dance, but our language is different, complementary, but different. The principal of the roles create distinct differences in the m

There's a clear distinction why, despite the fact that Sg has so many more male leads, that I prefer the Malaysia dance scene. Company. Socialisation. This ever more so important with gender balances at the rate that they are, you have to have someone to talk to, laugh with, discuss, debate...and practice your terrible leading on. Girls. The ones who will take your dances, and the ones who will also uplift a lousy milonga where your butt sees more action on your chair than on the floor. The discussions and times over margaritas at Tios with newly found friends. The connections made over banana flambe's, tiramisu and other yummy food in La Boca. Taking time to teach a new follower the finer points of this dance. Getting advice from each other, pushing each other to progress, to dance better, to enhance the following. Beyond that, having a dedicated partner, both in Tango and in life (in that moment at least), I've forgotten this already. Entirely. Seeking differ

Hmmm, maybe we should all try yoga before Tango, seems to improve the following so much more! Last Tango less of the year with Roberto and Julieta, so much better than fighting crowds and Tango DI's. Things to remember: - Always lead with intent, the imperceptible shift of the chest generates a whole host of beautiful movement and leads to smooth, non-jolty leading - Keep the ankles together, especially during ochos, no point walking with collected ankles if the ochos do not have the same feature - Less noise (overall) - Big toe always pointed, watch the tendency to roll over to the small toe

Let's just say Tango Crisis is over. So much, much more balanced. But still have to work on keeping the dang heels together during ochos. Other than that. Here's to a great year of dancing!