Tangodurians

2nd marathon for the year at HK - decent year of dancing so far with Dubai, Singapore and HK this year. Marathon was pretty good, still felt there were moments of real annoyance from myself in not getting certain dancers, however the ones I did end up getting were definitely memorable ones. Very unique leads in each of their own ways. Still searching for the elusive ingredient, the hows and whats of transforming my own dance so it becomes magical, grounded, reactive, enveloping and above all musical. I do feel there are certain partners that unleash that, and everyone's potion is of course varying. But paramount above all the need to have a conversation, to develop a certainty in the movement with assurance and an amount of elegance yet playfulness sprinkled in. What makes a dancer so beautiful to watch? What makes a dancer so beautiful to create movement with? These are the questions I'm seeking answers to at this point. 

"Strangers in the night Two lonely people, we were strangers in the night Up to the moment when we said our first hello little did we know Love was just a glance away, a warm embracing dance away" The longer you end up in Tango, the more the elusive reason of why you stay in it begins to fade. After encountering the negative side of the dance - not getting dances, bitchy people, negative emotions - you tend to forget that the positives more than outweigh the bad really. But if there was really anything at the core of it, it is this, it is the moment of locking eyes with a stranger and suddenly becoming the most intimate acquaintances. Sensual, playful, being able to communicate without words, being able to give and take, yin and yang, feminine to the masculine energies, a real blend. Having fun with the music, having fun with the moves, throwing and catching, releasing and absorbing energies. This is why you train, this is why you take lessons, this is why you spend s

What is it to be mature in this dance? Everytime I review the journey I wonder over and over again how I could have possibly danced last year, how anyone could have enjoyed dancing with me, with that funny embrace, that un-disassociated upper body, that off balance ocho. Yet the breakthrough seems to be sustained over the last year. After getting a full ass-kicking going to to the Istanbul Tango Marathon, a revelation of sorts with TC's teaching, a continued involvement in shaping and crafting the scene for KL tango, I have settled into a relatively peaceful place with this dance. I also attribute this highly to Yoga having helped me stretch out some previously un-stretchable parts and helping the balance tremendously. Deep diving in the bio-mechanics of this dance, into the music and the history, just bringing myself out of the fog of unawareness and bliss. This is where the true complexity of Tango unfolds itself. Much like a baby becomes a toddler who transforms into a teen

I don't think anyone likes rejection. Apparently rejection creates the same level of pain akin to being physical. Lord knows we face PLENTY of rejection on the floor, whether it be manifested in the shirking of a glance, or in the outright, no to the face for the poor soul who decided to verbalise their intent and invite. There's a bit of learning curve or trial by fire that everyone needs to go through when facing Tango, especially in the baby years. It's the moment where you're left literally collecting dust in the corner, being overlooked and craving the invites of those dancers, oh so much more advanced than you. Especially as a follow who's role is to accept and not to initiate anyway. I still remember one occasion in A2 where it was an open practica in Mason Hall. We literally sat there for 3 hours not getting any dances until I had the gall to walk over to the instructor to ask for a dance. One measly dance. In hindsight super embarassing and super aga

Tango communities tend to pop up in a fashion that is rather ad-hoc. In areas where there are dedicated teachers, it'll be in a space as a business, as someones livelihood and dealing with the mundane of rental - overheads and operating cost. In Malaysia for the longest time, Tango was like the pop-up that happened anywhere and everywhere, from Changkat to Bangsar, from restaurants to houses. Even now, this is quite the essence of it, Fame studio is currently the only true dedicated space to Tango and growing it as a hub will be the challenge we will face in the coming year(s). What is it that makes Tango such an underground scene? The awareness of it is minimal if you take the average Malaysian off the street, and yet with such little following, you will see us going to milongas on a regular basis, looping in the temporary or long-term visitor into the scene and making them a part of its core. My first memory of Tango in Malaysia will inexplicably be linked to Tuesday night

To cap off a beautiful 1st Singapore Tango Marathon, small workshop with Damian Boggio over cup noodles and instant tea in the cosy setting of Tangopura! Notes! DJ tips for creating a memorable night Role of the DJ - Phrases of music and the energy variation is very important. You can string together 4 straight tandas of 1940's golden age music, but sooner or later the energy level becomes too stagnant, with variation, no one should be asking for nuevo - that is your goal as a DJ to achieve - 1940's music was created for the dancer, hence you cannot go wrong selecting a tanda from the era, but be wary of choosing too much from a particular time period as most orchestras would be following a particular rhythm and style that was almost the same for all of them during that time - The DJ is a "service", people do not go there mainly for the music or the DJ, they are there for the people and to socialise - The best milonga is one where you are unaware of the DJ,

Tango often feels like a loop, as though you keep revisiting things over and over and over again, except continually through a new lens, through new insights, through new understandings. It's like having the tools to pass a level at a rudimentary level at the first go, then once you've covered the breadth of the landscape, going over the level again, this time with a deeper level of sophistication, ever shaping and shaping and crafting and toying with new ideas and refining that skill on the pottery wheel. Is something ever shiny enough? Probably not, it's a continuous and continual process.  An area I would want to explore is the concept of a conversation. Dance is a conversation, we have good conversations, bad conversations, moments of silence and moments where you can't get the words out of your head or mouth fast enough. With each partner you see this range of what is being said, sometimes we even dabble in other languages, if you're at that level. 

Headed to Paris over the course of the new years for the Tango Marathon. Was interesting, small-ish marathon, not the nicest venue and limited number of dancers, but was quite impressed by the quality in general. By the last night left foot so out of whack that really wasn't enjoying dancing anymore, but that's quite normal! That being said, I would have rated this one a B+. Atmosphere was ok, could have been nicer, dancers were a mixed bag too, music was all round good.  Other than that was nice travelling with the Tango girls, gossiping, eating, sightseeing, The funny thing is, once coming back, a regular dancer exclaimed - from the first embrace-, "is this how they embrace in Europe?" Turns out that I had become far more comfortable with the close embrace than I had realised, and it probably boils down to more "rolling" which was something taught by T.C. sometime mid this year. That is to say you're always seeking for the chest, even in

Been having these notes stuck in my phone for over a month now, so here's to more practicing and remembering! Basic Weight Transfer & Movement - Transfer your weight wholly, visualise your hip as a cover for your leg so when you switch legs or move, the cover should always end up on top. Never leave weight behind or in between. - When you move to the side, at the half way point you have to collect, and this has to be natural. Think of the landing point as where you want all your weight to ground down on and to be and lift the free foot to make sure that all weight is truly on the standing one. - Keep the thoughts of the "hip as a cover", the hip is the motor that powers the movement, the chest acts as presence and intent and the leg ultimately is the resolution. Finding your axis - Think of four strings, one at the top at the head vertical, one from your chest forward, one from your hip backward to counter the chest, and one from the knee forward. - To fin