Tangodurians

Off the back of a weekend that required me to leave work early and sleep cray hours to finally get back into a semi-human mode of work and sleep. Thoughts? When I first started tango, I jumped straight into a Fire & Ice festival in Ann Arbor January of 2010. That was my first taste of a tango festival which was relatively social and a good scene in hindsight. Coming back to Malaysia I've participated in the KL Festival every single year, Singapore festival twice, Taiwan festival once (24 hour on a whim - fuck it all flight), Shanghai festival once. Other than that the flavour of the day nowadays is definitely geared more toward marathons/encuentros, and for a good reason. Festivals in this part of the world are seriously so tipped toward a certain "type" that it is far more worth my money and sanity to go for the social dancing rather than the festival format. Granted, lessons were good, always learning, picking up new things. Competition was, so-so for me, was...

How do you take feedback? Do you immediately raise your hackles and act defensive? Do you throw back insults that are a bit more heavy handed than necessary? Positive feedback of course is what we are aiming for. Pleasant surprise having multiple experienced visitors at last nights milonga which I was DJ-ing - great dancing overall and even I was surprised at how well the tandas were flowing after a quick construct his week. Good feedback too on the music choices, cortinas (emo chinese songs from the 80's/90's). As close to a perfect reception a DJ could wish for. This is why I dance. This is why I DJ. 

It's been eons since I've written anything about Tango, even though it has now become so ingrained in my life and travels. Tango at this point to me is being used as an outlet. It's my yoga, it's my meditation. It's me traversing the world in 12 minutes, in receiving and transmitting, of letting my body become the channel through which the music flows through, of expression. Tango to me is at this stage, everything that I want it to be. Of course there's plenty of things to work on, but there comes a point where you are balanced in yourself and your awareness of this dance that allows you to express your truest "self". It opens different facets of yourself to you and I continue to hone how I communicate. It is true that only certain people "get it", or "stick with it" and more or less these are the people that end up being people I get along with. It's a bit of a screener for me too in terms of figuring out who I actually w...

Tango often gives conflicting messages – go left but lean right, be strong and yet soft, be present and yet follow, give and yet yield. No wonder half the time it’s such a mess to sort out when you first start. And yet, what draws you to the dance is the first steps you take, hands stretched out in front of you with the other clueless beginner. Just, moving and trying not to step on the others feet. That is the Tango you first encounter and it is neither technically, nor visually appealing. But what draws you to it is the mode of communication. The ability to say everything without words, the ability to deliver an idea with the body rather than talking or thinking of something. That is what drops us into the whirlpool of time, effort, frustrations and elations that is yet to come…if you stick with Tango. See, Tango picks its characters, its lovers, its haters, its obsessives and its preachers. It’s entirely a love hate relationship, whether you never want to dance it because ...

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...

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.  ...

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...

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...

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 ...

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...

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...