Tangodurians

"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...