Dancing as equals

While chatting with a local lady in El Arranque (a milonga in BsAs) about the nature of ‘connection’ in tango, she said that “the man and woman need to dance as equals if they are to truly achieve connection in tango.”

This made me examine my mentality when I dance with ladies whose skills and experience vary greatly. For example, many of the women with whom I dance at milongas in my home city, are those that I have taught or currently teach - including beginners. Elsewhere, including in BsAs, I have danced with some women who force me to work hard to simply maintain my axis, and with others who are acclaimed ‘maestras’.

The question I had to ask myself was: "How can we dance as equals?" For me, it's about how I approach the relationship with the woman I'm going to dance with. If there's any thought, for example, of superiority on my part or inferiority on hers, then the relationship we are seeking is doomed from the start, and there’ll be no chance of that elusive connection in our tango. If I have any feeling of anxiety or intimidation when I dance with women who are clearly more experienced and skilled than me, then I won’t experience connection with them in the embrace.

And this is what I found in BsAs - the women I danced with love tango. Some sang in my ear. We danced for each other - there was nothing in our brief relationships that suggested anything but equality. We used all of our skills to bring the music into our dance, and we brought ourselves confidently into a collaborative relationship. I felt we were dancing as equals – and that’s the only way tango can be danced, in my opinion.

There is no reason why this mentality can’t prevail wherever I dance tango – but it needs to be shared – the women need to feel this way too: they need to feel self-confident and they need to trust.

Bob

Less is more

Just found this superb video of María Inés Bogado y Sebastian Jiménez, the current Tango Salón champions performing in Valencia (Spain). There is so much that can be learned from this recording of just 3 minutes! Their musicality is brilliant, with clever changes of dynamic executed with total control and excellent technique. The connection is utterly palpable. A brilliant performance where colgadas, volcadas, ganchos etc., fashionable in some tango circles, would have been totally superfluous.

So what can be learned by ‘mere tango mortals’ which could be of any use to dancing socially in the milonga from this outstanding performance? Many things, I think.

But let me focus on only her footwork. Why? Because it’s perfect for dancing in a crowded milonga, and it is simply beautiful! So many ladies in tango frantically try to execute adornos (decorations) as a way to express themselves, often to the detriment of their partner, the music, the dancers around them, let alone their own elegance. I’ve expressed my views on this topic in the past.

Interestingly, María Inés dances with few explicit adornos, and they are done with understatement and sensuality. Yet who could say that her footwork is not exquisite and utterly mesmerising? I simply wish that ladies wanting to add a little spice to their social dancing, would focus more on walking elegantly and using their feet beautifully.

PP

What a difference a singer can make

Whenever anyone asks me which tango orchestra a prefer, all I can ever say is "It depends on my mood". Moods are governed by emotions, and music reflects, affects, or should I say, manipulates our emotions. In his Tango & Chaos website, Rick McGarrey illustrates this beautifully using Una emocion as an example. He also adds an interesting, perhaps controversial, observation about Pablo Veron's interpretation when he dances this tango with Geraldine Rojas during the credits of the film Assassination Tango.

Enrique Campos, who sings this piece with the orchestra of Ricardo Tanturi, seemed to change the mood of Tanturi's tangos when he joined the orchestra in 1943. Despite the strong rhythmic elements, there is an overwhelming romantic, softer, more introspective feel about them.

Whereas his predecessor, Alberto Castillo, with his extrovert style, appeared to bring out the more energetic side of the musicians. I love dancing to his Pocas palabras.

Perhaps the musicians affected the singer rather than vice versa. Or perhaps it was simply a popular style at the time. I'm not sure. I'd love to know the answer. Of one thing I am certain, and that is that they create different moods and demand a different response from the dancer.

Jennifer and Ney performing to another punchy Castillo favourite La vida es corta provide a stark contrast to Regina and Martin's romantic interpretation of the nostalgic En el salon, with Campos.

PP

Making every moment count

I know it sounds clichéd, but the most memorable dances I’ve had were when both my partner and I felt completely in tune with the music and with each other. The selection of music was just right. We trusted each other enough to mutually surrender to its moods and cadences. The figures we danced were of no consequence - often quite simple. It felt like the music was channeling through our close embrace and directing us. Each step we took counted. We danced in the moment. Sounds sort of Zen, doesn’t it!

My plea to tango dancers: Listen to the music, trust it and allow it to transport you! Only then will it be possible to dance in the moment.

Here are some inspirational dancers making every step count:

Melina & Detlef

Juan Esquivel & Thomasina

Osvaldo & Coca

Tete & Silvia

Adela & Santiago (thanks to Tango commuter)

There are many more, of course.

PP

Buenos Aires milongas – life as a single.

Our recent stay in Buenos Aires led me to reflect much more on the milonga experience, particularly to compare the “singles” and “couples/groups” milongas.

When a couple enters a predominantly ‘singles’ milonga in Buenos Aires, they are usually placed in a back corner and become invisible. Tango in BsAs for me is, despite visiting with my partner, largely about dancing as a single – then the full essence of tango has a chance of being experienced.

It’s not about the figures and the display on the dance-floor; it’s about people and about tango music, and how they can achieve a connection. It’s about social communion and an expression of the temporary relationship with our partner through the music & dance.

The milonga is a unique socio-cultural experience that begins with entering the salon. As a foreigner, it’s more difficult to be accepted, but you need to enter believing that you belong there, and it needs so show – it’s confidence, not presumptuousness or arrogance. I always accept that I am a guest in their milongas and I am going to respect that by adhering strictly to their codes.

It helps to get to know the organizers – more easily done by regularly attending the same milongas each week (rather than a trying to sample too many) and expressing thanks for the efforts which the organisers put into staging each milonga – and it is a huge effort & increasingly expensive to stage. Developing a relationship with the organisers does help in being seated favourably in the milonga – which means having good visual access to potential partners.

The use of the cabeceo is non-negotiable in reputable milongas. For someone new to a milonga, it can be hard work – particularly getting that first dance. However, once others have seen the quality of your dancing & musicality - and your observation of the codes - it becomes a little easier (for leaders, good line-of-dance is essential; for both leaders & followers, dancing in the considerate and understated style of the locals is admired). Getting a dance with the best & most popular dancers in the milonga takes persistence, and may require several visits to that milonga to achieve. But that’s part of the challenge of dancing as a single – the unknown.

A defining moment always comes when taking up the embrace. It tells your partner a lot about your technique, your confidence, your physical connection …. and that creates a mentality that can underpin the whole tanda; the very first step is also significant in communicating who you are and how you will relate to your partner– it needs to exude certainty ….. and for a leader, masculinity, …… for the follower, responsiveness.

During the dance, the music permeates the body and the bodies communicate constantly. We are dancing for each other, not putting on a show for those watching. This suggests that while we should make an effort to be well groomed for our partners, the concept of beautiful/handsome is irrelevant.

It follows that we become different dancers with different partners – different interpretations of the music (by both leader & follower), different emotions expressed to our partners through the dance, quite apart from the variations in embrace, timing, and technique that we feel.

The attraction of returning to the same milonga includes the anticipation of dancing with some of the same partners, knowing what to expect on the next encounter, knowing what to build on to further enhance the connection …. with that person and with the music. It’s a creative and personal pursuit.

The greatest compliment for a foreigner at a milonga is for an old milonguero or milonguera to say, “you dance like one of us”. The glow lasts well past that evening!

Have you experienced “singles” milongas in Buenos Aires? What was it like for you?

Bob