Tag Archives: tango

Reinventing our relationship with tango in these difficult times

My own Tango life has always been focussed on small creative regular group classes, private lessons, practise and studying the music.

For a time now all of us are of course losing two important aspects of our Tango world:

  • Dancing at Milongas – including the social aspect this provides
  • Attending classes

For me personally I will miss so much the input of professionals who have been consistently guiding me for 8 years.

I have also really enjoyed travelling to Spain to learn tango – another aspect that of course is lost in these times.

My reaction has been to concentrate on practise even more than before – with my current schedule totalling 10 hours a week.

I have found a way of combining weekly themes and a different orchestras in order to sustain interest over the coming year – or however long it takes before Tango can return to normality.

It is still early but so far this is working well.

We have found that focussing on how the theme might be used in the focus tanda for that week provides a lot of material and creates good learning experiences and discussions.

In addition I have personally always used Trello to store focussed notes and video clips from lessons – this is now proving even more valuable as we are also revisiting material from recent years – exploring it with new experiences and fresh eyes.

Here for reference is an extract from just one part of one board :

Using Trello all of us can review the cards and videos in our own time, and suggest items for the following week.

I completely understand that for many dancers my approach will seem hopelessly extreme – but as I lose the input of the wonderful teachers in my life for a while I am going to take the opportunity to work even harder to build on the foundation they helped me to create.

I am extremely fortunate to have 3 talented friends to work with – all of us are enthusiastic to progress and to keep Tango in our hearts and minds as these depressing events unfold around us.

Continuing to enjoy Tango is very important to us all – it provides a sense of energy, purpose and friendship – we all need to find ways to adapt in these changing times – and this is my personal solution.

Cancelling Our Milonga this weekend – a tough call

We have had to cancel our March 8th 2020 milonga at very short notice – just 6 days to go – and to our community we just wanted to explain why:

  1. Firstly – we are hesitant to cancel or explain our views because we are not medical experts at all and we are certainly not trying to create any precedents or advice of any kind for anyone else, especially other organisers who have put so much great and consistent effort in for so many years with so little direct reward.

    We are just making a judgement call on our own upcoming Milonga based on what we know at this time, which is so very early in the Coronavirus outbreak here in the UK.

  2. We are trying to give enough notice to our dancers in the very week when the government finally comes out with guidelines (tomorrow as I write this ) which of course are themselves designed to not cause panic and have little relevance to a tango Milonga – which is not a ‘mass gathering’ (assuming they even mention those) but has some characteristics that unfortunately favour virus transmission.

    They will probably recommend not being close to strangers and washing your hands – which is fine but not very helpful to us as Milonga organisers.

  3. We are trying to learn from experience as it unfolds – especially from a recent Milonga in Italy – which was only discussed in the news today. This was a tipping point for me as I had been lacking any real tango examples until I heard about this.

  4. Guidelines in countries trying to contain more established outbreaks is to allow bars etc to be open but only if you can stay 1m away from all other people – that is a pretty open embrace.


The Italian Milonga – you can read the article here https://www.ilrestodelcarlino.it/ferrara/cronaca/coronavirus-quarantena-1.5052963

That event was 100 dancers starting 21st February – at that date Italy had only 16 confirmed cases – jumping to 76 the next day – in the UK ( Monday evening ) we have 40 today and 6 days to go to our Milonga. 

Since that Milonga in Italy they are now trying to track all participants to isolate and test them – there have been – according to Facebook communities involved – 3 confirmed cases plus 2 with symptoms –  including one who had returned to Spain.

Example FB post here https://www.facebook.com/warren.edwardes/posts/2914500265237430 

[ permission to share received from Warren Edwards this evening – who is now also cancelling his Mayfair Milonga ]

I assume that his will of course increase significantly as it is only about now that dancers would normally show any symptoms.

We are just organisers – there is nothing special about us – of course we do spend so much of our energy and time trying to create something great month after month, and now year after year – but at the end of the day we are personally responsible for our events and for your well being and enjoyment.

Basically we are  trying to do our best and this is a difficult time to make such a decision.

Of course we are not health experts at all, and by making this call we will lose all of the Milonga costs – but at this uncertain stage our financial costs are completely irrelevant – as indeed they always are to us – when compared to the well being of our Tango community and ultimately their families and friends.

This virus, like so many things, will reach some conclusion and hopefully end up as just one of those temporary newsworthy things that our pathetic media loves and  exaggerates so much because that’s a story – and good news never is.

But right now we simply don’t have enough information, or a crystal ball, to be sure on what we should do just a few days in front of our event and so we just want to be responsible and to do whatever we can to protect our community.

We are looking forwards to starting the Milonga again when the time is appropriate and trying all always to create an amazing event for you guys! Thank you for so much support in the last year – we really, really appreciate those of you that so consistently support us month after month and give us such great, great feedback, advice and help!! 

Creating a consistent and high standard Milonga – in such a small community as ours –  is a hard task and we have been so thrilled by your support!

Lastly I am disabling comments on this personal blog because if you have any comments or feedback I would really appreciate if those could be left on the Lewes Milonga FB group so your voice and thoughts can be heard in our community, which is so important to us.

The post to leave any feedback and comments for all of us is here

https://www.facebook.com/groups/lewestangomilonga/permalink/2865409280191020/

Thank you!


See you back on the dance floor very soon!

Nigel and Jo!

Studying Tango? Good luck …

Next month it will be 8 years of throwing myself at this thing. Such an enjoyable journey, so many friends met, so many great experiences. Such deep music.

I have travelled many, many times for Tango, pushed myself, studied, studied again and sometimes – in the last year or so – actually danced with some sense of pleasure.

But despite this completely wonderful experience I do feel some disappointment, frustration and ultimately sadness. I want to work to change this.

In many ways I think that what tango is now, how it is presented, how we consume it – is fundamentally flawed.

It is the ultimate elephant in the room – where we all just ignore the presence of so much complete and utter nonsense – perhaps because everyone else does. And because we still want to believe – even though time and time again the real world knocks on our door and tells us that we are mistaken.

Photo by 7 SeTh on Unsplash

Trying to work this out I just want to think of some of the fundamental parts of the tango world, as I have experienced them, just one at a time.

Lessons

This is an improvised dance but 90% of teachers everywhere prioritise steps with little discussion of the embrace, communication or creativity.

What on earth is the point of this? If we do manage to keep learning for more than a few years then we as students have to fight so hard for even more years to escape from the collateral damage these teachers inflicted on us.

Learning patterns so you can pretend you can get through an improvised dance when a clueless person is watching has nothing to do with the beauty of feeling Tango. Yet that is what we so often get.

Milongas

So many possibilities – yet the reality for most people is an immensely unoptimised experience. Dire music, miserable environments, beautiful women who have made such an effort sitting on chairs for 90% of the evening praying that there might by a miracle be at least one leader in the room that knows something about the essence, music and beauty of tango.

And that they might possibly ask them – because it is apparently OK that they can’t ask but leaders can.

Festivals

What on earth is the point of these things? A succession of smiling choreographed professionals show us they can memorise lots of impossible things to do very quickly in 12 minutes.

Of course they can, they don’t have anything else to do and they spend months and months trying.

Who cares? Even if they made a mistake we wouldn’t notice because we have no idea what their predetermined sequence that they just forgot was ..

Choreographed performances, speeches and announcements, and through all of this beautiful women who have made such an effort are now sitting on chairs for 3 days on end rather than just 4 hours

Leaders

The gender imbalanced world of Tango means that once men know a few meaningless patterns and are not completely torturing followers they can keep getting dances and just stop learning because they don’t need to learn to meet their own limited ambitions.

Although of course this is understandable it is such a disaster for an intelligent, fascinating, difficult and improvised partner dance. But it is the reality. Especially – I think – in England.

Practise

This one I just don’t get. And I care about it so much. Because I want to practise.

If we love tango – and we want to work at it – because Tango has no valid shortcuts and we want to be better – why on earth doesn’t everyone I meet talk about how to practise, who you are practising with, where to practise – how to work, how to learn. How to sweat, listen, try, create – to make something. How to create something true to themselves.

How to break down any muscle memory of steps until they have completely gone. How to take yourself to where you have never been before. How to creatively exit in 3 different ways from this node. How to get in a zone but stay with the music. How to converse with each other. How to connect and stay connected and never ever lose it.

But they never do. They might talk about lessons, teachers, other dancers, sometimes Milongas and often festivals. They say they want to be so good at something so challenging – yet they don’t prioritise practise. They don’t work together – helping each other.

This I don’t get and I don’t think I ever will. It as if the Tango world pulled a colossal blanket over all of our eyes. It’s like a perfect conspiracy.

The perfect tango conspiracy

1 It is an improvised dance – ignore that just learn these wholly irrelevant steps instead.

2 It is hard – ignore that and don’t practise

3 It is the world’s most beautiful music – full of so many emotions that you can dance to – ignore that and have no understanding what orchestra this is, who the singer is and have no idea what they are saying – that’s just fine.

My Plan

I am going to find people who really do want to work at this thing. Great work, effort filled work. Sweat, frustration and joy – as obstacles of communication are overcome..

Practise – the thing we all should be doing but mostly aren’t. From now on I am going to chase this down – somewhere in the world there has just got to be a group of hard working people who see through the tango myth that surrounds them and want to actually work hard and get better at an improvised dance?

Surely.

No?

I would get on planes to find them. And I suspect that is exactly what I will have to do.

Ladies Tandas at the Lewes Milonga – the Music

I just wanted to explain my thoughts about Ladies Tandas at Lewes, from the point of view of the music.

Firstly there are three in each Milonga – and they are always in a consistent position – straight after the Milonga Tanda. I also announce them – and the heads up also tells you that the next Tanda is a Ladies Tanda, and what the orchestra is. This allows everyone thinking time to decide who to ask.

I try to be very consistent with the music that I make a Ladies Tanda.

  • Always more lyrical than rhythmic
  • Never too complex
  • But always with some emotional depth

Why is this important? Because the lady is taking a chance to dance with someone that perhaps they don’t know, and presumably they want to dance with.

I want them – and the leader – to feel confident that the music is not going to boring or dull, or stupidly complex.

As an example here are the first tracks of the ladies tandas in our March Milonga – with links to quickly listen to them if they are not immediately familiar to you:

Cantemos Corazón – Carlos Di Sarli & Roberto Florio

Recuerdo – Osvaldo Pugliese

Corazón Encadenado – Francisco Canaro

These are all beautiful songs – but they are even paced and not technically challenging. And as always the tandas are consistent with the first track – on which you base your initial decision.

Asking a leader to dance is already  an interesting moment – let’s make sure that the music supports both of you in your efforts to find enjoyment and perhaps a new social dance partner.

Featured Orchestras – An Explanation of what this means at our Milongas.

At the Lewes and Tango Revolution Milongas I will each month be featuring an orchestra. As this sounds a bit academic – and it isn’t at all –  I wanted to briefly explain this.

Although I play music that often extends past the golden age – because I love to dance to that full orchestral sound and because there is so much amazing music into the 50’s and even beyond – apart from that I am in so many ways a traditionalist.

 I follow the time honoured rules – such as always playing at least one Tanda – and almost always more – from each of the big 4 ( D’Arienzo, Troilo, Pugliese and  Di Sarli). I follow the established format of TTVTTM. I don’t play Nuevo. Our Milongas are inclusive – welcoming to all, and encourage the Cabaceo. 

What the featured orchestra means is simply that I will play two Tango tandas within the 4 hours from that Orchestra. I will chose tandas that show the different sides of their work – because to me that is the interesting part.

A featured orchestra will always be outside of the classic top orchestras –  because they will often already be repeated in a 4 hour Milonga – out of respect and more importantly because their music is amazing.

I will normally be illustrating different singers or different decades. If they are strong in Milonga or Vals I may also play one of their tandas in that genre. But only if it is truly great to dance to – the dancers mean everything to me.

Please don’t worry if you are not yet that concerned with the music! There are over 20 tandas in a 4 hour Milonga – you won’t notice and please just enjoy the dance, the Cava, the cake –  and the company of your friends.

But if you are interested in learning more about the music – just watch the heads up display – and there will always be a post before the event announcing who the featured orchestra is this month – presenting a side from each of the tandas and adding a bit more context for you.

I hope you enjoy this approach. Increasing our understanding of the music improves our dancing and our respect for the amazing musicians who made this whole thing possible.

It adds so much to our amazing tango world.

When it’s all worth it

We work so hard at Tango.

Sometimes we can get a bit lost, feel that it isn’t worth it – that nothing should be this hard.

 

But then you dance with someone and you both just smile.

Tango is often such a wistful, sad and yearning experience. But inside so much of it is a wonderful chance to experiment, to play and just to enjoy yourself and the way you are both moving so freely to wonderful music and to each other.

In these tandas we absolutely understand why we do this thing. We do it for this. To celebrate our acquired skills. To enjoy the miracle of moving as one.

 

To dance.

Y así nació este tango – So where is your own road going?

“And so this Tango was born ..”

What a wonderful, complex, genuine piece of music. I love it so much.

So … where did your own Tango passion come from?

What pain led you to this place? What are you looking for?

La noche, el viento y el frío
mis penas me están matando
pero yo voy aguantando
con mi canto en el camino.

Así… se encontró el motivo
y así… nació este tango.

At night, the wind and cold
my sorrows are killing me
but I’m holding on
with my song on the road.

So … the reason was found
… and so this tango was born.

You are on a road, and you have chosen to be accompanied by Tango. It is so important to you, It softens the edges. It helps. It blurs your reality.

We chase them don’t we – these ephemeral moments. But do we really understand what we are doing – what we are walking away from as we dance towards some other dream?

Some things that to others define their lives can absolutely no longer satisfy us.

What is your reason for being on this road? Do you know where it ends for you?

Tango conversations – who is talking to whom?

All of us that have been dancing for a while will have enjoyed the moments where there is an interplay between lead and follow that we often refer to as a ‘conversation’.

Until very recently I never thought to question who was having the conversation – there are only two of us after all. But now I am experimenting with the idea that in these moments I am often listening – and the real conversation is often between the follower and the music.

But the key – I think – is that word ‘mostly’ – when she dances with the music she needs to know that I am there – that I have not abandoned her. There is a moment when I give everything over to her – and I remain as a stable engaged structure – but never should she feel lost – just playing with her own responses to the emotional landscape in isolation.

One of my wonderful teachers talks about the fact that the music knows nothing about dance, and our job as dancers is to introduce the music to dance. We take this role on as a couple – we accept the musical landscape and together we negotiate our response. It is natural that the focus of our relationship – the two dancers and the music – shifts in all possible combinations. Sometimes the music might suggest a walk, and the leader responds – he has listened and the conversation is between him and the powerful rhythm of the music. For a musical phrase the follower might just enjoy the result – and be walked. But then the focus changes – there is a wonderful series of complex tumbling notes that the follower responds to.

I think this role of the leader – to be always there – to always be dancing even in stillness – to never abandon her – to participate as the focus shifts again and again – is so important.

The skill is to jointly agree who has the focus, and to exchange our roles from leader and follower between the two dancers and the music so as to create a work that is creative, natural, balanced and spontaneous. And – ultimately – musical in itself.

As we all learn after a few years – the semantics of leading and following simply demonstrate a lack of vocabulary for what beautiful Tango consists of – the continual exchange and creation of meaning between two people and the music – with a constant flowing and shifting of the role of all 3.

 

When ‘Correct’ is not good enough

For so long as students we all strive to be correct.

We learn figures, we watch performers and teachers. We work hard – trying to be ‘right’.  Trying not to make mistakes.

To learn to be more correct seems to be why we go to classes.

Recently I have began to feel that correct is boring. That the woman is in danger of disappearing – of loosing her individuality to the correct and familiar execution of what is asked of her.

As a leader I have been studying the footage of milongueros – building up video resources and notes – and the one thing I do not see is any sense of uniformity. They share fantastic musicality and creative skills, which they express in such extremely individual ways.

And who among us would have the temerity to describe them as wrong?

Just one example – I have been learning from clips of Pibe Avellande – particularly that wonderfully creative dance with Luna Palacios at salon Canning to Rodriguez.

Is there anything at all that is “correct” about the posture of El Pibe?

I can just hear the teachers now – ‘stand up straight’ ..  ‘don’t hunch’  .. ‘be more gentle’ .. ‘don’t stretch the woman’s arm like that’  .. ‘walk properly not like a crab’ – in short – stop being amazing and just dance Tango like everyone else in the class.

Of course I don’t have the 40 years – or the talent – to be so creative and so connected to the music as this.

But I am already so enjoying it when people that I am lucky enough to dance with express their own individual interpretation, when the energy flows back and forwards between us. When neither of us are following or leading – and when right and wrong don’t exist between us in the same way that they used to.

It is so exciting when you feel on the edge – when you take risks, enjoy the moments of surprise – and stay with the emotional landscape of the music however the dice fall.

Too many pieces in my Tango Jigsaw

Sometimes I feel like a child trying to fit everything into place. There just doesn’t seem to be enough time to work on everything, to keep mindful of it all, to keep improving and fitting everything together to eventually build something beautiful and complete.

There are just so many pieces – musicality, posture, technique, aesthetics, axis, balance, emotions, interpretation, walking, figures, sensitivity, listening skills, the embrace.

And her.

Maybe I should just put her in the middle of everything, care for her absolutely and let everything else sort themselves out.

Nothing else really matters.