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Andrew Chiw interviews Vio 2020

1 March 2021

We talk about intentions, the development of TangoForge pedagogy, online tango education, marketing for the tango industry, and possible uses of Blockchain.

Making Tango Your Own

13 February 2021

–Auch auf DE– Mario and Andrea were competitive ballroom dancers for some years. Eventually they tired of the rigid priorities and circumstances of competition. They resolved to continue dancing in a way that was more sustainable and directed by their own values. Finding traditional milongas uptight and unsatisfying, they renovated part of their house to make a dancing room and built their own community.

what tango gives women

The Good Girl

8 February 2021

As I’m sure you are, I’m spending a lot of time thinking about – well, everything.
My life, decisions I made, mostly the bad ones.
Wine, the difference between Barbera and Ruché.
Tango: was it all a dream?

Internal Audit Technique

29 January 2021

This cycle prevents us from ever reckoning with the costs of either. We can’t seem to finalize a cost-benefit analysis. The phone beeps, we are packing our shoes.

Friendly but not Friends

19 January 2021

Dear Dancers, I write today with a sad confirmation of things I suspected. I hope to learn that it is somehow incomplete. As you know,

Berlin: The Directors’ Cut

10 January 2021

From 2021 Berlin will no longer be our headquarters. Now is the time to revisit our Berlin productions. Accompanied by superlative collaborators, we used every opportunity to tell new stories and make tango bigger.
Thank you to: Mona Isabelle, Andreas Rochholl, CJ Yetman, Max Thomas, Fritz Schadow, Abisko Lights, Gökhan Aksakalli, Antoine Gallix, Alan Nguyen, Stefan Brenner, Yoko Onodera, Swan, Frauke Nees, Andi Hackenberg, Jaina Hirai, Eva Curtius, Ibon Goitia and Orquesta TRYST.

The Advent Pearls’ Oyster Farm

1 January 2021

The TangoForge Advent offered the pearls of delight and wisdom I have collected between dances. If you want more of the Advent’s type of pearls, I welcome you to the oyster farm.

Endurance and Action

27 December 2020

This year we have seen our fragility, we have lost control over our lives, we have surrendered freedoms and privileges. And we have also decided what to do, what we can do, how to protect, how to connect, how to live.

Cluster Tango in and beyond The Distance

11 November 2020

Germany is, as always, a bit special. This post is intended to share with others the corona-cautious dancing system here. I am not interested in debating the mathematical and epidemiological theories. Instead I want to draw attention to  aspects of the cluster system that may be useful and desirable beyond the viruscrisis.

Productivity versus Pleasure

14 October 2020

My relationship to work presumes that completion is the main pleasure in life. My overwork is often a drive to finish something. This finish fetish is utterly arbitrary. Usually there’s no urgency, and most things get better with more time (and sleep). I practiced: stopping when it’s not done yet.

The grammar of creation

9 September 2020

I resonated, and I was intimidated. I slog away at the day and although I use a lot of creativity to get through problems and take pleasure in every word I choose, every bite of food I eat, and moving my body around, I would hardly call the experience or the result “a love poem”.

Pivot

8 September 2020

As I prepare to return to Europe, I want a new relationship to tango well before any milonga beckons. I suspect many of you also hope to return differently to tango – or hope that it will be different upon our return.

A new intimacy

12 August 2020

We associate tango with large, crowded rooms, and anonymity – milongas. Yet we all know that peak tango can happen in a room with only three couples dancing. Let’s take that certainty and build tango around it. The courage and imagination that brought each of us to tango can be brought to bear on creating safe and fulfilling tango right now.

Surrealism

1 August 2020

Besides flawless composition, Gorey’s art is the conjunction of an “aesthetic preference for the understated and the unstated” and an “attraction to the highly stylized”. He tended to “leave out most of the connections” so as to offer his witnesses “ambiguity” and “subtlety” which give space “for imaginative participation.”

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