“Gustavo, what are we going to do with this!? This is such an amazing way of making art, we must do something really great with this, something HUGE!!!” –Chicho
We talk about intentions, the development of TangoForge pedagogy, online tango education, marketing for the tango industry, and possible uses of Blockchain.
–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.
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?
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.
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,
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 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.
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.
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.
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.
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”.
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.
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.
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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