“The minute you call something a Tradition, you’re declaring it dead. Because you’re saying that it’s a static thing, that there is only one definition…” Chef Ed Lee goes on to explain what many Chefs have had to learn about their French training, “Tradition is technique.” To become great chefs, they had to use that technique to express something personal.
“We have to stop using the name ‘Argentine Tango’. I know that’s what we’re doing, and we’re doing it more authentically and precisely than most people, but that name is counterproductive to the dance we want to do. It conjures an image of a culture that we don’t really want anything to do with, and that the athletic people we’d like to be dancing with, are not attracted to.”
Repetitive marks disrespect the genre and our community. We need to respect our inheritance by keeping it alive. And we need to grow our community by challenging our partners to concentrate and to increase their knowledge and skills.
This is a complicated point. Please read it very very carefully. I am interested in how we manage people and our own emotions. I call
The Revel’s gift is her taut musculature and her capacity to witness contradiction, her comfort with the unknown.
The message of elegance is exclusive, repetitive, and actually not that interesting. People who have musicality, emotion, and improvisational intelligence to share with us, but who may not see themselves in suits, heels, or extreme postures are driven away by these cliché images which indeed are only one of many facets of Argentine Tango.
I have to believe that my 11 years of tango are not in service only to sexist retrenchment but to something liberating. I think tango
“In Europe, the people have more open minds for listening and dancing. In Buenos Aires, there are only 3 or 4 milongas in which you can play new tango music and the people will dance. I feel that bit by bit, every year the dancers open more.”
Mano returned to Berlin for our 5th tanda on 9/10.September 2017. Our challenge could be no better described than by Elizabeth Gilbert in her exploration
“I started to play and compose because I felt the traditional tango could coexist with the sound of our times. I was interested in Tom Waits, Massive Attack, Air. A group of friends encouraged me…it was not only me who wanted new music.”
To create “The Perfect Tanguera” I wrote to my 10 favourite Milongueros of all time to ask for their advice. These aren’t professionals, or my dance partners, or my friends. They are actually the 10 most delicious men I’ve danced with anywhere in the world over the last 10 years. Most of them are guys I was too shy to even have a conversation with.
If tango were a video game…Level 1: Roses … You are invited to the Grand Ball, full of unknown delights. You are having such fun and you are grateful!
Level 2: Crack … You rush from dance to dance in ecstasy, gathering all kinds of treasure. You are addicted, selfish, insatiable.
These days, slick dancers prove their purported “talent” by dancing a choreography which insults their ardent students who are trying to do a “social”/improvised dance. Then they offer, perhaps in innocence, a fraudulent service, and then blame the students or tell them “it takes 10 years to learn to dance” or “you can’t really dance tango unless you understand the Lunfardo lyrics of the music.” It only takes 10 years when your teacher is incompetent.
Presenting: The TangoForge Real Impro Hardcore Crew 100% Improvisation . 100% Argentine Tango Maximum Artistry . Modern Gender Concepts The Tradition is Transgressive… The
I believe that there is a black tango and a white tango, like black magic and white magic. If we recognize that tango is a powerful thing, then we realize we can use it for selfish purposes or generous ones. We can realize people who are using it in different ways. Tango is not this or that. Tango is power, and a practice for relating to other people. You wield it.
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