The codigos exist to protect egos and relationships. They are really very handy, and I recommend you follow them. The codigos are like your best friend, who takes care of you when you are drunk.
These days in Berlin 50% of Marks do this sequence within 5 seconds that my eye lands on them. (I spent a couple of weeks sitting with my stopwatch in the milonga checking my perceptions.) Another 35% do it under 30 seconds. That leaves just 15% of the dancers in the milonga who are not doing this sequence ad nauseum… Not very many of the 15% are advanced dancers who are doing something else. When you look at the dance floor at any milonga, you see this sequence constantly, in dancers of all levels except rank beginners.
To reveal more to herself and to her partner, the Revel must abandon the safe ground of knowledge, prediction, sequences, familiar movements, and righteousness. Crucially she must abandon her surety that the best thing she can do is to pivot. Pivoting is how we try to be good girls doing the hard work… But if we abandon a claim on certainty, avoid arbitrary endings and stay open to the previous movement continuing to unfold, then we offer ourselves to divine creativity.
This was posted in February 2016 to the Milonga Popular/Tango Kollektiv Facebook Discussion group as part of a conversation about seduction in that milonga. (deutsche
The partners begin dancing autonomously, connecting their bodies to the music first, and then look for one another. They approach one another and begin to interact, still dancing autonomously. At some point, they connect. It might be useful to define the tango connection: It is a very particular power relation in which the Mark has creative power and the Revel has the power to manifest his spark.
DJ Elio Astor’s live mixes are improvised; Germain and I don’t know what the music will be or how long it will go on. The reality of dancing this way is very, very difficult. Not knowing what will come, we must continually leap into our interpretation of the music and one another. The demand to “trust thyself” is immanent. In addition to the unknown of the music, Germain is a contemporary dancer. So the matrix of movement possibilities expands dramatically beyond the already-rich tango lexicon.
I can feel the hunger of the women. I know that hunger for tango ecstasy. I know it as an addiction, as a wound, as a sweet balm. I know that dancing with them won’t be enough. I can give them my best and they will still be hungry. If I have any responsibility for the event, this sensation drains me to the point that I desperately want to lay down on the floor and go to sleep.
I made a series of interviews on behalf of the Berlin edition of Modern Tango World 2015. This is an overview, emphasizing the most interesting
“Berlin is the first city of the world where you had tango community who danced Argentine Tango. In Japan in 40s and 50s you had many people who heard tango music, But dancers in a community, you had in Uruguay and BsAs, but not in Europe. The first point of the world to have this outside from South America was Berlin. Berlin is famous for the boheme life. People come here to go out, to meet people, to laugh and love with them. And tango is a part of this.
I made a play for the word ‘powerful’. Because to me what traditional tango music lacks is power, and that’s what I get and like about the music I like to dance on (which is not all alternative music). Powerful music for me has deep sounds and it has emotions.
In Buenos Aires the worst thing that can happen to you at a milonga is not to find a table. At a table, you are never alone. Even if everyone else is dancing, you are obviously part of a group. Once you are sitting, you too are a host, watching out for arriving friends or handsome tourists who need a place. In Berlin, if you are lucky you get a chair, to wait in and to which you are not attached. Dancers in Berlin milongas are in perpetual solitary motion and circulation.
We can dance the same songs every night for years because of the possibility to discover new relations between movement and music. We can do this because each dance is unique, because we create it anew each time. Argentine Tango improvisation must be authentic and spontaneous or tango becomes rote and dead. Either partner can kill it: The Mark through routine and the Revel through automatisms.
I’m not the first generation of tango dancers in Berlin. I have knowledge for 20 years. I entered the scene in 1991. From the beginning
The initial spark was the Horizonte Festival in the Künstlerhaus in Mariannenstraße in Kreuzberg in 1982. They had Latin American cultures and they invited an
Berlin is the first city of the world where you had tango community who danced Argentine Tango. In Japan in 40s and 50s you had
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