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themis justice

The codigos (advanced)

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.

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The evil sequence

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.

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Divine Time Machines don’t pivot alone

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.

kitkat

The Hug to Break a Thousand Hearts

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

TangoForge Argentine Tango Workshop

El Encuentro

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.

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Dancing with Germain

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.

waiting sherry Ott

No Hungry Women

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.

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Berlin Tango Histories

“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.

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Vio Music

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.

nino bien wide

A social milonga

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.

MVI

Improvisation

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.

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Important Insights

Books

Power is the courage, confidence, and competence to make things happen. I want to create in a way that’s incomparable and define my own compensation package. You too?

Syntax of Power is a raw, potent, and spare revelation of how I got to where I am and how I take on the struggle every day.

This book is not about tango, it’s about everything else.

It’s about stepping into the darkness of change, learning how to take care of yourself, and making things happen.

Dyv stands for Duro y Vio. We were inspired by a 2007 conference at Harvard University about tango as a transnational culture. Also we wanted to create something that would help people to imagine a queerer tango. We forbid ourselves to use the word ‘passion’ and instead tried to articulate the experience more precisely.

Argentine Tango is more than an elaborate and difficult dance, it is an international culture of intimacy, desire, and dignity. No mere romance or memoir, the intricately woven stories evoke tango’s true mysteries … the elation, the frustration, the compulsion…

We published the book in 2009. Dancers asked “how did you know what I was feeling?”

Silences in history. Silences by code. Silences of fear. You already know that Tango’s silences can be sublime and they can be devastating.

What I do in my blog is use myself as a lens – sometimes a microscope, sometimes a telescope. I try to be as honest with myself and you as words concede. Then I try to find a deeper meaning and imagine a pathway for us.

A blog post can be a fragment, a wisp of inspiration, an outline for thinking. A book must complete and reconcile it all. Now I drag the social scientist to the scene to enumerate the facts of the case, the mystery which brought both stardom and tragedy to my life.

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