Milonga Strandbar

postitleswirl

Tangotourist in Berlin, Summer 2014

This milonga reminded me of the milonga at Plaza Dorrego in BsAs. Colored lights,  tourists drinking wine,  smiles and dancers of all ages and levels.  This one was full of boys arrived for the weekend’s queer tango festival.

WITH a beautiful backdrop of river and museum.

Very crowded (it cleared out a bit by the time I took the photos) but fun.

The floor was pressboard,  and had a distinct edge.  And one of my dear students from Queer Tango Boston is here.  What a surprise!

I had a great dance with UP, at last, changing roles the whole time. He dances barefoot so we bring the footwear spectacle to new heights of noisy stares and exclamations.

I danced with a couple of girls, one of whom reverse cabeceod me, which I have to say put me in a very sour mood. She tried a week ago, but this time I gave in. I have to say that I feel I came a long way to lead girls who have slightly better connection and softer motion than Sydney tangueras but still insist on doing whatever ocho they have in mind even if they have to break their shoulder to do it because the mark is going somewhere else.

And I just have no motivation whatsoever to humor them. I am here to make art, baby, and you are going to need more than two colours if you want to paint with me.

The onda was so beautiful – setting and mood, but the dancing was generally (and has been elsewhere) exactly what makes people say “tango nuevo is ugly and disconnected”. Why is good onda inversely correlated with level? I want happy, inclusive tango, but I want people to dance better. And I think it’s possible.

And I do feel some teachers are trying to make it more complicated, not less so.

 

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.

I invite you to join my resolution to take a look at the dark silences of Argentine Tango in our lives. It’s time.

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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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