Saturday February 4th 11am – 1pm I am hosting a Lunchtime Practica at Plaza de Anaya Fusion Studio at 524 W. Broadway in Tempe. This is an opportunity to involve my new 8 week fundamentals class to the idea of Practicing and to other dancers. I am looking forward to integrating them into a positive experience of social Argentine Tango.

I have 40 brand new students in that class and they are enthusiastic and very focused. I look forward to introducing them to everyone who joins us. SO come on out and get some practice in!

ASU TANGO EXPERIENCE PLUG March 2, 3, 4, 2012

I want to continue to encourage people to register for the ASU Experience. And if you have never danced before TANGO 101 will be just for you. I can’t stress enough the quality of instruction, the new format that will be explored, and the good time we will have. Here is a list of highlights:

The TEACHERS

*Graciela Gonzalez will be in town for the festival and for a week. She is available for private lessons. She is the teacher most responsible for changing my dancing. I am honored to have her with us again. Don’t miss out.

*I had the pleasure of taking a Tango Teachers course with Tomas Howlin last year and respect him highly as a teacher. He has lots of great stories and incredible information to share.

*Jaimes and Christa run the 8th Style School in Seattle. They too come with a breadth of knowledge and in-depth understanding of the dance form. I am happy that they will be joining us!

The CLASSES

* There are only 6 classes during the festival. Each class slot is designed with a different concept in mind. For example: the first class on Friday is conceptually about “Walking, The Embrace and Connection”. The teachers who will be teaching at that time have been asked to design a class around that concept. AFTER each class there is a 30 minute PRACTICE slot for you to spend time refining what you learned, dancing, playing, meeting new people OR asking the instructors on hand for more assistance on that particular class.

* Take advantage of this new design. We know you’ll love it!

The MILONGAS and the DJ’s

* 5 milongas – plenty of dancing time over the weekend. These include Friday night at the historic Tempe Woman’s Club, Saturday night at the beautiful ASU Art Museum and the all-nighter on the Gammage Promenade, Sunday will be in the Memorial Union with the option of a pasta dinner. There is also an alternative milonga planned for Saturday afternoon.

* Our DJ’s have been chosen by the Tango Club as some of their favorite DJ’s. Mike from Portland milonga scene, Michelle from Albuquerque, Shorey from San Francisco, and our very own Acacia. We love these DJ’s and know how important it is for them to keep us dancing. I know they will.

The PRICE

* This is one of the most economical festivals. ASU Tango Club created the festival for a love of the dance and not for a business. A full pass is just $185.

* Registration is through google checkout. There have been some glitches with it but don’t despair. Just send a check or let me assist.

AND FINALLY- YOU!

Those people we enjoy dancing with. We have lovely dancers joining us from Portland, OR; Seattle, WA; Minneapolis, MN; MA; CA; DC; and all over AZ!

Keep dancing!

daniela

Well, the Women’s Retreat was a wonderful way for me to connect with other women in tango. There were varied levels of experience in tango amongst us. There were some great conversations and insights into our shared interest of leading and following. I was delighted that a few older women commented on their excitement about the younger generation interest in tango. “Who is going to carry on when we’re gone?” I remember hearing this from some older students of mine as well.

I was inspired by sharing conversations with one lovely Hannah from the Portland area – an articulate brilliant young woman exploring and finding her way in tango. I was impressed by so many things she had to share but particularly by her interest in keeping the “cabaceo” alive and kicking. In her community – she says that people know already that she uses the cabaceo and she encourages her students to use it.

What is the “cabaceo”? There are many writings on this art of asking someone to dance but in a nutshell it is a word that comes from  Spanish or specifically castellano (Argentine Spanish) cabeza which means head. The cabaceo is the invitation to dance: a lock of the eyes, a simple subtle nod of the head, and typically from a distance. It is an invitation that no one else needs to know about. It is an invitation that can also be rejected without embarrassment, ideally. This means, for example, if someone catches my eye from across the dance floor and I choose not to dance with him then I do not lock eyes with them or nod my head in agreement. That leader may then move on looking for his next follower without “losing face”, so to speak.

Some of us use it strongly in our communities others not as much. But it seemed that there was a general consensus that the cabaceo works and is good for tango. The leader or a follower can ask for a dance through the use of the cabaceo and also be rejected from a dance by not acknowledging it. It was also remarked that the rejection needs to not necessarily be taken so personally. Someone mentioned that if you are “cabaceoing” someone all night and they have not caught your eye – then maybe they are trying to tell you something. This is sometimes hard to accept especially in smaller communities where everyone tends to know each other. I think the cabaceo works well in all circumstances actually.  We also spoke about cabaceoing another follower to dance with. This dynamic doesn’t seem to have been worked out completely yet… but I think in communities where followers know that other followers are leading the cabaceo works the same.

Upon my return from the retreat and back to the classroom for the final days of classes at ASU I was struck by 1 of my more enthusiastic beginners’ interest in discussing the cabaceo and how he had spent time researching it online. He too has decided that the cabaceo is worth keeping and using and was encouraging the rest of the class to try it out.

SO I think the cabaceo is still alive and well even in Tempe, AZ. I know many members of the community enjoy using it and you’ll be seeing more of my students trying it out!

How’s your cabaceo?

I was along for the ride and to assist Meng in the classes. And I performed with him, not just once but several times over the weekend. I even was exposed to a little Meng choreography!

This brought up a few tango questions that I have yet to address and they pertain to performing.

It appears that there are several levels of performing in the tango world: socially at a milonga as an informal demonstration, performing at a festival could be improvised or choreographed and then tango for stage. I have always thought and this has been discussed amongst my colleagues that performances by tango couples at a festival is sometimes arbitrary or even boring! Some festivals don’t have any performances and some have MANY performances! I think it is a part of my job as a tango teacher, advocate, coach, educator to perform. My dance background was really about performing and choreographing so how is that different in tango. Well, here’s the glitch. Some dancers are better teachers than performers and visa versa. I personally think that there should be some ‘coaching’ for those teachers who are “obliged” or asked to perform often at milongas or during festivals. And who sets the bar for what makes us “like” or enjoy a performance?

We can argue a few points. From my theatre and dance background I have learned certain criteria for “better” choreography and better performing, better positions of the body relative to the audience (ie: no crotch shots or butts to an audience), also positions of a performance space in relation to the audience (ie: drama happens in the center). There is also the point about how to “bring in” the audience to a dance form that looks a little strange from the outside. I mean, there are 2 people dancing usually very close (as some of my students observe) and they don’t look at each other. They sometimes intertwine their legs sometimes they move fast or slowly. Sometimes there is dramatic tension through the movement itself and sometimes it just looks like you’re watching something intimate through a window, like a peeping tom. I think dancers don’t always know any of this. But again I ask the question – what makes 1 couple interesting to watch perform and the other look like just another improvised tango performance at a festival?

I think choreography sometimes helps some of these situations. A couple can plan certain movements in advance to certain parts of the music to bring in a sense of tension or release or playfulness. Maybe a couple who practices a lot together helps with this and if they are choreographing they must be dancing and practicing a lot together! Maybe the dancers’ relationship to the music? Maybe just technique? Maybe a combination of all of these elements. And I will let this idea sit with you.

I post here several videos of Meng and I performing at the milongas of the Retreat weekend. They are improvised. He and I practiced a little bit. He showed me a little bit of choreography. He had a plan! And my goal was to dance with him as beautifully and comfortably as possible!

Due to technical difficulties – the following post includes videos of Meng Wang and I performing at Relics Restaurant in Sedona, AZ

I first came across taxi dancing on my trips to Buenos Aires.  Dancers, usually female, hire a male dancer to partner them at milongas. Then when I started my tours to Buenos Aires I hired taxi dancers to assist in milongas and in the classes. I have always had mixed feelings about taxi dancing but found it absolutely essential and beneficial on my tours.

My partner Rommel Oramas is a taxi dancer and he speaks passionately about taxi dancing. I was struck by his articulateness and dedication to being a taxi dancer and asked him to shares his thoughts with me here.

“It’s a paid profession for me,” says Rommel. He started taxi dancing in Phoenix, AZ to enhance the confidence of some of his female students in dancing socially.  “My intention and purpose varies with each partner.  Most dancers just want to have a  nice dance, a tanda or 2 without having to wait 2 or 3 hours or all night to dance. Sometimes  it is about mismatched skill levels and therefore, taxi dancing becomes a solution for that dancer.  Sometimes partners want to be shown off at the milonga so other dancers can look for them.”

“Taxi dancing has a code of conduct,” Rommel continues, “knowing that a tango dancer flirts with sensuality and sexuality the code of conduct is necessary. To be come a good taxi dancer, I have to be respectful of my partner, kind, and professional.”

“R.A.P,” he says, smiling.
“RAP?” I ask him.

“Yes, Respectful Amicable and Professional!  Respectful – because I understand that the dance is for my client, for the compañera de baile. I have to put my effort and attention into that person so that they look good and so that they feel comfortable and confident and safe. It’s not about me in that moment.  I wear my smile, I introduce her to other dancers – this is important. Professional – I’m doing a job – I’m there to dance, it’s not a lesson, I’m not there to teach or criticize”.

I asked Rommel how he handles a follow who might feel heavy or who is squeezing his hand too tightly and he admitted that every once in awhile he might give slight feedback especially if he feels that it is physically hurting him, like his back or his shoulder.  And that would be given after a song or even the tanda is finished. He usually already has a good rapport with that dancer and knows that they are open to it. He continues, “I know as a skillful dancer that I can adjust myself in order to continue to make her look good. So for example – I relax my arm if she is pushing too strongly or if she feels heavy I open the embrace slightly. Usually she notices through this silent communication and adjusts as well, ie: she relaxes that arm. If she asks for feedback I tell her that it’s a milonga and we’re here to dance. If she has a good time and has good dances and doesn’t ask for feedback then I’ve done my job. And this encourages the referral system – they speak highly of me and will tell their friends. Most of my business is done by word of mouth”.

I ask him if he ever says “no”?  “I am always open and available. I start with 2 or 3 tandas. If there’s a good rapport we can take it from there. I try to spread out my time of tandas with a single person over the course of the milonga – to change the energy – to dance with others. Sometimes there are musical preferences – ie: she likes vals tandas or milonga or a tanda of Di Sarli. This allows me to share that tanda with that person and then go dance with others. I can have several paid tandas in a milonga”.

Rommel feels strongly that taxi dancers need to be trained. “Not all great dancers can be a good taxi dancer.  You have to be able to morph to your partners’ needs and to their level of dancing. You have to have the tools necessary to make the dancer the most important part of the dance.  A taxi dancer is good if his intentions are to serve the partner and to serve the art form of tango”.

“Taxi dancing has made me a better dancer. It has helped me to better understand my partners and their needs in the dance. In reality they aren’t far from my own. I want to connect, have a good time, enjoy the dance, and maybe learn about my partner a little bit more”.

“Everybody has a right to pursue happiness, to get their needs met. Taxi dancing offers this possibility”.

 http://rommeloramas.com/rent-a-lead-for-argentine-tango/

I am always fascinated to watch Rommel in action at a milonga. He moves from 1 tanda to another from 1 partner to another pretty seamlessly. You might never know if he is “working” or just dancing. But the ladies always seem pleased with him and they hire him for the events they know he will be attending.

I know that taxi dancing can be very controversial and often brings out strong opinions in people, like most tango-things! But options are a good thing and if having a taxi dancer improves your quality of life and brings a smile to your face, then why not.

Festivities begin at 8pm in the Memorial Union Ballroom of ASU’s Tempe Campus.

Check out the flier here

MILONGA EL BESO DEL DESIERTO

SATURDAY, MAY 8TH
with
DJ KEVIN

8:00pm – 9:00pm INTRODUCTION TO ARGENTINE TANGO CLASS
INSTRUCTORS: BEN AND KATHLEEN

9:00pm – 1:00am MILONGA

Class $5
Milonga $7
Class + Milonga $10

ART OF DANCE STUDIO
7077 East Main Street, Suite 11-12
Scottsdale, AZ 85251
(Located in Marshall Square, behind Occasions by Design)

For more information: 928.301.5215 or 480.626.0090

MILONGA DEL DESIERTO RETURNS!

SATURDAY, APRIL 3RD

8:00pm – 9:00pm INTRODUCTION TO ARGENTINE TANGO CLASS

9:00pm – 1:00am MILONGA

Class $5
Milonga $7
Class + Milonga $10

ART OF DANCE STUDIO
7077 East Main Street, Suite 11-12
Scottsdale, AZ 85251
(Located in Marshall Square, behind Occasions by Design)

I was amazed at how many great dancers from various parts of the country were all there: NYC, LA, Portland, Seattle, Minneapolis, Kansas City, Chicago, and Phoenix!  There was an amazing sense of community and belonging.

I think everyone was having an amazing time and were totally exhausted today!!!!

Thanks Houston for a great time and for being so organized!

Monday night we were still going on strong!

El Beso del Desierto milonga at

Paragon Dance Studio

931 E. Elliot Rd. Ste 101 (SE Corner of Elliot & Rural) www.paragondance.net

7:00pm – 9:00pm – **Beginner’s Milonga**
9:00pm – 1:00am – Milonga
AND
7:30 – 9pm AN INTERMEDIATE TANGO CLASS by me

There will be empanadas and the seating will be like that of "El Beso" or other traditional milongas in Buenos Aires:  the ladies will be seated on 1 side of the room and the gentlemen on the other!

$10 for the milonga $4 for full-time ASU students with ID
If you attend the class $15 or $9 for students  – this will include your attendance at the milonga

For more information contact: Rommel 928-301-5215 or Daniela