Friday, August 17, 2018

Advice to a new tango leader

Posted just now on a tango discussion forum thread...a new (6 month) leader who is having trouble staying relaxed, beating himself up after making mistakes, that then effects the rest of the song/tanda...here is what I offered:

Hola Warren!



Hang in there brother!



We were all beginners once, and can all empathize with where you are right now in tango. I'm nearing the end of my 14th year of tango. I started out and lasted 6-8 months and quit, then came back a few months later. Those first couple of years I remember thinking about quitting frequently. Looking back, my inner voice was way too negative - "self-downing" I think they call it. What helped me was falling into a small group (of five - 2 leads, 3 followers) of beginners who would support each other and practice together outside of class and practicas. We were lucky in our small town - we could use our (public building) class space after-hours to practice. There were times that I went there and practiced by myself - just walking, and doing a few exercises from classes. The other leader and I called it "air tango". Practice, even alone, helps with musicality, balance, etc. The "etc." is what one of my early teachers - Tom Stermitz in Denver - referred to as "the quality and character of movement through time and space - to the music". (But don't think of quality in our default western "good better best" vein. That's not what he meant. Quality as in qualities, attributes, the nature of the thing. Qualitative.)



Other thoughts:



I think others in the thread have mentioned trying to quiet the inner negative dialog - the self-downing. Try to be easier on yourself. More forgiving. Laugh it off when you catch yourself screwing up (internally, not audibly). I got into a bad habit of saying "oops" out loud when I would screw up. Avoid that. It took me too long to break it. Perhaps an "ah" (in your inner voice) when you make a mistake. Perhaps rise up, floating above yourself, in an "observer" role. "Ah, that was a mistake." Step into the observer role, versus the critic/al role. Observe yourself in your mind's eye and just note the mistake and move on. Don't dwell on it. Keep an inventory of things you need to work on - or perhaps get help correcting it with a teacher. Again, don't dwell on it. Be aware of that inner dialog, and inner observer - if he is being too chatty or distracting - then shut it down. Focus on the music and your partner. Just dance. Just walk.



The walk, and the embrace. 90% of tango imho. Well maybe 60%, with the other 30% being musicality. 10% is the "happy horseshit", as one of my teachers called it. Nail your embrace, nail your walk, then the musicality manifest/bloom over time.



Try to enlist someone to practice with you once or twice a week. Practice every other day for 20-30 minutes by yourself. Okay, even 10-15 minutes. 9 minutes. Three songs.



Work on your balance. You should be able to stand on one foot and tie your shoe - standing like a stork. I notice my balance deteriorating when I'm not dancing much. Practice exercises will help strengthen your foot, ankle and lower leg muscles, and improve your balance in the process. Balance being all the mechanisms in your inner ear/brain/eyesight that *can be improved upon.



Listen to really good tango music as much as you can. Get someone to help you with a play list of the "really good". In my third year, I listened to nothing but tango music for a year. For the past 10 years it's about 30-50% of what I listen to. Visualize yourself dancing to your favorite songs.



Video yourself dancing. It will be painful to watch, but don't judge yourself too harshly. This is probably the most difficult dance we could have chosen to endeavor to learn. Pat yourself on the back for that. Or as they say, "you don't choose tango, tango chooses you". I remember when I did it for the first time and watched the video - it was "what the hell is your foot doing way over there!?" Painful, but helpful.



What else? Ah. I'm not sure when I started doing this - but I began "transporting" myself back to the Golden Age. The 1930's and 1940's. Visualizing myself dancing with my partner in a milonga in Buenos Aires, with a live orchestra, with all of the people around us, in a beautiful venue - a complete picture of dancing in that time. Vicarious zeitgeist, I suppose. That has helped me, and I still do this frequently. The cigarette smoke never bothers me. :)



Also, impeccable floorcraft and navigation. Know the concepts of good floorcraft. Google around to find it. Do your best to force yourself to infuse your dance with impeccable floorcraft. "Sheer force of will" as I like to say. Do it even when there are only three couples on the dance floor.



And codigos. The codigos came into being over the past eighty plus years. They work.



And cabeceo. I suck at it after all this time, but I'm getting better.



Also. Be quiet. Be still. You don't have to be moving all the time. Stand there and let the beats and phrases pass you by.



Breathe.



Cherish and respect and protect your partner. Dance for her. No, that's not it. Focus on her, on her dance, on what her experience is with you on the dance floor. This one is esoteric/nebulous/difficult to explain. She will feel it if you do it right.



I know you're thinking "I can't think about all this other stuff, I'm focused on just leading her to the cross!". I remember being laser focused on all the basic vocabulary/elements. There's a lot going on around us, and a lot of brain activity going on. It can be stressful. I remember struggling to just pull off those basics - not even able to complete a phrase or a sentence, much less a paragraph. It will come, my friend. It will come.



Patience. Fortitude. Give yourself a break if you need it - take a month off. Go easy on yourself. Water off the duck's back, the Taoist approach. Forgive yourself for making mistakes. Mistakes are how we learn this thing called tango. Try the observer role versus the critic role. Turn off (or turn down) the self-downing negative inner dialog. Observe the mistake, note it, work on it. Most importantly immediately forget it and dance through it - don't let it mess with your head, or the current song, or the tanda.



Know that it ("it" being the improvement) does come in time. "It" being your tango. "It" being El Tango. It's inevitable. With practice, and with dancing, it will come.



To close out, I love Dan Boccia's definition of the "tango trance". “The state of being so completely immersed in the music, and so profoundly connected to your partner, that movement flows from within the partnership uninhibited by conscious thought.” This can and does happen. For me, it has been rare. My first was in my 2nd year, as I recall. I think this is what we in tango aspire to - that fleeting tango trance. It's a profound and beautiful thing. Unforgettable. (Dan is a dancer and DJ from Anchorage, AK...)



I hope this helps. Hang in there.

Monday, August 6, 2018

Climate Re-Analyzer

Climate Reanalyzer 


Climate is a description of the long term weather patterns in a region, typically over a period of 30 or more years.  These patterns can include factors such as temperature, wind speed, air pressure, precipitation and cloud cover.  When shown graphically, the data tell a story about our planet. The Climate Reanalyzer produced by the Climate Change Institute at the University of Maine is a tool to examine that story. View compiled animations or begin an investigation by plotting factors of your own choosing using available datasets.

This interactive visualization is a suite of weather and climate datasets as well as tools with which to manipulate and display them visually.

• Climate Change Research Institute, University of Maine, USA.

▬▬▬▬▬▬

Sent from my iPad

Monday, July 30, 2018

the continual practice of radical empathy, theory of mind, self-reflexive critical thinking

Untitled
One of my photos...along I-35 near New Braunfels...heavily edited...

I like this...hat-tip to Jessamyn...a fb post from a friend of hers...

5. It requires the continual practice of radical empathy, theory of mind, self-reflexive critical thinking, and an intersectional perspective on structures of power to navigate ANY relationship...


Wendy Chin-Tanner
July 24 at 10:51 AM
I am a woman of color who is deeply committed on every level, with every fiber of my being to feminism, anti-racism, and social justice. I have also been partnered with a white man from a privileged background for fifteen years. I don't often share much about the inner workings of my marriage, but suffice it to say that we work on it together and we work on it individually on a continual and sustained basis in order to make this marriage work. This morning, we were talking and I wanted to share a few things from that talk, in case they're helpful to others who may be in similar relationships:

1. To be equal in your house, you have to agree on the fact that you are not equal in the world.

2. He said that the most difficult thing for him as a privileged white male is to acknowledge that he cannot rely on his own perspective or experience to understand the world as poc and women do. Listen to your partner. Believe what they say. Act accordingly.

3. Your objective reality may not be your partner's objective reality. Stay curious about each other's realities.

4. He said, "When it comes to issues of race and gender, if it's your problem, then it's my problem." Be on the same side of the problem.

5. It requires the continual practice of radical empathy, theory of mind, self-reflexive critical thinking, and an intersectional perspective on structures of power to navigate ANY relationship, but especially a relationship with disparities of power.

6. When you do harm, acknowledge it, repair what you can, and do better going forward. Ask your partner what they need, as those needs, like people and relationships, are ever-shifting.

Orquesta Típica :: Tango or Death :: Documentary Film

Documentary film about Orquesta TípicaFernandez Fierro directed by Nicolas Entel. I read something about tango meets punk rock, or tango meets Metallica. I hadn't heard of them, nor this film, before this morning. Will have to watch...

Separate but related...the origins of the "orquesta típica" in tango...here


Documentary website here: http://www.orquestatipica.com/

Trailer here:




Full-length doc here, although search out and purchase it if it's available...on iTunes or wherever...

Monday, July 9, 2018

Two Word Dreams :: The Sister



It's rare that I have vivid dreams, at least ones that I can remember. Ones that leave me impacted when I wake up. I feel compelled to write this one down.

Two Jewish women - one older, gorgeous, my age. Her younger sister, a bit homely.

Something was going on, locally or in the world.

We sought out a Rabbi or religious figure/mystic to pray with us. There was an urgent need to pray. The three of us had our heads bowed, we were standing or kneeling close together. I was next to the sister on her left, the older sister was on her other side.

We were praying for a positive resolution/outcome to this event, whatever it was. It's hazy whether it was a cataclysmic global event, or something less grave. But it did seem grave. I don't think the Rabbi figure was praying out loud. Nothing was being said, and yet everything was being heard by all of us. ESP or whatever. During the prayer, I was feeling supreme power, or felt I was witnessing it or in the presence of supreme power. That there were no ifs ands or buts that our prayer would be answered. Beyond a shadow of a doubt. That feeling was unsettling to me somehow. It felt like we had a weapon no one else had. A weapon for good.

After the prayer, we just stood there for a moment, coming closer, huddling, foreheads now touching. I wasn't aware of the older sister - she may or may not have been huddling with us. Over a moment or two, we came together closer and closer, our bodies now in full contact. We were communing. Joined. Two human beings needing contact. Physical contact. Spiritual contact. We could feel each others' hot breath. I could smell her scent. I could feel her fine hair against my face.

Then we parted, preparing to go our separate ways, saying our goodbyes. Awkward goodbyes where you don't want to go, but know you must. The younger sister asked me what I thought about what had just happened. "Beautiful and scary." was my response. That was it. Beautiful and scary. Scary not in the sense of being scared about something. Hazy again here. Scared of the power that was going to make this come true - whatever it was we had prayed for. Scared of the unknown? Again, hazy in this regard.

I went/ended up somewhere that I would call my home. I was looking on my computer or iPad, facebooking no doubt. Or perhaps it was a vision. I could see the sister drawing a sketch - on white paper, with a red Sharpie. (and goddammit if I didn't just this instant forget the two words that she wrote underneath...) As she sketched, actually, as the sketch resolved on the screen or in the vision, it was just the image of the paper - not her sketching really. As the sketch resolved, I could see it was a clown. In the dream I was thinking it was Puddles the Clown. She colored in his eyes completely red. And she wrote something at the bottom. Two words as I recall. Two words that I now forget as I'm writing this. Dammitt! That may have been the crux of the dream! Fucking piss-ant memory.

And then it was gone. As if she took down or deleted the post. It seemed clear to me she was using the app or whatever (now it seems it wasn't a vision) to make the sketch for herself, then deleted it from public view. I felt like I need to contact her to ask her to send me a full resolution copy of her sketch. I think I wanted to post it to my Instagram, or on this blog. Or a blog. I didn't have her email, didn't know it. I needed to get to my work computer. It was on that computer, or someone there knew it.

"Work" was a fenced in compound of ramshackle structures. Locked gates. The end of the day or early evening and all locked up. Me without a key. There were workers, perhaps tradesmen, milling around outside, coming and going. Talking in small groups. Foreign. Not speaking English. Spanish maybe. Probably. One guy came along and unlocked the gate to get inside. I told him who I was, and that I was the new project manager, (which I am in real life), and that I needed to get into the office. He was going into the office anyway, so he let me in.

I sat at my desk and booted up my computer. He was at the next workstation, seemingly trying to be aware of what I was doing at this hour. Not eavesdropping. "Seemingly trying to be aware." There was some interaction online with the younger clown-sketcher sister. I think. Maybe. I asked her for her email, although if I was interacting with her I wouldn't need her email, right? I could just ask her to send the image. Of Puddles the Clown. In bold, red inked strokes. With big crocodile tears. With two words underneath.



Tuesday, June 26, 2018

Tango Dollars :: how many years how many dollars? Please comment

15 years...$20k plus

Including travel airfare lodging food drink clothes shoes entradas festival registrations classes workshops music

Sent from my iPhone

Thursday, June 14, 2018

Sunday, June 3, 2018

Tango, No Todo Es Rock :: Documentary

I'm working on finding the full doc...this is the trailer...the first video is an interview with Pedro Lombardi at a screening/exhibition in Beruit...





Ten years after having photographed the young dancers who sparked the Tango revival,
Pedro Lombardi comes back to the shores of the Rio de La Plata.

Support this movie on : www.ulule.com/tango

From the Ulele Crowdfunding site:

« Tango, no todo es rock » could have been a documentary about Tango, a dance that has
sparked a renewed interest during the last few years. It is rather a movie on the intimate and
fascinating world of the “Tangueros” and their “Milongas”, a world where the myths of
Tango are being relentlessly reinvented since the early 20th century.






Jacques Goldstein follows photographer Pedro Lombardi in a treck around the Rio de la Plata, between Buenos Aires and Montevideo, the capitals of Tango.

Through his encounters with old acquaintances, he examines what they've become.

This discovery of the circle of those who keep Tango alive and the prospect of a common work between two confirmed visual artists, drove them to make this movie.

Pedro Lombardi, author of a photography book that has become areference for tango connoisseurs, “Invitation au Tango” (2005, Editions du Collectionneur). He shared with the great figures of that culture some key moments in the dance's evolution.
He has developed a love story with, and also practiced, Tango. More than his culture, it is a
part of his life. Thus was he able to make friends the Maestros: Mariano “Chicho” Frumboli, Esteban Cortez, Evelyn Rivera and Gisela Natoli.
This allows him to gather not only rare, but authentic testimonies. His involvement and
reputation enable him to pry into each one's personal stories : love stories, mob stories, failure
and success stories in a continent which is undergoing a complete cultural and economical
renaissance.






Synopsys :

Ten years after having photographed the young dancers who sparked the Tango revival, Pedro
Lombardi comes back to the shores of the Rio de La Plata. During these new photo sessions,
the “tangueros” confide in the privileged witness of their beginnings. Through these intimate
testimonies, one can see the outline of the great history of Tango. A mythology made of
dreams of glory - sometimes accomplished -, of couples breaking up, of European exile and of
returns to the homeland.

An eternal movement back and forth :

It is a project which fits into the very history of Tango, into its perpetual shift back and forth between the black dark shores of the Rio de la Plata and the white shores of the Seine river.

Can an authentic popular culturre thrive in the energy of an emerging country, away from the world's former centerof gravity, the old Europe ?

Through the cliches and myths - which, as Roland Barthes once wrote, are meant to be
reinvented and re-appropriated -, there is always a truth to be found about who we are, or
think we are.

And if one cares to look, these myths tell the story of our world.
A world that awakens, “creole”, that is neither black nor white, but in black and white.



What are the funds for?

We've received a subsidy from the National Center for Cinema (CNC), which allows
us to launch the shooting, albeit in very precarious conditions and with no budget security...
Despite this, the shooting crew came back from it's trip with great enthusiam, magnificent pictures and beautiful interviews;

That's why, we solicit your help in order to finalize the movie most of our budget has been assigned to the shooting. Today, we still lack 5000€ to finish the post-production :

Color Grading
Mixing
Musical broadcasting rights
Translation and transcription from Spanish to French necessary for eventual subtitles
and dubbing.

We are, of course, aware that your help is more than valuable, not only for the financial boost,
but also to finish convincing various oganisms and investors to fund our movie.

About the project owner
Vidéo de poche :

Antonin, Benjamin and Felix, the new generation of workers at Vidéo de Poche, are the
promoters of this documentary project.
Eager to get Vidéo de Poche's film production branch back on track, they initiated the project and put a breath of youth into the movie.

They need your help to go through with this adventure, starting point for a new era in their professional
lives.

Jacques Goldstein : Director

After studying philosophy and aesthetics, Jacques Goldstein turned to television. Entering
France 2, France's second national network, he worked as an assistant on a popular music
program, “Les Enfants du Rock” (The Children of Rock). He produced several musical
documentaries for the show, including a portrait of Miles Davis in 1986. He then directed
documentaries exploring the relations between Black culture and White Culture, exile and
creation, music and society.

Documentary Filmography
« Matthew Shipp, a black mystère pianist » 45mn. Mezzo 2011.
« Retour en Afrique-Konono N°1 » 52mn Trace TV 2009, TV Nantes.
« Do you still ? » 52mn Mezzo, June 2008.
« David Murray , I am a Jazzman » 52mn nominated for Arts et spectacle competiton
FIPA 2008, ARTE.
"Hors chant" 52mn, Selected for « Séance spéciale : regards sur le spectacle vivant »
FIPA 2007, shown on january 23rd 2007, opening night for FIPA's twentieth anniversary.
"Jungle Blue" 70mn. SACEM Musical creation documentary award, Special jury
award at the États généraux du documentaire Lussas 2005, Nominated for a "Rose d'or" at
Lucerne 2005.
"La Nouvelle-Orléans" 45mn Les Films d'Ici. Broadcast on 02/21/2002 on Arte and in
2003 on RTBF (Belgium) and TSR (Switzerland).
"What’s going on?" 52 mn portrait of musician Femi Kuti, broadcast on ARTE on the
show Music Planet, produced by La Huit production. Shown on 09/22/2001 non-competing
selection FIPA 2001. Rerun on France O in January 2006, selected for the Radio France
festival in Montpellier in July 2007.
"Johannesburg" 52mn broadcast on Paris Première, produced by Films d’ici. Rerun on 08/
29/2002 this film was shot in 2000 and braodcast for the first time in 2001. Selected by the
MK2 Beaubourg for Documentary Month 2002.
"La route des Roms" 26mn,in collaboration with journalist Laurent Cibien. An Arte/
Arbracam co production for "Reportages". Broadcast on Arte on 23/04/2003 and on TV5 in 2004.
"This is our music" 52mn Produced by La Huit Production and Universal Jazz France,
broadcast on Mezzo in March of 2003.
"Un sang d’encre, Black as ink" 52mn With Aimé Césaire, Melvin Van Peeble, and
Gordon Parks produced by La Huit Production for Planète, Histoire, PBS USA, CFI.
Rerun on Histoire in June of 2001.
"Wadada, Leo Smith" 52mn, produced by La Huit Production 2010.




Pedro LOMBARDI – photographer

Born in Montevideo, Uruguay, Pedro LOMBARDI has been living in Paris for 25 years.
Eager to learn about different things and – especially - people, his work as a photographer
started with several photo reports in Russia, the U.S., Morocco, Canada, and New Caledonia.
Two angles emerge from this work : at once witness and actor, social and cultural - through
theater, music and dance. Du to his cosmopolitan background, he is fascinated by the
universal language of music. He has been working for several years on Candombe, the Afro-
Uruguayan rhythm, “collective practice” that has been transmitted from one generation to the
next (exposed at the Fnac and the Biarritz International Festival 1998).

Always building bridges between Latin America and Europe, he took up the theme of Tango
in Paris in 1998 (Exposition and catalog : Unesco, 1999), and has since pursued it in both of
the cities that gave it birth : Montevideo and Buenos Aires. His approach is both that of an
esthete and that of a connoisseur, a Tanguero. He looks at the women invited to dance with
that same eye, and in this relation, as in dance, all the sensuality the complicity and intimacy
that make Tango magic build up.
That work has been published in a beautiful book :
« Invitation au Tango » (Editions du Collectionneur, Paris 2005) and in a musical

LA TIPICA SANATA :: Spectacle "En Crudo" au festival "Tarbes en Tango", Tarbes

Starting at 1:05

Tango Orquestas :: Le Collectif Roulotte Tango

https://www.roulottetango.com/



LE Collectif Roulotte tango, c'est qui ?
Explosant toute la tension des boyaux et des corps, le collectif expose ses tripes à

l' attention de tous en décorant ses accords.Explorateur, il fouille dans le langage

du corps, le verbe musical.

Insolent Tangophage Il dissèque avec amour les Tangos les plus renommés du Rio de

la Plata, pille, admiratif le répertoire des plus grands, détrousse affectueusement les

classiques, dépouille tendrement les modernes, dévalise passionnément les anciens,

il prend langue avec eux, s'empresse d'en détourner les thèmes, les mots et les

accents pour redonner aux corps l'indispensable pression d'un embrasement câlin, pour

redonner un langage à la rencontre, de l'intense à la fête, du sensuel au spectacle,

pour redonner du corps à la Milonga sous l'œil béat des danseurs qui adulent ces

iconoclastes improvisateurs et l'oreille épanouie des auditeurs iconodules.

Who is the collective caravan Tango?
Exploding all the tension of the guts and bodies, the collective exposes its guts to the attention of all by decorating its chords. Explorer, he searches the language of the body, the musical verb.

Insolent Tangophage He dissects with Love the most renowned Tangos of the Rio de la Plata, plunders, admiring the repertoire of the greatest, affectionately unpacks the classics, tenderly strips the modern, steals passionately the elders,

He takes language with them, hastens to divert the themes, words and accents to give back to the bodies the indispensable pressure of a hug ignite, to give a language to the encounter, from the intense to the feast, from the sensual to the spectacle, for restore from the body to the Milonga under the smug eye of the dancers who worship these improvising iconoclasts and the open ear of the iconodules listeners.

Tango Orquestas :: Gaspar Pocai & BATACAZO - "Paulita"

The scene of this milonga (or house milonga/party) reminded me a bit of the scene from Pedro Almodovar's film "Hable Con Ella" where Caetano Veloso is singing Currucurru Paloma at a house concert/party.



1080p available for full-screen viewing...

Batacazo - http://batacazo31.wixsite.com/batacazo

Milonga "Paulita" Para Milongueros de Hoy
Composition Gaspar Pocai // Arrangement
Xavier Gainche Piano // Sergio Saraniche Guitare // Aurélien Deléron Contrebasse // Chant et bandonéon Gaspar Pocai
Enregistrement septembre 2014 - Images prises lors du "Bal des Pigeons" Loupiac 81
Vidéo-Montage Morgan Eloy MyYpok Ypok

Saturday, June 2, 2018

Wallflowers and Femmes Fatales: Dancing Gender and Politics at the Milongas | Marta E. Savigliano



‘Wall Flowers and Femme Fatales: Dancing Gender & Politics at the Milongas in Buenos Aires ’by Marta E.
Savigliano at ‘TANGO! Dance the world around: global transformations of Latin American Culture’ at Agassiz Theatre, Radcliff Institute, Harvard University, Boston

choreography Susan Rose in collaboration with dancers Adriana Pegorer, Carlos and Tovas Moreno

“Just as the conference broke new ground by bringing together popular music and scholarly analysis, so
Savigliano's presentation created a new genre by combining academic discourse with performance art” Harvard Gazette

The Harvard Gazette

BY Ken Gewertz
Harvard News Office

November 1, 2007

ARTS & HUMANITIES

It takes 200 (or more) to tango
Dozens of participants and hundreds of auditors participate in conference on tango

Barefoot and dressed with thrift-shop elegance in a floor-length, taffeta gown with fingerless gloves and a discus-shaped hat, Marta Elena Savigliano read from her paper “Wallflowers and Femmes Fatales: Dancing Gender and Politics at the Milongas” with a tinkling Argentine accent and an air of fey imperturbability.

A professor at the University of California, Los Angeles, Department of World Arts & Cultures, and the author of “Tango and the Political Economy of Passion” and “Angora Matta: Fatal Acts of North South Translation,” Savigliano had come to Harvard to participate in the conference “Tango! Dance the World Around: Global Transformations of Latin American Culture,” co-sponsored by the David Rockefeller Center for Latin American Studies, the Humanities Center, and the Radcliffe Institute for Advanced Study. The conference took place Oct. 26-27.

Just as the conference broke new ground by bringing together popular music and scholarly analysis, so Savigliano’s presentation created a new genre by combining academic discourse with performance art.

As she spoke, four dancers paralleled her words with brief solos and pas de deux, interspersed with ambiguous movements and glances. Short films of tango dancers played on the screen behind them, and later, choreographer Susan Rose, dressed like a French schoolboy in black jacket and shorts and red boots, videotaped the live dancers with a hand-held camera, projecting their images onto the screen.

Meanwhile, Savigliano developed a thesis about the world of the milongas, Argentinean clubs where people go to dance the tango. Through the medium of dance, men and women enact a succession of roles that include performer and observer, chooser and chosen, victim and victimizer. “It takes three to perform the tango,” she said, “two to dance and one to watch.” Despite the self-conscious role-playing, the dancers are at the mercy of this sensual and overpowering music. “It is beyond your control; just try to make it beautiful.”

According to Homi Bhabha, the Anne F. Rothenberg Professor of the Humanities in the Department of English and American Literature and Language, the conference represented an attempt to initiate a conversation among the performing arts and a range of academic disciplines, including literary and cultural studies, sociology, anthropology, political science, economics, philosophy, and history.

“Tango is an impassioned music that is indeed a world music,” Bhabha said. “It began in Argentina and Uruguay in the early 20th century and spread all over the world, even to places like Japan and Finland. Tango provides a lens through which we can study such things as gender, urban development, globalization, and other issues.”

Bhabha’s own history testifies to tango’s global reach. Growing up in Bombay, he was introduced to tango by his father, a great fan of tango music and an enthusiastic tango dancer. Bhabha said that listening to his father’s records, he was “completely captivated by the music’s combination of fragility and strength. And in that way that children sometimes experience, the music caused me to feel nostalgia for something without my really knowing what I was nostalgic about.”

Years later, when he was an adviser for the humanities at Radcliffe, Bhabha suggested the idea of a tango conference to then-Radcliffe Dean Drew Faust, who agreed that it would it would be an interesting way of bringing about dialogue across disciplinary boundaries. As Harvard president, Faust was, if possible, even more enthusiastic about the idea, since it coincides with her focus on intellectual discussions underpinned by new interdisciplinary and institutional alliances.

Just as Bhabha imagined, the conference did succeed in bringing together scholars and performers from many different fields and geographical locations. In some cases there was a melding of the two roles. Pablo Aslan, a bassist and composer and amateur tango historian, gave a presentation titled “In Search of Tango Music History.”

According to Aslan, the leader of a tango-jazz ensemble called Avantango, there are many myths and assumptions about the origins of tango that have no basis in fact. According to many sources, tango began in the early 20th century as a scandalously erotic dance of the lower classes of Buenos Aires forbidden by the authorities, which achieved respectability only when it became a fad in Paris just before World War I. But Aslan said he has discovered sheet music for tangos as early as the mid-19th century and that by 1900 it was being danced by all classes throughout Buenos Aires.

Aslan played several early recordings of the music, showing how it evolved from a complex style played by highly trained musicians to a simplified form accessible to the middle class. Certain features remained, however, such as the corte, a sudden halt in the rhythm that gives the tango its characteristic start-and-stop quality.

Conference participants got a chance to see Aslan the performer at a reception following the conference when he and pianist Octavio Brunetti, accordianist Victor Prieto, keyboardist Bario Boente, and other musicians played contemporary expressions of this still-evolving musical form. Two Argentinean-born dancers, Fernanda Cajida and Dario da Silva, demonstrated various styles of tango dance.

The second day of the conference also featured talks and discussions that covered a wide variety of subjects. Sylvia Molloy, the Albert Schweitzer Professor of Humanities at New York University, where she teaches Latin American and comparative literature, delivered the keynote address on the influence of tango on the work of the great Argentine writer Jorge Luis Borges. Two discussions considered “Tango as a Cultural Form: Music, Dance, Film,” and “Tango as Politics: Gender, Class, Urban Life.” Cellist Yo-Yo Ma, who recorded the CD “Soul of the Tango: The Music of Astor Piazzolla” in 2005, participated in a discussion of tango with composer Osvaldo Golijov.

Bhabha said that he hopes the tango conference will serve as model for future conferences that will consider other cultural forms indigenous to particular regions and follow their development into global phenomena. He said that he was encouraged by the enthusiasm that has been generated by the tango conference.

“This was something that was literally a dream in my head, and now it’s become a reality,” he said.

ken_gewertz@harvard.edu

Destino Buenos Aires | Tango-Turismo: Sexual Cinematagraphico | Marta E. Savigliano



PDF En Español: http://www.scielo.br/pdf/cpa/n25/26531.pdf

Destination Buenos Aires
Tango – Cinematographic Sexual Tourism

Abstract
Buenos Aires currently enjoys a boom in international tourism and the tango is undoubtedly a main local attraction. What are foreign tourists looking for in the tango experience? How do they know what is in a tango and in the tango world for them? What pleasures does the tango offer them? Unconvinced with settling explanations based in the universal and transcendental powers of art, the author explores the uses of tango in narrative cinema – in particular, the sophisticated ways in which the erotics of cultural difference frame tango-esque seduction. For this purpose, tango films of recent release (Potter’s The Tango Lesson and Saura’s Tango) and oldies (Gilda) are analyzed as stories that, taking place in an exotic Buenos Aires, weave intertwined dramatic plots of cultural and gender alterity – exacerbated by the presence of femmes fatales – , through dramatic and dangerous romantic disencounters with a happy end. Thus the tango, culturally appropriated, promises violent emotional turmoils, erotically tamed via “ universal” laws of heterosexuality and homosociality. An irresistible cinematic formula for sex tourism.

Key Words: Tango in Film, Sexuality and Cultural Tourism, Cinema and Inter/Multi/Transculturalism, Femmes Fatales.

Resumo
Buenos Aires disfruta de un boom turístico internacional y el tango
figura predominantemente entre los motivos de atracción.
¿Qué buscan los viajeros foráneos en la experiencia tanguera?
¿Cómo saben qué les puede brindar específicamente un tango y el
mundo del tango en general? ¿Qué placeres les ofrece el tango?
No conforme con explicaciones sobre el carácter trascendental y
universal del arte, este artículo explora los recursos sofisticados
empleados en la narrativa cinematográfica para transmitir la
seducción tanguera en el marco del erotismo de la diferencia
cultural. Con este fin se analizan películas de tango recientes
(The Tango Lesson de Potter y Tango de Saura) y del
pasado (Gilda) en las que, en la exótica locación de Buenos Aires,
la alteridad cultural se cruza con la alteridad de género
(exacerbada por la presencia de femmes fatales) para desarrollar
dramáticos y peligrosos desencuentros amorosos con final feliz.
El tango, entonces, así apropiado, promete violentos huracanes
emocionales, eróticamente docilizados por las leyes “universales”
de la heterosexualidad y la homosocialidad. Una fórmula
cinemática irresistible para el turismo sexual cultural.

Palavras-chave: Tango en el Cine, Turismo Cultural y Sexualidad, Inter/Multi/Tr




MARTA SAVIGLIANO
Professor
Ph.D. in English, UC Berkeley

marta.savigliano@ucr.edu
Office: ARTS 107

Marta Elena Savigliano holds a Ph.D. in Political Science from the University of Hawaii-Manoa, and a Licenciatura in Anthropology from the Universidad de Buenos Aires.

She is an Argentine political theorist and anthropologist interested in the politics of culture: the transnational traffic of cultural goods, workers, ideologies and affects under global capitalism.

She is the author of Tango and the Political Economy of Passion (Westview, 1995), translated into Turkish, Slovene and Japanese, which received the Congress of Research on Dance Award for Outstanding Book 1993-1996. Her second book Angora Matta: Fatal Acts of North South Translation (Wesleyan U.P., 2003) addresses feminization and fatal-ness as recurrent tropes associated to artistic and scholarly representations of Latin America and, in particular, of Argentina.

Angora Matta was first conceived as a libretto for a thriller-opera of tangos. As an interdisciplinary and multi-art project of international collaboration, Angora Matta was developed with composer Ramon Pelinski, choreographer Susan Rose, and animation director Miguel Angel Nanni. A first experimental presentation of the complete work took place in the Teatro Presidente Alvear of Buenos Aires in November 2002 as a US-Argentine co-production involving 30 artists on stage.

The active participation of artists and intellectuals in reproducing or challenging historical and contemporary colonial world orders is consistently discussed in her work. Savigliano's current research focuses on staged and screened Global South responses to World Dance, in particular self-parodic versions of “traditional” dance forms associated to racialized, exotic, and erotic representations of “other” cultures and their contentious power in globalization.

Savigliano taught at UC Riverside's Dance department from 1992 to 1998, and at UCLA's department of World Arts and Cultures from 1998 to 2006. She is currently Full Professor at the University of California, Riverside, in Dance History and Theory; and founder of GLOSAS, an international center for Global South Advanced Studies located in Buenos Aires. Savigliano is President of the Congress on Research in Dance since August 2010.

Friday, June 1, 2018

What's In Your Heart? :: Portland Tango Festival Promo Video :: October 11-15, 2018



Will you let tango sweep you across Portland like Nancy and Chris did? We know we will! Watch this teaser for Portland Tango Festival 2018. You won't regret it! We can't wait to see you all in a just a couple of months. For more information go to www.portlandtangofest.com.

We would like to thank Nancy & Chris for participating in this video, Oliver for the beautiful voice over,TriMet for allowing us to use them, and Alex Krebs for letting us use his beautiful song Ella Es Asi feat. Enrique El Peru Chavez by The Alex Krebs Tango Sextet. Lastly, we would like to extend our appreciation to Bassel Hamieh for producing all of our videos. We can't wait to show you the rest!


The narrator says "We are a city that recognizes your individuality and inspires what is already in your heart." Obviously referring to the city of Portland.

I'll extrapolate that over to tango, and re-word it.

"What's in your heart?" Obvious/common words, not-so-common wording. Loaded with meaning.

In a different time and place and context, Jypsy JedEye said "tango is a wonderful forum to explore and cultivate mutual respect, freedom, communication, pleasure, compassion, forgiveness, grace, grace, generosity, empathy, subtlety, gentleness, and passion".

Indeed.

What's in your heart?

Monday, May 28, 2018

cortometraggio-milonga-di-marco-calvise tango short film otra vez

https://alextangofuego.blogspot.com/2012/02/cortometraggio-milonga-di-marco-calvise.html



Uploaded by carcasstube on Feb 13, 2012
*Capalbio Cinema International 2011 -- Capalbio(GR)
"Best Director Award"

*Settimo Senso 2011 -- Festival del cinema di Scafa -- Scafa(PE)
"Premio come miglior Corto"

*III Movieclub Film Festival 2011 -- Palestrina(RM)
"Premio come miglior regia"

*Fiati Corti 12 -- Istrana(TV)
"Premio miglior interprete"

*5° Festival Internazionale del Cinema dell'Aquila - L'Aquila
"Miglior Cortometraggio"(cat.Abruzzo)

*6° Festival Cinematografico Cinema & Ciociaria premio "Nino Manfredi" - Frosinone(FR)
"2° Classificato miglior cortometraggio"

Festival di cinema.
Selezione ufficiale:
*TFF - Torino Film Festival 2010 -- Torino
*Bif&st -- Bari International Film & Tv Festival 2011 - Bari
*Cortinametraggio 2011 -- Cortina d'Ampezzo(BL)(fuori concorso)
*A Corto D'Idee 2011 -- Ravello(SA)
*Figari Film Fest 2011 -- Golfo Aranci(OT)
*Trani Film Festival 2011 - Trani(BA)(fuori concorso)
*XIII VideoLab Film Festival 2011 -- Vittoria(RG)
*Premio cinematografico Palena 2011 -- Palena(CH)

Festival Di Tango:
Proiezione:
*I Montalbano Tango Festival 2011 - Montalbano Elicona(ME)
*I Bari International Tango Congress -- Bari
*IX Tano Tango Festival -- Napoli
*VI Choco Tango Festival - Perugia

Short film about TANGO - Zlota Milonga Warszawa




Krótki film o Tangu, czyli czym jest, jak wygląda i jakie emocje wywołuje.
Short film about Tango - what is it, how it looks, and what emotions it gives.

Bardzo dziękuje wszystkim którzy wzieli udział i pomogli przy realizacji projektu
Thanks to all those, who helped us making it happen.

Aktorzy i statyści :
Tancerze - Jakub Milonga, Magda Bochinska
Piotr Dobrowolski,
Margaritha Gryczko,
Hubert Prekurat,
Kasia Zubrzycka,
Szymon Ferfecki,
Ryszard Baryliński,
Renata Pawelec,
Aleksandra Stępniak,
Mateusz Szechiński,
Marcin Stępniak,
Klaudia Kroczewska,
Iza Wiśniewska,
Hubert Zdrojewski
Agnieszka Kurek Johnson
Patrycja Purgał

Ekipa realizacyjna :

Reżyser - Alek Pietrzak
Operator - Mateusz Pastewka
Operatorzy kamer - Łukasz Suchocki, Bartosz Białobrzeski, Tomasz Pyrak
Steadicam - Adam Mendry
Gafer, Jazda - Roman Statsenka
Fotosy - Jan Goliński

Zdjęcia zrealizowane na terenie szkoly tanca ZŁOTA MILONGA !

Tuesday, May 15, 2018

Tango Floorcraft Graphics Handouts Flyers PDF JPEG

This has been floating around in various edits/iterations for some time now. Original Concept/Design Credit goes to Dirk Apitz. Edits by AlexTangoFuego May 2018. Honoring the Line of Dance (long version, 2 pages) editing credit goes to Sugar G.

The impeccable floorcraft/Uncle Sam QR code link is here. Daniel Boardman - Albuquerque Tango Festival.

Figure out how to reach me and I'll send you the original high-res files so you can print, share, save, etc.

Discussion/comments/suggest edits/disagreement encouraged in the comments section.



Tango Floorcraft graphic pdf jpeg handout flyer
Tango Navigation
Tango Codigos
Tango Etiquette

#TangoFloorcraft graphic pdf jpeg handout flyer
#Tango Navigation
#Tango Codigos
#TangoEtiquette

Monday, May 14, 2018

The Queer Tango Project


Christiane Palha & Maria Filali - Photographer Unknown

Adding a new link in the sidebar...

http://queertangobook.org/

The Queer Tango Project
The Queer Tango Project supports the Queer Tango community around the world in developing critical ideas, stimulating debate and resources about how and why Queer Tango is danced.

The Queer Tango Image Archive
The Queer Tango Image Archive is a digital collection of historical, pre-1995, images relating to the themes and issues touched on by Queer Tango.
The Queer Tango Image Archive is supported by The Queer Tango Project.

http://queertangobook.org/

Sunday, May 13, 2018

Short Film "9 Tango" by Pablo Repun



SHORT FILM PREMIERE “9 TANGO” MAY 18th From 7PM -9PM
Idea: Pablo Repun
Screenplay: Adrián Batista - Pablo Repun
Director: Fernanda Caride
Production: Pablo Repun
I have the pleasure of inviting you to the premiere of my first audiovisual production, a short film produced in collaboration with Handbag Films And Art.
It’s a love story that takes place in Naples, FL. With the mystique and the unmistakable flavor of Argentine tango.
It was a work done with a lot of effort designed for the public of this city, which is why we believe it should be seen.
We hope you can join us in its premiere, where we will wait for you with a glass of wine!
Etudes de Ballet 3285 Pine Ridge Rd Naples, FL 34109

Some things I have learned from leading socially - From MsHedgeHog



Some things I have learned from leading socially Dec 23, 2017
A few things I have learned about dancing, by regularly dancing both roles socially for two or three years. My experiences may or may not be in common with anyone else.

There is a tremendous range between OK, good, and great followers, of which they are almost all totally unaware.

Leading poor followers is very difficult; it requires a range of skills, resilience, and physical training.

Leading OK followers is fun, especially if they are interested or enthusiastic and easy to be with.

Leading good followers is more fun, especially if, etc.

Leading great followers is amazing, and you don't feel like you have to do anything, and whatever you do do is totally effortless.

There are a lot more than those categories.

Don't bother raiding the cool guys' “harems”, they're disappointing, dance-wise.

In a good ronda, under good physical conditions, with good followers, leading is cognitively much less demanding than following. The difference is dramatic. Getting the basics to a good standard is quite a lot of work, but if you can do that and then stay within what you've mastered, good and great followers will dance with you, and it is effortless.

It is possible to flirt with the table of glamorous Dutch lesbians through the medium of another woman's body.

There exist men who are both hot and good followers. Hang on a minute –






Wednesday, May 2, 2018

Tango in advertising

Well, tango-esque at least...

Tango Codigos/Etiquette


How do you select a photograph that is illustrative of codigos/etiquette? You don't. So there's this. Sugar G's toes in some fake grass. Blurry.

I'm not going to reinvent the wheel here. Mark Word over at Tango Therapist has done a wonderful and comprehensive job of compiling pretty much everything you ever need/want to know about the subject of tango codigos and etiquette. Or codigos aka etiquette. Or codigos/etiquette. Or just fucking "Codigos". Not "fucking" codigos, that's a different subject.

http://tango-therapist.blogspot.com/p/tango-etiquette_10.html

There are a ton of other websites and information out there. Google.

Avail thyself.

Tuesday, May 1, 2018

Abrazos Imborrables Tango Documentary


Abrazos Imborrables trailer (official) - English version from Soluble Films on Vimeo.


The tango film 'Abrazos Imborrables' will be premiering this Sunday May 6 at 12pm at the Cine Las Americas International Film Festival in Austin (at the Mexican American Cultural Center at 600 Red River St) with director Pablo Hadis in attendance...FREE and OPEN to the public!

Abrazos Imborrables - directed by Pablo Hadis
(Unforgettable Hugs)

A research into the causes of the resurgence of tango in Argentina and its adoption around the world. Contemporary tango legends, including those responsible for the comeback of tango, share their insights and first hand accounts on why tango has returned with such strength to the world stage, in this documentary produced with the collaboration of the Buenos Aires tango scene.

After decades of staying hidden from public view, tango makes a surprise return, spreading to the four corners of the world. Why are so many countries being filled with milongas? Why is youth returning to tango? Why is, in essence, a cultural expression from the late 1800s returning with such strength in the year 2000? What basic needs is it fulfilling, and what does this say about our current global society?

More info about the film:

Website: https://cinelasamericas.org/panorama-feature-films-claiff21/2018/abrazos-imborrables-unforgettable-hugs

Official Facebook Page:

Thursday, April 26, 2018

Queer Tango Goes to Russia (Documentary Film)

Well, not yet a film. Aleksandr Vinogradov is working on a film about Queer Tango in Russia, shining a light on the oppressive anti-gay climate there. He had an IndieGoGo crowdfunding campaign last fall, but it appears to be closed, well short of the goal. I can't imagine what it must be like to dance tango in a country/climate where it might get you beat up, jailed, or maybe even killed. Brave people.

Tuesday, April 10, 2018

Tango Freestyle

No comment, just recording a new tango variant for posterity...

From the video (on Tango Tube's FB page): TANGO FREESTYLE is a new concept of stage art in the world of dance, which has as its main essence the language of Tango Dance. Driven by Mauro Caiazza and his teammates Carolina Giannini and Mario Rizzo. A game of continuous choreography is developed through the different rooms of this unique space in the city of Buenos Aires, "La Catedral"

Friday, April 6, 2018

A favorite photo by Lalo de Almeida Photogapher

This is one of my favorite "tango" photos. I thought I had originally seen it on National Geographic, but after remembering it was taken in Salon Canning, I googled "tango salon canning" and found it licketysplit.

It was in the New York Times. The photographer is Lalo de Almeida.


David Lampson, from Boston, and Maria Faccioti, of Argentina, tango at Salón Canning.

Here's the original text of the "Bohemians in Exile" (in Buenos Aires) feature in the New York Times Travel Section:

https://www.nytimes.com/2008/03/16/travel/16buenos.html


The tango dancers took their places inside a cramped apartment in downtown Buenos Aires, as David Lampson, a 29-year-old television writer from Boston, wiped his brow. Despite the 100-degree weather, the fans had been shut off, spotlights switched on and windows blacked out with trash bags. The cameraman waited until the smoke machine blurred the parquet floor before yelling "Action!" Then just as the iTunes track reached its dramatic crescendo, the fuse blew. For the fourth time.

"Let's unplug the other fan and try again," Mr. Lampson told the polyglot cast and crew, which included a Greek mother, a Colombian architect and an Argentine shoemaker. Also present was a New York City film student, who was editing the footage for YouTube distribution. Mr. Lampson likened the process to creating art from garbage. "There is a tango dance based on this idea," he added, "called cambalache."

A better term might be bohemians-in-exile. A new kind of tango is taking shape along the crooked back streets of Buenos Aires. At a former furniture factory on Calle Honduras, the British music engineer Tom Rixton, who has worked with top acts like Depeche Mode, runs a stylish boutique hotel called Home with his Argentine wife. Nearby on Calle Garruchaga, Amanda Knauer, a fashion designer from Manhattan, sells a chic line of leather handbags at Qara. And at Zizek, a weekly dance party run by an expat from San Antonio, the cha-ch-ch-cha rhythms of cumbia folk music quivers to an electronic beat.

"There are expats everywhere tapping into the city's thriving cultural and arts scene," said Grant C. Dull, Zizek's founder, who also runs the popular bilingual Web guide WhatsUpBuenosAires.com. "And it's not backpacker types, but people with money and contacts."

Drawn by the city's cheap prices and Paris-like elegance, legions of foreign artists are colonizing Buenos Aires and transforming this sprawling metropolis into a throbbing hothouse of cool. Musicians, designers, artists, writers and filmmakers are sinking their teeth into the city's transcontinental mix of Latin élan and European polish, and are helping shake the Argentine capital out of its cultural malaise after a humbling economic crisis earlier this decade.

Video directors are scouting tango ballrooms for English-speaking actors. Wine-soaked gallery openings and behemoth gay discos are keeping the city's insomniacs up till sunrise. And artists from the United States, England, Italy and beyond are snapping up town houses in scruffy neighborhoods and giving the areas Anglo-ized names like Palermo SoHo and Palermo Hollywood.

Comparisons with other bohemian capitals are almost unavoidable. "It's like Prague in the 1990s," said Mr. Lampson, who is perhaps best known for winning a Bravo TV reality show, "Situation: Comedy," in 2005, about sitcom writers. Despite his minor celebrity, he decided to forgo the Los Angeles rat race and moved to Buenos Aires, where he is writing an NBC pilot, along with his Web novela, www.historyandtheuniverse.com. "Buenos Aires is a more interesting place to live than Los Angeles, and it's much, much cheaper. You can't believe a city this nice is so cheap."

That wasn't always the case. For much of the 20th century, Buenos Aires ranked among the world's most expensive capitals, on par with Paris and New York. Broad boulevards were lined with splendid specimens of French belle époque architecture that evoked the Champs-Élysées, and tree-lined streets were buzzing with late-night cafes and oak-and-brass bars. Locals, it is often said, identify more as European than South American.

Then came the financial crisis of late 2001. The Argentine peso, which was once pegged to the United States dollar, plunged to a low of nearly 4 to 1 in the face of mounting debt and runaway inflation. (It holds steadily today at about 3 to 1.) Overnight, Buenos Aires went from being among the priciest cities to one of the world's great bargain spots.

There was a silver lining. Even as local artists flocked overseas, producing a kind of creative brain drain from Buenos Aires, foreigners arrived in record numbers. And what they discovered was that this fast-paced city of three million offered more than just tango and cheap steaks. The Argentine capital also had balmy weather, hedonistic night life and a cosmopolitan air that thrives on novelty.

Situated at the wide mouth of the Río de la Plata, Buenos Aires sprawls across the flat landscape with the force of a concrete hurricane. It takes more than an hour to traverse opposite ends by yellow-and-black taxi. And that's not mentioning the 48 barrios that creep inland, each with a distinct personality and crisscrossed by a web of cobblestone alleys and 12-lane mega-streets. There are business districts like Microcentro, leafy barrios like Recoleta and manufacturing sectors like La Paterna.

And nearly everywhere you turn these days, the new arrivals seem to be planting their flags, whether at a so-called chorizo house in historic San Telmo or a glassy condo in Puerto Madero. Or, for that matter, a former door factory on Calle Aguirre, which Sebastiano Mauri, 35, a painter and video artist from Milan, recently bought with several artists on the industrial outskirts of Palermo.

"Some are now calling this area Palermo Brooklyn," said Mr. Mauri during a recent visit of his renovated factory, a bright yellow building on an otherwise gray street. Cost for the entire four-story factory? $130,000. "Buenos Aires makes Milan look like a neighborhood. It's lively, multiethnic and you have Europeans from all over."

After gutting the third floor, Mr. Mauri spent the past year converting it into an artist-in-residence studio with hardwood floors, stainless-steel kitchen cabinets and midcentury-modern furniture. To celebrate the near-completion, he held a rooftop barbecue on a breezy Saturday in January that drew a cross section of Buenos Aires's art elite.

Drinking malbec out of plastic cups and eating steaks with dollops of ratatouille, the crowd of about 20 artists, curators and collectors chatted easily about the hyper-commercialized state of art, a towering sex hotel (known as a telo) nearby and the city's obsession with ice cream. "Artists come here because they can be free," said Florencia Braga Menéndez, whose namesake contemporary art gallery is arguably the city's most influential. "As a gallerist, I never tell my artists what sells. They must create for themselves."

That creative freedom has fueled plenty of cultural cross-pollination. Dick Verdult, an avant-garde musician and artist from the Netherlands, began toying with cumbia around 2000, manipulating the childish rhythms of the South American folk music with electronic bass lines, time delays and sampled voices. "Cumbia is like a ball of clay," said Mr. Verdult, 53, who is better known by his stage name, Dick El Demasiado. "If you stick to the simple laws" - a 4/4 rhythm that he likens to a galloping horse - "but disregard the tradition, you can do a lot with it. Argentina has a very elastic culture."

His first cumbia album, "No Nos Dejamos Afeitar," released in 2002, was so well received that Mr. Verdult decided to move to Buenos Aires. "The reaction blew me away," said Mr. Verdult, who is regarded as the unofficial godfather of this new electrotango sound known as experimental cumbia.

Not surprisingly, many of his disciples are fellow expatriates. "There's a group of maybe 10 producers and D.J.'s who are really pushing these new styles," said Gavin Burnett, 26, a D.J. from San Francisco who blends cumbia with hip-hop and Jamaican dancehall under the pseudonym Oro11. "If you're an artist looking to be inspired and have $10,000 saved up, you can basically come down here and work, and not worry for a year."

It's not only artist types who are soaking up Buenos Aires's budget bohemia. Stumble into many of the city's trendy restaurants, bars and hotels, and there's a good chance a foreigner is behind it.

One of the newest is Le Bar, a martini lounge and restaurant in Microcentro with sunken seats, cool lighting and a rooftop terrace. It was started by several French expatriates including Manuel Schmidt, 40, an architect from Paris who sailed to Argentina with his wife and young daughter three years ago, and basically didn't sail back. Brasserie Petanque, a new restaurant in San Telmo, looks as though it was transplanted tile by tile from the Left Bank. "When I came in 2003, there were no French restaurants, so I stayed and opened this," said Pascal Meyer, an owner who was tending bar on a recent Sunday night. Before becoming a restaurateur in Buenos Aires, he was a culinary tour guide for the United Nations in New York City.

AND then there are the novelists, journalists and screenwriters, quietly tapping away in their $600-a-month apartments, seeking to make a name for themselves on Argentine soil. Nate Martin, a 24-year-old from Wyoming, moved to the city in November and took a job as an editor at The Buenos Aires Herald, an English-language newspaper, because, he says, "I didn't want to be a waiter while writing." For his creative outlet, Mr. Martin maintains a blog, Grating Space. Like dozens of similar blogs written by foreigners, it rhapsodizes about the Argentine good life. He also D.J.'s on the side.

"We play stuff that they've never heard of," said his friend, Tom Masterson, a 35-year-old transplant from Chicago, during a night out at Bahrein, a stylish sweatbox in Microcentro where the headlining D.J. hailed from Belgium. "They love me here."

Some literary efforts are starting to bear fruit. The writer Marina Palmer quit her advertising job in New York City, moved to Buenos Aires and, in 2005, published a "Sex in the City"-like memoir set in the city's vampish tango scene. "Kiss and Tango" has been optioned by Hollywood, with Sandra Bullock recently floated as a possible lead. (The film that has everyone buzzing these days is Francis Ford Coppola's "Tetro," a drama about Italian immigrants in Argentina that is being filmed in the city.)

But moviemaking is hardly restricted to foreigners. Argentina has a storied film history - notable examples include the 1968 political documentary "The Hour of the Furnaces" and the post-junta feature, "Official Story," which won the Academy Award for best foreign-language film in 1986 - and, in recent years, a so-called New Argentine Cinema has emerged, thanks to a new crop of directors like Daniel Burman and Lucrecia Martel who are winning prizes in Berlin, Toronto and other film festivals. They have set up shop along the fringes of fashionable Palermo, in an area now known as Palermo Hollywood.

As with other creative fields, the cinematic revival got some unexpected help from the financial crisis. Not only did the industry benefit from the influx of foreigners looking for cheap production costs, but the peso meltdown also provided grist for creative self-examination. "People were no longer talking about pretty dresses or soap operas," said Tomi Streiff, a filmmaker who moved to Buenos Aires from New York City with his partner and fellow screenwriter, Jane Hallisey. The couple is now working on a romantic comedy about a priest. "Everybody was hurt, so their skin was open."

The wellspring of creativity is starting to leech out of Buenos Aires and onto the larger cultural stage. Local fashion designers, who flourished when European imports tripled in price, are making inroads into the global marketplace. Tramando, a high-end fashion store in Recoleta started by Martin Churba, now has boutiques in Tokyo and the meatpacking district in New York. And Maria Cher, a London-trained designer who has an airy boutique in Palermo SoHo, exports her glamorous dresses throughout South America, as well as to Tokyo.

Experimental cumbia music is reverberating beyond the city's packed dance floors. Mr. Burnett, the D.J., just started his own cumbia record label, Bersa Discos, and is playing shows in his native San Francisco. Zizek, the weekly dance party, is taking its urban tropical beats throughout the United States, with stops this month in Los Angeles, New York, Chicago and at the South by Southwest music festival in Austin.

Buenos Aires's buzzing art scene, meanwhile, is being touted as the next big thing. Or that's the hope, anyway, of the city's eager artists and wide-eyed gallerists. "This city reminds me a lot of Berlin," said Elisa Freudenreich, 27, a gallery manger who recently moved from Berlin and sees parallels in the profusion of street artists and graffiti-splattered spaces. "The scene is very fresh, very underground."

Scruffy galleries have gone up along the city's edges, most notably Appetite, an irreverent, punk-inflected gallery in San Telmo started by Daniela Luna, a feisty 30-year-old known for her shrewd eye and cool parties. On a steamy Thursday afternoon, as office workers were climbing aboard buses back home, Ms. Luna was flitting through her grungy gallery in a brown miniskirt and sparkly pink T-shirt, like a teenager in a vintage clothing store.

"My first gallery was so messy that when people came to my parties, they didn't know if the stuff was art or trash," Ms. Luna said, as she showed off works by Santiago Iturralde, a local artist who paints portraits of narcissistic young men based on their Facebook-like Web profiles. "We're growing fast and furious." So fast, in fact, that she is exporting her cheeky blend of trash art to the real Brooklyn, where she just opened a small gallery.

Her gallery will get additional exposure in Milan when the contemporary art fair, MiArt 2008, spotlights emerging Buenos Aires artists in April. Adriana Forconi, a jet-settling consultant to the art fair, was in town recently to scout for worthy galleries, and was struck by what she calls the city's "frenetic and blissfully chaotic" pace.

"There's definitely something happening here," said Ms. Forconi, who was among the guests at the artist-filled rooftop barbecue. Dressed in a flouncy party dress and strappy sandals, she looked ready for another long night on the town. "There's a clash between European and Latin American cultures that's fascinating."

"And unlike Milan, there are no rules," Ms. Forconi added, as she looked out at the twinkling city and took a sip of wine. For a moment, she sounded like someone toying with a move to Buenos Aires. "You can do whatever you want here."

Thursday, March 29, 2018

#astf2018 :: through my lens

Farting around with Adobe Spark...click on it right in the middle of the image and then use the scroll bar in the resulting new window to scroll down...real slow like...a little goofy...like I said...farting around...

#astf2018


Or, here's the entire album on my flickr account...click on the image to click through to the album/set...then look for the "toggle slideshow" icon upper right...

#ASTF2018

Thursday, March 22, 2018

Tuesday, March 20, 2018

Pretty damn damning, 68 million views

Somewhere between firming up and melting :: Tango Quote

Luciano Mares y Gabriela Fernandez

On the subject of the embrace, or tension in the embrace...here is the entire post...

"Tone without tension, melty but not flaccid, presence VS "resistance", awareness but not micromanagement, assertiveness without force, grounded while also buoyant..."

Catherine Young (on Terpsichoral Tango Addict's FB post)

Friday, March 9, 2018

Verdemar Versions :: Tango DJ Lamentations

Okay, so lamentations is really the wrong word, because I'm not lamenting about anything...but observations...thoughts and ponderings and thinkage...whatever...bubbling primordial soup type stuff...

(it just dawned on me that Verdemar is pretty much lamentations, so maybe I should have titled this post "Verdemar Lamentations"...I'm digressing and blabbering...sorry...

Anyway, I just thought I would share a little of the inner workings/goings-on of DJ'ing...curating a music collection and playlists for milongas...this was something I got side-tracked on this morning...I can't even remember now what triggered me to delve into this...oh well...I'm glad I did...

As a once-in-a-while DJ here in Austin, I spend a little time here and there in my spare time while I'm resting tweaking my music library, which is now sitting at about 300 albums, 3,000 songs. A big part of being a Tango DJ is doing the investigatory work into the various recordings of a single song - to determine which recording is the best audio quality, which is the best orchestra and arranging, the best singer, the best year/version, and last but not least and probably most important - the most danceable.

Most tango songs were recorded by several orchestras, sometimes several versions over the years with the same orchestra but different singers, sometimes with the same singer.

Take Verdemar as an example. Carlos DiSarli composed it in 1943, with lyrics by José María Contursi. There were ten or eleven recordings done, with six by Di Sarli. It's one of my all-time favorite tango songs.

I don't care for the 1943 version sung by Roberto Rufino, whose voice is a little nasal-y sounding. The version I've loved and played the most over the years is the 1955 Oscar Serpa version - 3 minutes, 3 seconds. However, I just discovered a 1954 Serpa version that's a tad slower at 3:12, and seems more sad and forlorn. Which it should be. Based on the subject matter.


Here's the newly discovered 1954 Di Sarli/Serpa version - the audio quality is kinda glitchy - but it's available on TangoTunes. Very clean, and stretched out to 3:16.




Here's the 1955 version (that used to be my favorite) - Di Sarli/Serpa:




Here's the 1943 Di Sarli/Rufino version:




Here's a 1943 version recorded by Miguel Caló with Raúl Iriarte - the arranging here is a little to upbeat and happy for the lyrics - to me anyway:
Note that there's also a 1966 Caló /Rufino version...fwiw...



Reading the lyrics/translation, I also just became aware that they've dropped the last verse in every version.


Here is Alberto Paz' (may he rest in peace) translation from PlanetTango:

Verdemar... Verdemar...
Se llenaron de silencio tus pupilas.
Te perdí, Verdemar.
Tus manos amarillas, tus labios sin color
y el frío de la noche sobre tu corazón.
Faltas tú, ya no estás,
se apagaron tus pupilas, Verdemar.

Te encontré sin pensarlo y alegré mis días,
olvidando la angustia de las horas mías.
Pero luego la vida se ensañó contigo
y en tus labios mis besos se morían de frío.
Y ahora... ¿qué rumbo tomaré?
Caminos sin aurora me pierden otra vez.

Volverás, Verdemar...
Es el alma que presiente tu retorno.
Llegarás, llegarás...
Por un camino blanco tu espíritu vendrá
Buscando mi cansancio y aquí me encontrarás.
Faltas tú... Ya no estás...
Se apagaron tus pupilas, Verdemar.
Verdemar... Verdemar...
Your eyes filled with silence...
I lost you, Verdemar.
Your yellow hands... your lips without color
And the cold of the night in your heart.
You are missing... you are no longer here...
Your eyes have extinguished, Verdemar.

I met you without thinking it, and I cheered my days
forgetting the anguish of my hours.
But soon life was merciless with you
and in your lips my kisses died of cold.
And now... what course will I take?
Roads without dawn get me lost again.

You will return, Verdemar...
It’s the soul that has a premonition about your return.
You will arrive, you will arrive...
Through a white road your spirit will come
Looking for my fatigue and here you will find me.
You are missing... you are no longer here...
Your eyes have extinguished, Verdemar.


Here is Derrick del Pilar's translation, from Poesía de gotán: The Poetry of the Tango:

Seagreen
lyrics by José María Contursi
music by Carlos Di Sarli

Seagreen…Seagreen…
your eyes filled with silence.
I lost you, Seagreen.
Your yellowed hands, your colorless lips
and the cold of the night upon your heart.
You are missing, you aren’t here anymore,
your pupils have gone out, Seagreen.

I found you without a thought and I brightened my days,
forgetting the anguish of my hours.
But then life became enraged with you,
and upon your lips my kisses died of cold.
And now…what road shall I take?
Dawnless paths lose me once again.



So that's it. That's all I have to say about that. For now.

Have a good weekend y'all...




Thursday, March 8, 2018

Ignacio Varchausky :: Estilos Fundamentales de Tango Seminarios



I ran across this on YouTube and created a playlist - somewhere in the neighborhood of 20 or 22 hours of lectures by Ignacio Varchausky on the "fundamental styles of tango". All in Spanish, but no worries for those of us whose Spanish sucks. Click the little gear icon at the lower right of the video screen and turn on the auto-generated Spanish subtitles, let them populate, then click on "auto-translate" and pick your language. It will hesitate for a moment while it's queuing up. Thank God for Google.

Also note that Ignacio is the founder of TangoVia - a non-profit and website which aims at preserving, spreading and developing tango culture throughout the world. Be sure to check out their Tango CD collections, although the Spanish version website is better for this. Looks like you could find them on Amazon, but there are no direct purchase links.

There are also a dozen or so playlists on the Parkinson TeVe YouTube Channel, or click on "Videos" to see everything listed individually. Lots of stuff to watch and listen and ponder and learn here, including various live orchestra performances.

Here are the titles of the videos in the playlist I've created (above):

Pugliese
D'Arienzo
Piazzolla
La Milonga
Laurenz
El o Los Choclos
Calo
Fresedo
Francini-Pontier
De Caro
Elementos Basicos
Gobbi
Salgan

The Politics of Touch, by Erin Manning

Manning, Erin -Politics of Touch by juanfecas on Scribd

Wednesday, March 7, 2018

Tango Shoe Painting :: Los Angeles, CA, USA









This is a great idea! I didn't want to publish her name and phone number out there on the web, so contact me and I will put you in touch with her.



La Vida Es Corta :: Tango Short by Bassel Hamieh, with Naomi Harris



TANGO: La Vida Es Corta - Life is Short!
Bassel Hamieh is celebrating life with Naomi Harris in Los Angeles, California...on Saturday ·
NEW TANGO SHORT FILM!!! "La Vida Es Corta" - Life is Short! Got to work on this small project with the beautiful Naomi Harris. It was hard to convince her at first, but I knew she would be the perfect fit for it as she not only is a beautiful person on the inside and out, but is an extremely beautiful dancer. When she finally said yes, we spent 3 hours in the cold to film this. It was so fun! Hope you enjoy it.

The song is obviously "La Vida Es Corta", composed by Ricardo Tanturi, lyrics by Francisco Gorrindo, sung by Alberto Castillo, recorded on February 19, 1941.



Sunday, March 4, 2018

Breaking down tango steps & sequences :: The Mini-Milonguero Dip :: A practical YouTube/Video Tip

Let's face it. Human males are visual troglodytes. "We like to watch, Eve."

And with tango, due to the complexities and nuances of the quality and character of motion through time and space and to the music - weight shifts, where your weight is on your foot aka where your center of gravity is in relation to your foot, where you want her weight to be, where you want your foot/feet to be, where you want her foot/feet to be, etc. Sometimes if you lead her to shift her weight just a little too far, the opportunity to do what you were planning to do is lost. In a few-to-several-hundred femtoseconds of little brain farts bubbling up in the primordial soup.

I know many of us leaders, perhaps most of us, use YouTube to glean/harvest/study new vocabulary and "stuff" for our tango roll-o-dex of moves. Or maybe movements is a better word. Ah. I see it's actually "Rolodex".

Using the video settings to slow down the speed to .50 or .25 is helpful, but scrubbing the video back and forth is hellatiously frustrating, especially on a mobile device.

After years of being hellatiously frustrated by the inability to have really slow simple control to break things down step by step, I had a eureka moment a couple of weeks ago.

Now, after being hellatiously frustrated reading all my drivel, here is the actual tip.

Slow the video down to .25 speed on your computer or iPad, then video that with your phone. Then using your phone, it's much easier to scrub back and forth step by step to figure shit out.

With the Austin Spring Tango Festival coming up, and being slightly week in my small space Rolodex of movements, we've been taking classes with Vania on the subject, and practicing a few times a week. We've been working on incorporating a cross-footed ocho cortado to the cross (aren't they all?) with a front cross step back to the close side on her part simultaneously with a mini-milonguero dip on my part. Mini-dip. Not mini-milonguero, although I'm sure they exist.

Sadly, the milonguero dip has been missing from my tango Rolodex for all these years.

My thick skull couldn't absorb it until I broke it down step by step and body position by body position. I'm slow that way. And I guess I've been slow on the uptake of figuring out that I could video the slowed-down video. Oh well.

Anyway.

That is all.

Oh. Here's the video. From timestamp 0:40, then he repeats it at 0:48. Michelle and Joachim. I like their "stuff".

Saturday, March 3, 2018

Open Call for Tango Tattoos

Untitled
Possibly the most famous, famously artistic tango tattoo in the world lives and dances right here in Austin...the impaled heart on fire...photo by yours truly, whilst DJ'ing at Tazza...

I figger'd I'd do a post on tango tattoos, but not many images show up in "tango tattoo" searches due to the co-opting of the word "Tango" by a certain Texas fraternal order/civic organization. And I'm guessing there are lots of tango tattoos out there that wouldn't necessarily show up in an image search anyway. I've collected a dozen or so for a future post, but that's about it.

So I'm issuing an open call for people to submit images of their tango related tango-centric tango tattoos. Along with the back story of the tattoo. Or your thinking about deciding selecting the image and also the name/city of the tattoo artist, por favor. Obviously if you know someone who has one if you can share this post or otherwise let them know.

Send images to "the name of this blog without the dots" at gmail. Alternatively perhaps leave a link in the comments. Or DM me on FB.

Gracias in advance.


Friday, March 2, 2018

Duendes del dos por cuatro :: Illustrations by Héctor Palacios

Click on each image to be brought to the La Gaceta website and the journalistic notes (in Spanish) by Roberto Espinosa for each image/individual...in a new window...click on the La Gaceta website link to go the the website and scroll through the images yourself...

“Duendes del dos por cuatro”, se denomina la exposición que reúne notas periodísticas de Roberto Espinosa e ilustraciones de Héctor Palacios, que se inauguró en el Centro Cultural Virla de la Universidad Nacional de Tucumán, el 11 de diciembre de 2015, en adhesión al Día Nacional del Tango. La muestra reúne crónicas periodísticas publicadas en el diario La Gaceta de Tucumán, entre 1988 y 2015, que evocan a intérpretes y creadores del tango, como Carlos Gardel, Osvaldo Pugliese, Aníbal Troilo, Astor Piazzolla, Edmundo Rivero, Enrique Santos Discépolo, Julio Sosa, Mariano Mores, Enrique Cadícamo, José Luis Padula, Napoleón Escobar, Eduardo Podazza, Rubén Juárez, Miguelito Ruiz, el Polaco Goyeneche, entre otros.

"Spirits of two by four", is called the exhibition that brings together journalistic notes by Roberto Espinosa and illustrations by Héctor Palacios, which opened at the Centro Cultural Virla of the National University of Tucumán, on December 11, 2015, in adherence to the day National Tango. The exhibition includes journalistic chronicles published in the newspaper La Gaceta de Tucumán, between 1988 and 2015, which evoke interpreters and creators of Tango, such as Carlos Gardel, Osvaldo Pugliese, Aníbal Troilo, Astor Piazzolla, Edmundo Rivero, Enrique Santos Discépolo, Julio Sosa, Mariano mores, Enrique Cadícamo, José Luis Padula, Napoleon Escobar, Eduardo Podazza, Rubén Juárez, Miguelito Ruiz, the Polish Goyeneche, among others.

Anibal Troilo



Astor Piazzolla



Astor Piazzolla



Carlos Gardel



Edmundo Rivero



Eduardo Podazza



Enrique Cadicamo



Horacio Ferrer



Jose Luis Padula



Julo Sosa



Leopoldo Federico



Mariano Mores



Miguel Ruiz



Napoleon Escobar



Osvaldo Pugliese



Roberto Goyeneche



Rodolfo Mederos



Ruben Juarez



Enrique Santos Discepolo




http://www.lagaceta.com.ar/imagenes/galeria/3093/duendes-dos-cuatro.html

“Duendes del dos por cuatro”, se denomina la exposición que reúne notas periodísticas de Roberto Espinosa e ilustraciones de Héctor Palacios, que se inauguró en el Centro Cultural Virla de la Universidad Nacional de Tucumán, el 11 de diciembre de 2015, en adhesión al Día Nacional del Tango. La muestra reúne crónicas periodísticas publicadas en el diario La Gaceta de Tucumán, entre 1988 y 2015, que evocan a intérpretes y creadores del tango, como Carlos Gardel, Osvaldo Pugliese, Aníbal Troilo, Astor Piazzolla, Edmundo Rivero, Enrique Santos Discépolo, Julio Sosa, Mariano Mores, Enrique Cadícamo, José Luis Padula, Napoleón Escobar, Eduardo Podazza, Rubén Juárez, Miguelito Ruiz, el Polaco Goyeneche, entre otros.

"Spirits of two by four", is called the exhibition that brings together journalistic notes by Roberto Espinosa and illustrations by Héctor Palacios, which opened at the Centro Cultural Virla of the National University of Tucumán, on December 11, 2015, in adherence to the day National Tango. The exhibition includes journalistic chronicles published in the newspaper La Gaceta de Tucumán, between 1988 and 2015, which evoke interpreters and creators of Tango, such as Carlos Gardel, Osvaldo Pugliese, Aníbal Troilo, Astor Piazzolla, Edmundo Rivero, Enrique Santos Discépolo, Julio Sosa, Mariano mores, Enrique Cadícamo, José Luis Padula, Napoleon Escobar, Eduardo Podazza, Rubén Juárez, Miguelito Ruiz, the Polish Goyeneche, among others.