https://youtu.be/Zguman6TaLk?si=6fLhXKMQa-DCiPIh
Sent from my iPad
Monday, November 11, 2024
Sunday, November 10, 2024
Friday, October 25, 2024
Tuesday, October 8, 2024
Gustavo Naveira Apology Statement
Following an incident (perpetrated against his wife, Giselle Anne) while performing at the Gavito Tango Festival at the Biltmore Hotel in Los Angeles on Saturday, October 5, 2024. (Issued in the wee hours of Tuesday, October 8, 2024.)
From Gustavo Naveira: "First of all, I want to apologize a million times to Giselle Anne for my behavior last Saturday at the Gavito Tango Festival in Los Angeles. Giselle, my partner in life and in dance for almost thirty years, mother of two of my children, the best tango teacher and the best tango dancer I have ever danced with, has had to endure behavior on my part that was absolutely reprehensible and lacking in all professionalism. Giselle, an extraordinary woman, a reference of Argentine Tango, who has been part of the greatest shows in the history of tango, received mistreatment from me, of which I feel deeply ashamed, which I should never have carried out, and for which I apologize, knowing that simply there are no excuses. At a certain point I began to rebuke Giselle in front of everyone present in an uncontrolled way, I know it was embarrassing, and I also know that there will be no more opportunity for reparation. Giselle, of course, knew how to cope with the situation with calm and natural grace, once again demonstrating her high level of professionalism. Gis I ask you for forgiveness again, I didn't know how to live up to your artistic presence.
I also want to apologize to the group of professionals who made up the team of teachers of the event. All of them, in the days before and on that same Saturday before us, gave impeccable displays of talent, ability and mettle, all conditions that I lacked that night so I could not join that team. I want to apologize to them for creating a moment of unpleasant tension and tarnishing a night that should have been brilliant, especially for the expectations they had placed on us.
I also apologize to the audience present that night who had to endure a sad and painful spectacle on my part, which caused, at least at that moment, confusion and uneasiness among the people, since they did not understand what was happening.
Very especially I want to also address the organizers of this event, Dennis and Tanya, excellent people who work very hard for the achievement of this excellently well organized Festival that is undoubtedly among the best in the world, a thousand apologies to them for having caused this very negative disturbance.
I also accept the countless criticisms I have received on social networks and I fully assume my responsibility for the fact. My nerves failed, I didn't know how to control myself, and despite many years of experience, I behaved like a rookie exposing my inability and weakness of character. My frustration didn't allow me to see that this was the woman I loved and admired the most in my life.... A thousand apologies to everyone for this.
Throughout my years (decades) as a tango teacher I have always taught about the need for communication between the members of the dance couple to achieve quality in the dance. That teaching tells the truth, but I did not know how to put into practice as a dancer what I teach as a teacher. That is why I want to apologize to all my students, both those present and those who reacted to the video, for having soiled that undeniable truth of the theory, with a number of reactions that had nothing to do with the quality of the dance, and that led me to an intolerable behavior towards my partner.
I know that my schedule has now changed abruptly, and maybe it will change forever, I accept it, it is a great sadness but I accept it, it is absolutely my responsibility. And it hurts me very deeply that Giselle's future as a dancer is affected because of me, which in no way deserves it.
Finally, I want to apologize to my family, especially to my children, two of whom are professional tango dancers, and have had to see their father's bad behavior on social media. Someone on the networks referred negatively to "Los" Naveira. I want to express that the only Naveira who behaved badly was me, my children are excellent people, excellent dancers who have nothing to do with this fact. As I said before, I accept all criticism, but that "los" (plural) is superfluous."
Again, I apologize.
Gustavo Naveira
________________________________________
Quiero en primerísimo lugar pedirle un millón de disculpas a Giselle Anne, por mi comportamiento del sábado pasado en el Gavito Tango Festival, en Los Ángeles. Giselle, mi compañera en la vida y en el baile por casi treinta años, madre de dos de mis hijos, la mejor maestra de tango y la mejor bailarina de tango con la que yo haya bailado jamás, ha tenido que soportar un comportamiento de mi parte absolutamente reprochable y falto de toda profesionalidad. Giselle, una mujer extraordinaria, referente del Tango Argentino, que ha sido parte de los más grandes espectáculos de la historia del tango, recibió un maltrato de mi parte, del que me siento profundamente avergonzado, que jamás debí haber llevado a cabo, y por el que pido disculpas, sabiendo que sencillamente no tiene excusas. Giselle y yo, en el tango hemos creado juntos cosas que yo firmemente creo sean muy valiosas. Pero en un momento determinado de la exhibición comencé a increpar a Giselle frente a todos los presentes de manera descontrolada, haciendo añicos justamente todo ello que somos en el tango. Sé que fue bochornoso, y también sé que ya no habrá oportunidad de reparación. Giselle, por supuesto, supo sobrellevar la situación con calma y gracia natural, demostrando una vez más su alto nivel de profesionalismo. Gis te pido perdón nuevamente, no supe estar a tu altura.
También quiero pedirle disculpas al grupo de profesionales que conformaban el equipo de maestros del evento. Todos ellos, en los días anteriores y en ese mismo sábado antes que nosotros, dieron impecables muestra de talento, capacidad y temple, todas condiciones que me faltaron esa noche por lo que no pude unirme a ese equipo. Quiero disculparme con ellos por haber creado un momento de tensión desagradable y empañar una noche que debió haber sido brillante, especialmente por las expectativas que habían puesto en nosotros.
Le pido disculpas también al público presente de esa noche que tuvo que soportar de mi parte un espectáculo triste y penoso, que provocó al menos en ese momento, confusión y desazón entre la gente, ya que no se entendía lo que sucedía.
Muy especialmente quiero dirigirme también a los organizadores de este evento, Dennis y Tanya, excelentísimas personas que trabajan durísimo para la consecución de este Festival excelentemente bien organizado que se encuentra sin dudas entre los mejores del mundo, mil disculpas a ellos por haber ocasionado este disturbio tan negativo.
También acepto la innumerable cantidad de críticas que he recibido en las redes sociales y asumo totalmente mi responsabilidad en el hecho. Mis nervios fallaron, no supe controlarme, y a pesar de los muchos años de experiencia, me comporté como un novato dejando a la vista mi incapacidad y mi debilidad de carácter. Mi frustración no me permitió ver que se trataba de la mujer que más amé y admiré en mi vida…. Mil disculpas a todos por ello.
A lo largo de mis años (décadas) de maestro del tango he enseñado siempre, sobre la necesidad de comunicación entre los integrantes de la pareja de baile para alcanzar la calidad en el baile. Esa enseñanza dice la verdad, pero yo no supe llevar a la práctica como bailarín lo que enseño como maestro. Por eso quiero pedirles disculpas a todos mis alumnos, tanto a los presentes como a los que reaccionaron frente al video, por haber ensuciado esa verdad incontrastable de la teoría, con una cantidad de reacciones que nada tenían que ver con la calidad en el baile, y que me llevaron a un comportamiento intolerable hacia mi compañera.
Sé que mi agenda ahora ha cambiado abruptamente, y quizá cambie para siempre, lo acepto, es una gran tristeza, pero lo acepto, es absolutamente mi responsabilidad. Y me duele muy profundamente que por mi culpa se vea afectado el futuro de Giselle como bailarina, que de ninguna manera lo merece.
Por último, quiero pedirle disculpas a mi familia, especialmente a mis hijos, dos de los cuales son bailarines profesionales del tango, y han tenido que ver en las redes el mal comportamiento de su padre. Alguien en las redes se refirió negativamente a "Los" Naveira. Quiero expresar que el único Naveira que se comportó mal fui yo, mis hijos son excelentísimas personas, bailarines excelsos que nada tienen que ver con este hecho. Como dije antes, acepto todas las críticas, pero ese "los" está de más.
Nuevamente me disculpo.
Gustavo Naveira
Sent from my iPad
Monday, October 7, 2024
Gentlemen’s Guide To Tango
From Katerina Dmitrieva on Facebook:
Gentlemen's guide for Tango.*
Disclaimer: Like everything in life this can be used for good and evil/manipulation.
It is based on my own experiences and talks I had. I had bad experiences but still I hope and believe Tango is a beautiful dance to let us be in the present moment TOGETHER. With your partner and as a whole. For our shared love of Tango. ❤️
These are ideas from a followers perspective, do what you want with them. I love same sex dancers but the following is about male lead and female follower perspective.
Tango is part of my life, my ritual, I work for it. And with certain things only a Tango person will understand you.
Consent is always key, in dance can be both; verbal & non-verbal.
****
So here are examples of things I found pleasant and unpleasant - tastes may vary.
A bit of humour when things go wrong. You never know of tired feet in heels, floor dynamics (needing energy to balance out the slippery ones or needing to push more when they are sticky/dry) or even comfort of follower.
For instance first tandas scare me and you can tell 😆🫣
Offer the arm or hand to guide to dancefloor. If she doesn't want accept instantly.
Breath together. At start, in between, at the end. Never too much! And please without loud sounds...
Breathe to indicate movement can be nice. Not everyone likes bellybreath, it's a tool.
So you have your fan, it is so nice when you use it for the two of you in small break between songs.
Compliments. (Definitely from both sides!) Like the connection/quality of energy/dress/perfume/earrings/details
…
Just for the sake of it, to make the other feel good, to relax, not necessarily for flirting.
Leaving space to express & be playful, waiting. Tango is no monologue.
Personally when I don't know you and we dance for the first time I don't apprechiate many ganchos. Especially the super aggressive ones (knees are joints that can get hurt) or when it gets messy...
No need to show off/having this much strong contact. *Leader's thigh in follower's crotch is not acceptable!* Better give the lady room to express and choose the level of closeness she wants for upper body and lower extremities.
Embrace can have different qualities, but never a rigid cage.
If the lady wants, hold her at the end of tanda. Never a cage-like hold (especially when she already gives subtle signs of wanting out, let it be)! Maybe the woman needs space to collect herself. Me for instance need time to breath, cool down, fix dress/hair. I know it can break a connection. That right afterwards can be established again.
If follower says floor is slippery/she says she is tired please adapt a bit.
I love it to be offered the arm to walk back. More for bigger venues/marathon setting.
Talk to each other more. Before or after tandas or in between songs. A way to connect also through words.
Don't take perceived rejection personal.
Tango can be cruel. Go to where they accept you, never on purpose put you down and in best case celebrate you. 🥳 Find your crowd.
People will talk s* about you anyway. It is a mirror for themselves. Some people are two-faced and act selfish. You know your worth.
Last one: Gentlemen be gentlemen towards each other. No need to show dominance or neglect by invading the others space in the ronda.
To see a man waiting to be allowed in the ronda & the other accepting, I always find it so pleasent. Apologizing with signals for little accidents (immediate or if not possible after the tanda) and laughing about it, I find it so attractive.
-> Have decent behaviour. To summarize ☺️
-------
Here are the unpleasant things, some examples:
Crossing lines like touching breasts or butt is no option. Obviously. But also a VERY low hand that reaches lower back/beginning of butt.
Listen to non-verbal signs... Follower is getting heavy to make you wait, getting lighter or more in cranial direction to indicate needing more lightness. If she does not do a move, adapt to it and not keep repeating because she did not 'understand'. Maybe she didn't want to (like mentioned in case with ganchos).
It's not forbidden of course but if she speaks up verbally indicating she is/her feet are tired please adapt. Maybe during the dance she finds back her energy but don't rush into super energetic/strong lead. (Different followers need different leads, happens that men lead super strong because their less experienced followers need it, also personal preferences. But never ever push so joints get in danger of being hurt 🫣)
Please do never talk about how close is your hotel room. Just don't.
Never ever correct verbally in milonga. We all know that.
Big kisses directly on the cheek can be too much (while greeting or after tanda) and not received well when they are forced.
I would avoid to check the cleavage and then compliment the necklace. Appears creepy.
Avoid 'compliments' like 'You look good enough to bite into' or directly ask: 'Where can I bite you?'. It's giving creep also.
Don't create drama or avoid a person only because your ego was hurt. We can oftentimes still say Hi, also without necessary hugging.
Final notes:
We as women take ourselves dancing & love to dance with you. So we all can work towards a pleasant experience for everyone.
Would love to hear your opinions & would love also the leaders' perspective. Public in the comments or pm.
It can be dangerous to give people the benefit of a doubt, if you felt uncomfortable please talk to a Tango friend or organizer and if you want to the person. Ask them if they want to understand & give a chance for repair.
I heard that f.e. instance in France is a strong feminist movement so that men feel scared to even do things like offer the arm to walk back to avoid crossing boundaries. I support this movement AND at the same time would love to have a careful way to treat each other without 'fear of each other'.
Sometimes it is so subtle and hard to put in words the feeling when a men is crossing the line but addressing the issue can help.
I had cases where men did not behave like gentlemen, I made the offer to explain and in the end it was out of the world/better.
I believe we all make mistakes and we can learn from them. Sometimes you are truly not aware of these things. And sometimes you are and decide to behave that way anyway. There are men that love women. There are men who hate women.
Take care 🎀
*Because a real man is gentle and knows how to lead.
He knows what he wants & has self-control. 😉😘
Sent from my iPhone
Gentlemen's guide for Tango.*
Disclaimer: Like everything in life this can be used for good and evil/manipulation.
It is based on my own experiences and talks I had. I had bad experiences but still I hope and believe Tango is a beautiful dance to let us be in the present moment TOGETHER. With your partner and as a whole. For our shared love of Tango. ❤️
These are ideas from a followers perspective, do what you want with them. I love same sex dancers but the following is about male lead and female follower perspective.
Tango is part of my life, my ritual, I work for it. And with certain things only a Tango person will understand you.
Consent is always key, in dance can be both; verbal & non-verbal.
****
So here are examples of things I found pleasant and unpleasant - tastes may vary.
A bit of humour when things go wrong. You never know of tired feet in heels, floor dynamics (needing energy to balance out the slippery ones or needing to push more when they are sticky/dry) or even comfort of follower.
For instance first tandas scare me and you can tell 😆🫣
Offer the arm or hand to guide to dancefloor. If she doesn't want accept instantly.
Breath together. At start, in between, at the end. Never too much! And please without loud sounds...
Breathe to indicate movement can be nice. Not everyone likes bellybreath, it's a tool.
So you have your fan, it is so nice when you use it for the two of you in small break between songs.
Compliments. (Definitely from both sides!) Like the connection/quality of energy/dress/perfume/earrings/details
…
Just for the sake of it, to make the other feel good, to relax, not necessarily for flirting.
Leaving space to express & be playful, waiting. Tango is no monologue.
Personally when I don't know you and we dance for the first time I don't apprechiate many ganchos. Especially the super aggressive ones (knees are joints that can get hurt) or when it gets messy...
No need to show off/having this much strong contact. *Leader's thigh in follower's crotch is not acceptable!* Better give the lady room to express and choose the level of closeness she wants for upper body and lower extremities.
Embrace can have different qualities, but never a rigid cage.
If the lady wants, hold her at the end of tanda. Never a cage-like hold (especially when she already gives subtle signs of wanting out, let it be)! Maybe the woman needs space to collect herself. Me for instance need time to breath, cool down, fix dress/hair. I know it can break a connection. That right afterwards can be established again.
If follower says floor is slippery/she says she is tired please adapt a bit.
I love it to be offered the arm to walk back. More for bigger venues/marathon setting.
Talk to each other more. Before or after tandas or in between songs. A way to connect also through words.
Don't take perceived rejection personal.
Tango can be cruel. Go to where they accept you, never on purpose put you down and in best case celebrate you. 🥳 Find your crowd.
People will talk s* about you anyway. It is a mirror for themselves. Some people are two-faced and act selfish. You know your worth.
Last one: Gentlemen be gentlemen towards each other. No need to show dominance or neglect by invading the others space in the ronda.
To see a man waiting to be allowed in the ronda & the other accepting, I always find it so pleasent. Apologizing with signals for little accidents (immediate or if not possible after the tanda) and laughing about it, I find it so attractive.
-> Have decent behaviour. To summarize ☺️
-------
Here are the unpleasant things, some examples:
Crossing lines like touching breasts or butt is no option. Obviously. But also a VERY low hand that reaches lower back/beginning of butt.
Listen to non-verbal signs... Follower is getting heavy to make you wait, getting lighter or more in cranial direction to indicate needing more lightness. If she does not do a move, adapt to it and not keep repeating because she did not 'understand'. Maybe she didn't want to (like mentioned in case with ganchos).
It's not forbidden of course but if she speaks up verbally indicating she is/her feet are tired please adapt. Maybe during the dance she finds back her energy but don't rush into super energetic/strong lead. (Different followers need different leads, happens that men lead super strong because their less experienced followers need it, also personal preferences. But never ever push so joints get in danger of being hurt 🫣)
Please do never talk about how close is your hotel room. Just don't.
Never ever correct verbally in milonga. We all know that.
Big kisses directly on the cheek can be too much (while greeting or after tanda) and not received well when they are forced.
I would avoid to check the cleavage and then compliment the necklace. Appears creepy.
Avoid 'compliments' like 'You look good enough to bite into' or directly ask: 'Where can I bite you?'. It's giving creep also.
Don't create drama or avoid a person only because your ego was hurt. We can oftentimes still say Hi, also without necessary hugging.
Final notes:
We as women take ourselves dancing & love to dance with you. So we all can work towards a pleasant experience for everyone.
Would love to hear your opinions & would love also the leaders' perspective. Public in the comments or pm.
It can be dangerous to give people the benefit of a doubt, if you felt uncomfortable please talk to a Tango friend or organizer and if you want to the person. Ask them if they want to understand & give a chance for repair.
I heard that f.e. instance in France is a strong feminist movement so that men feel scared to even do things like offer the arm to walk back to avoid crossing boundaries. I support this movement AND at the same time would love to have a careful way to treat each other without 'fear of each other'.
Sometimes it is so subtle and hard to put in words the feeling when a men is crossing the line but addressing the issue can help.
I had cases where men did not behave like gentlemen, I made the offer to explain and in the end it was out of the world/better.
I believe we all make mistakes and we can learn from them. Sometimes you are truly not aware of these things. And sometimes you are and decide to behave that way anyway. There are men that love women. There are men who hate women.
Take care 🎀
*Because a real man is gentle and knows how to lead.
He knows what he wants & has self-control. 😉😘
Sent from my iPhone
Monday, September 23, 2024
Saturday, September 21, 2024
Thursday, September 12, 2024
On the merging of the margins of two energetic souls
Yeah, he gets it. One note about connection, which he slightly hints at, but doesn't really come out and say it. He talks about physical connection, mental connection, and the connection to the other dancers. He hints at it when he says 'the emotions start to appear'. Then there is the metaphysical connection. The 'wtf was that!?' aspect of a particular dance with a particular partner, in a particular place, at a particular time. Not only does it not happen all the time, nor does it happen frequently. It's elusive, in my experience. I remain convinced that this feeling, which in the ideal is a mutual feeling, will never ever happen in open embrace. Some call it the tango trance. Others, the tangasm. It's sublime when it crosses your path. I fear many may not know of its existence, and sadly, may never experience it. Not that it is something anyone can 'do', or make happen through sheer force of will. Or actively manifest. The conditions have the be right. The stars have to align. In that spot. In that moment. Then, The Universe will gift it to you. Or not. I've always felt like it's the merging of the margins of two energetic souls. If you believe in that stuff. If not, then it's 'just a dance'.
 | |
Sent from my iPad
Friday, August 30, 2024
Sunday, August 25, 2024
“To dance is to graze the infinite…”
#tangoquotes
"When we dance, our soul discovers its truest liberty, not in measured steps, but in the quiet, rhythmic pulses of being. In creation's embrace, we escape the bounds of the earthly , touching something ethereal , beyond the reach of words. To dance is to graze the infinite, to feel, if only fleetingly, the spirit's vast expanse." ~ Mark Hernandez
Sent from my iPad
"When we dance, our soul discovers its truest liberty, not in measured steps, but in the quiet, rhythmic pulses of being. In creation's embrace, we escape the bounds of the earthly , touching something ethereal , beyond the reach of words. To dance is to graze the infinite, to feel, if only fleetingly, the spirit's vast expanse." ~ Mark Hernandez
Sent from my iPad
Saturday, August 24, 2024
Friday, August 23, 2024
Thursday, August 22, 2024
Man is a microcosm of the universe
https://www.facebook.com/1207733829/posts/pfbid0234fkzC8v9D1vJ9fhw5VGRUYRacKopwiDBL5cPQvou4A5eRx6kmH8XuGHdjmnGBg3l/?
"Man is a microcosm of the universe." ~ Leonardo da Vinci
Within each of us lies an energetic blueprint, a force that shapes our being from the very first cell to the person we are today. This blueprint isn't something external to seek out; it's an intrinsic presence that guides our existence, re-engaging us every moment, with every breath.
Our essence resides in the spaces between and it resides in the unseen forces that weave together our thoughts, actions, and realities. This field of energy, which science is only beginning to understand, holds the patterns that define who we are and who we're becoming. It's a force that actively participates in our journey, shaping our choices, our health, and our connections to others.
Imagine living with the awareness that you are constantly being remade, not by random chance, but by a design that has been with you since the beginning. What changes when we stop searching externally and instead turn inward, to reconnect with the force that has always guided us?
Acknowledging this inner map can transform how we live and can bring us into a deeper alignment with our true selves and with the world around us. In this alignment, we have the opportunity to find balance, purpose, and the ability to navigate life with clarity.
A heartfelt thank you to @jayshetty for the opportunity to explore these profound truths together and for creating a space where such meaningful conversations can unfold.
If you missed this interview, you can watch it now— follow the link in my bio.
__
#JayShetty #ZachBushMD #EnergeticBlueprint #InnerWisdom #SelfDiscovery #Mindfulness #PersonalGrowth #InnerAlignment #SpiritualJourney #ConsciousLiving #SelfAwareness #HolisticHealth #InnerHealing #SoulJourney
Sent from my iPad
"Man is a microcosm of the universe." ~ Leonardo da Vinci
Within each of us lies an energetic blueprint, a force that shapes our being from the very first cell to the person we are today. This blueprint isn't something external to seek out; it's an intrinsic presence that guides our existence, re-engaging us every moment, with every breath.
Our essence resides in the spaces between and it resides in the unseen forces that weave together our thoughts, actions, and realities. This field of energy, which science is only beginning to understand, holds the patterns that define who we are and who we're becoming. It's a force that actively participates in our journey, shaping our choices, our health, and our connections to others.
Imagine living with the awareness that you are constantly being remade, not by random chance, but by a design that has been with you since the beginning. What changes when we stop searching externally and instead turn inward, to reconnect with the force that has always guided us?
Acknowledging this inner map can transform how we live and can bring us into a deeper alignment with our true selves and with the world around us. In this alignment, we have the opportunity to find balance, purpose, and the ability to navigate life with clarity.
A heartfelt thank you to @jayshetty for the opportunity to explore these profound truths together and for creating a space where such meaningful conversations can unfold.
If you missed this interview, you can watch it now— follow the link in my bio.
__
#JayShetty #ZachBushMD #EnergeticBlueprint #InnerWisdom #SelfDiscovery #Mindfulness #PersonalGrowth #InnerAlignment #SpiritualJourney #ConsciousLiving #SelfAwareness #HolisticHealth #InnerHealing #SoulJourney
Sent from my iPad
Tuesday, August 20, 2024
Friday, August 16, 2024
Veronica Kruta: Lead & Follow Roles in Tango
Although we have evolved beyond a "machista" view of the roles of lead and follow in tango, the fact remains that lead and follow are intrinsically different roles. So a certain kind of complementary polarity needs to be present in order for the dance to be felt as harmonious from both sides of the embrace.
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*Disclaimer: For simplicity sake I will use "he" and "she" to describe lead and follow but obviously we know those roles can be taken by any gender.
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I personally prefer to view the roles of lead and follow as choreographer and dancer.
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The leader needs to believe himself to be the choreographer, designer, or composer of HER dance. NOT his. That's not to say he does not dance, or that she cannot have influence over the composition, but he is not the primary dancer, and she is not the primary choreographer.
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Now, because we are talking about improvised "choreography," the way in which it is transmitted from choreographer to dancer is through a shared body language, spontaneous impulse, and a constant stream of unconscious feedback from both parties.
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Lead and follow intersect at the point where the follower's natural movement, responsiveness and personal expression inspire and enable the leader to compose more creatively, and the leader's design for her dance, and effective communication there of, free the follower from the burden of wondering, so that she can let go and truly dance.
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When this relationship dynamic is embodied by the couple in a cyclical and simultaneous manner the result is the sensation of co-creation at its highest level.
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The problem is that we often think of the lead as preceding the follow, but forget that THE IDEA of the movement he would like to produce in her body needs to precede his lead. When that lead is interpreted and expressed by the follower, the leader can additionally choose an accompanying movement. If this order is respected, rather than grasping to be the primary dancer himself, the leader might delight in seeing and feeling his ideas executed and enhanced by the follower's body, as though she were an extension of his body and mind.
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To compose at this level, the leader must possess a deep understanding of the structure of her steps first and foremost, and consider his accompanying movement as secondary. Dynamics and musical ideas can of course be layered on top of this.
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This "follower-centric" view of lead and follow is inherent even in the language that we use for the steps. For example "La cruzada" (the cross), the most basic step in tango, describes the followers' steps of that sequence, and not that of the couple, nor his. In fact, he has many ways to accompany her to the cross, which although fun and interesting, are essentially irrelevant to her dance.
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The follower, on the other hand, should take pride in enabling the leader to compose, through her sensitivity, articulation, presence, control of her movement, and willingness to give herself fully to the dance. She must also possess a deep understanding of the structure of her steps so that her energy is not wasted on wondering where to go or expecting the leader to "make her" dance. He has enough on his plate already.
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When she sees HERSELF as the dancer, with her own motor, she might take joy in the responsibility of that. She may suggest her own compositional ideas and share through her body language what she likes and how she feels the music, but always in a tactful way that comes from a deep knowledge of the dance and which inspires rather than imposes upon or confuses the leader.
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In the same way, the leader must be careful that his choreographic ideas are a proposal and not a means of brutally controlling how he thinks the follower should move. He needs to trust and give freedom to the follower to move and express herself within his design for her. If he lets himself feel HOW she moves naturally, he might begin to ask himself how he can use that to enhance his composition to highlight her strengths.
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The success of the partnership depends on each role understanding how to fully embody their own so that they may elevate the other. "Success" being defined as a dance that is felt as harmonious and connected by both roles.
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There are many ways to arrive at this deeper understanding. Studying both roles is perhaps the most obvious one, but at the very least, a shift in mindset and a willingness to look beyond a superficial understanding of lead and follow is essential.
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Unfortunately, many classes are taught as leader-centric or situational, presenting a figure to be memorized as opposed to an overall concept that enables improvisation and true lead and follow. This leaves both followers and leaders with the false belief that knowing the structure of the followers' steps is secondary to that of the leaders.
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One outcome is that the leader learns to make some movement but essentially has very little idea of what it will produce in hers. She is confused at best, and stunted at worst, and he is surprised and unable to utilize her response to create. Another outcome is that she performs her part as though it were a traditional premeditated choreography and this in turn makes him feel that he has indeed led her, but when he tries it with a different dancer who was not present in that class, the response is completely different and he doesn't understand why or else blames the new follower.
.
However, I am not here to judge teaching style nor the students' interpretation of the topic, as there are many benefits to why classes are formatted in such ways. My intention is only to shift the mentality of the student so that no matter what class you take, you are able to walk away with a profound understanding of tango and experience connection and flow at its highest level.
.
By the way, the concept of both leader and follower understanding the structure of the follower's steps first and foremost is not some radical, anti-machista idea. Historically, in times that were far more machista than now, men learned to dance with men by studying first the followers role and only once they were relatively competent in that did they take on the leader's role. This outdated way of learning tango seems to have been adopted in our modern times mostly by women, as there is an increasingly popular trend of women learning to lead.
.
I often hear dancers say things like, "you're not leading me!" or "you're not doing what I lead." Although these statements are valid I believe they come from a superficial understanding of what it is to lead and follow.
.
When a leader is just moving and is not proposing anything to her, he may feel that his movement is a lead, but she will feel secondary and thus uncertain about her own movement. When the follower is not dancing and instead just waiting, she may feel that she is available for his ideas but he will feel that he cannot transmit those ideas to her. Both perpetuate, disempower and reduce each other forever continuing the battle of the roles.
.
Although I paint a grim picture, I do think that most dancers try to make it work regardless. We are after all both dancing tango in the pursuit of feeling harmony and connection. So when our partner does not fulfill their role at this idealistic level, we look for ways to compensate. In the absence of a true lead a follower might do her best to dance perhaps over-actively. When the follower is reserved, the leader might do his best to animate her movement. It may not be ideal but at least there is some resemblance of harmony and at the very least cooperation from both sides.
.
I hope that if you find yourself in situations where there is disharmony between you and your partner or you want to take your dancing beyond "cooperation," this deeper look at the roles of lead and follow raises different kinds of questions and solutions.
.
If you have any questions or thoughts about this topic leave a comment below, and if you enjoyed this article, please feel free to share it!
.
https://www.verokruta.com/post/leader-follower-roles-in-tango
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Photo by Johanna Jezernicki Ph
Sent from my iPad
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*Disclaimer: For simplicity sake I will use "he" and "she" to describe lead and follow but obviously we know those roles can be taken by any gender.
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I personally prefer to view the roles of lead and follow as choreographer and dancer.
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The leader needs to believe himself to be the choreographer, designer, or composer of HER dance. NOT his. That's not to say he does not dance, or that she cannot have influence over the composition, but he is not the primary dancer, and she is not the primary choreographer.
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Now, because we are talking about improvised "choreography," the way in which it is transmitted from choreographer to dancer is through a shared body language, spontaneous impulse, and a constant stream of unconscious feedback from both parties.
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Lead and follow intersect at the point where the follower's natural movement, responsiveness and personal expression inspire and enable the leader to compose more creatively, and the leader's design for her dance, and effective communication there of, free the follower from the burden of wondering, so that she can let go and truly dance.
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When this relationship dynamic is embodied by the couple in a cyclical and simultaneous manner the result is the sensation of co-creation at its highest level.
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The problem is that we often think of the lead as preceding the follow, but forget that THE IDEA of the movement he would like to produce in her body needs to precede his lead. When that lead is interpreted and expressed by the follower, the leader can additionally choose an accompanying movement. If this order is respected, rather than grasping to be the primary dancer himself, the leader might delight in seeing and feeling his ideas executed and enhanced by the follower's body, as though she were an extension of his body and mind.
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To compose at this level, the leader must possess a deep understanding of the structure of her steps first and foremost, and consider his accompanying movement as secondary. Dynamics and musical ideas can of course be layered on top of this.
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This "follower-centric" view of lead and follow is inherent even in the language that we use for the steps. For example "La cruzada" (the cross), the most basic step in tango, describes the followers' steps of that sequence, and not that of the couple, nor his. In fact, he has many ways to accompany her to the cross, which although fun and interesting, are essentially irrelevant to her dance.
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The follower, on the other hand, should take pride in enabling the leader to compose, through her sensitivity, articulation, presence, control of her movement, and willingness to give herself fully to the dance. She must also possess a deep understanding of the structure of her steps so that her energy is not wasted on wondering where to go or expecting the leader to "make her" dance. He has enough on his plate already.
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When she sees HERSELF as the dancer, with her own motor, she might take joy in the responsibility of that. She may suggest her own compositional ideas and share through her body language what she likes and how she feels the music, but always in a tactful way that comes from a deep knowledge of the dance and which inspires rather than imposes upon or confuses the leader.
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In the same way, the leader must be careful that his choreographic ideas are a proposal and not a means of brutally controlling how he thinks the follower should move. He needs to trust and give freedom to the follower to move and express herself within his design for her. If he lets himself feel HOW she moves naturally, he might begin to ask himself how he can use that to enhance his composition to highlight her strengths.
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The success of the partnership depends on each role understanding how to fully embody their own so that they may elevate the other. "Success" being defined as a dance that is felt as harmonious and connected by both roles.
.
There are many ways to arrive at this deeper understanding. Studying both roles is perhaps the most obvious one, but at the very least, a shift in mindset and a willingness to look beyond a superficial understanding of lead and follow is essential.
.
Unfortunately, many classes are taught as leader-centric or situational, presenting a figure to be memorized as opposed to an overall concept that enables improvisation and true lead and follow. This leaves both followers and leaders with the false belief that knowing the structure of the followers' steps is secondary to that of the leaders.
.
One outcome is that the leader learns to make some movement but essentially has very little idea of what it will produce in hers. She is confused at best, and stunted at worst, and he is surprised and unable to utilize her response to create. Another outcome is that she performs her part as though it were a traditional premeditated choreography and this in turn makes him feel that he has indeed led her, but when he tries it with a different dancer who was not present in that class, the response is completely different and he doesn't understand why or else blames the new follower.
.
However, I am not here to judge teaching style nor the students' interpretation of the topic, as there are many benefits to why classes are formatted in such ways. My intention is only to shift the mentality of the student so that no matter what class you take, you are able to walk away with a profound understanding of tango and experience connection and flow at its highest level.
.
By the way, the concept of both leader and follower understanding the structure of the follower's steps first and foremost is not some radical, anti-machista idea. Historically, in times that were far more machista than now, men learned to dance with men by studying first the followers role and only once they were relatively competent in that did they take on the leader's role. This outdated way of learning tango seems to have been adopted in our modern times mostly by women, as there is an increasingly popular trend of women learning to lead.
.
I often hear dancers say things like, "you're not leading me!" or "you're not doing what I lead." Although these statements are valid I believe they come from a superficial understanding of what it is to lead and follow.
.
When a leader is just moving and is not proposing anything to her, he may feel that his movement is a lead, but she will feel secondary and thus uncertain about her own movement. When the follower is not dancing and instead just waiting, she may feel that she is available for his ideas but he will feel that he cannot transmit those ideas to her. Both perpetuate, disempower and reduce each other forever continuing the battle of the roles.
.
Although I paint a grim picture, I do think that most dancers try to make it work regardless. We are after all both dancing tango in the pursuit of feeling harmony and connection. So when our partner does not fulfill their role at this idealistic level, we look for ways to compensate. In the absence of a true lead a follower might do her best to dance perhaps over-actively. When the follower is reserved, the leader might do his best to animate her movement. It may not be ideal but at least there is some resemblance of harmony and at the very least cooperation from both sides.
.
I hope that if you find yourself in situations where there is disharmony between you and your partner or you want to take your dancing beyond "cooperation," this deeper look at the roles of lead and follow raises different kinds of questions and solutions.
.
If you have any questions or thoughts about this topic leave a comment below, and if you enjoyed this article, please feel free to share it!
.
https://www.verokruta.com/post/leader-follower-roles-in-tango
.
Photo by Johanna Jezernicki Ph
Sent from my iPad
Tuesday, July 9, 2024
Sunday, July 7, 2024
Saturday, June 29, 2024
The dancer personality: Comparing dancers and non-dancers in Germany and Sweden
The dancer personality: Comparing dancers and non-dancers in Germany and Sweden
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Thursday, June 27, 2024
Tuesday, June 25, 2024
Friday, June 21, 2024
Saturday, May 25, 2024
Sunday, May 12, 2024
Tuesday, May 7, 2024
Saturday, May 4, 2024
‘can you say what it is about tango music that got you/keeps you hooked?’
#tangoquotes #tango_quotes
"But tango music spoke to me somehow. The layers, the call-and-response structure, the variations on parts, the rich orchestral jazz of it all.
Oh, I know that other music has these elements in varying degrees. Freedom within structure! Maybe that's the key ingredient I feel with Argentine tango music. The music doesn't seem to dictate repeating patterns of dance interpretation. It allows for many interpretations. It even changes its mind over the course of a song. It has a depth of feeling that can provoke a profound kind of joy when, even with a sad song, the dancers make an intimate connection with each other and with the music."
~David Phillips on 'can you say what it is about tango music that got you/keeps you hooked?'
Sent from my iPad
"But tango music spoke to me somehow. The layers, the call-and-response structure, the variations on parts, the rich orchestral jazz of it all.
Oh, I know that other music has these elements in varying degrees. Freedom within structure! Maybe that's the key ingredient I feel with Argentine tango music. The music doesn't seem to dictate repeating patterns of dance interpretation. It allows for many interpretations. It even changes its mind over the course of a song. It has a depth of feeling that can provoke a profound kind of joy when, even with a sad song, the dancers make an intimate connection with each other and with the music."
~David Phillips on 'can you say what it is about tango music that got you/keeps you hooked?'
Sent from my iPad
‘can you say what it is about tango music that got you/keeps you hooked?’
#tangoquotes #tango_quotes
"But tango music spoke to me somehow. The layers, the call-and-response structure, the variations on parts, the rich orchestral jazz of it all.
Oh, I know that other music has these elements in varying degrees. Freedom within structure! Maybe that's the key ingredient I feel with Argentine tango music. The music doesn't seem to dictate repeating patterns of dance interpretation. It allows for many interpretations. It even changes its mind over the course of a song. It has a depth of feeling that can provoke a profound kind of joy when, even with a sad song, the dancers make an intimate connection with each other and with the music."
~David Phillips on 'can you say what it is about tango music that got you/keeps you hooked?'
Sent from my iPad
#tangoquotes #tango_quotes
"But tango music spoke to me somehow. The layers, the call-and-response structure, the variations on parts, the rich orchestral jazz of it all.
Oh, I know that other music has these elements in varying degrees. Freedom within structure! Maybe that's the key ingredient I feel with Argentine tango music. The music doesn't seem to dictate repeating patterns of dance interpretation. It allows for many interpretations. It even changes its mind over the course of a song. It has a depth of feeling that can provoke a profound kind of joy when, even with a sad song, the dancers make an intimate connection with each other and with the music."
~David Phillips on 'can you say what it is about tango music that got you/keeps you hooked?'
Sent from my iPad
Saturday, April 13, 2024
Thursday, April 4, 2024
Friday, March 29, 2024
Thursday, March 21, 2024
Wednesday, March 20, 2024
Tuesday, March 19, 2024
Sunday, March 3, 2024
Wednesday, February 21, 2024
Sunday, February 11, 2024
Tuesday, February 6, 2024
Saturday, January 6, 2024
Thursday, January 4, 2024
Home - The Cambridge Companion to Tango Web Resources
Book forthcoming in April or May…
Tango music rapidly became a global phenomenon as early as the beginning of the twentieth century, with about 30% of gramophone records made between 1903 and 1910 devoted to it. Its popularity declined between the 1950s and the 1980s but has since risen to new heights. This Companion offers twenty chapters from varying perspectives around music, dance, poetry, and interdisciplinary studies, including numerous visual and audio illustrations in print and on the accompanying webpages. Its multidisciplinary approach demonstrates how different disciplines intersect through performative, historical, ethnographic, sociological, political, and anthropological perspectives. These thematic continuities illuminate diverse international perspectives and highlight how the art form flourished in Argentina, Uruguay and abroad, while tracing its international and cultural impact over the last century. This book is an innovative resource for scholars and students of tango music, particularly those seeking a diverse international perspective on the subject.
https://www.tangocompanion.com/
Sent from my iPad
https://www.tangocompanion.com/
Sent from my iPad
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