De Hombre a Hombre

I find myself strangely compelled to buy something Burberry…

https://vimeo.com/637403296

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Burberry - Open Spaces / Dir. Megaforce from MEGAFORCE on Vimeo.

FULL CREDITS:

AGENCY & PRODUCTION: @riffrafffilms
CREATIVE & DIRECTION: @the_megaforce
EXEC PRODUCER/OWNER: Matthew Fone
PRODUCER: @cathyhoodx
PRODUCTION MANAGER: @lauzyduffy
PRODUCTION ASSISTANTS: @lauralingling / @tinymichelle
CHOREOGRAPHER: @la.horde
CASTING DIRECTOR @kharmelcochranecasting
STYLIST: ANA STEINER #AnaSteiner
DOP: @mrjustinbrown
LOCATIONS: @saltfilm_locations @carl.fairall
1st AD: @benjjji
GAFFER: @prolight_davis
MAKE-UP ARTIST: @gemmasmithedhouse
HAIR STYLIST: @mr.hiroshi.matsushita

CAMERA: @panavisionofficial
STOCK: @kodak_shootfilm
FILM PROCESSING: @cinelabuk
EDITOR: @joeguestdotcom
EDIT HOUSE: @finalcutedit
POST HOUSE: @movingpicturecompany
2D CREATIVE DIRECTOR : @lovejuicelex
POST PRODUCER: @jr0ngo
COLOURIST: @emilianoserantoni

SOUND DESIGN: @samashwell at @750_mph
TRACKING VEHICLES: @bickersaction

CLIENT: @burberry
CHIEF CREATIVE OFFICER: @riccardotisci17
VP CREATIVE: @rachcrowther
SENIOR ART DIRECTOR: @alrwatts
ASSISTANT ART DIRECTOR - @louisgabriel.info
ASSISTANT ART DIRECTOR - @harry.bradb
LEAD PRODUCER: @willprestongeorge
SENIOR PRODUCER: @asha_joneja
PRODUCTION COORDINATOR: @katiewrightx
PRODUCTION ASSISTANT: @g8neva

DIRECTOR OF STYLING: @jamesrncampbell
STYLIST ASSISTANT: @donnikaa
STYLIST ASSISTANT: @amylouiseryall
JUNIOR STYLIST: @thomas.ramshaw
STYLING ASSISTANT: @davounte

Milonga Checklist for Organizers

Set TStat early
DJ sound check for levels around the room - not too loud, not too low - just right (enlist two sets of other ears for confirmation)
Lighting check early (not during milinga) especially spotlights for performances
Chairs lined up on one side - not on the floor - a couple of feet back
Chairs lined up along perimeter walls for latecomers - before, not during the milonga
DJ-save the superfast vals tanda for later, not first vals
KEEP THE CORNERS CLEAR FOR ACCESS TO AND FROM THE DANCE FLOOR
ASSIGN VOLUNTEER MONITORS TO KEEP AN EYE ON EVERYTHING THROUGHOUT THE NIGHT
OR EVEN A PRODUCTION MANAGER STAGE MANAGER MAJOR DOMO TYPE

…more later

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Céline // a scene from “Queer tango goes to Russia” documentary

VamFilms Brussels, Belgium Films & visual works by Aleksandr M. Vinogradov.

Céline // a scene from "Queer tango goes to Russia" documentary from VamFilms on Vimeo.

"Queer tango goes to Russia" will take the audience into the unique and passionate world of Queer tango. The story will follow festivals’ preparation, focusing on the culmination of the event and its outcome in the wider political and social context. Each queer tango character presented in the film has a personal reason to make this journey and a story to tell. From Europe to Russia and back, the kaleidoscope of stories will bring all characters at the singular meeting point - Queer tango festivals in St. Petersburg.

Senator Angus King Speech on Voting Rights Bill

https://youtu.be/2yxkD_5G24E

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NYTimes: Dancing Cheek to Cheek Again: New York’s Tango Scene Rebounds

Dancing Cheek to Cheek Again: New York's Tango Scene Rebounds
https://www.nytimes.com/2021/10/15/arts/dance/new-york-tango.html?referringSource=articleShare


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Tango and the Dancing Body in Istanbul - 1st Edition - Melin Levent Yuna

https://www.routledge.com/Tango-and-the-Dancing-Body-in-Istanbul/Yuna/p/book/9781032011332

Book Description

Tango and the Dancing Body in Istanbul explores the expansion of social Argentine tango dancing among Muslim actors in Turkey, pioneered in Istanbul despite the conservative rule of the Justice and Development Party (JDP) and Tayyip Erdoğan.

In this book, Melin Levent Yuna questions why a dance that appears to publicly represent an erotic relationship finds space to expand and increase dramatically in the number of contemporary Turkish Muslim tango dancers, particularly during a conservative rule. Even during the 2020 Covid-19 pandemic, tango dance classes, gatherings, and messages flourished on YouTube, Facebook, Instagram, and Zoom. Urban Turkey and its tango dance performances provide one symbol and example of how neoliberal capitalism could go hand in hand with conservatism by becoming a bridge between Europe and the Middle East. This study largely focuses on the dancers’ perspective while presenting the policies of Erdoğan. It presents the social characteristics of the tango dancers, the meanings they attach to their bodies and their dance as well as what this dance reflects about them – besides the policies of the Justice and Development Party. The book approaches the tango dance and its dancing body in terms of layers of meaning systems in a neoliberal and conservative context. 

This study will be of great interest to students and scholars in dance, anthropology, cultural studies, and performance studies.

Table of Contents

1. Concepts and Tools: Self, Identity, Class, and More  2. Leisure, Consumption, Class: One Mode of Being an Upper-Middle Class  3. Becoming the Contemporary Tango and the Tango Dancer: Bailemos el Tango  4. One Mode of Being an Upper-Middle Class in Istanbul: Bodies, Self, and the Attached Meanings, Part I  5. Bodies, Self, and the Attached Meanings, Part II 6. Bodies, Self, and the Attached Meaning,s Part III

Author(s)

Biography

Melin Levent Yuna is a sociologist and a cultural anthropologist at Acıbadem University, teaching various classes on these areas. In addition to her MA in sociology and PhD in cultural anthropology, she is a tango dancer herself, and has had a deep interest in Argentine tango dancing for many years.

#tangoinacademia #tangoresearch #tangoandpolitics #turkishmuslimstudies #sociology #culturalanthroplogy


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I have a theory — The Twelve Minute Enigma

Shelley DeLayne:

I have a theory…

People often say that humans are social beings, but I don't think we truly grasp the degree to which that is true.

We are not meant to be separate and isolated.

If you are face to face with a stranger and you make eye contact and imitate their facial expressions, both of your hearts will shift their rhythm.

In a moment of shared understanding in a conversation, people often report goose bumps, or a certain sensation on their arms. This is a measurable change in the electric current on each person's skin — it synchronizes literally and you can feel it and it can be measured.

There are all sorts of ways in which humans have induced attunement and coregulation for millennia without realizing we were doing it:

Drumming, singing together, praying or meditating together, reciting a sincere pledge or oath together, experiencing theatre and storytelling… we are designed to do it: to attune to each other. To physically connect with others (even without physical contact).

When an elderly person is hospitalized, and their long-time beloved enters the room, very often, all of their vital signs improve immediately.

Hugs, especially extended ones, typically have a measurable positive impact on both people both physically and emotionally.

We live for connection.

And tango induces autonomic attunement to a degree that nothing else could.

It's a physically intimate, walking meditation for two people with polyphonic music… it literally contains all the most reliable attunement triggers: embrace, music, moving together, paying close attention to one another, the acceptance and agreement of each weight shift, the discovery of commonalities when you recognize that you've both responded to the same thing in the music, the mental space made possible by knowing the 'rules' of it… and it removes the specificity of faces.

You have an immersive autonomic attunement experience, but you aren't looking at their face — and because of the context — it transcends identity and social roles and masks.

It is an experience of your inclusion in the one-ness of humanity.

And I believe the world would be a vastly better place if everyone had regular access to that experience.

(Actual relational attachment changes tango — think about how different it feels most of the time with a friend you know well or with a lover. It *seems* like that should make it even better, but it doesn't always. Sometimes it does… but it's often quite a different feeling.)

Anyway… I used to think that dissection would ruin the magic; that it's better not to know the mechanics of the trick… but then I came to believe: it is truth, not trick, and we can talk about it and measure it and study it and discuss it all we want…

Nothing can destroy the magic of tango.

Comment on a post about The Twelve Minute Enigma

TWELVE MINUTES' ENIGMA

A successful but lonely man in his forties spends evenings at milongas, dancing with women he'll never get any closer. A middle-aged woman plans her flights a year in advance to tango events, family and business are not a hindrance, she has only one problem - how to be everywhere. People from different countries of all ages and genders celebrate the New Year out of home on the dance floor.

A young, beautiful girl spends hundreds of hours, kilometers and euros to learn how to walk around her partner in four steps. Private lessons and seminars seminars with maestros, Yoga, Pilates and much more, just to advance a little. And disappointment from own imperfection, from refusals and imbalance at milongas. And also shoes that cost as if made of gold by the dwarves of Uberwald. The reward is 12 minutes of something that is difficult to describe and impossible to take away.

Why is this all? What are they looking for in tango? And what, judging by the insatiable hunger, they never find enough? There is not so much sex in tango, drugs are scares, almost no rock'n'roll (but some D'Arienzo). Few manage to earn decent money with tango, and for romance-flirting-getting-married there are less costly ways.

"Because this is tango" is not an answer, it is a return to the original question. Yes, there are things that are beautiful in themselves, like hedgehog's heels, buzzing fat bumblebees, the smell of fresh grass or bakery. There are flowers that seem beautiful to us for unknown reason. But tango was created by people, it is not "a thing in itself". It was created out of some specific hunger.

No one ingenious and pathologically humane would sit on a chair and invent tango. It was born from the air and light of the lanterns of that special time and city, from the disappointment and nostalgia, the dreams of those people. They say tango was a socially acceptable way to embrace a woman. Women were few, decent — even fewer; the severity of manners terrified even the English Puritans.

But all this is no longer there. Neither time, nor people, even the city has changed. You can embrace as much as you like, almost anyone, even men, thanks to the sexual revolution and contraception. But for some reason tango is more and more needed by people from completely different cultures. They cannot repeat that music, it is already unrealistic, but "12 minutes of something that is difficult to describe and cannot be taken away" they re-create over and over again, not satisfying their hunger.

They say there is some personal or rather interpersonal problem that pushes people in tango and keeps them there. And this problem is somehow solved in tango. Or not. As a psychotherapist, I am fascinated by this idea, but still it is even more vague than the absence of an answer.

They say people need tango to satisfy sensory hunger. Plausible. In disembodied culture sensory hunger prevails over everyone. But why not massage? Perhaps the tangueros' hunger is very selective, it can be satisfied only in the most subtle and refined way. Or is sensory hunger not only about touch, but also about shared feelings?

Or maybe tango is an opportunity to satisfy your polygamous needs in a monogamous culture? After all, they say, we have both. I'm not talking about sex, but about intimacy, at least symbolic. It is also banned in our culture, except in special ritual forms.

Once I thought that in tango people hope to actualize the original and deprived gender roles. A man leads - expresses his forbidden aggression, a woman follows - does what she rarely can afford in her life. Then I saw with what pleasure women lead and with what pleasure men follow. And saw kizomba and bachata, where there may be more male-female. But what if in tango we are looking not so much for our deprived gender roles, but for our human ones?

Now psychotherapists are talking about desensitization. But they don't say how to stay sensitive and survive in the city. And they themselves do not cope very well.

It is true, dissociation with the body and feelings greatly impoverishes life. But switching feelings and sensations on is often painful, unbearable, especially without the ability to arbitrarily switch them off. Is tango a safe way to become sensitive again, physically and emotionally? For a short finite period?

One can easily rationalize and even know the answer to the question of why other people need tango in general. It's harder to understand why I need it. And the easiest way is to dismiss this question after some reflection. It is also an option. The most pleasant, interesting and tasty things in this life generally have no reason or purpose.

But still. Why do you need tango?

c) Igor Zabuta, Emma Kologrivova, "dancing psychotherapists"
More tango-essays in our book "Embrace me", available at Amazon: https://amzn.to/3tWC2YI


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Tango Principles dot org

 http://www.tangoprinciples.org

Russian Tango, by Sasha Tango [UK]

https://www.facebook.com/permalink.php?story_fbid=904266736666883&id=100012506940645

https://youtu.be/zqGQXFmYzWg

Russian Tango - 1/4 May 31, 2020

Recent Tango by Year series on Wednesday evenings and a conversation with one of my tango friends prompted me to write this. There's a lot of text

Firstly, the context. This is not a political post, but it is very important to try and understand the context. It would be fair to say that the large proportion of the “golden age” of tango – 30s and 40s – was a terrible time for Russia/former Soviet Union. The 30s marked the start of Stalin’s repressions – it was horrendous, people were arrested for any old thing, and sent to prison and prison camps (Gulag etc) that were located in severe climates. A lot of them were tortured and shot, their families arrested too. Antisemitism was rife. On top of that, the war started for Russia in 1941 and was absolutely devastating. At the same time, while people were dying in battles, the repressions continued. Some music and songs of Russian tango were sanctioned, on an off, particularly if the authors were arrested and named “enemy of the people”.

What is the relevance of this?

- A lot of prominent, very talented tango musicians, singers had absolutely tragic lives – secret or not so secret arrests, exiles, prison camps, death.

I'd like to concentrate on some recordings from the 30s.

Russian tango, for many people, will be forever connected to these difficult years. When people knew that the war was raging on their doorstep, there’s nothing to eat, and if you enlist to go to war, for every two young soldiers there was one(!) old-style rifle to share.

At the same time, arrest can happen at any time – and they still wrote beautiful music, sang and danced with abandon. Maybe this is the reason why they did it? These are the thoughts shared with me recently by a very astute tango friend. There is so much truth in them. He was saying this about all tango music -that it brings up these thoughts. But I find it is particularly true about Russian tango.

During the war some of the singers and musicians not only enlisted – they sang for the soldiers, they toured the front lines with concerts. What a sacrifice, what an admirable belief in not just the cause (war with Germany), but sense of duty to their art, no matter what was being done to them.

Tango music is forever tinged with sadness and heartache. I realise that it is like that for most people, I’m just explaining why some generations of Russians may feel it even more profoundly. But not all, I have to underline. Especially not the younger ones.

Now, onto the musical differences between Russian and Argentine tango, as we are bound to do "compare and contrast".

- The rhythmic structure. A lot more march-like, uniformed, without deviations, but still gentle (so not D’Arienzo/Canaro/Biaggi sharpness), interspersed with a lovely, gentle habanera – distinct, recognizable and danceable;

- Lots of wind/brass instruments – which you can mostly find in early Canaro, Lomuto and some Fresedo, but not later on. No wind instruments in the “Orquesta Tipica” set-up vs lots of beautiful wind instruments in Russian tango;

- Not bandoneon, but accordion (I believe Fresedo and some others used it too, but bandoneon is the main instrument in Tango Argentino);

- The singer starts signing much earlier, if not after the first few bars of the composition;

- Some unusual instruments – unusual to a “conservative” tango listeners and purists – like, a slide guitar;

Most notable Russian tango figures were multi-talented. They doubled as great composers, and arrangers, and sometimes orchestra leaders or also played an instrument. So that's a similarity.

1. Singer Vadim Kozin. Beautiful tenor and composer. Absolutely tragic life. Complicated person that, despite his own tragedies, hasn’t always made great choices, let’s just leave it at that. Vadim Kozin was known in Europe – the voice of immense talent.

Tango “Autumn” (Osen’), 1939.

Kozin wrote the music. In fact, he wrote four of these, corresponding with the four seasons, as an homage to Tchaikovskiy’s “Four Seasons”. Two of the compositions didn’t really do anything special, the other two were better, and “Autumn” is by far one of the most famous in Russia, and perhaps elsewhere. I call it a slow tango-milonga – because you will hear that gentle habanera throughout, it does not change. I think it is lovely and danceable. His voice is beautiful. You can appreciate his talent as a composer too. And the lyrics are full of imagery, very romantic but innocent. Here is my translation:

Autumn, a translucent morning,

As if the sky is covered in foggy mist.

Faraway made up of pearlescent colours,

The sun, distant and cold.

Where was our first encounter – so vivid, exquisite, mysterious?

That memorable summer’s eve

The encounter so sweet, unintended

Don’t leave, I beg of you…

The words of love I’ll say a hundred times,

Autumn is at the door –

I know that for sure.

But still, I tell you “don’t leave”.

Our little nook never feels confined,

When you are here, spring has sprung,

Don’t leave, so many songs have not yet been sung,

Every string still trembles in my guitar.

The male photos in the video are that of Kozin, throughout his life.

The female - of Elizaveta Belogorskaya, who co-wrote the lyrics, a notable poet, lyricist and singer of that time.

To be continued...

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Recent Tango by Year series on Wednesday evenings and a conversation with one of my tango friends...</p>Posted by <a href="#" role="button">Sasha Tango</a> on&nbsp;<a href="https://www.facebook.com/permalink.php?story_fbid=904266736666883&amp;id=100012506940645">Sunday, May 31, 2020</a></blockquote></div>

Christiane Palha & Maria Filali - Dance the world, Brussels

https://vimeo.com/207916183

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All In One Step- Tango Argentino Anatomy Book

https://www.tangosanatomy.com/


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HÉCTOR, EL DE GRICEL

https://youtu.be/xDTJQz42Tjc


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