Dancing Soul

New Monday night sessions start 2/27

 

Both the Body Dynamics class and the Advanced class start new sessions the Monday after Valentango. There is NO CLASS 2/20: we are all too tired to learn after a festival :-)

7 PM: Body Dynamics

This class focuses on learning stellar technique to add more ENERGY and feeling into your dance. My style is body-based, working towards efficient use of the core to reduce wear and tear on the rest of the body. In each session, we look at how the body is built to move, and then work on using it the right way in tango.

This session, we will be preparing the body to move off-axis for colgadas, volcadas, etc. We will focus on using the core, the stretch of the body and leg strength (protecting the back), and also on freeing up a leg to combine boleos, etc., with these moves.

Also, we will work on being able to dance beautifully in small spaces.  Dancing small is hard to do with power and energy, but it is possible!

Designed for intermediate and advanced dancers, or beginners with dance background.

8 PM: Advanced class

Come challenge yourself!  Make your dance flow better; add sensuousness, balance, connection, musicality, adornos--take it to the next level! 

This session, the advanced class will focus on appropriate-for-the-social-dance-floor colgadas, volcadas, single axis turns, and playing with the axis. Each week, we will do a new combination, concentrating on dynamics, musicality and connection.

For dancers with at least three years tango experience, or instructor's permission. No partner necessary. You may work with a partner you bring to class, or trade partners.

$60/6 week session for one class. Special: sign up for both for $90! Drop in is $12/class.

Celebrating Black History Month: The Roots of Tango

In honor of Black History Month, one of the parents at my son's school has been sending out emails about famous inventors and innovators who were African-American. I didn't know that Lewis and Clark's French translator was a slave named York. I didn't know that the first doctor to operate successfully on the human heart was African-American.  I didn't know that the imaging X-ray spectrometer was invented by a Black man named George Alcorn. Wow! Why do we only get taught about Rosa Parks and M.L. King, Jr.?

Tango's African roots often are ignored or downplayed in the same way. When I was researching my thesis on tango, only a few people even mentioned tango's non-European roots at all. I would like to include several summaries of work that I have not heard many tango dancers discuss. All of this information is from the articles noted below (not my own work!). I have left the citations in, so that you can follow up for yourself if this interests you. I will try to put more of these up for Black History Month.

Andrews, George Reid.  1980.  The Afro-Argentines of Buenos Aires, 1800-1900.  Madison: The University of Wisconsin Press.

According to Andrews (1980), the milonga and the tango are elements of Argentine culture that demonstrate the contribution of African culture to Argentine culture (Andrews: 219).  The Afro-Argentines had a small presence in Argentina compared to other former slave-holding territories in the New World because the main products of Argentine (cattle and grain) required less manpower to produce than the cotton, sugar, and other products of other slave-holding areas.  However, the Afro-Argentine presence was much stronger than documented in Argentine official history.  In Argentina, class is stressed rather than race (Andrews: 215).  Thus, there has been an emphasis on tango developing in the lower classes, but the contributions of Afro-Argentines to this process has been significantly downplayed (Andrews:165).  

After the end of slavery, the African-Argentines worked mostly as manual laborers (dock workers, laundry women, construction workers) and crafts people (Andrews: 178).  With the immigration boom from  Europe in the mid-1800s came a decline in jobs available to Afro-Argentines because the immigrants would work for less money (Andrews 181-83).  Afro-Argentines switched over to the service sector, government jobs, and entertainment (Andrews: 184).  Relatively large percentages of musicians, dancers in the academias de baile, etc., were Afro-Argentine.  Therefore, they had a strong effect on the music and dance of Buenos Aires, and were key in the development of milonga and tango (Andrews: 184).

Both the new immigrants and the Afro-Argentines lived in the poorer areas of Buenos Aires.  There was a high rate of Italian-Afro-Argentine intermarriage, especially in La Boca (Andrews: 217).  The immigrants and the Afro-Argentines also mixed in the academias de baile.  In the 1870s, some dance hall owners sought to segregate dance space, but the liberal white press made such a commotion that the owners were forced to bow to public pressure and continue holding dances where black and white Argentines danced together (Andrews: 196-97).  This social mixing of cultures and races shows both in the people and the dances of those neighborhoods.

As Africans were brought to Argentina continuously until the end of slavery in 1807, African culture was continually influencing the Afro-Argentine community and culture.  The Afro-Argentine community was divided into social organizations that claimed connections to specific tribes and areas of Africa.  By the 1760s, the different nations were holding public dances, called candombes (Andrews: 157). 

The whites were aware that the candombes were occasions at which the Africans performed their national dances, calling up memories of their homeland and recreating, even if only for an afternoon, a simulacrum of African society in the New World. (Andrews: 162). These dances were banned in 1822, and reinstated in the 1840s and 1850s (Andrews: 160).  So many dances were hosted that the black press scolded the Afro-Argentine community for the amount of time and money spent on "frivolous" activities (Andrews: 189).

Until 1850, there were enough Africans to maintain separate dance traditions within these organizations.  Gradually, the traditions merged into a single Afro-Argentine dance form, the candombe (Andrews: 163).  Candombe "borrowed elements from a number of African dances" (Andrews: 163).  The dance consisted of four parts that featured lines of dancers (men and women) approaching each other, couple dancing (male/female), and exuberant solo dancing (Andrews: 163-64).  As late as the 1880s, there is documentation of candombe being danced (Andrews: 164). 

In the 1860s and 1870s, young Afro-Argentines "abandoned the candombe in favor of such imports as the waltz, schottishe, and mazurka" (Andrews: 195).  In reality, the music that was played for these dances still retained African elements.   However, these dances brought the dance embrace (man and woman touching) into the African mixture that already existed, and led to the development of the milonga.

The milonga grew out of the intermixing of the Afro-Argentines, the working class creoles, and the European immigrants in the academias de baile, or dance halls, of the working class neighborhoods in Buenos Aires (Andrews: 166).  These dance halls provided a social focus for poor neighborhoods where the various ethnic groups met to drink, gamble, and dance (Andrews: 166).  The milonga was a dance that the poor whites did to imitate and/or mock the candombe of the blacks (Andrews: 166).  However, the main elements of the dance were Afro-Argentine.  In 1883, a writer noted that "[milonga] has the same rhythm and movement as the drums of the candombe" (Andrews: 166).

As the tango developed out of milonga, its African roots are firmly established.  The first tango is said to have been written by an Afro-Argentine accordionist in 1896 (Andrews: 165).  The tango is a slower, smoother version of the milonga.

When the couple locks bodies tightly together and sways back and forth, we are seeing the lineal descendant of the first stage of the candombe, in which the swaying is interrupted by the bringing together of the bodies for the ombligada [touching of the navels].  Or when the partners move rapidly across the floor, first the male leaning back at a sharp angle, then the female, it clearly derives from the third stage of [candombe].  The steps of the tango form a kinetic memory of the candombe.  (Andrews: 166-67)

 

 

Monday night class announcement

7 PM Mondays: BODY DYNAMICS
I am offering a new class, starting Monday, January 9th. The class will focus on learning stellar technique to add more ENERGY and feeling into your dance. A lot of us are looking for a way to take our dance up a notch so that we enjoy it more, and I have designed this class to help you achieve that goal. Although a lot of the material I bring to the class comes from my teachers, Oscar Mandagaran and Georgina Vargas, you can apply it to any style of tango and get more pizzazz.

This session, we are working on anything that turns or pivots, for both leader and follower technique. Make your turns purr, your boleos sizzle, and your pivots snap, followers! Leaders: get those hips in gear for enrosques, quebradas, preparations for drags and sacadas, etc. Designed for intermediate and advanced dancers, or beginners with dance background.

Bring clothes that allow you to move, stretch on the floor, etc. We will do a quick warmup at the beginning of class, move on to drills and exercises, and end with putting it into the dance. You may bring a partner and work only with them, or come and switch around, switch roles, whatever works for you.

Class starts 1/9. 6 week session for $60, or $12 drop in.
Special for January-February: sign up for this session, and get the 8 PM advanced session for 1/2 price!

8 PM Mondays: ELIZABETH'S ADVANCED CLASS
This class covers topics that the dancers choose on the first day of the session, combined with work from Oscar and Georgina Mandagaran's technique. Each week, we will focus on 1-2 combinations of steps. We will learn/review any steps that dancers need, and then play with putting the steps together in different ways. We also work on how to make the combination work best with varied music (tango, vals, milonga). For dancers with at least three years tango experience, or instructor's permission. You may work with a partner you bring to class, or trade partners.

Class starts 1/9. 6 week session for $60, or $12 drop in.

Next classes start next week (and yes, there is class this week!)

Thursday classes start again on January 5th:

6 PM Beginner's Mind Practica:
Our practica is friendly, with no feedback unless you want it. If you are a beginner, I can introduce to other folks, answer questions, dance with you, etc. If you are not a beginner, I invite you to either come practice for yourself, or come and dance with beginners to give back to the community. Remember how nice some people were when you started? Be one of those nice I-dance-with-beginner types ;-) The practica is by donation.

7 PM Top Ten Moves:
Ten fundamental moves in ten weeks. In Argentina, many people only know this many (or fewer!) moves, but they do them REALLY well. This class is for beginners to learn the basics AND for more advanced dancers to polish those moves and build musicality and navigational skills (for the followers, this is the time to practice making each step exquisite). This is also a perfect opportunity if you already know one role, and want to learn the other. $80 for 10 weeks, or $12 drop in.

8 PM Musicality and the Next Ten Moves:
This session, we will focus moves that are sweet in both tango and vals (since we just did milonga last session). This class is for intermediates and advanced intermediate dancers. For each new move, we will put it into the dance, connect it to what you already know, and make it work on the dance floor. For followers, we will practice adornos (ornaments) and ways to make feet beautiful. Musically, we will work on putting moves together to make you partner drop at your feet with the beauty of your dance :-) $80 for 10 weeks, or $12 drop in.

There will also be Monday classes, which will be a six-week session; more to follow!

Bits and pieces that haven't fit in anywhere

Good massage place

Marta Rey does reflexology, massage, facials, moxibustion, etc., and has those strange but very nice Korean massage beds that roll your spine for you. I tried it once, and Gayle is back getting everything loosened up for the flight home. Both of us really liked how our backs and feet felt afterwards. Marta speaks some English. You can reach her to set up a time (you will need 2.5-3 hours for the whole works) at 4951-6755; 4953-7223; or 15-4061-3232. All numbers that start with 15- are mobile numbers. The other two are her work phone and her home phone; I am not sure which, but try the first one first. She is at Rivadavia 1966, 3rd floor, Apt. A (in Congreso). We got a deal for being friends of friends, so I am not sure of the price, but I think it's around 120ish pesos. Tipping is nice.

Good pedicure and hair place

Claudio Zappulla, Ayacucho 57 (also in Congreso) was hopping when we went in to schedule pedicures: we had to wait two days! Some friends get their hair done here, too, and vouch for the stylists. I don't know if they speak English, but the pedicure person did not. They aren't afraid to remove callus here. If you haven't had a pedicure outside the USA, don't panic when they start shaving callus off (last year, at another place, the girl broke open a disposable razor and used a blade from it; at this place, at least they have the right tools!). The little sander-like tool made everything supersmooth, but I'm very ticklish, so it was a bit of a torture for me. However, my feet felt GREAT afterwards. I think it was 75 pesos for the most thorough pedicure I've ever had. Telephone: 4953-6584.

Nice leather products

We wandered into a few leather stores, as my handbag started to disintegrate a week into our stay (it's "Ecoleather" aka vinyl). Camila Cueros, Lavalle 741, had pushy salespeople, but very good quality leather. The prices seemed high to me because I don't buy leather in the USA, but Gayle assured me that the prices were really good deals, compared to prices at home.

Good ice cream

Cadore Gelato Artigianale, Av. Corrientes 1695. I already mentioned this place last year, but I went back. I REALLY like their gelato!

Shoe repair

I think I already said this, but I'll put it here, too. Sarmiento 1882, half a block away from Neotango Shoes. They can get stuff done fast: they put croma on Gayle's shoes between yesterday afternoon and 9 am today. Fast, good service and repair.

My new favorite clothing store for tango: Tango-Imagin

Tango-Imagen Anchorena 606, tel,. 4864-3847, email: jazmin.tangoimagen@gmail.com, is next to Tango 8, and I hadn't seen it before. However, the nice ladies at Susana Artesanal steered us that way after we couldn't find what we wanted at their store. What a nice place (both). At Tango-Imagen, three people do the cutting and sewing and selling, so they know the fabrics, they know what they have, and they can take special orders. They have a mix of performance stuff, going out to dance clothing, and practice clothing.

The man who helped us makes most of the pants they sell, but he was able to look at how one outfit fit Gayle and suggest another one because the fabric was stretchier. It only came in one size fits all, but that stretchier one was perfect, and she bought it. Pretty designs, nice fabrics--how can you lose? Check them out! Buy their clothing!

Favorite seafood restaurant

La Gran Taberna, Combate de los Pozos 95 (esq. Hipolito Yrigoyen), has things from quite cheap to very expensive. We went on the less expensive side, and stuffed ourselves. What I really like about this place: the waiter took our order, and then said, "Look, that's too much food for the two of you. What if you share one order of the fish, along with your salad and sauted asparagus?" Where else would they suggest you order less of the most expensive part of your meal? Also, we ordered two glasses of wine, and the waiter brought us a bottle: he said that, if we shared a third glass of wine, it would be the same price as the whole bottle. Now that is service! We helped the waiters with their English homework, too. They have a second door on Combate de los Pozos that is their take-out service. Yum! Reservations: 4951-7586.

Slightly cheaper, nice place

Puenta Cuore Restaurant, Rivadavia and Ayacucho (in Congreso), had nice salads. I had an excellent merluza (fish) and steamed veggie meal. Gayle had yummy pasta. The restaurant is on a corner, and it was fun to people watch. The waiter was attentive.

Vegetarian possibilities

There are a lot more vegetables in restaurants than ten years ago. Also, I found three vegetarian restaurants in the area between Lavalle and Corrientes; between Callao and Junin. I didn't try any of them. Sorry, Geofrey! I know you wanted more information.

Gluten and life in Bs As

If you don't eat gluten, eating out is almost impossible if you are also a vegetarian. I opted for eating more meat than usual, and went off my gluten-free lifestyle. Thank goodness I'm not allergic! Many people said they had heard that some people can't eat gluten, but I didn't meet anyone who said they were gluten-intolerant or allergic to gluten. They don't eat in restaurants here, I bet!

Miscellaneous thoughts

1. Song I don't have that I wish I had bought: Di Sarli's Volver a Sonar. At least that's what the DJ Sunday at Canning wrote down for me. Hey, I still have a few hours!

2.  Our taxi driver one night would need to change his name to emigrate to the USA: on the placard showing his license, etc., it claimed that his last name was Moron. I kid you not.

3.  I think American milongas would be better if we kept the idea of a set or two of something different, interpersed during the evening. I love having a chacarera set and a set of "tropical" (cumbia, salsa, merengue) during the evening to relax my body, take a break from concentrating, and enjoy the other dances that I love. I would accept a set of "rock 'n roll" as long as it wasn't all Dixieland jazz (a bit overplayed here) or Elvis (don't get me wrong: I love him, but too much is too much).

 

Bikes in Buenos Aires

It is striking how much pro-bicycle change has happened in the past two years. I was amazed to see a bike lane on CORRIENTES! Wow!

Areas in downtown have bike lights and green boxes, just like in Portland:

This one is on Suipacha, at Diagonal Norte.

I talked to a few of the taxi drivers. The general view is that one must get accustomed to the idea, but that it is snarling traffic because of street size. For example, on a two-lane, one-way street with parking, no other changes were made. Cars are still trying to fit into two lanes, and people are still parking their cars on one side. No adjustments have been made, except to drive closer together and closer to parked cars. Eek! Eventually, I think some streets will either lose parking or be reduced to single lanes, but it is not clear to anyone if the government of the city has considered this carefully.

I saw a lot more bikers than ever before (and a lot of motorcycles in the bike lane). I also saw one crazy rollerblader going down the middle of Corrientes, in between the cars. That guy must have a death wish!

 

Rude people on the dance floor

When annoying men try to teach on the dance floor (and yes, I know women do this too), I have found I have a limit to my politeness.  When one French man informed me that I had anticipated a step, I said nothing, but when he REPEATED it at the end of the tanda: "You anticipated one step."  One step in the tanda!!  I am afraid I told him that it was rude to criticize on the dance floor, and that I had not said anything about his mistakes, but rather, had fixed them. Grrr.

The other rude man--as opposed to those who are trying to be helpful--was at Nino Bien.  An awful Argentine dancer hauled me around the floor, and then suggested I go to La Viruta to learn that style of dance.  It was obvious he didn't care whether I was enjoying the dance, and he didn't bother try to adjust at all: he just pulled me in tighter and higher, until I could barely keep my feet on the floor.  I smiled at him and told him that good technique works with everyone, and walked away. Grrr.

I have taught dance for 25 years, and I would never dream of saying things like that to another dancer while dancing socially!!! Shame on them.

 

We really shouldn't go back to the shoestore . . .

Street fairs: San Telmo, Recoleta, and the non-existent Plaza Italia fair

After seventeen years in Eugene, I feel pretty much "done" with Saturday Market artesanal fair and street fairs in general. However, on a sunny day, wandering around the city by perusing blocks and blocks of street vendors is a nice way to spend some time.

San Telmo

Our first Sunday was sunny and warm: perfect for going to the street fair.The fair is a combination of artesanal objects for sale (clothing, jewelry, art), antiques, tourist gear (magnets, Tshirts, tango CDs)  and made-in-China things sold by Bolivians.

I didn't end up buying anything, but Gayle had a lot of fun with artwork. In fact, we had an epic search for a bank machine, as the only one I knew in the area (at Plaza de Mayo) was down for repairs. Even the sellers had no idea where to go for money, as they didn't live in the area. In the end, we identified several in walking distance of the fair with help from Gayle's iPhone; got money; and made several artists happy.

My favorite was Oscar Divito, from whom Gayle bought a beautiful painting (acrylic on canvas). Check out his work on his link. Warmhearted, gracious, nice person AND art. He is usually at Defensa and Alsina (a bit towards the Casa Rosada from Alsina).

This street fair is huge compared to ten years ago: it used to stretch a few blocks in all directions from Plaza Dorrego at Defensa and Humberto Primo. Now, it starts at Defensa where it meets the Plaza de Mayo in front of the Casa Rosada (the equivalent of the White House, but it's pink), and continues all the way to Plaza Dorrego. Wow!

Recoleta

Recoleta street fair is at Plaza Francia: it's not actually on a street. Instead, booths are set on winding paths starting in front of Recoleta Cemetary and stretching down the hill. This fair reminds me a lot of Saturday Market in Portland and Eugene: there were Brazilian drummers, a smell of pot, hippie girls, etc.

The offerings are similar to Saturday Market, too. I saw a LOT of crocheted tops, leather handbags, ceramic mugs and jewelry. However, there were some very beautiful handcrafts. The most beautiful were the handcrafted marionettes, which I would have bought to take home if I had had any money left by that time; after the bank search the weekend before, I didn't want to repeat the forced march around the neighborhood.

Sublime Cueros had a nice selection of leather boxes and knickknacks. They also very fun jewelry boxes shaped like mini chests of drawers in bright colors. Pretty! There were many other leather workers as well.

Plaza Italia

Ten years ago, Plaza Italia had a big street fair. I hadn't checked it out for ten years, so we hopped in a taxi and went across town to check it out. The other street fairs have decimated the population of this fair. Can you call something a street fair when there are only ten booths, and only five are populated? Very disappointing.

There is a street fair here, but it is only used books. If you are interested in used books, you could probably spend all afternoon wandering through the booths. It strikes me as much smaller than the book fair along the Seine in Paris, and it is not nearly as picturesque. However, if you want used books, there they are. Personally, I would choose to hit the used bookstores around the Corrientes and Callao area.

My friend Alejandro from college recommended a huge bookstore, El Ateneo for my buying pleasure, but as I found out about it Saturday night, and it was closed Sunday, and Monday was a holiday, I don't think I'm going to make it over there today :-(

 

 

 

 

 

 

Thanksgiving 2011: The best night I've ever had in Bs As

Ok, that was the best night of dancing I've ever had in Buenos Aires, perhaps in my entire life in tango!!!  And at Niño Bien (Humberto 1, 1462)! We arrived at the beginning, right at 10:30. We didn't get good seats, but it didn't matter! Oh, dear, too many exclamation points, but that's how I feel: the good dancers finally found me! For Thanksgiving, I am thankful that people made up this awesome dance and spread it around the world.

I danced with a man with whom I had a great tanda of Pugliese the night before, plus a DiSarli set last night. I have no idea what we danced tonight, but we danced even better together. Then another guy in a suit grabbed me. He had only danced nine years, but nine years in Buenos Aires is like dog years are to human years. Then two younger guys who had been intently watching me asked me to dance over the course of the next few tandas, and they were great! I think I've forgoteen another good dancer who helped make my night.

It's not that I didn't have mediocre tandas: I did boy scout tandas with a few foreigners and one Argentine man. However, they didn't get in the way of the really good sets. No one was horrible; even the foreigners for the most part were musical, if beginners. Also, having led in Niño Bien myself, I know how crazy it gets to navigate between the old guard being pushy and the foreigners being clueless. I think that the fact that even this milonga is less crowded, made it danceable all night, whereas it used to become impossible for about an hour in the middle of the evening.

What made tonight memorable was musicality. All the good tandas were led with very few complex steps, but with high affinity for the music and intimate knowledge of the songs. One guy complimented me, saying that it was unusual for a woman to know the music (he apologized and said people, but I think he meant that people who don't lead don't listen to the music sometimes). The old milongueros called out "Esa!" when I nailed an ending right in front of a bunch of them (YES!).

It's almost 4 am and I need to go to sleep because I have a massage at 10 am, but I'm so jazzed up that I don't know if I can sleep. Happy, happy, happy.