THIS IS THE REAL TANGO ;-)

The Four Horsemen of the Apocalypse (1921) Rudolph Valentino

The sonofabitch copied some of my moves!

El Magnifico

CARIBBEAN DANCE CRUISE

Ahoy mates!!!
...we're cruisin' in January* 2008.

My Circle of Friends dance buddies are signing up for the Stardust dance cruise in January. We're going to turn up the heat in the sunny Caribbean. We have 300 dance party animals signed up already; and the frost is not even on the pumpkin yet. Wow! ...we're going to have a great party.

Details are on my website www.cofparty.com

*PS - If you can't join us in January, I'm taking reservations for a mirror image of the same cruise in March 2008. Call me at 201 933 8098 to sign up.

REMEMBERING A GREAT LADY

Today is the anniversary of the birthday of Natasha Kaminski. She is not here to celebrate with us because her struggle with cancer stole her from us on December 7, 2006. For those of us who miss her so very much, I offer the following thoughts...

THE GREAT ONE - AND - ONLY

A nurse is not here to guide us.

The great one-and-only nurse was strong enough to teach us about courage in the face of physical distress.

A close friend is not here to hug us.

The great one-and-only friend set an example of permanence of spirit for all to follow.

A mom is not here to be a buddy to her child.

The great one-and-only mom has given us her handsome son Michael who has vowed to be the standard bearer of her legacy. He will learn to tango.

A daughter is not here to bring joy and caring to her parents.

The great one-and-only daughter leaves everlasting joyful pride that shines through veils of tears.

A tango dancer is not here to light up a room and inspire others.

The great one-and-only tango dancer lives in every tango step many of us will perform.

The world lost an angel who ascended to heaven on December 7, 2006. Natasha is in another place now, but all of her treasured memories, influence, inspiration, and teachings will be with us forever

The great one-and-only Natasha Kaminski is here and now embedded in our lives and hearts.

My friend Albert Crino is so good at photography. His photo of Natasha at the mirror has captured her beauty and spirit so accurately. It’s a treasure I am proud to share with everyone. Thank you Albert.

Thank you Natasha!

AN AMAZING TANGO DANCER

How do you judge a social dancer to be excellent? If a dancer is not a performer, the only worthy judgment can be from the dancer's partners. If in addition, the dancer is wonderful to watch, you then have what I call an extraordinary dancer. My friend Natasha is one of that rare breed. Her love of dance is expressed in Argentine tango.

Why is it so great to dance with her? ...and how can others follow in her footsteps?

1. As a follower she is so synchronized with her partner that it seems that she knows the leader's next move before it is lead.

2. As a dancer who is totally tuned into the music it helps her to know the lead from the composer of the music. If the leader is paying close attention to musical phrases, then she will be in the same space. Perhaps that is why she has the previously listed trait.

3. Natasha studied ballet in Russia in her childhood. That certainly contributes to how she appears to onlookers.

4. In addition to the form and grace garnered from the ballet training, the very important aspect of maintaining your own balance is ever present in Natasha's movements. She can be dipped nearly to the floor and the leader will barely feel her weight.

5. The amount of creativity that is brought to the party is over the top. All aspects of the music and her partner's lead are always specifically interpreted at each moment. The next phrase will dictate an entirely different delivery of mood, timing, and action.

6. This one takes her into the tango stratosphere.... Natasha has avidly studied the leader's part. She knows first-hand exactly what not to do as a follower. When you understand the role of both partners it is easy to be in touch with the needs of your partner.

7. As if all of that was not enough, add one more feature that enhances the viewing of her dance ...her creative dance outfits. Natasha is very easy to spot at a milonga. The combinations of fabrics, dresses, silken pants, and beautiful accessories are most outstanding. An inquiry into where she buys her clothing is something I have witnessed many times. When asked the question, Natasha smiles and respectfully explains that most of her garments are put together from many parts and some are hand made. The outfits simply do not exist off the rack anywhere.

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DRESSING FOR ARGENTINE TANGO

Black is safe! …Does all of the music dictate black? Perhaps, if you are a great fan of the traditional music and you understand enough Spanish language to behold the serious mood of classic tango lyrics, you may opt for mostly black in your tango garments. However, the mood suggested by some of the more contemporary music (and dance halls) is not necessarily so dark.

Here, for example, are some wonderful alternative ensembles from my friend Natasha.

TANGO UNTANGLED FOR BEGINNERS

I was planning to entitle this work "Tango for Idiots" or "Tango for Dummies" but I would have surely had some popular publishers on my back. Nevertheless, I am offering my thoughts about the dance tango in an attempt to enlighten any newbie or wanna-be Argentine Tango dancers who may be as up-tight about the dance as many beginners who I have met. I hope to offer some insight into how really enjoyable and simple the experience of Argentine Tango can be.

I do not profess to be an expert; and I certainly have very little knowledge of many parts of the vast Tango community and its history. I am however, a keen observer of human behavior; and I have danced enough to have experienced both heaven and hell within the ropes of a Tango ring. I can only offer to you dear reader my humble insights be they near-sighted, far-sighted, or somewhat dim-sighted. Please spend a moment to indulge me in this Tango prose; and I will promise a bit of food for thought to beginner and pro alike.

For the start, there may not be any planned sequence of subjects because I will be taking clips from various bits of my own correspondence with friends. I hope to eventually edit and arrange everything in a comprehensive order. Meanwhile please feel free to send comments.

It is a curious human trait that fosters a cult-like attitude amongst members of any special-interest group. As soon as some beginners graduate to certain levels of confidence in an edeavor they become experts and (quite often) categorical snobs. Suddenly they seem to know everything known to mankind about CB radios; email; politics; the stock market; or ...Tango. Perhaps I'm guilty of that trait myself by undertaking this writing. I therefore caution you to hear only my personal point-of-view; and you can accept or reject anything I may say.

I will equally warn you that there are others who will promote ideas about Argentine Tango as though it were gospel. Im not a psychologist, but I do have a strong feeling that the many people who espouse the myth that Argentine Tango is a terribly difficult dance is simply a method for them (the self-appointed experts) to bask in the glory of their own accomplishments. We are all more or less ego driven, but presenting Tango as something akin to learning brain surgery is just a bit extreme. Tango can be as simple, or as complicated, as you may desire.

I would also like you to understand that I am American and a New Jersey resident who uses New York City as a playground. Although I have danced in other locations such as upstate New York and a few places on the Florida Goldcoast, my viewpoint is biased mainly from the Big Apple. I'm confident that my local observations will reflect much of what is going on accross the nation.

I read and hear about what Tango was and what it is. I would like to explore where Tango seems to be going and what it has the potential to become.

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WHERE DO YOU LOOK? - I have been asked by beginners, "Where do I look when I'm face to face with my dance partner? ....Do I stare into their eyes, or do I look over their shoulder?" In Argentine tango, it's a personal choice. What do you do when you're making love? It depends on who you are and your connection with your partner. There are no rules.

Of course, if you are in close embrace there cannot be eye contact. However, the idea of eyes closed in close embrace is really not too good. Most of the followers who I have danced with closed eyes do not seem to be able to control their balance very well. If we are dancing the dynamic style of changing the embrace as we dance (as the music may dictate!), then the sudden opening of eyes would be a bit startling. If close embrace is the theme, closed eyes are okay.

If you are in an open position, my observation of the best followers is that they are often taking lead cues from my eyes. My best partners know exactly where I'm about to go because they see my eyes looking in the intended direction ....and that seems to be the case for all of the social partner dances. They may not even be aware that they are doing it, but it's definitely happening. I see it. I can even lead my partners without touching them; and most of the cues are with the eyes.

If you consider the sensuous aspects of Argentine tango, then some brief, romantic glances go a long way in setting the mood.

Somtimes the follower can help with navigation. If the leader is a decent dancer, it's his job (and responsibility!) to prevent collisions. You can help in those moments when something is coming up behind him. The extra set of eyes can be useful.

I personally don't understand not looking at your partner, at least momentarily, when you're social dancing. If you don't want to look at your partner, why are you dancing with them in the first place? .....and!!! ....if you are in the performance dance category, that's more of a reason to look at your partner ....It's part of the show!

If direct eye contact with a stranger is uncomfortable for the follower, many teachers suggest that you look at the leader's chest. That will help you to follow; and it will connect you to the leader more readily than if your attention was on something else in the room. For the leader, it may not be a good idea to stare at your partner's chest. Therfore, her lips and shoulders serve as good focal points.

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PROCEED WITH CAUTION!!! because another reason that Argentine tango is different from other social dances is that its design pushes on the physically acceptable limits of stress and strain of the human body ...especially the bodies of the women. We could assume that the rigorous activities of hot club-style salsa or some of the high energy swing dances may be most physically taxing, but the slow and gentle-looking tango has them beat for wreaking havoc on bones, joints, and muscles. Many of the women in my dance circle of friends are suffering periods of pain in their legs on a daily basis and some may have irreversibly damaged their bodies.

There are primarily two areas of destruction. One is the balls of the feet and the other is at the knee joint. There are also assorted muscles and tendons that get aggravated as well.

Most of the follower's footwork is accomplished on the balls of the feet, either simultaneously or individually. Although most women (and especially tango dancers) are accustomed to high-heeled shoes, the demands of proper tango movements bring the majority of the weight of the body more forward on the foot.
Some of the best dancers are very rarely touching their heels to the floor. If the high-heeled shoe is testing the limit of the human foot in the first place, then it's not too hard to imagine the increased unnatural aspects of balancing the entire body on only the front-most portion of the ball while crunching the toes backward ...then imagine handing that entire weight-load to only one foot ...and now add a twisting and grinding motion to the exercise. Bingo! You've hit the kill-a-foot jackpot ...get thee to a podiatrist!

Then we have those most beautiful and graceful ocho and boleo steps. Do those movements in front of an orthopedic surgeon and his eyeballs may light up in dollar signs. If ochos are executed exactly by the book they can be a reasonably safe maneuver. However, many tango dancers don't always do a complete turning of the torso before they step forward or backward. The resulting step is more of a curvy figure eight involving a rotation at the knee for which the knee was simply not designed to do very often and certainly not while carrying the total weight of the body. It seems that careful execution can prevent problems caused by careless ochoing. There is a very nice looking version of ocho that is called an "overturning" style. The twisting of the weight-bearing leg is harder to avoid in that specific step.

The boleo represents a more serious challenge. The boleo can be performed in many sizes, shapes, and speeds, but all boleo movements put the knee joint to the Twist test. Whether the free foot is lightly placed behind the heel of the weight bearing foot, or if is violently swift-kicked back at a higher level, both movements will definitely aggravate the kneecap and joint of the stationary leg. Of course the swift swipes will absolutely win the Let's-Damage-a-Leg contest. A low sweeping boleo can do even more damage because, in that instance, the knee is additionally bent at ninety degrees or less. However, if most of the low motion is rearward as opposed to turning, then trouble can probably be avoided. I personally like the low stuff anyhow. The upright, toe tapping is a bit too robotic looking for my taste.

Since I'm not a doctor I really can't bore you with a discussion of many other parts of our musculoskeletal framework that can be damaged, but I am an engineer and can easily visualize some of the pertinent mechanical problems. I think we can safely assume that the ankles, hip joints, and backs can be seriously damaged for the same reasons as previously discussed. I'm not advocating a Surgeon General's warning on every dance video and dance lesson brochure, but I do suggest that dance leaders and followers alike should be aware of health hazards that can be successfully managed with proper care and diligence. I suggest that tango dancers should monitor the execution of specific hazardous steps and limit their frequency in choreography. There are many safe toys in the tango bag for us to play with.

(c) Andrew Abrams

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PLACES TO DANCE ARGENTINE TANGO - I have often been asked about my favorite Argentine tango milongas. Here are my favorites in New York City....

Carlos Duarte de Chey hosts La Milonga de Gardel at Sandra Cameron Studio - last two Saturdays of the month - Great host, free lessons, and door prize drawing. Wine and snacks included. TWO rooms: one for traditional tango, and one for nuevo tango. I'm happy to report that the nuevo tango population is rapidly increasing. ...."One can never consent to creep when one feels an impulse to soar." -- Helen Keller

Lucille Krasne hosts Esmeralda's at Session 73 - every Sunday - Great host, free lessons, relaxing, casual atmosphere, booze and tapas bar optional

Rebecca Schulman hosts Luna at Dance Manhattan - every Monday - Great host, great music (very creative), large space, performances, and casual atmosphere.

PS - You may have noticed that I think the host is an important factor in enjoying a milonga. Yes, they set the mood.

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ABOUT SOCIAL DANCING

Many of my friends know that I spend a great amount of time dancing. I find it so enriching for my mind, body, and spirit.

I'm also known as someone who finds pleasure in sharing ideas about living a joyful life. Therefore, I offer my thoughts openly.

To those of you who don't know me very well, please be advised that all of my interests are about social partner dancing. If you are interested in performance dancing or you are headed for the dance olympics, you will not find much of interest here.

Andrew

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"Believe nothing, no matter where you read it, or who said it, no matter if I have said it, unless it agrees with your own reason and your own common sense." ~ Gautama Buddha

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Here's an article from my dance party website www.cofparty.com ....

SAME DRUMMER … DIFFERENT MARCHERS

When I'm viewing a room full of dancers who are known to me, I am always entertained by the variety of types of people and the many different styles that are applied to the same music. I'm not surprised about the personalizing of dance movements because I have come to understand that my friends have different abilities, levels of experience, and reasons for dancing.

One of my favorite dancers is a fellow who frequents a local dinner/dance place. His movements on the dance floor are, to say the least, quite eccentric. The other oddities about this fellow are that his wardrobe is somewhat unusual and he has the habit of whistling to the music while he's dancing. I have always noticed that onlookers who don't know him are always snickering and giving him the critical eye.

My silly dancing friend is consistently the happiest dancer I have ever witnessed. One could say that he always seems to be in a blissful state. The next time you are thinking negative thoughts about another dancer's "incorrectness" please allow yourself to judge not their style, but recognize their right to enjoy themselves at any level of competency. If you do that you may enjoy your own dancing much more and really appreciate the antics of my totally blind friend who would never be able to criticize your performance …he can't see you; and he's just too busy being happy!

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“I do not try to dance better than anyone else. I only try to to dance better than myself.”
- Mikhail Baryshnikov

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GETTING STARTED

I'm a blog newbie. This is my first ever posting. I'm open to any advice about blogging from any experienced bloggers.

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