Timeless Tango

Carlos Paredes & Diana Giraldo at DanceTango.com @ Ukrainian Village Restaurant.

2009-06-03T20:39:00.001-07:00

The furniture had been moved back and the carpet rolled up and away. The bare wood floor was tempting, teasing with the promise of many sweet tandas to come.
Off to one side was a gathering of guests fully engrossed in all and all was scrumptious, the food, the conversation, the music, the mood and the warmth of fine company. The pull of the dance floor was to be resisted for the moment but anticipation was building and its time would come.

Outside on the patio deck stood Midas applying her golden touch to the choicest cut from Apollos herd. I had twice experienced her nuggets of barbecued goodness: fillet Mignon, sausages, fowl and fruit and could hardly wait for the hat trick to complete.

I opened the screen door emerging out onto the deck intending to offer help. The springtime air spoke of summer and carried its weight. It bore the sharp glow of fading twilight, the scent of vital woods and the sounds of simultaneous relaxed conversations. There was the murmur from unseen friends around the bend to the front of the porch. There was the dialogue between the young green leaves and that oh so soothing evening breeze. Then there was the magical hiss from the radiant red coals which were arranged in the grill awaiting their charge.

Another conversation quite unexpectedly was about to start.

I walked towards the corner where Midas stood readying her tools of transmutation. The grill, the meat, the tongs and yes the trays ready to collect the result of her magic. Did she need a taster - I was tempted to ask.

He approached her directly, thoughtfully with an air of purpose of a man who had witnessed a grave injustice and was determined to set things right.
He spoke from a place of considerable experience and personal expertise. Some of his words were technical, practical matters pertaining to the mechanics of the grill and the impact and consequences of the distribution of the heat. Pure physics to me in a land of magic. Much of the rest was subjective, impassioned instruction and advice that would certainly significantly impact the texture and flavor of the resulting feast. Could too many good cooks compromise this pot?

Out of my depth I retreated to the shallows confident that Midas, would wear her crown and rule the day.

Form, function, technique, poetry, magic, enjoyment and the question of which way is correct. I am constantly reminded that this type of discussion is ever present in our local Argentine tango community. The ongoing dialogue over how the tango should be taught, practiced and danced. What constitutes the correct technique and execution given all of the practical, traditional or historic underpinnings and how much 'give' can be tolerated (condoned, allowed or even celebrated) in varying individual style, given a dancer's background and need for self expression. In other words when is the tango no longer Argentine Tango.

It so occurs to me that learning and dancing the tango can be likened to preparing and enjoying a steak, whether juicy and delectable or dry and austere, whether prepared by a professional chef or home styled from a favorite aunts recipe. In either case you start with the fundamentals (prime Argentine beef or the embrace and walk) accent it with your personal favorite seasonings (Salsa anyone) and prepare it to taste. You then serve it with an attitude and style befitting the occasion and your own personal background or cultural precepts (joyful swing, stylized ballroom, whooping square dance).

To some extent these choices are governed by conditioning and tastes instilled since childhood or reflecting other prior (to tango) cultural exposure and preferences. They are as much a part of the dancer as his/her verbal accent or walking gait and changing these characteristics are akin to changing personal heritage. For a non Argentine to dance like an portenio must be as hard and unnatural as learning and speaking a new language without your accent. It great for professionals and a good option for the rest but an accent identifies an individual and isn't variety the spice of life. Like the steak the end result is still identifiable as tango but the experience of consumption is as unique as is the consumer.

Looking around la pista it is pretty easy to spot the dancers with a basis in ballroom, latin, swing or something else. The movements inspired by their respective backgrounds are as natural to them and germane to their enjoying of their dance. It is similarly easy to distinguish those who are religiously intent on improving their skills, form and technique from those happily content to dance their dance or enjoy the companionship afforded by the social scene. There beauty of the whole thing is that there always seem to be room for all.

Over the years I have several respected visiting milongueros declare (and I paraphrase) that the tango should always be walked and with a serious face. I guess to them the tango is life and life is always serious. Others have stress that the embrace is paramount and should never be broken. One consequence the partners should always face each other. I have also heard a Great, world renowned, much loved, highly respected and venerable Milonguero (R.I.P) wisely declare that " all tango is real (authentic) as long as it is danced honestly "(with real feeling). That statement was in direct response to the derision of a group of professionals directed towards another partly on the basis of his happier approach to the dance. It must have made his night.

So just who is a guy to believe?.

The Tango danced by any skilled practitioner is indeedsomething to behold. Is it true that the Argentine Tango which took original form (was born) and continues to be nurtured in Argentina truly belongs to the world?. On the line connecting strictly respecting traditions and original context (much codified or stylized by now) and self expression where should the balancing point be placed? Does the Tango belong to Argentina anymore than soccer belongs to England or basketball to the U.S? Do heavily classically trained dancers or musicians diminish or dilute the music and the dance?

The social dancer dances who the are at the moment and for his/her our own purpose. It must be so for the experience to be real and meaningful. In any case, like the differently prepared steak, the result is still recognizable as tango but the individual flavor is indeed unique. Few non Argentine dancers can move in the way of a Porteño. Does this allow the dance to be truly international?, make it more accessible and strengthens its appeal?.

Much to their credit Argentine experts master a traditional form before incorporating non tango elements into their style(as they must do to maintain a reference standard). Take for instance Omar Vega. His traditional tango is steeped in authentic milonguero style (seeing him dance you have no doubt about his roots) but the style he developed by incorporating (within the structure of traditional tango) certain Afrocentric elements has enriched the tango immensely. The same can be said for Juan Carlos Copes, Guillermina Quiroga or the Brazilian Junior Cervila with their inclusion of ballet, modern dance and even elements from swing into their dance styles or choreography. Pugliese and Salgan borrowed from classical and jazz respectively. As one local teacher likes to ask, "Is it Evolution or Dilution?".

All this brings me to the subjects if this post.

I have never heard of or Seen Carlos Paredes or Diana Giraldo before stumbled onto their performances at the Ukrainian restaurant ( DanceTango.com )and Stepping Out Dance Studios ( The All Night Milonga ) this spring. Those performances became sort of a benchmark in my mind. The couple hails from Columbia, long a second home of Argentine Tango. (It is not entirely unbefitting that Carlos Gardel gave his last performance in that country).
These incredibly talented and very generous performers (four songs performances) have created a signature style by informing a very solid tango technique with elements from a variety of dance types ranging from folk to formal international styles. The result is an astounding synergy of movement as astonishing to behold as it is immensely entertaining. There is that certain flair, over abundance of charisma and a sophistication of presentation that characteristics formal ballroom at its apogee. Add to that the turbocharged energy, pure exuberance and abundance of spirit characteristic of swing, plus a real world earthiness of a native or folk dance. Yet despite the infusion of these elements they dance an Argentine tango with a deep respect for the embrace and no compromising proper form.

This careful incorporation of various compatible dance elements within their Tango and their mastery of showmanship surely helped them earn the 2006 world Stage Title and I for one can barely wait to see them perform back here in New York (hopefully in the fall).

This was my first Friday visit to the Ukrainian restaurant in years. It was gratifying to see both Danny and Rosa successfully maintaining the warm and welcoming atmosphere that continues to attract generations of local and visiting dancers. An important aspect of the original spirit of 'La Belle Epoch' also continues forward even as the venue adapts to evolving mores of today's clients.

The purpose of my previous visit was to photograph Omar Vega as he lead a very well attended milonga class then later when he delighted the crowd with an exceptional improvised performance. Much history has been made in these two venues and Danny should be proud of his contribution to New York local tango lore. It is a venerable tradition that shows every sign of continuing.

Junior Cervila and Rachel Greenburg at the NYC All Night Milonga.

2009-04-24T17:52:00.001-07:00

Remember the saying "When E.F Hutton speaks, everyone listens' "?. For decades while in it's heyday E. F. Hutton & Co. was among the largest and most respected financial firms in the United States. These days in New York City Junior Cervila may well be the E.F Hutton in it's prime of Argentine tango. When he teaches, people show up and they listen intently, parsing his words and actions for anything of personal relevance that will lift their technique to the next level.

Junior does not disappoint.

Recently I had the opportunity to photograph Junior's dazzling performance with Rachel Greenburg at the 'All Night Milonga' a grand local stage befitting his stature. The brainchild of host Sarah La Rocca this monthly event has long been a premier tango destination in the North East if not the entire continent. It is solidly among the best and undoubtedly the best attended of the community's regularly scheduled activities. Sarah is among the strongest and most experienced of our local tangueras and has quite a storied past. Her placid manner, graceful dancing and easygoing style belies a deep reserve of strength, passion and dedication to her many projects and causes. She is one of our community's luminaries who's heart and mind seem always to be in exactly the right place.

Junior and Rachel also partnered for the pre-milonga class while D.J Yesim owned the booth and skilfully accompanied the bevy of dancers around the nicely crowded room.

By the way Rachel, killer shoes.

View GALLERY or view a SLIDESHOW.

Amarras Milonga Premier - New York City Tango

2009-04-07T15:00:00.000-07:00

If it's public, flat and free of traffic then it is a candidate dance location for the tango. Adventurous pioneers traverse our ever changing city ready with the thought "this would be a great place to dance". Double luck if it's by the water or in the cooling shade of trees. Still an increasing array of lobby's, rooftops, subway platforms, trains,boats, bridges, sidewalks, boardwalks, circles and squares are joining the established parks and piers in the United Spaces of Tango. At the end of the day new york in the summer is one big dance floor and as the temperature rises the dancers take the tango outside in a very big way. In the spirit of this migration or because of it, some traditional milongas suspend their activities for the summer. Others offer special programs that are held under the stars. So last year when Yesim (La Turca) closed 'Corazon' we lamented the loss but bided our time and waited for the season that was right for it's return.

It has been six long months but now 'Corazon' is finally reborn as 'Amarras'. It was well worth the wait. Yesim has recreated the warm, friendly and relaxed atmosphere associated with her milongas while continuing to use one of the best dance spaces in the city. The studio's staff while always alert and helpful is friendlier than ever.

Highlights of the first night included a class and performance by the talented Adriana Salgado and Orlando Reyes. Heralding from Columbia, they shared concise and insightful instruction before dazzling the audience with a performance as athletic and precise as it was passionate.

Surging on the success of the march 7th premier the April 4th followup featured the live and always delightful music of Tito Castro - Bandoneon, Octavio Brunetti - Piano and Francinito Iwaki - Violin and a class and performance by 2007 US Tango Salon Champion Eduardo Goytia dancing with Carina Moeller. The turnout was great. Judging from the attendance Yesim, already a popular and very busy tango D.J will have in her competent hands a monthly event that will help define "the first Saturday of every month".

Click Gallery for higher resolution images or Slideshow .

A Very Special Secret - Tango night @ La Milonguita Ideal

2009-03-16T22:53:00.000-07:00

Nielsen Media Research to cable box " Anyone watching the Oscars tonight???"
Cable box response "Nah, the t.v is off, they went out dancing!"

A Very Special Secret was revealed at La milonguita Ideal on Oscar night and scores of tanqueros turned up to share it. Eschewing the red carpet for the red curtains they roundly affirmed their affinity for being the stars on their own stage rather than the audience for another's. Ko's (a surefire nominee for best musical arrangement(er) - D.J) masterfully executed an extended musical score that delicately modulated the tremendous energy that was everpresent that night.
Not to be outdone Adam and Cieko lit up the intermission with the Very Special suprise, a commanding performance that earned them both top nods.

On a night filled with winners the top award, the envelope (thinly disguised as a free entry ticket), went to Milonguero Jim Gucciardo. With a wonderful partner, great companionship and a healthy dose of milongas Jim had many reasons to smile that night, Congratulations to both him and Linda and a warm send off to B.A.

Gallery Slideshow

Omar Vega - A Blue Moon Tango Celebration.

2009-02-21T09:40:00.000-08:00

Hats off to Valeria Solomonoff. The second of her monthly "Blue Moon" Milongas for 2009 fell on February 13. Omar Vega would have been 50 years old that day. Rising to the co-incidence Valeria took a laudable step in respectfully dedicating t he evening's event to his memory. She did not stop there. With the help of Yesim Sezer (La Turca) and Diane Ramo (great friend and supporter of Omar's work) she conducted a free one hour pre-milonga milonga class based on Omar's teaching style and philosophy. Thanks to Dance Manhattan for donating the class space and to Sergio Seguraose (from the school of traditional tango) for managing a fine multimedia presentation highlighting Omar's spectacular dancing and insightful instruction. Gayatri Martin and Diane were also instrumental in organizing the event.

The mood was Joyful and celebratory with just the slightest touch of the bittersweet. Here, moist eyes and mirthful laughter mingled with the open smiles and the inevitable whispers as the iconic Omar stories flowed. Stories like, well, maybe not on this forum, but they all rang solidly true to his character. Beside being a Magnificent dancer Omar was a very straight shooter, true to himself and always genuine in the pursuit of his passions. Whatever his failings there is much to admire and learn from this man's story.

Concluding the class, Valeria admitted that her only fear had been the specter of low attendance. She needn't have worried. This is New York, Omar's second home and the master's heart would have been warmed by the multitude of his friends that came out to play. The event's page on facebook is also popular.

I took very few pictures relying instead on Dance Manhattan to documented the event. What little I captured brought home to me the emotion shared by all who attended. It was a very special night.

While being mesmerized by a projected performance, a long time dancer and dear friend acknowledged that she had never, allowed herself to appreciate Omar's talent and style, unable to able to see past his 'reputation', that is, until that night. To my mind, that realization alone made the entire event a resounding success.

I don't quite know what it is about Omar's aura, but whenever I saw him at a milonga or now on print or screen, my mood elevates. It might be his profound love of milonga, a aspect of the dance he personifies (along with Ruben) to me, and energizes me in a very fundamental way. It might be the way he chose to live his life the best he could on his own terms. Regardless of what it is, in life and in memory his spirit remains potent.

Thank you Valeria and all involved.
TT

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Celebrating Red

2009-02-20T12:27:00.000-08:00

New York City is seeing a lot of red lately not all of which is festive. Recently, celebration's color of choice has been tempered and tainted by the heat and glow of the current financial meltdown. But the Big Apple remains far from baked, it's roots remain firmly planted on an island of gold, even as the ebbing flow of it's river of green exposes the clay on which many of its financial houses are built.

(vertical ceiling bounce camera left, Gelled on axis fill, side lit BG)

Indeed our common fortune, like the tide, our line of dance and the very blood in our veins will cycle with time. Inevitably eventually the scattered herd of financial bulls, drawn irresistibly to opportunity cloaked in red must charge, stampeding before a new wave of prosperity.
Meanwhile we hunker down if we must and celebrate whenever we can, with family, friends, community, holidays, religion, culture and festivals all in this wonderful city that continues to sustain and excite us. We do so readily, very often within that color of celebration, the color red.

Red is the color of passion and intensity, brightness and visibility, of boldness, fire and renewal. Perhaps most importantly it is the immortal color of love (reason enough to celebrate it).

No wonder it is the color of the city, valentine's day and the passion of and for the tango.

The Argentine Tango was sired by rhythms furnished by African Slaves and mothered by a myriad of European musical elements. It came of age in the Argentine slums and was debutant haute société à Paris. Pedigreed both mutt and poodle it can be any man's best friend providing companionship, comfort and even escape. Forged by immigrants and still tirelessly innovated it has much in common with our city's experience and we surely need it here. It helps to ground us, remains a reliable anchor to our true selves and always the calm spot in the eye of a storm.

This Valentine weekend, after seeing red in the movie theater, ("The International"-Big Banks are evil & "Confessions of a shopaholic"-Credit Cards and stores are evil) we needed a lift and "Love Extended" at La Milonguita Ideal became a beacon.

DJ Ko was on fire (have to forgive him for wearing black, the color of the coal that feeds the fire), the dancing was hot and many wore their hearts on their sleeves, or at least their red on their heads, backs, shoulders, arms, feet.

It was definitely a night to celebrate and still I could not resist, so from time to time the camera came out to toast the red light.

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