GLORIA EDUARDO - Planet Tango · ABOUT TANGO AND MIRACLES GLORIA AND EDUARDO ON THE STORY OF THEIR LIVES ... The sextet was terrific. I ... Gloria and Eduardo

El Firulete 1October 2001

A CASE OF VUJA DEA CASE OF VUJA DE

Volume 8 Issue 4 October 2001The Argentine Tango Magazine

ABOUT TANGO AND MIRACLESABOUT TANGO AND MIRACLESGLORIA AND EDUARDO ON THE STORY OF THEIR LIVES

AN ORIGINAL CLASS ACTAT THE 5TH PLANET TANGOLABOR DAY WEEKEND TANGO GETAWAY

The Argentine Tango MagazineVolume 8 Issue 4

$5.00 U.S.A.

GLORIA AND EDUARDO ON THE STORY OF THEIR LIVES

AN ORIGINAL CLASS ACTAT THE 5TH PLANET TANGOLABOR DAY WEEKEND TANGO GETAWAY

SOMETHING THAT NEVER HAPPENED BEFORESOMETHING THAT NEVER HAPPENED BEFORE

GLORIA AND EDUARDOGLORIA AND EDUARDO

October 2001

El Firulete October 20012

We want you to sound off, whether it's to complain or to compliment. Or even if it's to elaborate on an article in ourpublication. Here are the rules: (1) You must tell us your full name, but we won't print it if you so request; (2) you must give yourcomplete address - even though we'll identify you only by the city and state- and your telephone number; and (3) we reservethe right to edit letters for length and clarity or to withhold their publication.

What a wonderful weekend in Reno! Weloved every minute, Valorie and Alberto,

you outdid yourselves again. It was the very bestand a fine tribute to the Golden Years.

We're still talking about it, the greatteachers, wonderful lessons, excellent food. Youshould be proud of a job well done.

Love,

Bill and Joyce, Michigan

I have had one long sleep session, and made aserious dent in catching up to work. Tonight

I've been going through the video footage. Reallyan incredible three days. I will be monthsdigesting this weekend.

Alberto and Valorie, you were both so niceto us. I don't have words for it. I know we'refamily, but I also saw how busy you both wereand you made us feel very special. When Valoriesaid "I love you all" at the Sunday milonga, itwas an understatement. You are wonderfulpeople and we count ourselves very lucky to bein your embracing arms.

Joe Grohens, Illinois

I just wanted to drop you a note to let youknow how much we enjoyed last weekend. It

was the best.

All the instructors were wonderful. Youalways teach things we can actually use on thefloor -- and each step flows into the next -- andyou have a way of making us understand whatyou are teaching. Pablo and Beatriz were very,very special. They really made sure everyonehad help if needed. We learned how to doseveral steps that had been problems for us.Gloria and Eduardo had such fun steps. We didn'thave a disappointing class the whole weekend.

The parties were spectacular. We havenever had so much fun. Thanks so much for allyour hard work.

Ted and Eileen McGuire, Michigan

Special thanks to Valorie & Alberto formaking a single's experience so comfortable.

As a rookie local organizer in New Mexico,I am very aware of how much the success of anevent lies in the details. V&A really have it allcovered - the big picture with extraordinaryfaculty, and Sexteto Tipico Arrabal (musicians I

would have gladly traveled twice the distance todance to/hear) - and the details, including a self-contained venue, spacious classrooms, andspecial attention to each of the attendees. The"attending as singles" class concept was inge-nious. I met many nice people, shared dances andconversation each evening.

It was a great privilege to take classes fromthe deservedly legendary (and very genuinelywarm and generous) Eduardo & Gloria. I lovedthe structure of their classes, and their emphasison musicality (an integral part of all the classes,in fact of the whole weekend - what else couldwe expect from V&A?).

Thanks to Gloria for her special attention toeach woman in need. Pablo & Beatriz now topmy list of (as Valorie might say) "hot youngcouples" - combining teaching and dancing skillsand that particular spare, loaded-with-meaningway of moving that reveals the simplicity andprofundity of this dance.

Alberto & Valorie continue to illuminateThe Mysteries, revealing the intrinsic 3-stepstructure of the dance to their students, and withit the road to true improvisation.

Translations were like the best of moviesubtitling - giving the gist and some subtletieswhile allowing a non-native speaker's auralSpanish skills to improve.

Thanks to Alberto for our dances, to Valoriefor her hugs, and to all my new tango friendsfrom Omaha, New Orleans, Reno, Hawaii,Phoenix, New York, New Jersey, Sacramento andelsewhere.

Karen in New Mexico

We just returned from the 2001 TangoGetaway in Reno, where Alberto Paz and

Valorie Hart were our gracious hosts. To beginwith, I must confess that up until now we havenot had as nice a time at any other tango eventthat we've attended.

What makes or breaks an event is notnecessarily any one or even a number of themany pieces that go into the staging of the wholeenchilada. As an organizer, I'm very familiar withall the work needed and all the details that mustbe taken care of to make a successful event.Things such as the venue, teaching staff, musicand support staff are crucial. In this case, it isobvious that Alberto and Valorie have done theirhomework very well.

The Reno Hilton is very comfortable (andextremely affordable) and it is practically a small,self contained city! There are many restaurants

and cafes, open 24 hours a day. There are stores,health club, fast food outlets, etc. All within easyaccess. Alberto and Valorie provided for twoevenings that included great food, live music andentertainment. I was very favorably impressedwith the food menu.

The music was awesome. Alberto did notcut corners here at all. The sextet was terrific. Imust confess that the music was really as good asit gets!

Of course, these are all the pieces thatusually come together to make a successful tangoevent. One expects no less from professionals.What made this event so nice for us, was the waywe were treated. Alberto and Valorie, theteaching staff, the musicians and all the wonder-ful participants were just so wonderful with usthat it really made it a most enjoyable weekend.

Our thanks to Alberto Paz and Valorie Hartfor a wonderful time and greetings to all of theother fine folks who were there and made it sucha fine and memorable experience for us!

Manuel and Ronda, Georgia

How proud you must be of a job well done.So many beautiful and heartfelt letters

thanking you for a wonderful weekend. Knowingthe two of you and your talents we didn't expectany less. Gary and I went with high expectationsand we were not disappointed; great teaching,great parties, and many new wonderful friends.

We realize even more how lucky we arehaving you both here in New Orleans to guideour Tango Community to new heights and inhaving you as loving friends.

Many thanks again!

Phyllis, Louisiana

I so enjoyed the Labor Day weekend -- I mayreturn for your next one!

Your method of workshop assignment gaveall an equal opportunity to work with all theteachers. I particularly was interested in yourworkshops as they were "Tango Our Dance" live.

I've used this material in my classes. Seeingyou in action made it more beneficial -- thanksagain.

Terri O'Keefe, New Jersey

Stupendous? Spectacular? Tom Terrific? Idon't know. I'm not that good at finding the

right word to describe my reaction to the RenoHighlights video.

Alberto, you blew me out of the water withthat sequence of Gloria and Eduardo! Where didyou get that??!!?

Anyway, congratulations on the project.The tape is a milestone, I think, in tango-eventvideos. It outclasses anything I've ever seen, andfor me it is a permanent record of a unique,treasured moment.

Thank you.

Walter, New York

How Sweet It Is!


PublisherPlanet Tango

Joint EditorsAlberto Paz & Valorie Hart

Contributing WritersAlberto PazValorie HartJoe Grohens

Photos and Image ProcessingValorie HartAlberto PazTangringo

Eva del CidBill and Joyce Chartier

Carol HomKen Moore

Rosemary FerrerFlash Gordo

Graphic Design and ProductionAlberto Paz

Editorial, Advertising, Inquiries,Comments, Questions and Suggestions

Planet Tango1000 Bourbon St., #202New Orleans, LA 70116

E-mail to:[email protected]

Websitehttp://www.planet-tango.com

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All rights reserved throughout the world.Printed in the United States of America. No partof this publication may be transmitted orreproduced in any form or by any means withoutthe express written consent of the publishers.The opinions and advertising printed in ElFirulete are the sole responsibility of theauthors, and they are not necessarily theopinions of the publishers, therefore we can notbe held liable for their opinions and theiractions.

Vol 8 Issue 4 October 2001

The Argentine Tango MagazineThe Argentine Tango MagazineThe Argentine Tango MagazineThe Argentine Tango MagazineThe Argentine Tango Magazine

Alberto Paz

Tangazos

Like Guano on Asphalt

Cover price $5.00

12 issues subscription

$30 in the US, $40 in Canada,

$50 international

J uan Semilla de Manzano had faced more seriousproblems before. He held a full time job as a VP incharge of peanut butter packaging at one of the largest

conglomerates in the country. He had earned a reputationfor analytical decision making based purely on logical andcommon sense considerations.

He must have thought that his training as a peanutconnoisseur would become handy when he decided tobecome a Tango organizer in his spare time. Like peanuts, Tango teachers had sproutedall over the fruited land frequently knocking on his door in the hope of flavoring theirbread with a few classes here and there, while waiting for a generous sponsor withdiscretionary income to bankroll the production of their next "ultimate" Tango show.

At work, his heart was in the right side of the bottom line. In his chosen pastime,he often found himself buttering with the same flavor and texture the already stickypalate of the dancers in his community. He was confident that he could market any-thing. He was very resourceful when it came to mixing the most odd ingredients as longas they would contribute to close the sale and make it more profitable.

He thought that the dance business was very serious as he watched the high rateddance competitions broadcast on national television. Professional dancers from allover the world, wearing lavish and elaborated costumes have made a career of spin-ning a theatrical parody onto many dances that have roots on the cultural streets ofexotic lands. He was also aware that tango dancers with lots of mileage under theirfeet, exchanged a smile and subtly nodded their heads in sheer disbelief, when the"tangou" was shown on prime time.

He had witnessed how a militant urge and an almost evangelical zest to captureand preserve the heritage of the dance of the people of Buenos Aires had contributed tothe renaissance and expansion of the Argentine Tango into foreign cultures. Peoplelearning the essence and nuances of this metaphor for life, could hardly be told apartfrom the natives with the gift of Tango. They share a soulful purpose of inclusion, and apassionate adoration for the exhilarating intimacy and loyal friendship that the Tangobrings. Others, who fail to get past the gaucho outfit, the swinging of a whip and therose held between the teeth, amuse themselves with every possible gimmick aimed tomock, lampoon and make a parody out of what the Tango, its teachers, its performersand its dancers represent. They stand out for their reckless buffoonish attitude, for theabuse and disrespect they impose upon their partners, and by their grandiose andpresumptuous delusional assumption that as cockatoos, they can dream about thesilhouette of Carlos Gardel.

Juan's decision was whether to sell, "chacarera classes," an Argentine folk dancethat, according to the resource-challenged "teacher" knocking at his door, "was latelybeing played in most milongas in Buenos Aires (and a few selected cities in the US)."He knew the difference between a milonga, which are the places, anywhere, wheremilongueros go Tango dancing, and parties where shortage of skill and talent makesTango dancing boring and repetitive that extra amusement is required. He couldn'timagine organizing Chain Smoking, Scotch Drinking or Coffee Drinking and MakingWhoopee workshops, just because these things go on as well at the milongas in BuenosAires. Nor he had forgotten the words of a wise man who first helped him step over thethreshold of truth and consequences: "chacarera dancing, like high school skits, standout at a milonga like guano on asphalt."


JOE: First of all, Iwould like to say thankyou for coming to theUnited States to teachtango, because many ofus have admired both ofyou on film and video

tapes without ever having had thechance to study with you in person,and we consider it an honor and aprivilege.

GLORIA AND EDUARDO: Thankyou very much.

J: When did you first begin todance tango?

E: Well... I am older than Gloria, Istarted dancing tango at the age ofthirteen, in the decade of the 40s. Andafter I began dancing tango (it was thefirst thing I did dance wise) I fell in lovewith dancing and I began to study otherdances. And when I started takingclasses, that's when I met Gloria, not ina personal way, but because we wereboth studying with the same teachers.

J: What kinds of other dances?

E: Many dances. Modern, Spanishdances, folklore, tap, all the dances thatwere popular at the time.

J: And you were both teenagers?

E: I was thirteen... Gloria hadn'tbeen born yet (laughing). I started at agethirteen. When I was sixteen or seven-teen...

G: I was seven.

E: ...we went to the same teachers ofdifferent dances. I was also doing tango

on the side but she was too young to dotango. Later, when she was thirteenyears old, we began to dance a little bitof tango. And at age fourteen, when shewas fourteen, we were already dancingwith (the orchestra of) FranciscoCanaro.

G: We were already professionals.

J: And you were only fourteen?

G: That's right.

E: And when Gloria was fifteen,and I was twenty-four going on twenty-five, we went to Japan with the orches-tra of Francisco Canaro. A trip in thatepoch that was almost like going to themoon today.

G: In the year 1961.

E: I said farewell to my familybecause I didn't know if I would comeback (laughter)...

G: From Argentina to Japan...

E: ... a complete trip around the

world. Today, it is very common, but inthose days it was very difficult.

J: Did you both feel that tangowas special to you?

E: Yes, the tango was always withus... in the neighborhood where we wereborn (because we were neighbors andwe've known each other all our life)....the neighborhood in which we wereborn, Pompeya, was tango, tango, tango.

Right, it was like being born withinthe tango itself. For example, her(Gloria's) father danced tango, ourbrothers and our friends danced tango.Everything was tango, tango.

J: But not everyone becomes atango dancer for his or her career.

E: Oh, no, no, that's a miracle.Right, and much less in that epoch. It (acareer) did not exist. Well, it justhappened that in the decade of the 50s,television was introduced in Argentina.And we were some youngsters whocould dance tango. We had studied otherdances. We had knowledge of the space.We had good teachers, and then thetelevision made popular figures out ofus because we worked on the mostfamous programs of Argentine televi-sion. Also, we were part of the firstcolor television program broadcast inthe world. It was an experimentalprogram in color, in 1961.

It (color TV) didn't exist anywherein the world. In Japan, it was onlyexperimental. They produced a programwith the opera Carmen, another oneabout a cancer lung operation, and theshow of Francisco Canaro. And, there,we were. We were artists of the televi-sion era.

G: In that epoch there were notyoung couples....

E: No, neither young nor old...

G: ... that danced on televisionhaving experience in other dances.That's almost like a miracle.

E: Later we were actors too. Weworked as actors on television. Wealways worked like that. We worked inthe most important television programs.We danced with the majority of the

On Our Cover

About Tangos and MiraclesMy partner Carlota and I are just back from Planet Tango's LaborDay Weekend Tango Getaway in Reno. It was incredibly great inevery way. However, for us, one thing that really stood out wasmeeting and studying with Gloria and Eduardo. They are the liv-ing and breathing roots of tango, and are rarely in this country toteach (the last time was 1995). With the encouragement and coop-eration of El Firulete, I was able to interview Gloria and Eduardoin Reno on September 1, 2001.

Gloria and Eduardo caught in the actat Planet Tango's Tango Getaway inReno, Nevada. Video frame courtesy ofFlash Gordo.

Joe Grohens


orchestras... the twenty famous orches-tras... we danced with the twenty mostfamous orchestras... with (Anibal)Troilo, with (Osvaldo) Pugliese, with(Francisco) Canaro, with MarianoMores, with (Florindo) Sassone, withJose Basso, with (Alfredo) De Angelis,with (Miguel) Calo... except with(Carlos) Di Sarli, because Di Sarli, inthat epoch had become ill, and he laterdied. Otherwise we would have. Now,(Pedro) Laurenz had recordings froman earlier period. We danced withLaurenz later when he formed theoriginal Quinteto Real, the old one,because now there is a new one. In thefirst one there was (Enrique Mario)Francini, there was Laurenz, there was(Horacio) Salgan on piano... Right.

J: When you say it was a miracledoes that mean that you becameperformers by accident, or was itsomething you wanted to do?

E: No. There were no professionalsof that (tango dance). Think about atango couple dancing only on a dancefloor... how many years had to pass forthem to become famous? We startedwith television. We were on two pro-grams and the whole world knew us.

G: In all the homes there was onlyone channel to watch.... In all the homesthey watched that channel....

E: It was a miracle. It was the rightmoment at the right place....

G: ... and they'd call us all the timefrom all the programs, which in thosedays there were many...

E: In that epoch, we were on aprogram called Yo te canto BuenosAires (I Sing to You Buenos Aires). Wewere the choreographers. We had aballet in the program....

G: ...tango ballet.

E: Pugliese performed on it.... First,Catulo Castillo wrote the script. Theproducer was Julio Jorge Nelson, thefamous.... And then, they had Troilo,they had Pugliese, they had Di Angelis,they had Jose Basso... all the orchestras,(Juan) D'Arienzo.... We were dancingwith Canaro in the theater, and eachweek with a different orchestra on the

the Latin American countries. Later, itwas a miracle that we were part of theshow Tango Argentino. Always themost successful shows are miraculous.

J: You were also in the show"Forever Tango", correct?

E: We were the choreographers.

G: Right.

E: We made Forever Tango. Thatwas a show of our own. I have the(theater) programs where it shows weare. We did it in the year 1990, and wereprised it in the year 1994 for the"Mundial" (colloquial for World Cup).In Los Angeles. At the Wilshire The-ater. And later, it went to San Fran-cisco. There, in San Francisco, wewon, with Forever Tango... we madethe final three (nominations) for the bestshow. This was determined by thejournalists of the Bay Area. We madethe terna (an expression that describes agroup of three things) with other shows.And we won the first prize as the best1994 show in the San Francisco BayArea. It was for 1994 but they gave usthe award in 1995.

J: With all of the many produc-tions that you have been a part of, isthere one that was a turning point foryou or special favorite?

E: I think that we have to have a lotof respect for Tango Argentino, becauseit is the one (show) that revolutionizedthe dance in the entire world.

Because of that show we are herenow. After Tango Argentino, the wholeworld became interested in the dance oftango. We were, after Tango Argentino,I think, in seven or eight shows; four ofthem were ours, as directors and produc-ers... four were ours... they are good andthere are films about them circulatingaround the world. Perhaps, they re-ceived more applause in some placesthan Tango Argentino. But we alwayshave that respect for Tango Argentino.

J: You are both known as expertsof many different tango styles.

E: Yes. We are studious.

J: I am curious to know if there isa style that you prefer when you are

TV program. And we were the choreog-raphers. We did everything. We stagedthe singers, the dancers, everything. Webrought (Astor) Piazzolla so he couldwork. Piazzolla worked with our ballet!All the artists, the most famous oftango.... And this program was visitedby the most famous personalities ofArgentina. From Borges to Castellini,painters, writers, all appeared on theshow.

Later we were also the choreogra-phers of another show produced byVergara Neuman where also thebiggest artists and the biggest nameswere guests, and we were the choreogra-phers.

We also did a program that lastedtwenty-five years. It was called Grandes

valores del tango (The Great Talents ofTango). And the greatest talents of tangopassed through it. The tango ballet wasours.

It means that from 1960 until thesedays, we had done many televisionprograms....

G: In Buenos Aires.

E: In Buenos Aires, and the wholeworld. We are teachers of the wholeworld. We worked here in the UnitedStates, before Tango Argentino, from1967. We had our own shows. Wetraveled with our own shows throughthe Soviet Union, Japan, Mexico, in all

"The proper style of the Tangois born from the dance... andone can raise to any height...to the most modern place...respecting the root."(On the left, Manuel Patino translating)


dancing for yourselves.

E: It depends for what purpose. Ifwe introduce a show.... we study theway to be able to build a balancedshow.... and within this balance we havethe possibilities of working with differ-ent things. And one falls in love with allthose things. They are like the childrenyou give birth to.

Right, (they are) jobs that you like.We have good luck, perhaps.... We picka theme, and we work and work on it,we make it deeper, and we make it aworldwide success. And then, we nevertouch it again. We leave it like that. Thatone is that way. And it remains that way.We have a theme that we danced withFrancisco Canaro in 1961, and we stilldance it! It is like a painting. It is theway it is and it can't be touched. It isthat way. And that is what happened inTango Argentino. We dancedMilongueando en el cuarenta... and itwas a theme that now is popular world-wide. And people always talk to usabout it.

There is... in the last shows that wedid... they are our shows... we made twoor three creations, special creations forthose shows. That's like a seal. It's notjust the dancing... It's to act it out, todress it, to introduce something before itso it can be special... There are manythings that make something have animpact.

The proper style of tango is bornfrom the dance... and one can raise toany height... to the most modern place...respecting the root. It's like a tree...when one cuts it... what's on top has novalue. It's going to dry up. For what'sabove to have any value, it has to beborn from below. And like that, that isthe real tango... It has to have the roots.Otherwise, it's another thing. It may begood, or regular, but it's not the tango.To be tango, it needs to have...

G: ... the respect...

E: ... the respect for the roots.

G: ...the roots.

G: One must respect the roots oftango.

begins, somehow he can be dazzled bythings that are external.... but the thingsof the tango are internal (points to hischest). When he can receive those thingsfrom the inside -- not just him, anybodywho can receive the things that areinside -- he is going to discover thetango.

The external, the visual, the athleticare things that can trap you. But that isnot... that is not the tango. That's what Ibelieve (points to himself and laughs). Ialso went through those stages. Every-body goes through those stages.

J: That makes me feel better.(Laughter) In this country at least, wesometimes make distinctions betweenclub/confiteria/milonguero style andthe style of salon. I don't know ifthese are valid distinctions, but Iwondered if you could say somethingabout the place of "club style" intango dancing.

E: The tango is only one. It accom-modates itself to every place and everyepoch. The tango was taking shape, itwas growing, it was changing fromlocation to location. For instance, whenit first reached the outskirts of the city, itwas danced in a certain way. In the clubsthey danced it in a different way. In thecity salons it was forbidden to dance theway they danced it in other places. Forme, the salon style is an elegant, walkedstyle, done on the floor, without figures.Everything on the floor. That's the salonstyle. That's how they called that style inthe (tango) competitions in the old days.

Then, there is the canyengue style,which belongs to a much earlier primi-tive time. Then you have the tangocruzado, which is from 1935 to the1940s. Then there is the tango fantasia,which people don't understand verywell. Tango fantasia originates on the(dance) floor. It is not from the stage.The only thing that was allowed was theseparation of the man and the woman todo some figures separated, but tangofigures of course. This was born in thepracticas among the men. The exhibi-tions were done by the guys. It was notwith women. Later with time, thewoman was incorporated, but when this

"And, he is going to be satisfiedonly when he can asserthimself, his personality. That'sgoing to be the tango withinhim..."

E: Then, there are temporarysuccesses.... fashions that go out ofstyle. Five months later and nobodyremembers them anymore. But when thething has roots, it stays, it lasts.

J: What advice would you give todeveloping dancers, such as to aperson you teach at workshops likethese, on how to find the roots oftango?

E: Well, he arrives to the roots whenhe falls in love.... First, it is like, shallwe say, like a tourist within the tango...he goes around, and asks one thing, helikes something else. But (the passageof) time makes the person capable of

distinguishing what thing is the root.Which it is that's useful to him. And, heis going to be satisfied only when he canassert himself, his personality. That'sgoing to be the tango within him.

Right... else, it is like a person that'sgoing around, and today he changes onething, and tomorrow he dances in adifferent way, and the day after.... Sure,he is investigating. Those are stages, butwhen is he going to rendezvous with thetango? It's when he is able to put insidethe tango his own personality.

And it is logical that for that, therewill be teachers who will help him. Andhe is going to be able to recognizethem... right, because when someone


style was born it was done among men.Let's say that they were the most ad-vanced dancers of a practica.

J: What years are we talkingabout?

E: In the 40s. We are always talkingabout the 40s and the 50s. In the 40sappeared a style with boleos andganchos. Like a novelty. It was anopening to a tendency of wanting toattract attention. And, later, in the 50s, iswhen they began to dance closer, withthe faces looking in the opposite direc-tion. A more intimate dance, more forthe couple, and with some of the figuresreminiscent of the primitive tango. Withcontratiempos (double stepping).Playing with time and countertime. Thatis more from the old, primitive tangoand the orchestras started to playrhythmically. First, Juan D'Arienzo.We could say that Juan D'Arienzo wasin those days what Tango Argentinowas later in the eighties. JuanD'Arienzo's was the orchestra that gotthe whole country dancing.

J: And that was in the 50s?

E: No, nineteen thirty-five. Beforethen the orchestras were "heavy," slow.They still had a tango, that was some-what forbidden, (being) danced in thesalons. When the tango entered in thesociety, not the high society but themiddle class, it was forbidden to dostrange figures. They were other times.But, at the same time, in the outskirts ofthe town, they danced with everything.That's why I say, that the tango isaccording to where they put it.

In the 20s, when the tango went toEurope, they danced it before the Pope.I can imagine what it was like (laugh-ing). Canaro wrote a tango called AveMaria. I imagine how the woman, whodanced it, was dressed. Like a nun...(Laughter.) Meanwhile, in BuenosAires they were dancing another tango(gesturing with arms and upper body toillustrate the movements).

It means that the tango is only one,and it presents itself according to theneeds... right?

Nobody is the owner of the tango.

corner, the conversation would turninto dance. And the dancers weredancing on the corner, teaching. It wasnot like now. They did it quickly. Theysaid, Here, dig this, rapidly, and youhad to grab it and take it just like that.That was a way of life, and it wasimperative to learn to dance. Forexample, when a maestro came toteach me in a club, two hundred peoplecame to see how he would teach. It wasa very big thing. There was a passionfor tango. It was marvelous. And thesewere popular people with big names.

J: Like whom?

E: There was one named JorgeMarquez. In the 50s. He was a bigname. He would come to teach me inthe practica. People would come towatch. And he was very popular. Andthere was another one, named Eltin,and Sarita was his partner, and theywere the first dancers of the Troiloorchestra in one of the theaters. Andthey were also tremendously popular,very popular and from our neighbor-hood.

J: I would like to ask Gloria,how did the women learn to dance?

G: The women learned within theirfamilies. From their mothers, fathers,sisters, friends and brothers. It was afamily affair. Then we would all go outtogether to dance, on Saturdays andSundays.

E: The men learned in the clubs,among men. That's why we mark(gestures with his right arm). First welearned the part of the woman, andthat's how the man feels la marca(putting his hand on his back). Today,in a technique class I danced with allthe women, and Gloria danced withthe men, explaining las marcas. This israrely done anymore. Therefore, thewoman now helps the man doing thosethings for him, and the man neverreally learns, never finishes learninghow to use las marcas. They're in arush.

In my days, I was in no rush(laughs). I was only thirteen years old,how could I be in a rush? Besides, I

The maximum thing one can do for thetango, is to love it. When one believesthat he is the owner of the tango, he isvery lost. (Laughing with an "I knowwhat I'm talking about" smile.)

Ok, ok, each one dances... that'swhy in life we have moments... we havemoments because, (say) you like atango.... Because one day you like Lacumparsita, and you say There is nobetter tango than La cumparsita, and Ikill myself with it... And two monthslater the tango you like is another one.That is how you feel. Right.... it is astate of the soul.

That's why if you ask me what is thebest orchestra, I can't tell you because itdepends on the mood. If you ask what is

the best tango we think we dance: it isaccording to the way we feel. At themoment when we are dancing it, that isthe best one. But in a year, or one yearbefore, it may be another one.

J: In your life were there othertango dancers who you admired?

E: Oh, many, many. Because wewere born in a tango neighborhood. Theones who couldn't dance couldn't livethere (laughter). Her father (Gloria's)was a phenomenal tango dancer. Hegave exhibitions! Our friends gaveexhibitions. I was a kid but I liked tangoso much that they would let me in theirconversations (if I didn't talk and justlistened). Then, hanging around at twoor three in the morning on a street

"The tango is only one. Itaccommodates itself to everyplace and every epoch."


didn't learn with a business purpose inmind. I learned to have fun. I wanted toget ready to go out dancing with awoman. I wanted to have a good time. Ihad all the time in the world.

Everybody would teach us. It was afamily thing where everyone wouldshow you (something). One day we'd goto one club, the next day we'd go toanother club to see how they danced inthe other neighborhoods. Because it wasa different style. Because we could see,watching somebody dance, whether hewas from Valentin Alsina, Pompeya orVilla Urquiza. We'd see someonedancing a little bit strange. We'd say,Oh, he's from a different neighbor-hood.

Tango has something very personalabout it. One always thinks that one isthe best. Because it's personal. But it isthe others who must say that, notoneself. If one dances well, the womenmust say it. And if the woman danceswell, the men must say it. If the womandances with different guys, and she cankeep up with them all, she dances well.When the man dances with all thewomen, and they all say, Oh, look howhe dances, how well he marks, and Ifeel good. There is no other standard.(Laughter.) To say, I'm the best, meansnothing. It has no value.

J: Do the two of you have anyplans for another show or any otherprojects?

E: Oh, many, many (laughs). Eachday there are new things. Since I wasyoung I always had many things to do.And I have many things written down,that I have not yet done. Works, books,things that are already written down thathave never been carried out. And theones that we have done in the 1990s, Iconceived them in the 1960s. And Icouldn't do them. Sometimes I triedthem with few people, in small places.

J: Like Super Tango?

E: Yes. Before Super Tango, we didTango Tango, Corazon of Tango,Tanguisimo. All of those things wereideated in the 60s. In the 70s and 80s wemade a few tries in smaller places, with

fewer people. And once we had thepossibility to do them on a large scale ina theater, we did them.

G: Then we went to Japan.

E: We premiered in Japan manythings that we already had thought aboutmuch earlier. But there are things now....We have a really strange country. Wedon't have any support. After doing somuch for the tango, we don't have acultural or governmental support. Weare not teaching the Argentine youths so

they can be incorporated to tango. Weshould have a theater where all thestudents can have an education, and doresearch.... We need cultural support. Inthis manner we can do the things that wealready have in our minds, but alsoinstruct the young people, so that theyhave the knowledge of how to work inthe theater, how to work on the dancefloor, the clothing, how to dance differ-

ent periods.... all of those things that westudied.

Sometimes we do it in a class. Andwe are just as happy. But we'd behappier if we could give it to the youths,so people would understand and learn,and later they'd come up with their ownthings with their own creative minds.

G: It is the culture of our music.

E: That is what should happen. Butwe are used to doing everything drawingfrom our own blood. It's not bad. Thisway one works harder. It's just a way oflife (laughing). It doesn't harm us; we'reused to working hard. We know thatwhen the government sends somebodyto represent the tango in Europe orother parts of the world, it alwayshappens to be a "friend" (laughing at theimplied reference to political patron-age). It has nothing to do with qualifica-tions or prestige. It's always been likethat, and we understand it.

At the 2000 New Year celebrationthey had a big show and Julio Boccadanced the tango. He has nothing to dowith tango (sneering at the irony). Howcould they choose Julio Bocca whenthere are so many other qualified tangodancers?

G: He is a great dancer, of course,but not a tango dancer. Tango has to bedanced by tango dancers.

E: This is exactly what I'm saying.We're not bad-mouthing anybody. It'snever in the right place. But we're usedto this; this is what happens.

It's a way of life (smiling andshrugging his shoulders).

J: I want to thank you for yourtime, and wish you good luck with allyour projects. It will be good for us. Ipersonally will be very interested inyour book.

E: Yes, yes. We are working on thisbook from the point of view of thedancer. There are many books that havebeen written by people who don't knowhow to dance tango. Thinking of our-selves, we know that when we did notknow how to dance, we thought differ-ently. When one learns to dance, there

"Today, in a technique class Idanced with all the women...explaining las marcas"

Dancing with MariLynne Kane ofHarriman, NY.

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are other values, and we pay attention toother things. People who don't knowhow to dance, don't know and they don'tpay attention to them. They confuse the

values; theytranspose things.They aggrandizesome one, andthey minimizeothers. What is sogreat for them, itis not so great forus.

So I think thatmusically speak-ing, in any form,the tango belongson the dance floor.And the morepopular artistsmust be the oneswho are on thedance floor. Also,the music playedto keep us on thedance floor must

be the most respected music. In anotherinstance, we may respect the music fora concert, but tango was not born as aconcert. There may be good musicians,

with an excellent orchestra, but theydon't do anything to move a dancer'shair on the dance floor (laughs). Now, ifI go to a concert, it can be beautiful,phenomenal, no problem, but the tangois for dancing. It has another way to bemeasured. There's another measure thatwe have.

We want to give an explication ofour viewpoint from the dancer's perspec-tive, what we value, what the tangomeans to us. We are not going to be theowners of the truth; it's just a viewpoint.Others are the owners of the truth.(Laughter) It's no good to pretend to bethe owner of the truth. It's just good torecognize things, things that those whodon't know how to dance don't recog-nize, that's all.

Copyright (c) 2001 Planet Tango

Gloria and Eduardo at the end of one of theirspectacular performances at the Planet TangoLabor Day Weekend Tango Getaway held at theReno, Hilton on September 1-3, 2001.

Video frame captured from video footage provided by KenMoore of Peoria, AZ I wish to thank Manuel Patino who

acted as interpreter during theinterview, and Alberto Paz whoedited the transcription andprovided expert interpretation.

Joe Grohens


2001 Tango Getaway

A Case of "Vuja de"Labor Day Weekend in the year of the Tango 2001, people in search ofa unique and special Tango experience, traveled to Reno, Nevada, fromall over the United States, invited to spend a long weekend at a magicalsetting with world class teachers, international stage performers, anauthentic Sexteto Tipico orchestra, and the kindest and most graciousdancers around. They were in for a major treat, and somehow theybecame part of the spontaneous outburst of an unusual phenomenonknown as "vuja de," the distinct feeling that something that just hap-pened, had never happened before.

A s Tango weeks and weekendsgo, the practice of gatheringonce a year to meet professional

dancers and other dancers from aroundthe country, started in 1991 when theDance Department of StanfordUniversity organized the first TangoWeek at its campus in Palo Alto,California.

Within five years, there was enoughof a confusion about what constitutedauthentic Tango dancing, and who wereor were not qualified to teach it, that"me too" Tango week organizers began

to sprout up around the country.

Then in 1997 the Dance Depart-ment of Stanford University abruptlyended the Stanford Tango Weekprogram, citing the need to focus theirresources to a wider variety of dancedisciplines. By then, the Tango weekbusiness had met with an abundantsupply of talent as more displaced showdancers affected by the precarious stateof the Argentine economy, provided alarge pool for organizers to choose from.

It behooves that a society, that isbuilt on the principles of free markets

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"We are very grateful to everyonewho came to Reno 2001"

Alberto and Valorie

The Essence of Reno 2001Alberto, Valorie, Pablo, Gloria, Eduardo and Beatriz

Photo courtesy of Carol Hom

and open competition, would provide somany opportunities for Tango teachersand dancers to practice the trade. It isalso true that in the impatient pursuit ofa Happy Meal, people can become jadedat the prospect of a five-star sit downdinner at a friend's home.

When the time came to beginplanning the fifth edition of our LaborDay Weekend Tango Getaway, weknew we wanted the equivalent of afour-course dinner, at a five-star loca-tion featuring the top chefs around. Itwas partly selfishness. We had enjoyedthe previous four years, as the project,that started as a glorified workshop forsome friends in need, turned into a veryspecial annual event from its veryinception on Labor Day Weekend1997. Along the way, non-flatteringimitations have failed to pass beyondcopycat status much in the same way assomething that comes out of a copiercan't match the original look and feelthat comes out of a laser printer

We have never forgotten learning tohave fun with Gloria and Eduardo in1995, and having Pablo and Beatriz atour former home in California one yearlater. So we went to work to bring themback to the USA, and invited all ourfriends to share the feast. For those whocame, it was vuja de like it neverhappened before.


I t is flattering and pleasant toreceive the instant feedback fromeveryone who attends the Planet

Tango Labor Day Weekend TangoGetaway. Somehow it seems that wework very hard for that sincere con-gratulation, for that smile of satisfactionfrom everybody on their way in and outof the classes, dinners and milongas.

We have learned through manyyears of experience, that respect in thisbusiness is earned one dancer at a time,and we look forward every year for therenewed encounter with those whoreturn time after time, and for that firstimpression for those who venture out toReno for the first time.

Out ofrespect for theindividualityof eachparticipant,we have keptan originaland verysimple formataimed tofacilitate theeasiness ofattitudeadjustment, asweary

tangueros from all over the countrymake their way into the Crystal Ball-room on Friday night.

After an informalsocial milonga Fridayevening, the scheduledprogram of classes getunderway Saturdaymorning, and it repeatsSunday and Mondaymornings.

Three spacious andcomfortable rooms eachhoused a group ofapproximately thirtydancers, and the sched-ule called for all threeteaching couples to visiteach room three timesduring the entireweekend. This original

In A Class of Their Own

On Monday morning we gather up for one more memory to take home

arrangement has been a trademark of theLabor Day Tango Getaway since itsinception, and it has received ravereviews from almost everyone attending,the principle being one of respect for allteachers and the other participants.

The balanced quality of instructionoffered at the Labor DayTango Getaway takes prece-dence over any teacher's ego(some measure their success bythe number of people whofollow them around), and theocassional star struck cholulowho insists on following aparticular teacher around. Theforemost objective is to alloweveryone to have the same

amount of instruction and exposure toevery teacher. An overwhelming major-ity of returning participants attest to thesuccess of the method employed toexpose everyone to the very best bal-anced and comprehensive learningexperience.

Pablo and Beatrizwith Joe and Carlota

Gloria and Eduardo with Walter andMariLynne Kane


Sexteto Tipico ArrabalBANDONEONS

Miguel Arrabal and David AlsinaVIOLINS

Orlando Forte and Elias GarnickPIANO

Jorge VernieriBASS

Ramses Colon

Gloria and EduardoBuenos Aires, Argentina

Alberto and ValorieNew Orleans, USA

Pablo and BeatrizMadrid, Spain

Pablo and BeatrizAlberto and Valorie Gloria and Eduardo

By the time the first dressed-to-kill couples begin to make their wayinto the Carson Ballroom, many months of planning have beenlogged by Valorie Hart in preparation for this special evening.

Shortly after the first day's classes end, Valorie swiftly moves into her roleas a gifted event planner and supervises the transformation of the CarsonBallroom into a chic 1940's cabaret. Table centerpieces feature miniaturereplicas of the street lamposts so characteristic of the early Spanishinfluence in Buenos Aires, and coincidentally New Orleans. Each tablegets the personal touch of a photo of a poet or musician of the GoldenYears. Later Eduardo would complain that dancers never get the samekind of recognition. Valorie quickly retorts, OK, che, dame tu picture.

Art and Gillian Day

Reno Tango Ball

Masters's Performances

Saturday night

A succulent buffet, the music of D'Arienzo, Tanturi, Calo, Pugliese,Troilo and Di Sarli and the original setting of the dance floor, have already

conspired to create an atmosphere of intense dancing and joyful camaraderie. How else, if not through Tango, strangers fromextreme points across the country, can extend their arms around each other in sheer jubilation, and give themselves up sensu-ally to the alluring music from another era, which by the magic of their dance, has come alive and everlasting. When Miguel

Arrabal and the members of the Sexteto Tipico Arrabal open their first of manysets to come, with the theme of the evening, Milongueando en el cuarenta, the

whole audience's mood is kicked up severalnotches. A pregnant silence follows the ending ofthe song until one by one, the majority of lovingTango dancers, realize that they had just dancedfor the very first time to the authentic sound ofthe orchestras that played for other loving Tangodancers of the Golden Years. A thunderousovation rewards with genuine appreciation thelive classical rendition they've just danced to.


Ramon, Carmela, Jose, Matilde, Walter, MariLynne, Ronnie, Rob, Gillain and Art came from the HudsonValley in New York. Dan, Kathryn, Freeman, Joyce, Bill, Ted and Eileen came from Michigan

Clockwise from top left: Adele & Jerry, Valorie & Eduardo,Walter & MariLynne, Art and Gillian, Valorie and Alberto,Bill and Rosemary

The highlight of the evening is the muchwaited Exhibition by the Masters. The show hasvariety, punch, personality, and a grand finale thatbrings the house down with cheers of approval.The evening grows late and the dancing continues into the enchanted night. Tomorrow will be another day.

A TALLY OF THE CITIESAlbany, Albuquerque, Ashland, Atlanta, Beacon, Buenos Aires, Carson City, Colfax, Crown Point, Eugene, Farmington Hills,Fishkill, Glendale, Gold River, Harriman, Hartsdale, Hayward, Hillsborough, Hopewell, Kailua-Kona, Las Vegas, Madison Hts,Madrid, Metairie, Middletown, Midland Park, Nashville, New Orleans, Oakdale, Omaha, Peoria, Petaluma, Phoenix, Raleigh,Rancho Cordova, Reno, Sacramento, San Francisco, South Pasadena, Sparks, Tempe, Urbana, Wappingers Falls, Warren andWhite City.


The second day of classes hasended and once again Valoriemorphs into a busy butterfly

assisted by Billie, Carlota, Joe, Al-berto (Gonzalez), Enriqueta and thecompetent staff of the Reno Hiltoncatering department. Their mission thistime is to prepare for this specialevening, without any doubt, Valorie'sfavorite.

The table centerpieces now areshowered with beads flown especiallyfrom the home of the Mardi Gras. Thereplicas of the street lampost have beenpersonalized with miniature FrenchQuarter style street signs bearing thePlanet Tango legend on them.

This year's Sunday's theme menu isMardi Gras, and the lavish buffet tablefeatures, not coincidentally, New

Valorie with Sylvia,Pablo and Beatriz, ascaptured by the lens ofEva del Cid

Orleans cuisine: red beans andrice, jambalaya, blackened redfish and pecan stuffing.

The night's main attraction,besides dancing to a live typicalsextet orchestra for the secondtime in a row, is the StudentExhibition, an exclusive act thatplaces all participants on centerstage. Since Friday, Valorie hasbeen asking anybody who wantsto participate to let her know.By showtime, eight coupleshave volunteered, and theanticipation grows as themoment approaches.

There is a surprise though,and just before the show, MardiGras music takes over theballroom. Donning beadsaround their necks, dressed infestive colorful attire, the entireballroom becomes an im-promptu second line paradearound the tables and the dancefloor.

Finally, the moment has arrived.Valorie walks onto the floor, micro-phone in hand, her Mistress of Cer-emonies' voice taking on a raspySatchmo-like tone. One by one she

Tangringo doing theHV three-step withKathy and MariLynne

Ted & Eileen tastingthe sweets in front ofthe dessert table

Graduation Milonga

The Students ShowcaseSunday evening is one of the most anticipated experiencesparticularly for the majority of returning participants. Forthe newcomers is a unique and memorable Tango Fest high-lighted by the active participation of the dancers attendingthe Labor Day Weekend Tango Getaway.

introduces every partici-pant couple with ananecdote based on littlepersonal things she hasobserved about them.

One by one, theeights couples who have chosen toparticipate this night, put on a memo-rable show, while the audience of theirpeers and teachers cheer and celebrateevery move, every display of creativityon the dance floor.

Bill and Joyce

"I love you all!"


Command performances on Flash TV

Ronda and Manuel Ronnie and Rob Amalia and Roberto Fred and Beth's Let's Dance Tango Ballet

Amalia and Tito Irina and Daniel Kathryn and Freeman Carlota and Joe

Ronda and Manuelcame from Atlanta, GA;Ronnie from Albany,NY; Rob from Fishkill,NY; Amalia, Roberto,Tito and Daniel fromRaleigh, NC; Fred, Bethand their group are fromReno, NV; Irina fromAshland, OR; Kathrynand Freeman fromFarmington Hills, MI;Joe and Carlota fromUrbana, IL.

Left: Doug, Rosemary and Juan. AboveAdele, Jerry, Marva and Gabe. Below,Valorie visiting around the tables.

A well deserved round of applause forthe Mistress of Ceremonies

Tangoman, MariLynne,Valorie and TangringoPhoto courtesy of Carol Hom

Beatriz and the Tangoman


A trip to New Orleans is always an exciting and memorableexperience. Now you can let Valorie and Alberto show you agood Tango time as well.Come alone, with a partner or a group. Leave the partying to us.Arrive early on a Friday (or come on Thursday if you can). We can arrange forconvenient, first rate, reasonable accommodations.Dine and enjoy Friday night life in the French Quarter (options are unlimited butwe can plan for an unforgettable outing).Brush up on your giros and sacadas Saturday afternoon at a group workshopwith our local dancers, or treat yourself to some private lessons with us.Party Saturday night the Planet Tango way, meeting and dancing with our localfriends at our House of Tango in New Orleans.Take Sunday off during the daytime to indulge in many available activities whichrange from doing nothing to shopping, sightseeing, exploring, having a Jazzbrunch, etc., etc.

Leave Monday morning... or not!

Valorie and Alberto's

HOUSE OF TANGOYour New Orleans Tango Destination

1000 Bourbon St., #202 - New Orleans, LA 70116504.894.1718

Visit us on line at, http://www.planet-tango.comor e-mail us at, [email protected]

Villa La RogaiaStudy with some of world's finest

teachers at the Villa La Rogaia, anoutstanding old Umbrian countryhouse with a large garden and apool. It is situated near LakeTrasimeno between Rome andFlorence. Participants will stay inindividually crafted double or singlerooms (shared bathroom for twobedrooms) or in holiday apartments(for two persons). For the apart-ments we recommend early book-ing.

Argentine Tango as food for thesoul and delicious Italian food for thebody.

We serve a hearty and healthybreakfast. At dinner time we willprepare delightful Umbrian meals foryou.

Preview 2002:April 13-20

Graciela Gonzalez

April 20-27

Yvonne Meissner & Eduardo Aguirre

May 4-11

Metin Yazir

June 1-8

Alberto Paz & Valorie Hart

June 15-22

Amira Càmpora

September 21-28

Gustavo Naveira & Giselle Anne

November 2-9

Amira Càmpora

La RogaiaAnnette and Wolfgang Fraz

Castel RigoneI - 06065 Passignano sul Trasimeno

ItaliaTel/ Fax 0039-075-845457

http://www.rogaia.de/creative_classes.htm

The Most Complete Selection of Tango Music in the Gulf CoastCD WAREHOUSE in New Orleans

504.864.0444


El FiruleteEl FiruleteEl FiruleteEl FiruleteEl FiruleteThe Argentine Tango Magazine

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MUSIC COMPILATIONS FOR EDUCATIONALPURPOSES AND PERSONAL ENJOYMENT

Carefully selected and expertly mixed classics ofArgentine Tango, Milonga and Vals music for dancing.

The Lord of the TangoA selection of the best of the best of Carlos Di Sarli instrumentalsPERO YO SE - Tangos with Harmonica by Hugo DiazThere is a limit to strict codes and protocols; use but don't abuseCANARO by CanaroThe most prolific and dedicated composer for the tango dancerOSVALDO PUGLIESE - The Legacy, volumen 1The sensational arrangements of the nineteen sixtiesArgentine Tandas - vol 1Tangos, milongas and valses arranged in sets Buenos Aires styleArgentine Tandas - vol 5Tangos, milongas and valses arranged in sets Buenos Aires styleArgentine Tandas - vol 6Tangos, milongas and valses arranged in sets Buenos Aires styleDONATO RACCIATTI - El OrientalThe D'Arienzo from Uruguay plays classic tangos that rockA Toast to the Golden Years - Sexteto Tipico ArrabalRecorded live at the Reno Hilton on Labor Day Weekend 2001

Each CD is $15, includes First Classshipping and handling.

Send your check to,


On line, http://www.planet-tango.com/music.htm


CHAPTER 25: THE GREAT EQUALIZER

COPYRIGHT (C) PLANET TANGO 2001ALL RIGHTS RESERVED

The Great EqualizerA compulsive fixation on “the

steps,” holds the development of many aTango dancer as much as bumping intotrees numbs the senses for the awarenessof the beauty and purpose of a forest.Inasmuch as lip service is paid to thebenefits of concepts and techniques, adesire to show off and an opportunity tostrut a newly discovered personality,brings the strangest of bedfellows to anenvironment that promises instantgratification, tolerance for impolitebehavior, and political correctness thatseeks redeeming values in the mannersof the offenders at the expense of thefurther humillation of the victims.

In places where the opportunities tolearn and dance Tango are as diverse asthe culinary kaleidoscope offered bycities like New Orleans, for example,the quality and personality of dancersare evident in their blend of styles,personal appreciation of the music, andabove all for their contribution to goodtaste and sociable behavior. In the wordsof a wise engineer turned Tango dancer,the milonga is the great equalizer.Aspiring good dancers follow goodteachers, good music and good partners.

Becoming a "good dancer" is assubjective as trying to define a good

meal, or describe a good partner. One ofthe few things which have not beenimported from the Buenos Aires tales ofTango lore, is a time honored system ofgrading dancers, applied not just to theaverage Joe Salami, but to the veterananonymous milongueros, and the mostfamous and not so famous stars of thestage and the silver screen. It is based oncalling bread, bread and wine, wine. It isdefinitely against the political correct-ness that protect the rights of people to

make fools of themselves and cajoleothers to follow suit, providing anumbrella of resounding denial underwhich it is cool to insult and offend theintelligence of those who cherish thetraditions and cultural values, intrinsicin the Argentine Tango, under a circustent in which, unseemly and disingenu-ous use words like "unity" as an excuseto hide desperate attempts to isolateothers inside closed doors and with thelights out.

So, it is hoped that wherever youare, there is an abundance of choices todine out on any night of the week, andthere are as many places to go out Tangodancing as well. Odds are that no matterhow you choose to get where you aregoing, finding your way to your destina-tion, will be guided by safety, commonsense, and a respect for accepted codesof public conduct. Safety, commonsense, knowledge and respect for thecodes of the milonga, are some of therequisites that describe the tangiblequalities of a good dancer, and they can'tbe acquired on the Internet. They are theresult of good teaching, good learning,good manners, and good time spent on

the dance floor.

A Tango dancer tends to approachesevery dance with a variety of

objectives. Partner safety, the safety ofothers around the dance floor, making itaround the dance floor at least once, andbeing able to sort out and take advan-tage of the unexpected creation anddisappearance of spaces, to createlogical routes for his partner to dancegracefully in relation to his own path.

The ability to create on the spot aswe dance, is the signature of improvisa-tion for a Tango dancer. Balance, clearchanges of axis, and solid points of

contact between the partners, open theway to the creative uses of directionchanges, which is the essence of thestructural elements of any improvisedfigure, pattern or “steps.”

It has been stated previously,perhaps in several different ways, thatthe body follows the direction of thefree leg as it moves around the axiscreated by the support leg, and that thefree leg follows the direction of thebody as it rotates on the axis providedby the supporting hip. We don’t dancewith our legs, and we don’t dance withour bodies. We dance with our partner.

Legs offer support and allow themovement of the body from one stableposition of balance to the next one. Asthe weight transfers from axis to axis,the direction of movement will be afunction of where the weight transfersto. Legs move one at the time, when thebody is stationary and firmly standingon an axis. Weight transfer happenswhen the body moves while the legs arefirmly placed on the floor.

Time spent learning and constantlypracticing how to stay balanced oneither axis, and how to move the bodyfrom axis to axis, being able to changedirections at will, and keeping time withthe music, is the most valuable time anaspiring tango dancer can dedicate.

When one approaches the dancefrom a tridimensional point of view, it ispossible to visualize any pattern as acombinations of relative movementsbetween the partners that result in aninfinite number of combinations beingavailable to the creative dancer.

Changes of direction of one partnerrelative to the other one, or changes ofdirection for the couple, use the conceptof rotation over an axis, whether eitherdancer walks around the other one'saxis, or they both walk around a com-mon, shared axis.

Let's review one of many combina-tions we like to teach to demonstrate theability to dance with total freedom in thespace occupied by the couple, usingchanges of direction.

The sequence begins as a salida


TangoClips cour-tesy of FlashTV,captured from foot-age shot in Reno,NV by Walter Kaneof Harriman, NY

1 2 4 5

6 87 9

10 11 12 13 14

3

simple with the dancers in a closed feetposition, weight on the man's right,woman's left. (Frame 1).

In the next frame (2), the man marksa displacement of the woman to his leftwith an opening in that direction.

Next, he prepares for a change ofdirection to his right, by holding her onher right axis, and changing his axis tohis right. This move can be done atsingle or double time, preferablyaccording to the music (Frame 3).

In the following frame (4), noticethe change in his body attitude as hebegins to align his body in preparationfor passing onto the woman's left side,using the crossed feet system.

In the next frame (5) the manadvances onto the left side of thewoman marking an opening of her leftstep to her left, rather than a crossingbehind to her right (like in the regularsalida simple when the man is on herright). The invitation to throw a righthand turn (giro) is hard to resist.

So, he enters the right hand turn by

marking a crossing of her right legbehind (3rd movement of the EightCount Giro), holding her on her left axisand turning on his left axis to mirror theback step of the giro himself (Frame 6).

On the impulse they both quick stepwith an opening in the direction of theturn and they find themselves aligned tocontinue turning. (Frame 7).

In Frame 8 we see them bothmoving into the other's right side with aforward crossing of their right legs infront (4th movement of the Eight CountGiro).

Next, he decides to make anotherchange of direction, so he stops turningby holding his right axis momentarilyand using a double time to shift hisweight back to his left axis. (Frame 9)

This marks the ending of her motioninto the right side of the man, andcreates an axis for her right hand pivotto change direction to return to theman's left with a forward crossing of herleft leg (Forward Ocho).

Notice in Frame 10 how he backs

his right leg into his right to make spacefor her to finish her return to his leftside using counter body motion.

After receiving her forward ochointo his left side, he makes her open onemore time into his left using her rightleg (Frame 11). Since he had held hisaxis on his right, he can now advanceforward with his left returning to theparallel system, and changing directionone last time as he moves onto her leftside. (Frame 12).

Next, he changes her direction intohis right by marking an opening of herleft leg onto her left as he opens hisright leg forward to her left side. (Frame13).

Finally, they are back where theyfirst started. He ends the sequence witha closing of his left leg (resolution),which in terms marks for her the Tangoequivalent of a period, signaling that thesequence has ended. She responds byclosing with her right, and readies foranother thrilling spin around the tile.

Alberto and Valorie


This is a copy for you with our complimentswith our invitation to subscribe and join thehundreds of readers who enjoy El Firuleteevery month around the world.


Alberto Paz and Valorie Hart have earned a national reputation for their su-perb, thorough, fair and conceptually clear teaching skills. They cut through therhetoric and gimmicks that keep dancers from fully developing their potential tobecome the best Tango dancers they can be. They share a time honored methodof teaching how to improvise on the dance floor at the social level. Their classesare considered a dance make over from head to toe, always focusing on ele-ments of floor navigation, music interpretation, creativity and the signature con-cept of la marca for improvisation. They have taught all over the United States,and their experiences have been documented in their tutorial Tango, Our Dance,an ongoing series of articles published in this magazine and available on line atthe Planet Tango website. The tutorial has become a valuable source of inspira-tion and reference for many of today's teachers.

Your Complete Connection to the World of Argentine Tango

Photo by Ed Cherrie1000 Bourbon St., #202 - New Orleans, LA 70116 - 504.592.8256

On line, www.planet-tango.com

Documents

GLORIA EDUARDO - Planet Tango · ABOUT TANGO AND MIRACLES GLORIA AND EDUARDO ON THE STORY OF THEIR LIVES ... The sextet was terrific. I ... Gloria and Eduardo