I’m still alive, thinking and living tango. But writing less. Dancing a bit less too, but alas, life gets in the way. I have been out socially a bit less than what I used to and having less flavorful nights when I do. Some politics to deal with and a busy life have kept me from fully enjoying some nights.

I don’t really have much to say so I will share with you two videos from Fabian Peralta and Virginia Pandolfi. These are recent videos shot at Salon Canning, earlier in the year.

I find their interpretation very close to the music. This is the current trend except for older milongueros it seems. And maybe Melina and Detlef.

Anyway, here’s hope that one day I can be as close to the music so that I can then detach from it.

My tango vals question still has to deserve an answer from anyone. Feel free to say it’s a stupid question. But be nice about it.

Ask every Jazz musician how they learned and they’ll tell you: from listening to records. It’s all there a lot of them will say. I feel a lot of that has happened in my tango journey. A lot of times you need to watch a lot to realize what’s happening, just like a jazz musician will only figure out why someone solo’ed using a certain scale or something in between after they themselves have toyed with that idea.

Make no mistake: All improvisational art stems from the shoulders of others. The most admired artists have themselves the utmost respect for their predecessors because in some ways they owe their brilliance to them.

This video brings me back to what I feel is my kind of tango. Deeply connected to the music, the moment and your partner. That embrace couldn’t give a damn about the proper posture and he couldn’t care less about anyone in that room during that moment. That’s what I love when I get in the zone. I just do what I need to do to pour the music out of my body, I don’t care about being judged by qualities or interpretation.

In five years I’ll still be learning from this video which probably can’t be said for a lot of other videos out there. Sorry for the outburst but I’ve just watched a lot of boring tango in the last days…

I think I’ve figured out why I rarely get anything out of musicality classes: They’re not usually taught by people that truly have learned, studied and practiced music.

Understanding music and contextualizing tango music is fundamental to teach about the music itself. Unfortunately, there’s a lot of young teachers out there that are fanatic to the point that they have not (yet?) danced anything else in their life and do not know much more music besides tango. This makes their teachings lack perspective and thus, failing to reach the entire class/audience.

Next time you go to a musicality class, make sure you’re not going to a “let me show you what move/steps I do when this type of stuff comes up in music“. The good news is that it’s very easy to realize when you are at either situation.

Musicality development is inherently personal and everyone needs to go through the individual process themselves. What a teacher should be able to give you are the tools for that. Not just share the end result, ie, a step/move, with you.

Does anyone dance Vals on 2? I mean, emphasis on the second beat as opposed to the first as it is normally danced to.

Is it a practice exercise you do?

Does it feel good at all to followers?

I danced slightly different on one or two songs yesterday. Somehow, my milonga was not anymore based on a more typical/canonical phrasing that normally starts and ends on the beat, albeit syncopated, but it was now spanning measures in a less obvious way. I realized it at a point – boy, my face must have look really apprehensive – but just as it appeared in my dance it somehow disappeared soon after.

This is interesting to me because it means my dance is not dying but somehow evolving. It made me very happy, indeed, made my night. Well, that and also the fact that those tandas were danced with someone that I haven’t danced with in a long time. She was amazing to dance with.

On the other hand, and making it even more interesting, is that it captivates my inquisitive mind of how novelty in musical interpretation appears and develops. A lot of people learn other’s musicality or learn the basics of developing musicality, but this is a bit different. This is the real-time observation of how one’s mind develops over time. Fascinating.

No matter how much you know that you shouldn’t be affected, sharing a dance floor with people doing beautiful open moves can be tough. Yes, we want to think that is all about musicality, small and beautiful. But it still gets to you. And you want to be able to do it.

Maybe to not do it so much afterwards?

I’ve always been into subtleties and surprises. It is if of no surprise then that I normally enjoy more dancing with followers that enjoy the pauses and musically driven movements in our share of tile. I take great pleasure in finding how honest and real the connection is, how much both of us are in sync. I’m a fan of less is more. Lately, I’ve been finding that I must lack the ability to transmit confidence and serenity to my followers. They often ask me what they should have done or they should do while I am pausing. Some have even confessed that sometimes they feel awkward because they’re afraid of not being able to follow what I am trying to lead. In reality, I’m just pausing for a bit.

That has got me thinking for a while. Either I am not dancing with followers that enjoy some pausing or slower movements – which are notoriously harder because they actually require both dancers to have good balance and grounding – or I am lacking the skills to convey confidence and the feeling of just enjoying the pause or slower movement. I believe it’s more of the latter and I have been trying to find how I can improve it. A lot of it is a mental mindset. Some friends tell me I can lead them much better after the Denver festival, noticing an improved sense of confidence and certainty in the movements. That, though, is not enough to convey calm and serenity in slower movements and pauses. I know practice will help but does anyone have insights on this?

Here’s a video of two dancers I admire. A while ago I took a milonga workshop with them. Clearly above what I danced then, it was nevertheless useful. They are dancing an exquisitely slow dance that looks (to me) beautiful. Enjoy it!

that finds most normal/traditional nuevo musics boring to no end? I have a hard time getting motivated to dance to it.

ModernTanguera (MT) has a post concerning a Pugliese Tanda. She details what she considers essential for her enjoyment. I don’t know about people that don’t like dancing to Pugliese. I’m sure there are but I just can’t not dance to it. It’s traditionally considered a special tanda and people tend to save it for their most special person.

What I need to have a follower be able to do to enjoy a Pugliese tanda:

• Balance and lots of it. I need great control over the timming of a walk, side, etc. Throwing me out of balance will make it impossible
• Musicality. It takes two to tango. If I’m the only one interpreting the music, the experience doesn’t work that well. I’ll give you all the time in the world… I expect you to take advantage of it !
• Sharp with picking up the mood and big changes of rhythm.
• Knowledge and control of a floating axis

I had a tanda of Pugliese last weekend with a follower that is a better dancer. It was amazing. I could fully and reciprocally express my musical interpretation. We were very happy at the end but I’m sure she’s had better Puglieses. I’m gonna keep trying to take my Pugliese interpretations further and further…

I am deeply in love by Pugliese’s music. Dynamic, rhythmic, full of suprises. It breathes the essence of what Tango really is. Inside and outside the milonga event.