Subject: Antoinette and Robert- The land of Nod
Created on 30 Mar 2005 20:01:06
Message #2643 of 3454
Posted By Geoff Nicholls
Here's another update from A & R in Buenos Aires

Geoff

From: Antonieta y Roberto This e-mail address is being protected from spambots. You need JavaScript enabled to view it
Reply-To: This e-mail address is being protected from spambots. You need JavaScript enabled to view it
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Subject: [tango_christchurch] The land of Nod
Date: Thu, 31 Mar 2005 04:54:25 +1200


Hi everyone

Another month has flashed by in a whirl of sexy skirts and black suede. Our May return date looms large a joy to think of, of course, but it's come around super fast. February offered TWO festivals on top of all the usual tango mania, and at the moment we're exploring some off-circuit milongas.

The circuit is 5 or 6 milongas over the course of the week that everyone who's anyone goes to everyone being a mix of tourists, young to middle-aged locals, and a few older milonguero men. You can guarantee seeing mostly the same people at, for example, Nino Bien on Thursday who you saw at La Nacional on Wednesday. People dress up or down as they please and, as we've mentioned in earlier emails, the level of dancing is varied, making it potentially less daunting for newcomers to BsAs. But there's a certain amount (we've come to think) of 'n-crowd' mentality and a hell of a lot of picking up being tried on (a tip for girls planning time in BsAs: agreeing to a coffee at the end of the night is tantamount to Yes, I'd love to come home with you!). Joining the circuit is the best way to get reliable dances if you're here for a short period and want to dance a lot (people get to know you quickly and you see lots of your classmates). But it's easy to slot into the routine and we felt we had to get 'off' it for a bit.

Last week our Spanish teacher invited us to Club Bohemios in La Boca. Like Lo de Celia, which we wrote about in our first email, the people were predominantly older and dressed up to the nines (the nines of a previous epoch). The difference is that everybody was dancing purely for the pleasure of it, lots of smiles and laughter. The dancing was very simple though often quirky, lots of steps that you'd never learn in a class. These off-circuit milongas always seem to have one dancer who most exemplifies the jovial nature of the place - always an excellent but idiosyncratic dancer, with a permanent smile, who furrows their brow and sweats profusely when they dance. It's as if all the geniality of the atmosphere concentrates in (or maybe emanates from) one person.

Many of these milongas are for 'partners': people dance with the friends they came with, so it's ideal to take someone to dance with. But it's a good break from circuit-fatigue, and the contrast emphasises what a shark tank the tourist circuit can be. (The atmosphere of the circuit we're describing might sound unfamiliar to dancers who've spent time in BsAs: we're told it's a relatively new and developing scene so we'll be keen to hear whether Graham and Gloria think, after their three years away, things have changed as dramatically as we're led to believe.) Well, the trick of course is to enjoy the best of everything, so that's what we're doing, and learning lots along the way.

This from Robert:

Being a pretty shy and retiring kind of guy, learning to use the cabezada (eye-contact-and-nod) has been one of the most grueling experiences of my life. It has the advantage of being a mutual way to ask/accept a dance and means that rejection is between just the two of you. I've discovered, though, that there's a more nerve-wracking possibility than rejection: accidentally asking two people to dance at once. When there's a group of only women at a table (as there usually are in the traditional milongas) and they all want to dance, the chance that more than one of them is looking at you when you raise your eyebrow enticingly is quite high. Murphy's Law applies, so it's always the other one who stands up first when you head towards that table. When this first happened to me I of course danced with the lady who was standing - it would be humiliating for her to sit down again, while the other lady could simply remain seated and no one was the wiser. However, I suspect that this was cold comfort for the lady who thought she had a dance lined up, only for it to slip through her fingers at the final moment. She never looked at me again!

Recently at El Beso I was angling for a dance with a lady I knew from class. She was, of course, sitting with a lady friend at a far-away table. One strategy is to cabezada while approaching the table, to get a clearer shot, and to walk coolly by in the event of rejection, pretending to be heading for the toilet or the bar. Unfortunately, I was leaning on the bar and the toilet was behind me. I had to wait until she was looking while her friend was not, but of course it's always possible a lady can't see you properly, or isn't actually looking at you, so nursing my preparing-to-be-bruised ego, I eventually decided that the only thing for it was to get closer. I started towards the table, knowing full well that if she didn't look at me before got there I'd have to ask her verbally. Forcing a woman to dance with you like this is, for many BsAs dancers, the height of rudeness (and the chance of verbal and embarrassing rejection is correspondingly high). I had no idea what I might do if I got as far as her table without an accepting nod - I knew I would not resort to a verbal invitation. Ignoring the danger, I strode on (I'm so brave!), staring right at her, ready to nod and put out an inviting hand at the first flicker of attention, still with no plan B. Fortunately, she did turn, she did smile, and she did nod. Unfortunately, with two paces to go, another woman stepped into my path clearly intimating the next dance was ours; she thought I had asked her. She hadn't even been in my line of vision! I felt I had no choice but to keep a shocked expression off my face, and go dance with her, not even getting time to direct an apologetic glance to the still-seated woman at the back of the room. It turned out to be a lovely dance, but as I led her back to her table, I glanced to where my intended partner had been sitting and saw she had gone home. I felt a pang of guilt, and resolved to dance with her as soon as I see her next. If she'll deign to look at me.

This from Antoinette:

Happily, I've progressed from my first month's experience of abject terror at the thought of looking any man in the eyes, or indeed from waist up. Actually I've come to really enjoy the cabezada it feels good to successfully negotiate this private, wordless agreement from opposite ends of a dark room! However, for the very reason Robert mentions above, when a man asks me to dance from across a crowded room I always point to myself and nod - 'is it me you're asking?' - before standing up so that I'm positive I won't be left red-faced on the edge of the floor. Now that I'm at ease with the cabezada, I revel in the freedom it gives me. If I've danced a number of tandas in a row and want to sit one out, I simply don't look around the room. I talk to friends or watch the dance floor to scout for potential future partners for the evening.

You can imagine, then, that it's frustrating when men don't adhere to this custom. Recently, as my eyes wandered the room I noted in passing a cabezada from a man I had met that night in class. I'd found him difficult to dance with, so I kept scanning as though I hadn't noticed (a trick I've also enjoyed learning). But lo! He got up and walked the length of the room and asked me to dance verbally. Turning him down would cause him embarrassment because I was sitting on the edge of the dance floor and he would have to return the way he'd come in full view of everyone else seated. I accepted and immediately regretted it when he pulled me tightly into the embrace, holding his arm around my waist rather than my lower back so that within the space of a minute I was hurting and uncomfortable. I saw out the tanda, asking him politely between tangos to loosen his embrace, which he did. However, this man had attended an advanced class that evening, and should know by now how to embrace a woman comfortably, and why the cabezada custom is adhered to. I should have said thank you after the first, or even the second of the tangos in the tanda of four, regardless of the potential embarrassment for him of leaving the floor mid-tanda, but I was too shy.
Well, I'm beginning to lose this shyness!

It goes against my practise to cause someone embarrassment like this, and I would certainly never do it to a beginner dancer who doesn't know better, but there's a reason I've decided to change my ways... Marian's emails home last month were, I'm pleased to advise, a touch fantastical. However, they stemmed from one truth: what I've come to call 'the Spice Comment, capital S, capital C'. It is true that a man told me, between tangos, that I need to add spice to my dancing. Naturally (for me) a state of dire emotional turmoil followed (although I can assure all I refrained from such extremes as tearing up dresses and ending my relationship by bedding Uruguyan poets). My inane response to this profoundly rude Comment was, 'Oh I know' (shy smile) 'but I'm a bit shy' (apologetic smile) 'I'll learn to eventually' (do-you-still-want-to-dance-with-me-nervous-smile). The Comment went straight to my fragile ego and as far as I was concerned he was telling me I am an all-round boring person (we're taught, after all, that tango reflects our personalities).

Our wonderful friend Gaby was deeply put out on my behalf and immediately taught me some lessons about how to deal with 'arrogant Argentine men'. There are various things I could/should have said, all of which ended with leaving the 'gnorant oaf' on the dance floor by himself - thus ensuring that every woman in the room knows not to go near the man with a barge pole.
Another local friend, who I've never seen sit out more than two tandas in a row, recently had a similar experience. The man she was dancing with informed her - mid-tango mind you! - that she danced with feet of lead. There was a stony silence, and eventually she suggested to him that that was a very impolite thing to say to a lady. He protested that he was giving her important feedback (as we all know, milongas are to be enjoyed no matter our level of dancing, while feedback should be kept in classes and practicas), and during the next tango had the gall to warn her he had more feedback to offer. Her response still dancing, and quietly in his ear - 'If I was you I would think carefully about what you have to say, because I'll have no hesitation in leaving you on this dance floor right now.' They danced on in silence and parted company for good. Naturally my friend has been sure to point the man out to every woman she knows.
Having now heard a number of stories in this line, I've come to the decision that I need to get hard. Woe betide any man who comments on spice in my dancing again! And if I'm dancing with someone who is experienced but makes me uncomfortable at all, then I'll do the stupid tourist act and thank him ever so gratefully after the first dance. Ironically, I have my Spice man to thank for the brave new direction... And thankfully, these experience are few and far between. They're good learning experiences, but I'm happy to add that most of the time I have beautiful nights out dancing, meeting genuinely lovely people and making wonderful new friends. Which is just as it should be!

Well, our email is excessively long again. Sorry about that. As usual, we love to hear all the news from home, so please feel free to write back.
This e-mail address is being protected from spambots. You need JavaScript enabled to view it , This e-mail address is being protected from spambots. You need JavaScript enabled to view it

Saludos
Antoinette and Robert
www.tango.gen.nz

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Subject: Carlos Gavito has died
Created on 01 Jul 2005 21:56:38
Message #2772 of 3454
Posted By Geoff Nicholls

I just received this from the bed and tango list.

Carlos Gavito was one of the great dancers, and many of us will have seen him dancing while in Buenos Aires.

Geoff

-----Original Message-----
From: This e-mail address is being protected from spambots. You need JavaScript enabled to view it [mailto: This e-mail address is being protected from spambots. You need JavaScript enabled to view it ] On Behalf Of Felix Hahme
Sent: Saturday, 2 July 2005 4:43 a.m.
To: This e-mail address is being protected from spambots. You need JavaScript enabled to view it
Subject: [bedandtango] carlos gavito

dear group,
I just got this mail from the tangautu-group in buenos aires:

English translation below
- - - - -

Estimados amigos:

Lamentamos informar que esta mañana falleció Carlos Gavito.
Sus restos serán velados en Gallo 759, Buenos Aires, hasta mañana a las 10 horas.

Cordialmente,
Felix Hahme
- - - - - - -

Dear friends:

We're sorry to inform that Carlos Gavito's passed away this morning.
A wake is being held at Gallo 759, Buenos Aires, till July 2nd. 10 AM.

warm regards felix hahme

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Subject: Kevin''s Chilean Tango Experience
Created on 17 Jun 2005 05:51:46
Message #2748 of 3454
Posted By Geoff Nicholls

Tango - Valparaiso, Chile. September 2004

Thanks to Rosina, I knew of a few tango venues in Valparaiso. My first visit was guided by my local Chilean colleagues to Cinzano an older bistro style restaurant in the centre of the historic district. It specialises in seafood (cockles actually) and very good wine. It was a tango night and I think I was stitched up to attend by my international colleagues. A trio of gents, as aged, weathered and characterful as the restaurant and its cockles, played tango and rumba. I danced with the palaeobotanist from the Chilean national museum in a small space by the trio with barely room for an ocho or two. They seemed to enjoy having someone to dance along. 'I like the way you twist the woman; her bottom looked so sensuous', said one of my colleagues. I think it was the ochos.

The second occasion was at the Imperio Tango Club on Av. Pedro Montt opposite the Italian Gardens. I arived at about 9 pm and teamed up with the only other occupant, an antique gent who would turn out to be my friend. The room was large like a run down 1950s company cafeteria, rows of formica topped tables, entry about 50 cents NZ, Carlos Gardel smiling down from the wall. My new friend ordered dinner with some ginger ale. I tried to order a glass of wine but got a bottle ($4?). Eventually some couples turned up and a man sang to tango CDs. My friend and I danced with the only two single ladies in the hall. Well, he did, I danced with just one. The tango style was wonderfully antique with heavily marked steps and upper body posture. My friend showed me how; I felt that I was hamming up the lead but it seemed to be needed for my partner (the only one of the evening) to follow. The room clapped. The second of our two ladies wouldn't dance with me - it seemed to be something to do with the wine: did she want some, or was I drunk?? About six elderly couples danced tango and merengue together in a very affectionate and cosy fashion as if they had been a long time together and were recovering the past. I was impressed by these dancers and their deeply courteous approach to the dance. When I left I offered my bottle of wine to my ginger beer-drinking friend. A hand came out very quickly and grabbed it... I suppose the 50 cents entry should have told me that I was an intruder in an impoverished, inner-city Chilean social milieu. I thanked the singer, pointed to Gardel and attempted to say that they were both very good. He loved that. "Where are you from?" "Nova Zelandia." "Ah, muy bueno... Muy bueno.... Thank you for coming."

Kevin Jones

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Oct 2005
Impressions of tango: New York, Brussels, Paris, Singapore. September 2005

Three nights in NY. Free dance concerts in Battery Park in the warm early evening. Missed Ballet Hispanico's Dejame Sonar which is obviously a must-do for any one Latin-inclined but caught the Kansas City Ballet. Then on the last night a post-modern dance event: 'There is no wrong place or way to view this dance piece', intoned a disembodied speaker. Yeah, right.

Later, Empire Dance milonga: friendly hosts and generally good dancers on an 11th floor, loft-style dance floor. The star of Empire Dance is Ney Melo (www. neymelo.com), a typically creative and open personality with strong Argentine roots. He encouraged me to come back to the following night's practica when we had a good milonga or two (me leading). He thought I needed to improve the continuity of the exit from the ochos by using a cortada. Last night was at the Ukrainian Village Restaurant. Fabrizio and Mariana did their divine performances to an uproar of applause. An OK milonga event, a lot of spectators and the occasional dancefloor cowboy (see below). I haven't given address details, it will be best to check again on the web.

Brussels. 13 rue Dublin. Setting rather like a small cabaret hall, entered from a street-front bar. Friendly hosts, my first dance was with someone who turned out to be the divine queen bee of Brussels tango (she later announced a forthcoming ball). Generally good dancing, not too crowded, good floor etiquette.

Six nights in Paris. Pratique Les Neuf Billards, not a practica at all, but a young-ish clubby scene in a joint that operates as a billiard saloon during the day. Pratique Latina at Bistrot Latine. Free entry with a compulsory drink (6 Euro). A small-ish upstairs dancefloor, packed from 11 pm most nights and with the inimitable French flair for no ventilation (it is thought to be unhealthy). This would be the most reliable place to find good tango in Paris but it had more than its share of dancefloor cowboys, people with something to show off who hog the floor, positively dangerous ('La piste, c'est dangereuse ce soir') and who really should know better. Not spelled into tandas. There are practicas or milongas here Wednesday through to Saturday. The building is also a Latin movie theatre so a good place to haunt. Pratique MJC Point du Jour. A proper practica in a city-sponsored cultural centre (like a pre-fab classroom). Friendly people from the surrounding fairly posh arrondissement, tried to understand my mangled verbs and appalling French vowels.

Paris highlights.
(1) Orchestre Tango Trio Seinajoki at the Institut Finlandaise, with divine singer Janna Pollanen. Free, with a second performance during the milonga. I had to go to see Finnish tango, a cross between the foxtrot and a Scottish jig, which would not shame a Wairarapa country hall. You can dance conventional tango to the rhythms. To my inquiry: 'A Finnish person told me I wouldn't like their tango, it's too morbid!' Janna says 'Yes, the Finnish tango is sad but only when played in the minor key'. She signed a card for me, I am her fan for life. It may be sad in the minor key but these people know how to have fun!
(2) Les or Los Metallos, at the Salle Olympe de Gouges, near Pere Lachaise cemetery. This had been recommended to me by new-found tango amis and competed with 11 other milongas/practicas on the Sunday pm. A very large hall 600 sq metres with a post-industrial décor and perhaps 150 people dancing. An Argentine DJ putting together tandas.

In NY and Paris, the scene is very big and complicated and you need to find someone simple and unassuming (like yourself) to suss out the scene and find what will be best and what will suit you.

Singapore. Xenbar in 'Old Chinatown'. Upstairs wonderfully antique, smallish and danceable floor in a nineteenth-century mansion, where certain NZ tangueros are well known. Good dancers, good dance floor etiquette, friendly. Tandas played, tangueros are sought after. Salsa here most nights as well.

Kevin Jones
10 October 2005

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Subject: Tango Teachers moving to Wellington!
Created on 25 Feb 2006 22:10:56
Message #3093 of 3454
Posted By Geoff View discussion(2 messages)

The following e-mail is from Nicci.

Let's help them to feel welcome and encourage them to stay in Wellington!

Geoff

Next Saturday, 4th March, we have a lovely young Porteno couple arriving in NZ. David Palo and Camila Zopatti are planning to spend a few months in the country, and hope to do as much dancing and teaching as they can. They are arriving in Auckland on Wednesday 1st March, and aim to be in Wellington from the 4th March where they will look for a room to rent, work and tango opportunities. They may however move to Auckland if there are more opportunities for them there.

I met David in BsAs just over a year ago, when he was tutoring under and translating for a well-known professore, Gustavo Sorel. David was just such a pleasure to get to know, and taught me a lot about tango in a very short time.
David is an actor, who originally learned tango for the purposes of theatre - and then came to love it and live it. He describes himself now as a tango dancer as much as an actor. Despite being really young David has a natural skill for teaching and this is what really impressed me. He has a lovely soft and patient nature and is very good at expressing himself as a teacher.
I am sure Camila will also be a great pleasure - I haven't yet met her myself. The two compete and perform in BsAs together.

Because they are in their 20s they should be able to really get that young kiwi crowd drawn into tango - let's hope!!. If there is anyway you can help them out during their stay, please do. I'm sure everyone will make them feel welcome and happy to be in Aotearoa/NZ anyway.

Cheers Geoff for all your help and advice to David over the past few months!

Nicci

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Subject: Beth and Geoff''s Wedding Milonga!
Created on 06 Jan 2006 09:52:33
Message #3020 of 3454
Posted By Geoff Nicholls
Hi there, you are all invited to our wedding milonga at Latinos in Wellie on
Saturday 18 February, from 8:30pm.

No entry fee, no wedding present, just come along and dance!

Geoff
021 300 365
www.tango.gen.nz

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Subject: Tessa''s New Year''s Eve Tango
Created on 21 Dec 2005 11:46:22
Message #3003 of 3454
Posted By Geoff Nicholls

Dear Folks,
I am happy that so many of you are coming to see the new year in, dancing tango in my basement. It has a wooden floor and a mirror, so you will feel at home.
You will find your way easily if you come up the hill above Kilbirnie from the bottom end of Rodrigo Rd. At the top, Rodrigo Rd turns right and quickly becomes a walking track to connect with the top end of Rodrigo Rd. At the point where it turns right there are 2 roads going straight ahead. They are both Imperial Tce. Take the one on the left. Imperial Tce is a one way road and loops back onto Rodrigo Rd again. My house is the last one on the left in this loop. Number 8. You are almost back on to Rodrigo Rd when you reach number 8. The loop has a hairpin bend at the top. You must go right around the hairpin bend and keep going till you get to the last house in the road.
The phone no. is 3878970 in case you have a problem.
Looking forward to dancing with you,

Tessa

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Subject: Tango on National Radio!
Created on 17 Aug 2006 22:45:09
Message #3311 of 3454
Posted By Geoff Nicholls

Some of you may know the Spectrum programme which plays on National Radio on Sundays at 12:30pm.

Keep your ears peeled on Sunday Sept 10 for a 25-minute broadcast on Tango in Wellington, based on a visit that Jack Perkins made to the Saturday practica today, tentatively titled "Tango, an Intimate Walk". It will be available after that via Podcast from the Radio NZ site.

We can thank a friend of Austin for putting him in touch with us, and when I last saw him this afternoon he was very pleased with the material that he was collecting, in the form of interviews with dancers, snippets of tango history, the music wafting through...

This is more great coverage for tango in the media, and hopefully it will persuade more and more people to try it and, naturally, fall in love with it.

Geoff

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Subject: Re: The Move to Competitive Tango
Created on 30 Sep 2006 04:47:36
Message #3393 of 3454
Posted By Geoff View discussion(2 messages)

 

This email of Cecile's prompted a rather firm response from Ian Jenkins, who is in Buenos Aires at the moment.

OK, I promise not to send on any more promotional material of a contentious nature, and I have just created another email group on Smartgroups for discussion about topics such as this that the wider community may not care about.

It's called This e-mail address is being protected from spambots. You need JavaScript enabled to view it and the website is http://www.smartgroups.com/groups/tangotalknz

I've posted both Cecile's email and Ian's reply there. If you want to discuss this you'll need to do it there, I'm not letting any more emails out on this topic.

Geoff
021 300 365

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Subject: The Move to Competitive Tango
Created on 27 Sep 2006 14:26:21
Message #3387 of 3454
Posted By Geoff View discussion(2 messages)

---------- Forwarded message ----------
From: C Bale This e-mail address is being protected from spambots. You need JavaScript enabled to view it
Date: 27-Sep-2006 21:56
Subject: The Move to Competitive Tango

*TO ALL TANGUEROS/ TANGUERAS*

Not all of us have given much thought about competing in the Int'l Tango Congress of NZ. To some tango is Non-competitive. To some they wish to be competitive but doubt their skill levels. Whatever your thoughts tango is now center stage in a competition of worldwide importance. 'CampeonatoMundial de Baile de Tango' is here, and here to stay.

Here are some thoughts. Please send to everyone.

*Nigels**' quote* "I was never much of an advocate for competitive tango but this last month has been an eye opener. Visiting Buenos Aires with Cecile to support our Kiwi Team in the world champs has been extraordinary and is to be experienced to be believed. What impressed me probably the most was the depth of experience, in quality dancers, and musicians alike. The whole city of Buenos Aires was given over to this event. With television advertising, huge billboards through out the city, news events, Medias worldwide (did you see Matthew & Sarah on BBC News?). This event was huge! 12 countries competed in 2005, 22 countries competed this year and the organizers expect over 30 next year. There's no doubt competitive tango has arrived.

So what are the spin-offs on an event of this nature?

Not only to see & hear the best tango bands of the world on stage ( Narcotango Yayy!), concentrated all at the one time over seven glorious days but you begin to understand the incredible depth of tango musicians in this country.
Seeing professional tango shows performing on the stage during the competition is extraordinary, teachers & performers like Pablo Villarazza & Dana Frigoli, Miguel Zotto & Maria Nieves, Mora Godoys' tango stage spectacular 'Tangodisea', Roberto Herrera & Tamara Bisceglia (who's coming to NZ at the Congress) and lots more.
The tango singers, one mature lady who reduced me to tears even though I couldn't understand a word, but so passionate was her singing you could not help but be moved.
Tango mentors, names you've heard but never met like Tete (Pedro Rusconi), Melina Plebs, Julio Balmaceda, Claudio Gonzalez & Melina Brufmann, and many more, all there, approachable, friendly, and eager to discuss the passion of the dance. The presence of Hollywood actor Robert Duvall, from Assassination Tango movie.

And now for the main event, the competition. We get to see and enjoy the best amateur & professional tango dancers in the world. Competing country against country, couple against couple, their skill level leaves me wondering. The wonderful spirit of camaraderie that prevailed amongst the competitors. Friendships that were established and will probably go on to last a lifetime.

Being part of an audience, several thousand strong in the finals that cheered with every crafted footwork; that took their pleasure from watching the best of the best from all over the world. And how skilled they were! And how skilled Antony & Alison; Matthew & Sarah were! And how we roared! Flags flying!

But perhaps the biggest spin-off is being inspired. Inspired to up-skill, inspired to learn and inspired to compete. Such is the nature of this competition.

And believe it or not WHO do they have to help you up-skill at this Int'l Tango Congress? Some of the best dancers in the world!

So now, my thoughts about competitive tango have changed somewhat - essentially Tango has an element of competition anyway. Now it is drawn out, transparent & presented in a format that is both constructive & inspirational. Just wish I was 20 years younger!"

If you have any desire to compete in either Stage or Salon tango, give me a Buzz!

Muchos Besos

Cecile

*The Aerolineas **Argentinas** Int'l Tango Congress of **New Zealand***
*20th - 23rd October 2006, Auckland*
Contact: Cecilia Bale
P: +64 9 482 3394
M: +64 21 482 339
F: +64 9 353 1725
E: This e-mail address is being protected from spambots. You need JavaScript enabled to view it
www.tangoenz.co.nz

---

Subject: Re: Competition
Created on 28 Sep 2006 07:50:43
Message #2 of 3
Posted By Geoff Nicholls View discussion(2 messages)

This e-mail address is being protected from spambots. You need JavaScript enabled to view it to me
More options 13:17(5 hours ago)

Jeff

Regards. I have to come out of the slums of BA to answer this. Most of this email is so hyped up as to be fantasy.

"The whole city of Buenos Aires was given over to this event. With television advertising, huge billboards through out the city, news events,"
This is completly incorrect. I doubt if the average argentinian in the street knew it was on. At milongas and lessons there was almost no mention of it. There are many Argentinians who dont have any money at all. Tango gives them nothing and competitive tango even less. Obviously people in NZ will hype it up to gain publicity for their own events. tango will always be a social way to break down barriers. I have no problems
with advertising provided people realise it is fantasy. For me the best moments in tango come at unexpected times with strange people. They can not be predicted or planned for.

There will alwys be people who need to compete in everything. For the rest of us lets spread the word that tango is a great way to meet people on a social level.

If this email reaches the people in Auckland. I enjoyed your company immensely but have to agree to disagree with you about competitive tango.

Keep up the good work in Wellington.

Regards
Ian

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Subject: competition
Created on 29 Sep 2006 01:21:32
Message #3 of 3
Posted By craig View discussion(2 messages)

Funny how such opposite views can come from the same experience...

A couple of points to chew over:
Tango is a thing where people at the top of their abilities get together to see what they can create together, as opposed to the olympics where you try and beat the other players.

Numerous studies on competition have shown it actually reduces the quality of the output. Pilots competing for promotions fly less safely, scientists competing for grants or with each other produce fewer new results. Companies competing are in effect limited by having all their attention on their competitors rather than on quality.

There is the danger of the Judging component of a competition limiting the free development of the art form - cos competitiors are trying to get it "right" to win. Diversity and possibility for choice and creation of personal style is a beauty of tango, and not helped by judging.

And of course: How can you Judge and artistic endeavour?
How is a Picasso better or worse than a Renoir or a Monet?

OF course it is peoples free will to enjoy their tango in what ever way they see fit.

My personal preference is to have exhibition dances as a celebration of what 2 (or more) people can create from their chosen art, and enjoy it for that. Like we do with the teachers at festivals.
Judging those would only put us in our heads and stop us enjoying the offering, and after that it would only be one persons opinion on which they enjoyed more.

Maybe we should just make the prize drawn out of the hat. And not get our egos invovled in whether we "win" or not.
OR make the competitors come to a consensus about who they collectively think has the most merit for what ever reason they think is the most important on the night...

Humans are such funny creatures arent they?

Hugs
Sooty

 

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