The Tango-L mailing list archive
Digest from 26 Jun 2000
to 27 Jun 2000
Reply-To: Discussion of Any Aspect of the Argentine Tango <TANGO-L @MITVMA.MIT.EDU>
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Date: Tue, 27 Jun 2000 03:00:30 -0400
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Subject: TANGO-L Digest - 26 Jun 2000 to 27 Jun 2000 (#2000-175)
There are 12 messages totalling 837 lines in this issue.
Topics of the day:
1. Let's hear the music and dance
2. Which freedom for women in tango ?
3. Santa Fe Tango Retreat: A Magical Week
4. =?ISO-8859-1?Q?R=E9p.=20:=20Which=20freedom=20for=20women=20in?=
=?ISO-8859-1?Q?=20tango=20=3F?=
5. Practice, practice
6. women in classes (3)
7. Let's hear the music/and lyrics and dance.
8. Good leaders/Good followers
9. women in classes.
10. Montr=?ISO-8859-1?B?6WFsIOA=?= moi (The drums)
Date: Mon, 26 Jun 2000 10:38:25 +0200
From: Jean-Pierre Jacquet <jpjfilms @CYBERCABLE.FR>
Subject: Let's hear the music and dance
Among the oft-repeated affirmations re the do's and don'ts of Argentine
tango (along the lines of "never play Adios Muchachos at a milonga,
never start dancing on the first note but wait a few bars...") is the
one that says that sung numbers have no place at a milonga because they
distract the dancers from the music. I am too green in the field to
discuss the accuracy of this one, but I will venture to say that lyrics
have very little influence on dancing. I happen to think that
musicality, and its corollary, style, are more important in dancing
than sheer technical skills; and if one focuses on the music, the lyrics
become somewhat irrelevant, in a dancing situation. There is more than
one way to skin a cat, and there is more than one way play a tune;
playing up-tempo a tune meant to be played slowly because of mournful
lyrics does not necessarily betray the song.
Not to mention the fact that the vast majority of non hispanophone
dancers is not about to hit the dance floor with a greasy copy of a
lunfardo glossary dangling from their belt. At the few (humbling)
workshops given by top-notch dancing/touring pros that I have attended,
the emphasis is always on listening to the music rather than
choreography.
As one whose knowledge of spanish is more than dubious, I pay zero
attention to the lyrics when I dance, and yet I am extremely sensitive
to the voice quality, timbre, color and musicianship of the singer, when
dancing to a sung tango; they reach my emotional fibers just as much as
the music itself (for better of for worse, because there's a lot of
mediocre singing out there...). In other words, words don't really
matter, but don't nix the singing, it might improve on the music.
Jean-Pierre Jacquet
Date: Mon, 26 Jun 2000 17:52:24 +0200
From: =?iso-8859-1?Q?=22LIGER_Michel=2C_CETE_M=E9diterr=2E/DIT=22?=
<michel.liger @EQUIPEMENT.GOUV.FR>
Subject: Which freedom for women in tango ?
Hola list
I would very much like to know about an aspect of the leader-follower
relationship.
I was taught that everything in tango must be led, including the cross and
the least gancho.
On the other hand, I read about the follower, in her follower's physical
position, leading the leader. I even found a video title on this technics.
But this is not exactly my point. My point is: are there in between those
extreme visions other possibilities that you practice in your tango ?
To start with, here is the facts which my question derives from.
I have a regular partner and we together experience various kinds of
feelings: from sensuality to laugh. In certain circonstances making a fault
and skillfully recovering can make us laugh heartily. Another example,
sometimes she accelerates her back ochos if she feels like moving faster.
But our funniest move is when my partner suddenly blocks a movement or
escape from my leading to step differently from my intention; this could
hardly happen when walking in close embrace but is easy in more complicated
figures where the leading is subtle and could easily be misunderstood.
Actually she understands it but kindly *rebels*: it is a practical joke that
gives me as the leader a sensation of surprise, a challenging situation to
cope with. This proactive response to my leading also reinforces our mutual
communication.
This practice of her is not orthodox I am afraid, but she does'nt do it more
than once a week, so I hopefully will be forgiven for tolerating such a
feminist attitude :-) :-)
Seriously, do any of you have a practice where the follower takes
initiatives and does it enrich or disturb your tango ?
Many rich and peaceful tangos
Michel
Michel Liger
Aix en Provence, France
Date: Mon, 26 Jun 2000 10:52:53 -0500
From: Stephen P Brown <Stephen.P.Brown @DAL.FRB.ORG>
Subject: Santa Fe Tango Retreat: A Magical Week
I want to congratulate Michael & Luren for organizing a magical tango
week in Santa Fe. The Santa Fe tango week was more expensive than
competing weeks, but the week was extremely well organized and all
arrangements were first-rate including the hotel where the event was
held and the seven milongas, five breakfasts and five dinners that
were included in the registration fee. More importantly, the
chemistry of the week was nearly perfect.
The lineup of instructors was great, including Osvaldo Zotto and
Lorena Ermocida, Danel and Maria, Julio Balmaceda and Corina de la
Rosa, Leandro Palou and Andrea Misse, and Gabriel Misse and Maria.
All of the instructors were very capable teachers, extremely generous
in their teaching, and very willing to work with students of all
levels.
One of the things that separated this tango week from four that I have
previously attended was the high level of comraderie and affection
that developed between the instructors and the students. Cameras were
everywhere on the final night with students having pictures taken of
themselves with the instructors and instructors having pictures taken
of themselves with the students.
As one might expect with the lineup of teachers that had been
assembled, the closing night exhibitions were breathtaking Michael
and Luren also gave a stunning exhibition on Tuesday night. Those of
us who stayed late at the milongas also got to see the intructors
provide exhibitions of Argentine folk dancing on several nights.
Despite their considerable exhibition skills, all of the teachers
emphasized the development of social dance skills, clearly indicating
their extensive experience and skills in social, as well as
performance dance. I was particularly taken by Osvaldo & Lorena's
beginning level milonga class on the last day. They emphasized the
development of basic skills for milonga including working with the
rhythm of the music, line of dance, walking and simple elements such a
forward ochos. What was particularly stunning to me was watching how
beautifully they could dance milonga with just a few simple elements.
--Steve de Tejas
Date: Mon, 26 Jun 2000 13:46:33 -0400
From: =?ISO-8859-1?Q?Jean-Fran=E7ois=20Bouchard?=
<jean-francois.bouchard @MEQ.GOUV.QC.CA>
Subject: =?ISO-8859-1?Q?R=E9p.=20:=20Which=20freedom=20for=20women=20in?=
=?ISO-8859-1?Q?=20tango=20=3F?=
Concerning Michel Ligers's question regarding women's freedom in interpreti=
ng tango.
As a leader, I expect my dancing partners to surprise me with their own =
reactions and creations, within the general framework of my own leading. =
It keeps me alert ! And it forces me to be more creative. Besides (in my =
mind) tango dancing should be a form of communication.=20
Jean-Fran=E7ois Bouchard
Quebec
Date: Mon, 26 Jun 2000 11:11:16 -0700
From: Kate Withey <withey @SFO.COM>
Subject: Re: Practice, practice
Andy Ungureanu asks:
> What do you prefer?? Should we talk about it? while dancing? after the
> dance? Not at all?
> Do you prefer only positive comments? (Do you really believe them? They
> usually depend upon the way you look tonight)
> Did you try to explain to the leader, something about his leading is not
> OK? Or do you fear he will never ask you again?
> This is the chance to tell the guys what you really want!
The answers to these depend on where you're dancing. In a *milonga* (evening, dim
lights, dressed up, etc.), just dance. Don't tell her what to do; discourage her
(politely) from telling you what to do. Try to lead. If she doesn't follow, lead
something simpler, or try a different lead (not, please not, a *harder* lead for the
same thing!). Keep trying simpler things until you are dancing *together* even if
you're just doing a beautiful tango walk.
In a *class or practica* (day or earlier evening, lights up, more casual, steps being
taught or worked on), conversation & discussion are OK. But do it from a point of
view of figuring it out together, not telling her what to do (this goes for women as
well as men!). Say "What do I need to do for you to do X?" -- & be open to her
answer.
If your tango community doesn't have this distinction, start a practica!
Kate :)
"Great dancers are not great because of
their technique; they're great because
of their passion." - Martha Graham
Date: Mon, 26 Jun 2000 14:27:01 -0500
From: Lois Donnay <donnay @FOXINTERNET.NET>
Subject: Re: women in classes
I also have spent some time in wondering why women don't seem to
attend classes in the same numbers as men. Here's some theories:
1. Women don't have the fiscal resources.
2. Women don't know that you need special skills to be a good tango
follower. They assume that if the leader is good enough, they can
follow.
3. The women feel left out as instructors concentrate on the skills
needed (or, heaven forbid, patterns wanted) by men.
4. Women are used to getting free (although not very useful) lessons
from men on the sidelines at dances.
I set up a class for follower's where the men could come to help for a
reduced price. It was patterned after a similar West Coast Swing
class. More than half of those who came were men, so I just turned it
into a class for everyone. Still more men come.
Last night at a class held here by Florencia Taccetti, she took the
followers to task. She said our leaders will never improve unless the
followers do. If the followers need to be pushed and can't keep their
own balance, the leaders will revert to arm-leading and be unable to
use what she's teaching, and she'll have to come back and start all
over again!
Lois Donnay
Date: Mon, 26 Jun 2000 14:42:43 -0500
From: Stephen P Brown <Stephen.P.Brown @DAL.FRB.ORG>
Subject: Re: women in classes
Lois Donnay wrote:
>I also have spent some time in wondering why women don't seem to
>attend classes in the same numbers as men.
Although agree with the reasons that Lois gave that women might
not attend classes, I am not sure that I agree with the
observation the fewer women attend classes than men. Most classes
that Susan and I have attended or taught in a variety of cities
around the United States seem to attract more women than men.
Organizers of tango weeks that attempt to achieve a gender balance
usually close registration to women before men.
By the end of a tango week, fewer women may be attending the
classes, but that is probably the result of spending the entire
week walking backward in heels.
>Last night at a class held here by Florencia Taccetti, she took the
>followers to task. She said our leaders will never improve unless the
>followers do. If the followers need to be pushed and can't keep their
>own balance, the leaders will revert to arm-leading and be unable to
>use what she's teaching, and she'll have to come back and start all
>over again!
I agree with Florencia's interesting observation. A highly skilled
follower challenges the man to develop and maintain his skills.
Dancing with a poor follower makes it more difficult to maintain
refined leading skills.
--Steve de Tejas
Date: Mon, 26 Jun 2000 15:55:14 EDT
From: Charles Roques <Crrtango @AOL.COM>
Subject: Let's hear the music/and lyrics and dance.
Greetings,
Jean Pierre Jaquet wrote:
>>>Among the oft-repeated affirmations re the do's and don'ts of Argentine
tango (along the lines of "never play Adios Muchachos at a milonga,
never start dancing on the first note but wait a few bars...") is the
one that says that sung numbers have no place at a milonga because they
distract the dancers from the music.<<<
Actually that is not true at all. There are many great sung tangos played at
milongas. But there are good danceable tangos and others that are not. One
needs to distinguish between the tangos meant to be listened to and the ones
that are for dancing. Yes, there are many heavily orchestrated vocal tangos
that are almost impossible to dance to, like some of the songs featured in
tango shows, but there are others that are wonderful to dance to such as
"Hotel Victoria" by the D'Agostino orchestra with Angel Vargas on vocals.
Another very lush but very danceable sung tango is "Malena" by Lucio De Mare.
Many of Alberto Castillo's songs with the Tanturri orchestra are great dance
tunes as are many by Miguel Calo's orchestra. "Pobre Flor" and "Sonar y Nada
Mas" are two great sung waltzes by the De Angelis orchestra. These singers
are respected because they don't obscure the "compas" or tempo of the song
with the lyrics. In fact they often use their voices in a manner that
contributes to the rhythm. The list is very long. Besides, when one becomes a
more advanced dancer, it is wonderful to dance to the melody of the song and
not just the tempo. I love dancing to the sung melody of "La Mulateada", the
milonga by DiSarli. Many of the lyrics don't have to be understood to enjoy
their melody.
Another important thing to keep in mind is that the tango music literature is
huge. The music has been around for over a century and has been recorded
since the earliest days of acoustic recording. It is very easy to go into a
music store and buy a "tango" CD, especially the compilations, and find a lot
of junk on it. There is a lot of stuff I don't even want to listen to, much le
ss dance to. And even the greatest orchestra leaders have put out some
mediocre material. At $15. to $20. a CD it pays to do a little research
before buying and pay attention to what you hear at the milongas and ask for
names, etc. If you only dance to instrumental tangos you are missing some
incredible dancing songs.
Cheers,
Charles
Date: Mon, 26 Jun 2000 16:33:53 +0100
From: white95r <white95r @HOTMAIL.COM>
Subject: Re: women in classes
A curious thing memory is! Just reading this thread I remember now that many
years ago, before I got interested in dancing Argentine tango, I watched a
class in Oakland where (now I know) Nora Dinzelbacker taught. I remember now
that there were about 4 or 5 more men than women (woman?) in that class.
It seems that the men do attend regular classes more regularly and
frequently than women. A number of teachers report this and I've seen it
personally. The opposite tends to occur with tango weeks, workshops by
travelling teachers and milongas.
I think that many women participate on these events in greater numbers
because they are seeking better or just different partners. Some women have
told me before that they are tired of dancing with inept, beginner leaders.
They tend to only attend advanced level classes (no practicas) or workshops
to avoid dancing with the less experienced men. There is an ironic result of
the women not attending classes and practicas, the men do not get a chance
to get better due to the lack of partners to practice with, and the women
themselves do not improve and sometimes they actually get worse because they
do not learn or practice. Of course, the less the women improve, the more
they blame their leaders for their less than enjoyable dances and the more
they stay away from the guys. Before long, the only partners these women
seek are the best and most skilled leaders who are the only ones that can
compensate for the women's lack technique. Unfortunately, this just
reinforces these women's beliefs and the vicious cycle is totally
established.
I had a candid conversation once with a well know and respected Argentine
master. He told me that he hated to dance with the women at the places where
he taught workshops because it made a lot of problems for the men in these
communities. He said, they think they can really dance and do not realized
how bad they are because I (or another master) can make them dance. When
they dance with the men in their community, and they cannot follow, they'll
say something like "I danced with so and so and I did it just fine!" or "so
and so led me and I know that I can dance". They become convinced that they
can dance very well and the men cannot so they stay away and blame the men.
Of course, this is not true for all or even many women. I do not want to
generalize but it is interesting how finally this subject has come up. I'm
very grateful and happy with the enthusiastic and frequent participation of
the women and men in our community. We are lucky to have wonderful dancers
and fine folks in our neck of the woods.
Good tangos to all,
Manuel
Original Message -----
From: Stephen P Brown <Stephen.P.Brown @DAL.FRB.ORG>
Subject: Re: women in classes
> Lois Donnay wrote:
>
> >I also have spent some time in wondering why women don't seem to
> >attend classes in the same numbers as men.
>
> Although agree with the reasons that Lois gave that women might
> not attend classes, I am not sure that I agree with the
> observation the fewer women attend classes than men. Most classes
> that Susan and I have attended or taught in a variety of cities
> around the United States seem to attract more women than men.
> Organizers of tango weeks that attempt to achieve a gender balance
> usually close registration to women before men.
>
Date: Mon, 26 Jun 2000 18:04:01 EDT
From: Charles Roques <Crrtango @AOL.COM>
Subject: Good leaders/Good followers
Greetings,
Manuel wrote:
<<I had a candid conversation once with a well know and respected Argentine
master. He told me that he hated to dance with the women at the places where
he taught workshops because it made a lot of problems for the men in these
communities. He said, they think they can really dance and do not realized
how bad they are because I (or another master) can make them dance. When
they dance with the men in their community, and they cannot follow, they'll
say something like "I danced with so and so and I did it just fine!" or "so
and so led me and I know that I can dance". They become convinced that they
can dance very well and the men cannot so they stay away and blame the men.>>
Thanks, Manuel for bringing up an excellent point that bears re-emphasizing.
Leaders and instructors that are advanced are capable of leading women to do
steps that they don't even know but that doesn't mean that they are then
capable of doing that step when led by others. Those of us that teach like Man
uel and others on the list are able to compensate and more or less force you
into steps. I often joke with beginning dancers and recent dancers, "Didn't
know that you could do that, did you?" And in essence you still don't. If a
man who is not advanced can't lead you to do a step that doesn't mean he
doesn't know it or that you know it better. That also doesn't mean we think
you are such a good dancer either. It just demonstrates our ability, not
yours. If you use that for an excuse to not need to practice as much or only
dance with advanced dancers you are only deluding yourself. Besides we won't
continue to ask you if we have to "carry" you into every step. Consider
yourself fortunate and then go back to practice and be a little more humble.
There are plenty of so-called advanced female dancers out there who still
can't do a back ocho or molinete correctly. We don't need any more of them.
The same goes for the men. If you are fortunate to dance with your female
instructor or an advanced dancer and they can follow you remember that they
probably already know what you are trying to do so they can compensate. Don't
go back and berate your student followers because they can't do it. Both of
you should be humble and keep working on it together. The biggest block to
learning to dance for both men and women is their egos.
Just like in learning a new language, if you want to learn to speak without
an accent first learn the noises common to that language. Reading, writing,
vocabulary and grammar will come later. Learn the same way you did as a
child. Education means nothing when learning to speak a new language just as
it means nothing when learning a new motor skill, like dancing. Just because
you know a few big words doesn't mean you speak the language. Just because
you know a few fancy steps doesn't mean you know tango.
Cheers,
Charles
Date: Mon, 26 Jun 2000 15:07:38 -0600
From: "Bauer, Russell" <russell_bauer @NREL.GOV>
Subject: Re: women in classes.
Lois Donnay wrote:
>I also have spent some time in wondering why women don't seem to
>attend classes in the same numbers as men. Here's some theories:
>1. Women don't have the fiscal resources.
Here's some observations that give support to disprove the above theory.
Classes taught by local teachers (Denver metro area) costing $5 to $8 almost
always have more men than women. At times about 3 to 5 men for each woman.
The most expensive classes by visiting teachers at $25 a class almost always
have more women than men. The $4 practicas and $5 DJ'ed milongas usually
are fairly balanced and many times have more men. The milongas with live
music, which are $10 - $15, so far, always have had a lot more women than
men.
I would like to add a hypothesis: Men like the close-embrace or milonguero
(sp?) style of Argentine tango more than women do. Women like the stage
style more. Is the trend of many classes having more men than women recent?
Is the close-embrace taught more now than in the past? I would like to ask
the people who wrote in before about the number of men to women in classes
you taught or attended, what style of Argentine tango were you or the
teacher teaching?
Russell Bauer
Date: Tue, 27 Jun 2000 02:56:26 -0400
From: Keith Elshaw <keith @TOTANGO.NET>
Subject: Montr=?ISO-8859-1?B?6WFsIOA=?= moi (The drums)
Several people have asked me by email to write about Montr=E9al from my
perspective as a new person in town.
It's been 3 months now, and I've been thinking about what to say all this
time as I settle in. Even so, I had pretty much dismissed the idea of simpl=
y
writing a post to TANGO-L just for the sake of it.
But after this weekend's experiences, I'm inclined to think there might be
some benefit in trying to describe a couple of the reasons I think Tango is
working so well here: for those trying to promote growth, perhaps some food
for thought as to how to see your own community in a new way; for those wit=
h
a desire to have a fun few days in a distant city, some images you might
appreciate.
First, here are the parts I'm skipping over because you can imagine lots of
people saying them (perhaps about many places):
Hot dancing community (more than just Tango); deep and growing in knowledge
and commitment; close ties to Buenos Aires; warm ambience in mostly
Tango-only venues; great creativity in presentation; excellent Tango
musicians (*see bottom); night-life; passion for life and Tango; values
worth emulating; inexpensive. Beaucoup des danceurs merveilleux. Joie de
vivre. Life is in the air.
Secondly, also briefly, Montr=E9al is blessed because of its physical layout.
When I speak of Montr=E9al, I mean only the heart: Old Montr=E9al, downtown, an=
d
most especially, le Plateau (the area lying east of the mountain). The
latter is where the Tango is and where we live. You can walk to all the
places. Longest walk between them would be 35 minutes, from
farthest-to-farthest, to give you an idea. The main ones are 12 minutes
apart on foot.
You can walk everywhere here. Many streets and buildings remind you of
Buenos Aires. It was imprinted from the beginning with a template of
church/barrio, so the scale is very human even today. There are high-rises,
but they are not a distinguishing feature. Small streets with 3-storey
buildings are. Parks. Roller-blade/bicycle lanes. Little shops and romantic
restaurants (many displaying signs inviting you to bring your own wine).
Spanish, South American, Portugese, Greek, Italians, Lebanese, Caribbean.
Others. (Most in my French class are from South America and Asia).
Sensuality. Laissez-faire. You don't need a car or a big budget for taxis.
You don't need a big budget at all. Everything is affordable.
After you go dancing, it is possible the next day you will meet a person or
people you know from - or saw at - the Milonga. This is when it hits home
that you are in a village. And this village is the home of a tribe.
The +mindset+ that has existed as the city grew from it's 17th century
origins are Latin, Catholic and Qu=E9becois ... with a little (later) Anglais
thrown-in. (Outside of the area I have described, it's a city akin to any i=
n
North America. But we do have the Laurentian Mountains to the north and
unique Qu=E9bec all around).
=20
To me, the biggest difference between Buenos Aires and Montr=E9al is how the
climate dictated design. It is not so hot here, so we don't have the
avoidance-of-sun issue. The sensibilities otherwise seem very close. (Well,
Montr=E9al is only 1/12 the size in terms of population). Both are
historically important ports-of-entry on a big river opening to a vast
continent. We have the grand old churches; little balconies, steeples and
embellishments; the wild colors and bold statements of personality. Here,
too, you feel you are in a crazy, artistic Europe. Montr=E9al oozes warmth an=
d
personality.
And this leads me to what I want to try to say: if you accept that in Tango
you have to KNOW WHO YOU ARE to really access it and become fluent, it
should follow that a community should know WHO IT IS if it is to be strong
and vibrant.
All things being relative, every place has it's own sense of self. In North
America, we all look at New York City as being the clearest example of this
realized on a big, complex scale.
Something tells me that, if I paint the following picture, it's going to
help somebody somewhere understand how to draw more possibilities from thei=
r
community. Well, I hope so.
The Tango scene, il est fran=E7ais ici. Fortunately. Tango is big here becaus=
e
it has been embraced by members of a Tribe (underlined, bold, italics).
We Tango lovers are part of a tribe, too; but this one is specific to a
locale and a culture with roots; also with a pleasant lack of plastic
self-conciousness.
I came from a multi-cultural city (Toronto) with energy, lots of money and =
a
future - but it is a community of communities (read: abashed big ego$ on th=
e
make, growth for its own sake, schizoid and rambling awkwardly like a
teen-ager, rather impressed with itself for some good - but not enough -
reasons). The opposite of a tribe. Honestly, I thought I rather liked it fo=
r
30 years. It is naturally against that back-drop that I look at this
community in which I now made my home.
Qu=E9becois know who they are. Underline that, too. A communal pause to
reflect, so-to-speak, does not have to be paid for by the government to
generate an "enthusiasm." They do it here on occasion because it signifies =
a
very clear identity and a will and a celebration. It is not "out there" ...
it's in the heart (sound familiar?). All other celebrations must be
understood in this context. These people get it. They live it. When you're
around them, you get it too.
This past weekend was the f=EAte nationale - St. Jean Baptiste day (also
celebrated in Spain).
The parade through old Montr=E9al was at night. They had marvellous ways of
bringing light along and it was "real" people in the parade - dancing,
singing, in dialogue with the people of all ages along the streets. A
happiness was abroad that was honest and infectious. Multi-media displays o=
f
images of personages important to the culture. Music. There was a theme tha=
t
drifted in and out, "Qu=E9bec, Qu=E9bec!" Arms and voices raised, faces a-glow.
Motivating. This is where it struck me that it was very different from
orchestration. This was common inspiration. Tradition, yes. Officially
sanctioned, yes. But if it was not so, it would have occured anyway, I saw.
This was further demonstrated to me the next night.
But - it's THE DRUMS I have to tell you about. This whole piece is about th=
e
drums. Here is where I found I could put my finger on "it" ... that magical
something that underlies the life that supports life - and Tango - in
Montr=E9al, embodied in an energetic expression of the people. Allowed by the
powers-that-be even if they don't like it. There, growing and not going
away. A generalized metaphor if I can catch it.
The parade was really fun. Memorable moments for over an hour. Then, you
could hear drums coming. Jungle drums. Loud and demanding. Very Sexy.
When they pounded by, it was not what you would expect to see. Not people i=
n
uniforms, not people staring straight ahead, not a military beat. No, this
was, it looked like, just people banging drums, together. Disciplined, but
wild and evocative, like from Africa. We fell in behind them. Most in the
parade route did. We followed them down rue St. Jacques, knowing they were
taking us to the fireworks.
People above looking down and saluting us from windows and balconies. The
stars. The constant interaction of people and drums and those all around.
Little songs breaking out. Laughter. Echoes of De Gaulle and "Vivre Qu=E9bec
Libre!" sounded more like a sane plea to party-on than anything else. But I
heard - felt - underneath, a heart beating. A heart that only wants to live
like I want to live. Like the heart that beats when I dance Tango. Piazzoll=
a
is also loved here. Rebellion as vitality. Boldness a pure necessity.
Express or die. There is no choosing about it. That's why there are so many
artists in Qu=E9bec. Susan says she doesn't paint because she wants to - she
HAS to paint. =20
The fireworks were spectacular in the circumstances. Thunder (those
drummers!), then lightening.
Next night (Saturday). In Parc Maisonneuve there were 250 thousand people
watching free entertainment, but we were in our quartier at a street affair=
e
on St. Viateur. The jazz ended. We were slowly meandering towards an unknow=
n
destination on this lovely night. Neat smells, neat people, no airs. Just a
glow.
Drums start up. THE DRUMS! I knew right away it was THEM. My heart jumped.
It's midnight, and in a residential neighborhood, 40 people with drums and
percussion instruments start rockin'. It's loud. It draws the people into
the beginnings of a trance. Here we go.
They were making their way up the street. This time, we were ahead of them,
slowly backing-up. It is a wicked African poly-rhythm. As as after the
fireworks, Susan Major and I can't resist - we dance our Tango inclinations=
.
I lead mostly a dynamic walk with change of direction. Energy. (She heard a
woman off to the side say, "Look - Tango!" I only heard the drums). We are
moving with the Yerubas playing for Shango, the god of thunder, 150 years
ago on the docks of Buenos Aires. (It happens that before discovering Tango=
,
Susan spent years dancing African dance in bare feet. It was hard for her t=
o
put on heels and let a man lead. So she is a good teacher, now that she is =
a
partner to die for as well. I have a percussion base in me. I drum with my
feet when I dance tango. Susan is completely with me).
Oops - the drummers took a turn down l'Esplanade. Now we are behind them.
The progress is slow and easy. They stop walking every few minutes.
Fire-breathers excite the crowd. But the drummers never stop beating. Here
is what they do:
Sexy, moderate rhythm. (There are drums of every description - it's just
people showing up. But there is a form to it all. It began in 1986 or so in
the park below the mountain. Every Sunday afternoon people come and drum
under the Cartier monument. Others dance. It has taken on a life of it's
own. It goes on for hours and hours - through sun and rain. Now this is the
second year they have become part of Saint Jean Baptiste Day proper).
After the right amount of time, they hear a whistle signalling a change
coming. A stop in time. Beat. The incredible sound of sexy timbales breaks
out for a demonstrative phrase. The drums all answer. Again, back and forth=
.
A little solo. Then BAM! They are all playing a new pattern at higher energ=
y
and the crowd goes crazy. Waves of primal, even mystical sensations wash
over all. (No wonder Americans like football - the half-time shows are a
tribal happening. Get your local drum corps leader or soloist into Tango?).
This cycle is repeated and the tempo increased; the fever rises with it. We
slowly progress along the street, clapping or banging something or singing
or laughing or dancing, or ...
Every time the intensity moves up a notch, you get drawn further into the
undeniable magic that is around you.
It's been more than 90 minutes and I want to see the drummers now. There ar=
e
perhaps 800 of us moving with them. There being no way you could sleep
through this or ignore it, all along the street people come out and watch,
move, drink, smile, join in. The heavy beat reverberates between the houses
on either side - we are in a huge natural moving chamber with a roof of
stars beyond the trees. We are inside the drum, inside the microphone,
perfectly mixed. We are the heart beating. We are everywhere, n'est-ce pas?
Nous sommes Qu=E9becois! (et aussi le tanguero avec le large sourire).
We never feel crowded, even for the stopping and starting. (The most
dead-air from the drummers is about 20 seconds).
All of a sudden we are right with them. I'm looking curiously to see who it
is that is causing the world to seem very real and life very present NOW.
Rows of six. Elastic rows, because we are moving in and out with them. It i=
s
organic. No jostling, no elbows. The front row is 6 Amazons. Short, taller,
youngish, beaming. Everyone is beaming. These people bang for HOURS on end.
5 "rows" of 6 behind these women. Bass drums, 6 snares, toms, tenors,
percussion. Male and female. Strong. Giving. They feed off us. We feed off
them.
A never-ending (don't want it to) mantra. The wild, primitive call of the
drum. You never forget it, you never lose it, as Susan says. There is
nothing more basic, more powerful, through all our evolution.
This is a tribe. This is un-selfconcious living to the full en ce moment.
It's not organized, it's just there. Try and stop it. It's snaking its way
through a modern city and the night belongs to it. We are alive. (Immortal
right now?)
(A city in which this can happen can be a place where Tango grows ...)
And of course you and I can't help but think about the origins of Tango and
those Yerubas working on the docks by day and banging the drum by night.
And I can't help seeing the fireworks and moving with the woman in my arms.
You can't talk about passion - you must let it out. Or you kill it. Pas
question!
It's no wonder that along with the 6 regular places to Tango, in addition
here there are 2 outdoor venues during summer.
So what I'm saying, dear friends, is that Montr=E9al, bless it's heart, is
alive in a very big way. It is not far from the jungle where we have come
from - because it was alive enough to embrace whatever vestiges reached its
heart from people coming along: afro, latino, argentino, tout ce que vous
voudrez. It doesn't want to distance itself from it's primitive roots to be
"modern". It values the tribal existence and the identity of the tribe abov=
e
all else. For in that it finds it's life. Leur raison d'=EAtre.
Tango found a natural home here because of that special circumstance, it's
clear to me.
To sum up: what is the sound of the heart of a city? This is important to
know when trying to move people to come to Tango.
No problem in Buenos Aires: it's the bandoneon.
In the city where I lived for the last 30 years, it's the alarm clock and
the "tut-tut" sound of our grand-parents' constipated minister in our
nightmares. Sadly, even Toronto's immigrants hear those sounds. (They shook
this off in Qu=E9bec: all their swear words refer to religion! In English, ou=
r
swear words are about bodily functions or sex.)
My old city was also too spread out to make going-out easy.
In Montr=E9al (though I dare not name that which is not mine, I believe I can
say) it is a tribal conciousness we plug into. One that is open, not narrow=
.
Alive, not hoping one day to be. (And everything is near).
If you come to Montr=E9al, this sound is present always during summer.
I believe it is this current connecting the hearts of the people in the cit=
y
that allows love of life - and then love of tango - to live and flourish.
In the winter, it will be under the warm attitude you find in the Tango
places. It might have remained hidden from you - but now I hope you will
sense it.
As for what I'm discovering in Montr=E9al, "If they asked me, I could right a
book ..."
So moved by the people around me, and with my
Best as always,
ke
http://ToTANGO.net
Montr=E9al info and links - http://ToTANGO.net/mtl.html
* Tango Vivo has just released their debut CD of originals and favs
(compositions by Mores, Gardel, Satie, others). Nuevo tango, mostly. Lovely=
.
A quartet of early-20-somethings. Bandoneon, violin, piano, bass.
mailto:tangovivo @hotmail.com
End of TANGO-L Digest - 26 Jun 2000 to 27 Jun 2000 (#2000-175)
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