The Tango-L mailing list archive
Digest from 1 Jun 2000
to 2 Jun 2000
Reply-To: Discussion of Any Aspect of the Argentine Tango <TANGO-L @MITVMA.MIT.EDU>
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Date: Fri, 2 Jun 2000 03:00:34 -0400
Sender: Discussion of Any Aspect of the Argentine Tango <TANGO-L @MITVMA.MIT.EDU>
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Subject: TANGO-L Digest - 1 Jun 2000 to 2 Jun 2000 (#2000-150)
There are 9 messages totalling 619 lines in this issue.
Topics of the day:
1. Why Tango?
2. 8CBw/DBS (4)
3. The 8CB Dissected
4. TANGO-L Digest - 30 May 2000 to 31 May 2000 (#2000-148)
5. The Dreaded 8-Count Basic
6. Why tango?
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Date: Wed, 31 May 2000 02:36:41 -0500
From: Larry Stevens <tanguero @POBOX.COM>
Subject: Re: Why Tango?
Tango, for me, is a way to bring all the parts of my being together
with all the parts of another -- physical, intellectual, emotional,
and spiritual. It's like being in love for three minutes at a time.
It's said that tango is "the vertical expression of a horizontal
desire." But it's about more than just sex -- and it CERTAINLY is
about sex; it brings together those very different elements in a way
that make you feel bigger than yourself, and bigger still when that
feeling is matched by your partner.
I began about 4 1/2 years ago with a little dance showcase I was
talked into. At the time, all I knew about was ballroom style,
American Tango and International Tango. I was shown a video of a
workshop and the instructors demonstrated both International style
and Argentine Tango. What a difference! International Tango looks
like two praying mantises...... er... ahmm..... well... copulating.
<grin> Not pretty.
On the other hand, Argentine Tango is the most intimate dance in the
world. A man. A woman. Each leaning into the other, the job of each,
to keep the other from falling. They are breast to chest, left cheek
to right, so close they breathe the same air. She waits.... and
waits.... and waits.... while the music starts its first phrases,
hinting at the sadness and the passion to come. He steps to the side;
she follows a millisecond behind him so not to disturb the slight
pressure between them. He walks forward; she crosses left foot
tightly over her right, and they pause, savoring the closeness of
their bodies. They walk, and she responds to the slightest suggestion
of his body. He speaks. She listens. But they say not a word. Their
bodies converse in a delicate interplay of touch and rhythm and
subtle glances. When he waits, she taps her foot impatiently.
"Well... I'm waiting," she seems to say.
The music slowly begins to surge and he quickens the tempo, builds
his intensity, increases his stride; she follows him closely as he
accelerates, yields to his forcefulness, reaches back to give way to
his lo-o-ong... steps. He turns her suddenly and stops, freezing her
in position, looking her in the eye so close he could steal a kiss.
Their lips wet with desire, they pause a moment, then continue their
"caminata de amor," their walk of love.
As the music builds and softens, then builds to its climax, the
couple dance around the floor, wound tightly around each other,
teasing each other with their eyes, a long, slow embrace bringing
them so close the only thing that separates their white-hot, tortured
skin are two bits of fabric. Their heat so intense, they melt into
each other and freeze as the song ends, and at long last they can
relish the touch of each other in an ultimate embrace.
That's why I dance tango.
Larry Stevens
Dallas
--
Tango Is Life. Everything Else Is Just A Dance.
Date: Thu, 1 Jun 2000 12:20:23 -0600
From: Chas Gale <Chuck.Gale @IHSENERGY.COM>
Subject: 8CBw/DBS
Once again I've been forced into a discussion that should not need discussing.
How disgusting.
I'm sure Steve means well, but...
---Steve Lee wrote---
"""I don't understand this Thing that people have with the D8CB."""
The root issue in this thread is the very same one as in the LOD thread. It is
not the 8 count basic but the BACK STEP that we dread. How appropriate that
"back step" should be abbreviated as BS!!! For a leader to step backward, in ANY
direction, onto someone is pure BS. There is no excuse for it.
---Steve Lee also wrote---
"""I started tango with the D8CB. It only took a few weeks before it became
a memory...My opinion is that the D8CB is a school figure...Once in a while you
use them
but not often unless that person has no imagination or a very small
vocabulary."""
I'm happy for you. And the hope is that leaders will grow beyond the 8CBw/DBS in
a few weeks as you did. But the reality is that most take months and months to
get over it and some NEVER do. We have a 6'4", 250lb behemoth in our community
who is incapable of NOT stepping back after a resolution. I fear that one day
this fellows inconsideration (to put it nicely) will end (or delay greatly) the
tango life of a 5'2", 100lb tanguera. An instructor that teaches the 8CB WITH
the DBS to a brand new beginner has created a monster. A menace to the milonga.
A dance floor Frankenstein for the rest of us to suffer behind for as long as it
take him to learn better. This person can cause a great deal of pain and
suffering in even just a few weeks.
---Steve Lee went on to write---
"""I would like to think that a dancer versed in floorcraft, aware and
dancing with the rest of the room would not have any problems with people
doing the D8CB because someone doing the D8CB would not be hard to spot
if you are looking ahead."""
The fact that I should not have to alter my tango to accommodate the
incompetence of others notwithstanding, the fact is that on a crowded dance
floor it's often impossible to allow these imbeciles sufficient berth.
---Steve Lee wrote in conclusion---
"""Talking about it gives it importance. If you see someone doing the D8CB,
just be a little flexible, forgiving, smile, get over it and move on. I
think this would produce a more cohesive tango community and less Dance
Floor Rage with dance-by shootings."""
Steve, our primary responsibility as leaders is to take care of the women who
have put there trust in us. When a tiny dancer extends her leg backward in an
elegant response to my lead she is extremely vulnerable. When an unthinking dolt
brings his usually superior weight to bear on her outstretched Achilles tendon
it does not flex. It tears. She may forgive, but I won't. She cannot smile. She
will get over it but it could take a very long time and she will move on, on
crutches. It IS important, and talking about it is the least we should do. When
my follower jerks her body into a pain induced curl. When her face distorts into
a horrific grimace. When her tender ruby lips twist into a demonic scene
reminiscent of a Steven King movie a little voice in the back of my head
squeaks, "You were supposed to protect me from this". Perhaps this image can
help you understand why I can't think of anything more appropriate than a
dance-by shooting for the simpleminded buffoon who decided, with complete
disregard (if not outright contempt) for the safety and well being of those
around him, that his rights to the space behind him is greater than the rights
of my follower to leave the milonga without a limp.
Sorry, I didn't mean to sugar coat it.
Chas Gale, Denver, Colorado, USA, Don't tread on our women.
Date: Thu, 1 Jun 2000 15:12:43 -0400
From: Larry Carroll <larrydla @JUNO.COM>
Subject: The 8CB Dissected
I invented the Rule of Two in 1982 when I moved to California to work
for NASA's Jet Propulsion Lab. I started dance classes again to meet
people & I needed some way to learn a lot quickly. It was natural for
a software engineer to apply system analysis.
Years later I learned that I was hardly the first to create it. In the
swing world "Skippy" Blair is famous for it. When I joined Boeing's
ergonomics group I found something similar in time-motion studies. And
when I revisited Yale University a few years ago, where I studied
Mandarin Chinese in my 19th year, I found in the rare books stacks
that French dance masters knew about it in the 1800s!
It's not surprising. It's a simple principle with powerful
consequences: EVERY DANCE FIGURE HAS AN ODD OR EVEN NUMBER OF
STEPS. This means that complex dance figures can be broken up into
simpler figures. Each simple figure has an odd or an even number
of steps. And every odd-numbered pattern can be replaced any other
odd-numbered pattern (within certain limits). The same is true for
even-numbered patterns.
So what does this mean when we apply it to the "basic" figure now
being discussed in TANGO-L?
________________________________________________
Well, the first step of the U-shaped salida is traditionally deleted
the first time we do it in a dance, so that single step is obviously a
basic step pattern. The L-shaped part of the salida has two steps, so
maybe it's a basic step pattern also. The two steps with a cruzada
looks basic as well. Finally, the resolucion has three steps. I'd
classify it as a basic pattern. Oh, we COULD break the resolucion up
further, but you can carry analysis too far.
Once dissected, we can see that this basic isn't just some arbitrary
combination that someone threw dice to create.
The single back step is dangerous, but only if WE DON'T WATCH WHERE
THE HELL WE'RE GOING. Properly used, it makes the basic more compact,
because we're going against the line of dance.
The L-shaped two-step walk gets us into the traffic flow & starts us
along the line of dance.
The two steps with a cross is known in social dance circles by the
French word chasse, because when you repeat it several times you can
see that one foot CHASES the other. This chasse actually has two
functions. One, it gives a feeling like the comma in a sentence, of
brief completion while one pauses for breath. Two, if the leader
has used the L-shaped walk to step outside the woman, the cross
at the end of the chasse brings her back in front of him, into
the inside position.
The resolucion is like the period in a sentence. Often I do it when I
hear the music coming to the end of a phrase. It signals the end of
a figure. Maybe a little end of just a few measures. Maybe a bigger
end, like the end of major section of music, where I sometimes add
a pause before beginning another figure.
________________________________________________
If you'd like to see visuals of what I've just described, look at the
following URL.
http://home.att.net/~larrydla/tango_basics.html
Larry de Los Angeles
Date: Thu, 1 Jun 2000 13:12:02 -0700
From: Mark Celaya <mark-joan-tango @JUNO.COM>
Subject: Re: TANGO-L Digest - 30 May 2000 to 31 May 2000 (#2000-148)
Hello list,
Well, I have to admit, I have been learning some new things these past
few days regarding Tango & American (USA) attitudes. I was totally
unaware of the expressions: "dreaded 8-count basic", "dreaded back step",
''dreaded lean", & now I find that ''original sin'' is ingrained in all
of us from the tango instruction by Argentine teachers. Can the
Inquisition be far behind? I`ll be ready for them this time!
Seriously though, I feel that there are no "dreaded"
steps/patterns/technique in Tango or any other social dance, only
"dreaded" dancers. All social dances including Tango, in general consist
of three basic steps: forward, side, & back. Most social dances have a
line of dance or a flow of dance. The good instructors teach the
individual student, especially the leader, how to perform each step to
the music, around the dance floor maintaining the basic flow/line,
relating to his/her partner (lead/follow), without interfering with the
other dancers. One tall order.
The back step is one of the steps included in this scenario. It is never
taught as the "back into the couple behind you" step, nor as the ''back
up the line of dance" step. It is simply the back step in relation to the
position of one`s body. A back step can be performed without one`s body
ever moving backwards against line of dance. Sometimes it is a necessary
step if there is a couple directly in front of & on both sides of the
position of the leader`s body frame.
The control of body positions at all times on the dance floor is a "key".
The exercises mentioned by both Tom Stermitz & Stephen Brown are
excellent methods to develop this control. The method of "open, cross,
parallel'' body positions/movements employed by Gustavo is very, very
good, but it is nothing new. Ballroom dancers have been using this method
for years; they call it "Counter Body Motion" aka CBM. Orlando Paiva has
so much body control that a very popular exhibition that he performs is
to have 3 people surround him & his partner, with there hands clasped
together giving them only a few square feet of space in which to
manuever. Orlando will then proceed to lead his partner into any
pattern/step that he wishes or that is requested by the onlookers (boleos
included), without touching any of the 3 "surrounders". On the night of
his 8-count basic demonstration that I`ve previously mentioned, 205
people showed up that night. It was pretty much a mess on the dance
floor, much too over-crowded. I watched in amazement as he danced in
perfect line of dance
never bumping into or being interfered with, dancing his simple walking
steps that he likes including the 8-count basic, with a seemingly 6th
sense to always be positioned in an open area. Orlando along with Nito
Garcia are my 2 favorite dancers, not necessarily my favorite teachers,
but who both teach excellent classes on line of dance, dancing the
''salida basica''
with the back step.
The "salida basica" has become to be known as the "dreaded 8-count basic"
among apparently many American(USA) dancers/instructors. I have yet to
hear any Argentine national refer to it as such. "Bridge to the Tango"
(Daniel Trenner) distributes a fine as well as interesting set of
instructional videos known as the "MASTER" series. One of his latest is
with Raul Bravo,
another apparent "old timer". The very first thing that he demonstrates
is what he refers to as simply the "basica". He explains that "this is
what they began to dance in the 1940`s'' at the milongas of Buenos Aires.
He then proceeds to dance the salida with a 5-count resolution making it
a 9-count basic (eliminating the back step). He uses the back step as a
link in order to repeat the pattern. Sr. Paiva also verified that the
"salida basica" was being danced in the 1940`s when his mother would drag
him to the milongas & he would watch the dancers; & also that it was
still very popular when he would walk to the milongas as a young man with
his buddy, Juan Carlos Copes, in the early 1950`s. Orlando Paiva began
teaching Tango almost 45 years ago. He has never taken a dance lesson in
his life. He began teaching exactly what he saw on the dance floors of
Buenos Aires.
Whether the "salida basica" is the best way to teach Tango, I cannot say.
Tom Stermitz mentions some instructors (mostly non-Argentine) who do not
use the "salida basica". This is all fine & good; they may have an
excellent, even the best system for teaching beginners. I have
watched/listened to many non-Argentine instructors
explaining/demonstrating their method for teaching beginners. Guess what,
there are many, many ways to teach Tango to beginners.
One thing I do know, they cannot teach anyone to improvise. They can only
give them tools/materials/ideas to use. Improvisation is purely a
personal thing.
In the "salida basica", every single iota of every single movement of
every single step can be used to improvise on the dance floor. Every
single iota can be led/followed. At any moment, from beginning to end of
the "salida basica", a leader can improvise & dance another
step/pattern/movement.
If a leader & or follower has problems with improvisation or is
completely locked into this pattern, it is, as Stephen Brown points out,
the fault of the student and/or teacher; not the pattern. To state that a
follower gets absolutely nothing from learning the "salida basica" is
absolute nonsense.
If one chooses to never dance/teach the "salida basica", that is his/her
privelege; all fine & well. But to take the teaching methods of innumeral
Argentine instructors, especially well-respected dancers of the calibre
of Juan Carlos Copes, Orlando Paiva, Nito Garcia, whose combined total
amount of experience, teaching/dancing Tango is more than 120 years; to
take the well-organized superb systems of the younger generation of
Argentine Instructors, Daniela Arcuri & Armando Orzusa, or that of the
innovative Fabian Salas; to take the efforts of the personable showmen,
Carlos Gavito or Carlos Copello (with Alicia Monti) who dance beautiful
styles both on the stage & at the milonga; for any American (USA) to
label what they teach as "dreaded", totally boggles my mind. To inform
Juan Carlos Copes, on his birthday, that what he gives to the Tango world
is "original sin", well, I don`t know what this world is coming to.
One final thought. This whole scenario reminds me of a young businessman,
who, many years ago, learned Tango from a very popular dance couple
(British/American) named Vernon & Irene Castle. The Tango that they
taught him was apparently developed by someone dissatisfied with the
Argentine methods. This young businessman eventually opened a chain of
dance schools that included Tango as part of its curriculum. His name was
Arthur Murray.
Best regards to all,
Mark Celaya
http://home.att.net/~mark-joan-tango
P.S. ~ To answer Gero Iwan`s question: "...how do the Argentine
instructors handle the first step of the 8-count basic without a back
step? My favorite method is that of Carlos Copello: "On one, you button
your coat."
________________________________________________________________
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Date: Thu, 1 Jun 2000 14:34:27 -0700
From: Ruddy Zelaya <ruddy.zelaya @ENG.SUN.COM>
Subject: Re: 8CBw/DBS
Hola Naifas y Garabos,
The chronicles of Princess Di ran their course. Elian
tales are drying up. But TANGO-Listers still have their
answer to the "little girl that fell down a well"
story: The 8CBwDBS saga. This thread seems to live on
forever. Like a Hollywood vampire, it rises again and
again to feed on the blood of the long suffering listers
no matter how many times it dies/gets a stake driven thru
its heart.
Following the 8CBwDBS thread makes me feel a bit like I
need a 12-step program, although, I must admit I'm finding
it more and more easy to hit the delete key lately.
I think that nothing else quite defines the debates that
go on the list as much as the 8CBwDBS story.
This potboiler rivets active listers, tango-literati, and
lurkers alike because it has what every debatable topic
needs: A clear definition of what it is so that just about
everyone has an opinion about it; staunch defenders that
insist on its pedagogic value; vociferous detractors who
claim that its teaching encourages poor social dancing
habits; sticky intellectual, historical and cultural issues
that offer pro and con points; nefarious traveling tango teachers
that don't seem to care as to what happens to the communities once
their gigs are over and their minions are unleashed on the
local dance floors; local tango teachers that either never knew
that there was a problem or decided to ignore it or whatever;
and, of course, lots and lots of newbies that ask, nay, demand
to know what the fuzz is all about.
The 8CBwDBS discussion has been sliced and diced in so many ways
that what is truly dreadful about it is that there is still
room for some more slicing. To wit, a new slice has been
introduced this time around (insert clap of rolling thunder here):
"EVERY DANCE FIGURE HAS AN ODD OR EVEN NUMBER OF STEPS".
After reading that last statement I just wanted to scream: DUH!!
As bipedal beings we dance on two legs (the ocasional jigging
one-legged pirate not withstanding ;-), thus, *everything* we do
with our legs consists of an even or odd sequence of steps is it not?
But I digress.
The bottom line folks is this. Don't do the 8CBwDBS if you don't
want to and for whatever reason you choose. But if you do, watch
where you are going to land that foot. That last statement, by the
way, applies to every step you make within the dance floor and without.
Regards,
----
ruddy
"I once complained to my father that I didn't seem to be able to do
things the same way other people did. Dad's advice? 'Margo, don't
be a sheep. People hate sheep. They eat sheep.'"
-- Margo Kaufmann
Date: Thu, 1 Jun 2000 17:49:00 -0500
From: Stephen P Brown <Stephen.P.Brown @DAL.FRB.ORG>
Subject: Re: 8CBw/DBS
I would have thought that someone like Larry Carroll would argue that
categorizing every figure by an odd or even number of steps is an
example of binomial thinking. I would like to engage in a little
multinomial thinking.
One possibility is to categorize every figure according to division by
three. A figure where division of the number of steps by three yields
an integer solution might be called a "perfect figure." A figure that
is one step short of being divisible by three would be called a
"minus-one figure." A figure that is one step over being divisible by
three would be called a "plus one figure."
A figure constisting of 3, 6, 9, or 12 steps would be a perfect figure.
A figure consisting of 2, 5, 8, or 11 steps such as the 8CB would be a
minus-one figure.
A figure consisting of 1, 4, 7, or 10 steps would be a plus-one figure.
My proposed decomposition of minus-one figure yields one minus-one
figure and a number of perfect figures. For instance, the 8CB would
be broken into three parts--two perfect figures and one minus-one
figure. I would be inclined to identify the first two steps as the
minus-one figure. For analytical purposes, the first step could be
backward against the line of dance or a simple weight shift. The
second step would be a side step. The next section would be a perfect
three steps to the cross, which would be followed by another perfect
three steps to resolution.
As Larry demonstrated the odd/even system can be used to break a figure
up into component parts, but the proposed implementation of the
odd/even system contained elements that consisted of more than two
steps. The U-shaped salida and tango resolution both consisted of
three steps each. These three step elements ought to be reduced to more
fundamental elements consisting of one-step plus two-steps.
The possibility of using higher-order multinomial systems for step
categorization and analysis remains to be explored.
;-) ;-) ;-) ;-)
Steve de Tejas
Date: Wed, 31 May 2000 14:57:41 +0200
From: =?iso-8859-1?Q?=22LIGER_Michel=2C_CETE_M=E9diterr=2E/DIT=22?=
<michel.liger @EQUIPEMENT.GOUV.FR>
Subject: Re: The Dreaded 8-Count Basic
Hi list
I am pretty much interested in this discussion, not as a teacher as previous
contributors but as a dancer. My posting is to give a basic dancer testimony
on the result of traditional tango instruction.
First of all, would someone be so kind as to explain the meaning of your US
acronyms?
I understood that the 3 following
8CB/D8CB/Salida Basica
are equivalent and I could because I was taught the "Salida" with 8 steps.
But what are DBS and 8CB w/DBS ?
In France, at least with the teachers I learned with, we start the first
class with the Salida, your D8CB, then ochos, turns, molinetes, etc.
Generally speaking teachers, whether they are Argentinians on tour or
French, teach figures to be memorised. Dancing tango then is an
improvisation consisting in putting together a series of figures according
to the music, mood, space, etc.
After some time people can notice that many figures are just variations on
the same basis or starting steps. Being more and more experienced they can
start cutting patterns, mixing them up, or even trying new steps or
variations.
As a consequence of this method I am conscious that when I am dancing, my
default move still is the 8CB and I find it difficult to completely get rid
of it (as a default) even though I know and practice a lot of more simple
and sophisticated steps. In addition I feel I am not completely free to try
any step at any moment of a pattern. Perhaps also my improvisation skills
are not that high !
My point finally is from my own experience and my external vision of the
other dancers practice that the teaching of figures in general and of the
8CB in particular, at the beginning of the tango instruction is a bad thing
as it favors a passive rather than active attitude towards improvisation.
Another consequence is that followers only need to be lead into the
beginning of a pattern, they know the rest of it and resist to any change
introduced by the leader ! So the training in leading and following is
contradicted by its little need in this way of dancing.
Dreaming of an ideal teaching of tango, I would like to have from the very
beginning:
- improvisation exercises, just walking in any direction, following the
music
- lead/follow exercises in improvisation
- learning of very short sequences of say 2-3 steps
- attemps of making on the right or backward what has been learned on the
left or forward
- putting together the above 2-3 steps sequences to build up a figure (e.g.
the salida).
I like very much Tim Pogros practice:
>While I teach the 8CB
>today, I make them learn this step in 3 separate sections. the beginning
>(steps 1 &2), the Middle, (steps 3, 4 & 5) and the resolution, (steps 6, 7
&
>8). I make them learn to take this step apart and put it together again in
>any different sequential order. Teaching the 8CB in three sections also
gives
>the student time to learn to pause at the end of each section. When I teach
>all 8 steps at once, the student never pauses, but continues from one step
to
>the next.
It seems to me that learning simple steps and improvisation and then
combining them into figures, rather than breaking up figures into reusable
elements, is a better way to give beginners the necessary freedom. Being
free to improvise at any step even within a complicated pattern seems
important to me because it allows to adapt one's dancing to the music and
the available space. In addition only a step by step improvisation obliges
beginners to properly develop lead/follow skills.
Michel
Michel Liger
Aix en Provence, France
Date: Fri, 2 Jun 2000 14:05:38 +1000
From: Gavin Dixon <gavind @MED.USYD.EDU.AU>
Subject: Re: 8CBw/DBS
Dear listees,
Stephen P Brown is to be congratulated for his well-argued
multinomial system of movement analysis. Maybe we could look take an
historical review of tango to help resolve the issue of
categorisation:
Francisco Canaro composed the song "Nine Points" - worth a thought.
Piana penned "Milonga del Novecientos" - was he proposing that a song
should consist of a finite number of steps such that a given movement
could then be expressed as a fraction of that number;-? we should
consult a traspie specialist as to the viability of "1/900 figures"
during Milonga del Novecientos :-? Any other theories :-?
Gavin
Date: Thu, 1 Jun 2000 20:33:44 +0200
From: Primoz Potocnik <primoz.potocnik @GUEST.ARNES.SI>
Subject: Re: Why tango?
Thanks Bob, for wonderfully describing an amazing tango phenomenon, a peak
performance, a magic experience of melting with your partner, even reaching
the altered state of consciousness.
My experience of some precious Flow dances could be described with almost the
same words as Bob used. Such a magic experience is already the definite answer
to "Why tango", enriching the quality of life by broadening the limitations of
ordinary awareness. I would like to share some impressions and to invite you
to visit LiberTangoFlow <http://www2.arnes.si/~ppotoc/tango> - a work in
progress, dedicated to danced meditation of tango argentino and the optimal
experience of Flow.
Tango NowHere
Tango is a path leading nowhere. A very effective one! It is a walk of
attention, generating a novel quality at the resonant peak of the sensitive
synchronization with a partner. Arriving nowhere is stopping the world, the
current step not remembering the step before or thinking of what is to come
next. It is simply riding a powerful flow emanating from the unification of
energy and attention of a dancing couple, and maintaining the fragile
equilibrium by putting in our best. What is important is a level of energy and
attention involved, and a degree of synchronization, transforming the invested
energy into a razor-sharp laser beam cutting the borders of the perception.
Arriving nowhere is standing on a hill-top offering a buena vista not being
seen before. It is a possibility, a gateway to the other reality, beginning at
the tiny gap between now & here.
After being touched by a powerful experience of Tango NowHere, the vision is
changed. Tango becomes a sophisticated tool of self-transformation, playing on
the borders of ordinary perception. Extending into the unknown on rare
moments, and bringing a new quality into a human life. This can be mutually
experienced in a loving connection with a dancing partner, sharing the steps,
the heart and the magic of the divine dance.
Best regards,
Primoz Potocnik
LiberTangoFlow: http://www2.arnes.si/~ppotoc/tango
End of TANGO-L Digest - 1 Jun 2000 to 2 Jun 2000 (#2000-150)
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