Friday, April 27, 2012
NYC Milonguero Weekend
2012
Susan Miller Fundamental
Principles of Milonguero Style Workshop: Posture, embrace, balance, and rhythm.
After some confusion on a lot of the dancers'
part regarding location of where the Workshop would be held, we finally made it
to the place, just a few minutes late. The workshop had already started,
with Maestra instructing us to stand as if waiting for the bus, with our hips
down, with weight fully on one leg, and then shift to the other. We were
to keep our chests up though, with our shoulders back and down. With this
posture and heaviness in our hips and legs in mind, we danced. We danced
for 4 songs with Maestra going around to each couple to give individual
feedback to the Leaders. She spent about half a song per leader, dancing with
them so she could feel their posture, focusing mostly on the upper body.
After she went around and worked with all the Leaders, she asked the
Followers for feedback regarding the feeling before and after. When we
give feedback to each other as dance partners, we should not take it
personally, but take it technically. We should also speak nicely to each
other. (Maestra made a comment, remarking how funny it was that people
thought tango would make them happy [the implication being that it will not,
and that tango will instead make you suffer]).
Leaders need to really embrace Followers, as if
they are hugging someone hello. Maestra asked the Followers if it felt
better than before (with the Leaders doing their usual embraces). The
Followers were also to hug the Leaders as if they love them. The
Follower's back should be relaxed and go up.
The ambiance of tango is that there are never
all the people at the milonga on the dance floor at the same time. The
population changes, and people come and people go. People get bored with
tango. It's tango's nature (and a statement to a natural state of being
in tango).
To reiterate on posture, our upper body goes up,
and our hips and legs go down. Her goal was to make us go to our bodies.
When dancing with Followers, she should feel like water. Tango is a
river.
The Leader's chest is for the Follower, and the
Follower's head is for the Leader. The Leader should keep his eyes
forward as his body and his steps will follow his eyes. So steps are
fluid as the eyes and the muscles of the leg go together. We should not
look down. Followers should keep their heads up too and not look down.
The Leader changes the axis with forward
intention in his chest, then his belly button goes after. We should have
soft knees when we walk to be strong, elegant and fluid.
The energy of the milonguero is that water
behaves with water inside. Put your muscles to sleep, then you can move.
For Followers' connection, chest is up and
forward while shoulders are back and down. Overall, the upper body should
be relaxed. Do not be hesitant about embracing Leaders or with your embrace. Keep
your right arm open (not locked), and open your chin (do not have it down).
Overall, I had very high hopes for this lesson
since I had heard about this legendary Maestra for years, but never had the
opportunity to take classes with her. That being said, for me, it started
out on the wrong foot with the confusion about the location and being late for
class. I found that during class she was largely a physiokinetic teacher,
and it took a long time for her to go around and work a half song with each Leader.
So maybe the Leaders got a lot out of it, but as a Follower, I did not.
I was disappointed and mentally so agitated about the whole experience
that I decided to skip the night's milonga (though it was part of my festival
pass). Plus the weather was freezing and my dress was skimpy. So I
decided to head straight back home after the lesson.
Saturday, April 28, 2012
Gustavo Benzecry-Saba
and Maria Olivera Workshop on Vals: Challenging sacadas and counter sacadas.
We began the workshop with some walking and
pivoting exercises.
For walking, we were to do it on the balls of
our feet, with forward intention in our chest and with stretched torso and leg
reaches. To this, we added 180 pivots at various point when Maestro
called them out. Then we pivoted even more, 360 degrees. For
our pivots, we were to start them in our shoulders/torso/upper body, so that
our hips and feet came around pivoting as a consequence of what our upper
bodies did.
Next, we worked on doing the molinete footwork
of Forward, Side, Back, Side, Forward to the right and then to the left, again,
working on the concept of pivoting.
For the sequence, we did the 8CB to 5 (cross),
to a Follower's clockwise molinete with a Leader Sacada of his right foot to
the Follower's right foot, and then with his left foot to the Follower's left
foot.
The Follower should work on her molinete
technique such that her hips do not bother the Leader. She should not
tilt her hips, but keep them level. Her core should be engaged (Maestra's
verbiage was that she should lock her abs, contract her abdominals), she should
have even hips, and not wobble. She should always stay around the Leader.
She should not fall on the back step. She should be on axis and
collect before the back step to control her axis.
Maestros spoke a little about the milonguero
idea. To them, there is no specific embrace (unlike Monica Paz's
instruction of the Follower having a parallel left forearm). It just
needs to be a close embrace. And the quality needs to be there. It
needs to be an "experienced tango dancer embrace.". Basically,
it feels like butter, with no stiffness, and a feeling that the Follower can
melt into the Leader's body. The Leader revolves the Follower and his
chest surrounds the Follower.
In class, if you use more floor space, for
example when working on exercises where you don't quite get it yet and are
thinking about and working the concept, it is still important to not look
at the floor. If anything, we should always be precise in our footwork.
The Leader should always know where the Follower is.
For the Leader, he should have his left foot
step diagonally forward to create space before leading the Follower to the
cross. The Leader's chest movement creates the illusion of the sacada.
He should also pay attention to the line of dance.
Follower: Do not pick up the trailing left foot
and have it go up like a high boleo when the Leader does the right foot sacada.
Do not do this because it's not socially acceptable, nor is it what the
Leader has led.
Follower should use the legs, extend them all
the way with long reaching steps to create space for the Leader to do sacadas.
Maestros emphasized the importance of
practicing.
Then we changed this, adding to it to make it
more complicated with the Leader's left foot touching the Follower's left foot,
then doing a series of weight changes to do a right foot sacada of the
Follower's trailing right foot and then a left foot sacada of her left foot.
We also worked on the usual molinete timing of the QQ on the Follower
back and side steps.
Maestra's tip for the Followers on how not to
get dizzy when doing a lot of molinetes: look at the middle of the Leader's
chest because that is where his axis is. If he is shorter, look at your
left elbow.
Next, we changed the pattern a little bit,
stacking the molinetes from one side to the other and the Leader doing sacadas
on both sides with his right foot and left foot. The concept of which was
that the same sacadas can be done with either foot on either direction
molinete, clockwise or counterclockwise,
Follower should try to occupy the space the
Leader provides for her. She should not be shy about taking her steps.
Leader should lead the turn fluidly.
Maestro had two different colored shoes, blue and
purple, so we could determine which was his left and right foot.
Someone, a not very good leader, who noticed I
was taking notes by hand with paper and pen, asked me why didn't I just take
videos since it was easier. I just looked at him (perhaps unsuccessfully
hiding a look of sheer dull pity) and said absolutely nothing. And if
anyone wants the short form of the answer, it's because Rodolfo Dinzel (who is
also one of Gustavo's teachers) told me to. But next time someone asks I
am just going to say it's to be in solidarity with those porteno/portena dance
students in Buenos Aires who do not have iphones or cameras with which to take
video and actually do spend lots of time writing down their notes from classes.
Saturday, April 28, 2012
Oscar Casas & Ana Miguel workshop on Unorthodox Turns for
Vals and Tango
Working
from the cross system, we were to use the possibility of the ocho.
There
are lots of triangles in tango:
2
legs of the man, 1 leg of the woman or
2
legs of the woman, 1 leg of the man
Organic
movement is where the energy goes in one direction.
Ladies
walk forward, using the heel because it’s the nature of walking forward, to any
front cross step. We pass with our knees together.
Stretch
the lines.
You
can walk on the balls of your feet, but you need to respect the knee flexion.
Collection
is from the groin to the feet.
We
did a back cross to a front cross: a cadena or alteration.
We
also did a shared axis turn from the Follower’s right foot back cross step,
with the Leader going clockwise around the Follower. Follower should have her
left leg a little behind the right leg.
The
Leader’s right foot is about one third of the Follower’s right foot toe tip.
Leader’s
compression creates emotional lines by lifting.
Playing
with the energy of the Follower right foot back cross step to practice
communication and musicality.
Barridas:
There
is an up energy to lead the Follower to step over.
There
is a down energy to lead the Follower to do a drag.
Follower’s
sweep: be strong in the left foot standing leg with the knee
bent. The right foot needs to have no weight and be free to
sweep. Same goes for Leader’s feet/leg: Have a strong left foot and
a weightless right foot.
If
men touch the Follower’s feet, she needs to maintain contact with his feet.
Followers:
collect, pivot, and bend the knee at the same time.
From
the right foot front cross, we can change the energy for the Follower to do a
counterclockwise molinete of left foot back, right foot side, left foot
forward.
Follower
should keep her legs close together.
Leader
sacadas wrap with a weight change on the Follower’s right foot side step of the
counterclockwise molinete.
Thankfully,
I had a superb partner for this class. It was totally random, but
our skill levels were well matched. I had heard of Oscar Casas and
saw his videos on YouTube for years but had never taken any classes with him. I
tried to when I was in BsAs, but he was always traveling during those
times. I thought he was an excellent teacher in the BsAs
style. So there was lots of showing us stuff, then having us drill
it while he and Ana went around providing individual feedback. Ana speaks only
Spanish, so Oscar translated her class instruction. When she went
around to provide individual feedback, many students spoke and understood
Spanish.
Sunday, April 29, 2012
I
had signed up and paid for two other Milonguero workshops (one with Gustavo
& Maria, and Susan Miller's Pugliese workshop), but my lunch engagement ran
late so I skipped them altogether. I wasn’t particularly heartbroken
about that though.
Roko Milonga with lesson beforehand by Robin The focus of
class was on musicality. We were to try to fill the music with our
bodies. We began by leaving our foot behind until four, with our
heel off the floor, but having a little bit of turnout. We should keep our head
in alignment on top of our spine. Your body doesn’t stop
moving. The movement should be continuous.
We
danced to a DiSarli song, on the beat, in half time, and in double time, just
walking, leaving our leg behind until the last moment, and then
moving. The Follower steps onto a straight leg as the front leg
bands as you push off. She should keep her torso with the Leader.
In
close embrace, do not fight your partner. Hips are over heels.
We
worked on pauses. Doing back ochos, followed by side steps, and then waiting
and waiting (and still moving minutely while you are waiting).
We
danced to a slow D’Agostino, doing two back ochos, and then two
pauses. Let some slow beats pass (wait to pause).
Follower
should bring foot arch to heel at point of pivot. The back beat
adorno was taught.
Followers
were instructed to embellish like crazy to realize how much time you
have.
Leaders:
be dynamic: do a side step, wait, wait, move. Have contrast in your
steps: Q-Q-S-S-1/2-1/2
It
was a good class.
I
had a nice time at the milonga as well (though writing this weeks later, I
don’t remember anything particularly remarkable about the night).
Friday May 11, 2012 to Saturday May 12, 2012
Providence, RI Tango with Homer & Cristina
Friday, May 11, 2012
7:30 - 9:00pm Universal Tango Technique for Both Leaders and
Followers - All Levels - Homer Solo
Saturday, May 12, 2012:
2:00 - 3:30pm Elegant Turn Transition Class (Close to Open
Embrace) with Leader and Follower Embellishments (Int/Adv)
3:45 - 5:15pm The General Theory of Blending Leader's and
Follower's Sacadas (Very Advanced)
Specific
class notes and videos can be found at www.tangostudent.blogspot.com
The
organizers did a fantastic job, as usual. I had a great time the entire
weekend, the best time I’ve ever had in Providence! Everyone was
super nice to me, the food was great, and the dancer quality at the milongas
and workshops was superb, with folks coming from far way, just like last
time. It was a very friendly weekend.
Friday May 18, 2012 to Sunday May 20, 2012
Northampton, MA Tango with Homer & Cristina: A Weekend
of Innovation and Exploration
Friday May 18th Intermediate/Advanced Level
7 – 8pm / Class Explore Alternative Music Part
Lecture/Part Dance
8 – 10:30pm 100% Alternative Practica with DJ Homer
Saturday May 19th Intermediate/Advanced Level
1 – 2:30pm Workshop 1: Finding your Style “MO” vis Leg Wraps
2:45 – 4:15pm Workshop 2: Putting the “Neo” in your Tango
8 – 9pm Pre Milonga Class: Something New, Cool and
Simple
9pm - 1am Milonga w/ performance
Sunday May 20th Intermediate/Advanced Level
10:30am – 12pm Workshop 3: Volcadas and
Embellishments
12:15 – 1:45pm Workshops 4: Easy social Colgadas
7 – 9pm Practica with DJ Homer
Specific
class notes will eventually be posted at at www.tangostudent.blogspot.com once the videos
are up.
Jackie
did a fantastic job, as usual. The focus of these workshops was on
Nuevo, as Northampton is a strong bastion of Alt in the US.
The
Friday class was fun for me since Who’s Jay? was there,
surprisingly. So it was a fun treat to be able to dance with him to
all Alt music.
The
workshops were excellent, as usual. I didn’t fully participate in them
physically since there were more Followers than Leaders, but that was fine with
me though since I attended as a volunteer and could focus on taking the
notes. The Saturday night milonga performance was truly
fantastic! I really enjoy the community as I get the distinct
impression that everyone is very intellectual, academically oriented and also
very community-building oriented. It’s a very nice, loving place
(which cannot be said for a lot of tango communities).
Sunday, May 20, 2012
Roko Milonga. I got there late since the drive from
Northampton took longer than expected, and I had a burst of ambition to do the
laundry, go grocery shopping, and prepare my food for the following week.
The
milonga was not super crowded, apparently because lots of folks spent the
afternoon at two outdoors milongas earlier. It was actually nice
though as Roko was full but not obnoxiously so, so there were enough people to
have a good time with reasonable floor crafting. I was very surprised to
see Miguelito there. He told me he had just moved out here, so I am sure
I will see him around.
Sunday, May 27, 2012
Roko Milonga. I was hesitant about going since
it was hot and humid and I was tired from running around in
Westchester all day, but I got the call to volunteer. So I drove back home, took
a quick shower, and jumped on the train into NYC. Surprisingly, the AC
was working just fine and the milonga wasn't excessively crowded. Since the following
day was a holiday, I was able to stay almost until the end, which I have never
done. I had a great time, and broke one of the milonga
codigos that by golly, I don't think I've ever broken. I won't say which
one it was; I'll leave it to your imagination. But it didn't go
unnoticed, and I got a bit of a whiney dressing down over it. But
thankfully, I was forgiven after a tanda or two.
