Monday, March 4, 2013

Tango and Quantum Physics

Have you ever experienced a time warp while dancing?

Start Here:  With your own Spark
Bending time lately?  Acceleration of time is easy.  That happens to everyone dancing tango.  How about experiencing a century of bliss -- or so it seems -- in a minute or an hour?  What scientific experiment could we possibly do that would be more profound or more fun than slowing, stopping or reversing time?

Our human expressions of time often minimize the magic of each moment.  People often like to use clichés about time: "It seems like just yesterday," or "Life is short." How about saying, "It seems like a century ago when we first met"?  Why not be amazed at how many things have happened even just a moment ago?

Time Warp Experiment Directions:

Agree with someone who is present -- really present -- to try an experience in Time Warp.  Since expectancy (through human language) is clearly skewed towards acceleration of time, you will need someone who is is has the expectancy (open mind) for time to go slowly and maybe even stop or reverse.

Choose a person who is musical and present -- but more than with the music.  Choose someone who is with you as you are not as they would like you to be. Then, agree to slow down, stop or even reverse time.  Experience Quantum Physics or the Divine (however you would like to express your world view).

Since doing this time-warp experiment with a yoga-teacher tanguera and a tanguera who came up with the phrase, "Minutes in Eternity," I swear I have made a Quantum (Physics) Leap in my tango experience.  (Will my tango-epiphanies ever stop exponentially growing brighter?)

For those who feel as if they have experienced a time warp--cool.  Go find someone to measure the Time Warp's depth, intensity and duration, just so that you know for sure that you were not deluded by feelings.

For those who feel as if they have experienced the divine, I have a passage from the Holy Canyenge Scriptures (also known as the "The Tanguero's Bible"):

"One moment is as a thousand years in thy arms, and a thousand years, as one moment.  So shall it be for all those who touch the hem of the Divine, for those who dance with the soul they embrace."

-- Saint Mark* 


And...

"Blessed are those who connect with their own divine nature and who dance with the Divine Spark within others for they will experience minutes of eternity on earth."
-- The Sermon on Mount Muse 


And from the non-dancers Bible:
II Peter: 3:8 (I did not make this up):
 "....With the Lord a day is like a thousand years, and a thousand years are like a day."


Experience with me Namastangó:  Divine sparks, dancing in tandem.




*The Saint Mark who dances with Angels


Photo Credit

Monday, February 25, 2013

The Lady Weeps Too





A woman reads snippets out of the life of Ástor Piazzolla.
Then Violin sings the songs that only a tanguero gypsy can.
Piano has the voices of ten fingers, dancing as African immigrants.
Cello pours out the words, my soul had sought but could not find.
My eyes fill with tears for no damn reason (like the lady next to me).
And life seems right in that moment, when beauty brings me to tears.
I know I am alive and I am not alone.  The lady weeps too.


Photo credit: Cello Chick

Sunday, February 17, 2013

Warning Label on Wearing the Pants

Since this post seems mostly misunderstood please read a definition of Lady Lead first. Also, be aware that the term "leader" as used in ballroom and by many tango teachers who speak English is often challenged.  Understanding these two things is important to understand the context of the following  post.
A favorite partner just asked me what my take was on Leading Lady Classes.  Ms J reported than men in the class hurt her back and tend to want to dance with smaller women.  If I were a woman, I probably learn both roles, but I would hope before my first class on "leading," I would hope that someone would present me with a warning label on the product about to be purchased:

"Warning:  By taking this class, you may never be able to really be present with your partner ever again.  You may force steps, especially with beginner men instead of allowing them to learn to be true tangueros; you may force their submission, harming them and your own dance.  Please sign here that you assume all responsibility and liability for what this class may do to your present love of dancing tango."  

A warning label does not mean that something will happen, but once a person knows the risk of a product, they can take special steps to protect themselves for the effects that are possible or even likely.  Let me introduce to Ms J.  She has collaborated in a huge number of movements which have become the basis of how I dance.  She was dancing for three months when I first danced with her.  From the start I did new things in her presence.  Another musician friend says the same about her.  Because of her I learned that the music is the true and only leader and that the woman can create opportunities for me to dance in new ways, just as I can do the same for her, although we stay in our own roles.  In Spanish the phrase that describes this is: "El hombre propone; la mujer dispone" -- the man proposes and the woman makes it happen.  Ms J has systematically denied her powerful role of making things happen.  She tells me that I am the one who created the dance.  (Thanks, but I know this is not true; we collaborated.)  Because of her, I started naming new movements after the woman who inspired that new movement.  Now, Ms J wants to learn how to "lead" (meaning, learn the rol masculino).  Okay, but she should read the warning label on role cross-over classes. 

The most important thing to me personally is that if a woman is on the dance floor in my role, that is absolutely okay as long as does not cause risk to me or my tanguera.  May I be just truthful here? I hope not to upset the lady leaders who dance responsibly and mostly dance in the man's role.

My answer to Ms J's letter:

Dear Ms J:

My take on leading ladies is that they tend to be a danger on the dance floor.  The female with her left hand out can even appear talented in this role, but too often she fails at taking care of the woman with whom she is dancing.  The "better" lady-leads race around the dance floor, weaving in and out.  They fail at the first rule of being a man:  Protect your dance partner from harm and cause no harm to her or others because of the woman often going backwards.  That is the first thing to start with in his role.  If you can do that, then you are already ahead of many men, who have not learned this "first step" in the classes they have taken. 

Secondly, do not dance with anyone bigger than you.  Men should dance with men not women if they want to learn to follow.  The main reason for this it to avoid hurting yourself.  I learned a lot from Stephen [in Austin, Texas] as a follower.  Why would I have a woman lead me, especially if she is a beginner and/or smaller?  No comprendo.
The third issue:  From my experience with women and men who learn their partner's part are often not present because they are taking mental notes.  I feel as if lady leads are paying attention on being able to do what I do, rather than dancing with me.  Even a very advanced follower and great leader fought me in vals as I danced the "cruzado."* I had to silently insist that she allow me to wear the pants -- on being a man.  The music indicated a wonderful cruzado explicitly, so I was silently telling her " Just come with me, please!"  At first she was insisting on the typical val pulse step.   I danced with her several times that night and eventually she returned to being present, but some ladies never return to being present.  This is the the great sacrifice of being a teacher:   The "teacher problem" is to risk being in your head too much, never truly dancing again but thinking about what your partner is doing.  When this happens, dancing has ended, and movement analysis has taken over.  Dancing, in my opinion, may never return for that person.  So there should be a "warning label" on learning the partner's part.  It should read:

Ms J, what will you gain?  Surely there is value to learning something (like becoming a teacher?), but what are the losses?  Did you actually create an even larger gender imbalance in your community when new men come and see that women don't need them?  Did you just increase the risk that beginner men will give up? 
--------------

Added note for men:
The warning label is also for men learning the rol feminino.  Speaking for myself, I know that I have lost a bit of patience with women since learning their part.  I at times feel as if am not being present with her, asking myself why is she taking huge steps as the one default for every step.  I start wondering why she is not listening to the music and too much too me.  I wonder why she stands so straight, even though she loves close embrace and has been dancing for 12 years.  I have to fight knowing her part and how these little things are so easy if she would only be present with me, and stop listening to teachers who tell women to follow the man, rather than the true leader, the music.  Why isn't she listening? I have to hear and empathize with her movement and mood, her little steps when the music leads her to take them, or give her the time to make her "little drawings" (dibujcitos) on the floor.  Now, I have to fight being present with her because perhaps now I know too much about her role.

Regrading the cruzado:
*Cruzado:   The cruzado rhythm is from Peru and most likely Africa before that.  Please read my earlier blog/workshop called, "Thinking in six." Vals cuzado or Vals Criollo is not a Vienese Waltz or a Boston Walz, althought these have influenced the "tango waltz" too.   Note for musicians only on the crurzado:  Think in six (not three): The cruzado is on *2*4*6 (an upbeat hemiola) and mirrors the very dance-friendly clave of both the Epoca de Oro and Regge).  The cruzado can also be danced on 1*3*6 as it by advanced dancers almost always at certain parts of the vals.  It seems that most advanced dancers seem to be unaware how often they dance the cruzado.  Watch carefully any YouTube video of any vals, and you will see this phenomenon. Tango/milonga/vals cruzado all have the basic roots of the African clave rhthm.  All clave rhythms were once in six according to expert musicologists in the area of music in the Americas.  Here is a playful vals cruzado that plays around with the cruzado that is so strong in the music.  Watch the danced hemiolas on the downbeat (1*3*5*) and upbeat hemioloa (*2*4*6), which is the true cruzado rhythm, and the essential tango clave rhythm for most Golden Era tangos and classic reggae songs.

Other indications (not proof) of the power of staying in one's role:
In one of my first therapy sessions with a man with post traumatic stress disorder, I theoretically felt that his wife should be in the rol masculino, but at the last minute I changed to have him close his eyes and be in his own role.  I guided the couple when needed.  The resolution of early childhood trauma dissolved faster in that session tan anything I have experienced as a therapist.  Later, combat trauma also resolved itself.  The couple went on to join a tango community.  I am convinced, now, that we don't have to experience Yang if we are Yin, or Yin if we are Yang.



Photo credit and blog remarks on women in rol masculino



Sunday, February 10, 2013

Lady Lead


Lady Lead  

She gives herself fully to best tangueros.
I watch in awe of her animated femininity.
Her grace deserves a partner better than I.
But tonight she catches my adoring eyes.
With an upward whip of her gaze, an inviting nod,
I know that I must escort her to the dance floor.
I have no choice but to obey her lead.
Feigning my confidence, I approach with open hand.
My body and hands vibrate the frequency
  of not being sure of myself.

She embraces me and says in a whisper:
"Listen only to the music. I have watched you do this.
Hold me. Wait until you can feel my heart beat with that rhythm.
Then we will walk as one -- the music leads us both to move."
Her words will haunt me, I know, for all my dancing life.

She melts into me, and I can feel my heart slowing to hers.
And the music takes away the need to impress her
Because we both now stand in awe of the music together.
Our breathing becomes one,
Our walk follows as if from one heart.

Between songs, we shift deeper into the embrace
Tonight she has become my Lady Lead.
She brought me to the floor.
She calmed me with her embrace.
She showed me how to let the music lead us.

She led me to the life-long path --
The way to make tango with a woman.



The above poem, now significantly edited here, first appeared as one of my first tango poems in May of 2010.  The original was called, "The Older Woman."



Photo Credit:http://www.flickr.com/photos/romanlily/201646/lightbox/


Friday, January 25, 2013

Being Present through Tango




Being present.

That is what tango gives us more than anything else, perhaps. Being present in our bodies is the result of allowing ourselves to be in the Now through the embrace, tandem movement, and the music. These are the trinity of being in the Now with tango.

Embrace, movement, music: These, united, are the vehicle to arrive and linger at the Now.

What, then, stops us from arriving at the place under our feet?  What blocks us from arriving to this place that is closest to us, but too often seems so far away?

Perhaps the biggest obstacle is worry about what just happened or what is going to happen (past and future issues).  If I were a painter, this is what I would put on canvas to describe worry:   I see worry as a psychological shouting match between the past (the land behind you) and the future (the ocean before you).  The present is neither, but both.  The sand below your feet, dry and wet, cold and warm. Always a paradox.  Being in the present is not watching what is before our feet or what is behind us.  Being present is feeling what is under our feet -- the Now.  Tango helps us with this wonderful task of being present.

In psychological trauma therapy, it is important for people to be in the Now, even when reviewing the horrific past.  The Now is your body.  Be in your body.  Be aware of your limbic system -- often felt in your heart, neck, back and stomach.  Be fully aware of your breathing:  Make it deep, musical in its phrasing.  Tango becomes therapeutic (good for you) when this happens.  Sure, tango can be like an amusement park ride, but it can be much more than that if you are present.  "Enjoy the ride" is not the tango I am talking about, although it is a phrase I often hear tangueras say.

Nervousness happens to me only when I focus on how I imagine my partner wants me to dance.  The solution for me is that I dance the way I know I can.  For women, however, this may be different.  Maybe this would help: I notice women saying "sorry" or obviously upset with themselves and I don't even know why or if I do, it is not important.


Some say that the Now is small. The future and past seem to be infinite to the human mind.  But try looking at just a slice of how gigantic the present is:  Biagi brought you to a nice side step. You are on your right foot.  Under your foot is a hardwood floor and an entire planet, teeming with life. Above your foot is a graceful stance, and directly above your head is the Andromeda Galaxy tonight.  But that is only the first galaxy, there are many more above your head.

Being present is very big -- bigger than the universe.  Doesn't the Now encircle and permeate our being and the universe?  But we have to be present to see it.  Tango takes you there.



Photo Credit of wheels of thinking
Photo Credit of land and sea
Photo Credit of closest galaxy to ours

Tuesday, January 22, 2013

Dancing for the Gods


Milongas can be a long dive for me here in Germany; so last summer sometimes I would go down the street to dance salsa instead.  One evening was particularly magical.
Traditions all over the world:  Dancing for the gods is normal

Inessa and her boyfriend, a young couple who live near me, would sometimes call me up and say they were going to a local hole-in-the-wall salsa place.

I am remembering one particular night:

The salsa floor clears after the music stops for a moment.  I stay on the floor with Inessa and a salsa starts.  No one comes out to dance for some unknown reason, and we end up dancing all alone for an entire song.  I try to block this fact out.  I know the piece.  My tango instincts take over:  Every step has something to with the music in tango, as I best understand it.

This night, I realize something:  It's not just tango, but each dance can be danced in such a way that the music dictates what will happen next.  My salsa is not street salsa or schooled salsa: it's salsa that hears the music.  If there is a turn, it is because the music says to turn.

We join the band on stage.  I imagine that we are the unpaid members of the band.  I know this feeling as a musician.  It was a rare moment that I loved as a musician when I felt as if a dancer gave me the feeling that I was controlling his every move, or was the dance controlling my every move?  Perhaps neither.  In the mambo, son montuno, guaguacó traditions, the dancers are possessed by the gods, and the dance just happens.  In this ancient tradition from Africa, improvisation is what the gods do with you through the music.

When the music stops, we catch the ending as if we had practiced a thousand times -- bit of luck, really.  The Cuban conguero asks: "Señor, ¿Qué quieres oir ahora?"  [What do you want to hear now?]  I have never heard the band ask for a request.  I asked in Spanish, "Play a chachachá."  Although I have never head this band ever play a chachachá, they do it for us.  Everyone, it seems, in Germany learns at least a little bit of dance, and chachachá is on that list of dances they learn.

The floor fills with dancers now -- more than any other moment all night.  This is what I wanted from the start -- not a show, but people inspired to dance together.  I want them to dance because the music and the gods demand that they dance.

A German woman who has been dancing all night stands at her tall table.  I drink a tall glass of water after the chachachá.  She asks, "Are you on tour here?"

"No," I tell her.  "I am just possessed by the muses when they play their harps."

Not understanding me, she says, "I mean, are you professional?"

I don't know how to make her understand,  "No, I just dance because the music tells me to."  She looks at me strangely.  Yes, I am possessed.

During that song when no one joined us for the entire song, I tried to dance as if no one were watching, but of course there are those who are watching.  I put that out of my mind because I watched my partner and her every expression to see if she was ready for the next surprise parada or able to go into a moment of slow motion.  She, too, was watching me and my mischievous mind.  And, of course, the gods are always watching.

I really am not a practiced or a very good Latin dancer, but the magic of dancing salsa now is only because what I have learned in tango to improvise and move to the music -- that makes it appear that things were choreographed.

Addendum:
For some sense of the power of the chachachá, here is the music and its dance (below).  Although this dance is choreographed, the music is chachachá and for me very inspiring.  (For musicians:  The clave is always 2/3 in chachachá.)



Tuesday, January 15, 2013

Dance: The conduit to creativity?

My 19-year old son told me I had to listen to this TED Talk.  "It's about dance, Dad," he said in order lure me into watching it with him.

This TED Talk, by Sir Ken Robinson, is as inspiring as many of the TED Talks--and funny, too.  The concluding remarks bring together his thoughts on education's propensity to kill creativity, and he used dance as the example of how lopsided our educational system is.  Another point is that creativity itself  is just as important as literacy.  His lecture, "Do schools kill creativity?" ends with an anecdote from a book he is writing, called Epiphany, which is a collection of conversations with successful creative souls who accidentally discovered their creative centers (very much in spite of teachers and schools).  What would an academic professor say about dance?  That it is important?  It is!

Tango, I feel, has helped me rediscover my creative center in many areas outside the arts, and many whom I know through tango will say the same. Sir Robinson is an educator and is not against schools or teachers but methods that kill creativity.

Click on the video clip below, or you can go directly to the concluding remarks about dance by clicking on the link I provide at the very bottom of this post.



This is the LINK or cut-and-paste this link into your browser:  http://youtu.be/iG9CE55wbtY?t=8m37s


Now you may think this is merely interesting, that dance might be important as an aside, quite separate from the "hard sciences."  Perhaps the bottom of education will be the foundation!  You must now take the time to see this next video clip, "Dance your Ph.D."   I watched this video a while back, and both videos together have a very powerful synergistic effect.  

Before you watch it, consider my life mission:  Tandem improvisational movement, as expressed in tango, may lead to the solution or amelioration of many somatic and psychological disorders.  I don't know.  You tell me:  Have you found a cool dance hobby, or has dance allowed you to discover yourself?  I believe that tango is not merely a nice hobby and is certainly not an "addiction."  It is a key to something very mysterious and marvelous in discovering yourself and those around you.




Saturday, January 5, 2013

Plato is your Tango Teacher?


Plato is setting up a tango studio in your town.  Everyone is talking about Plato teaching tango.  His classes are full of students, eager to learn.

He is supposed to be the wisest and most knowledgeable teacher in your country.  You sit at his feet.  He has diagrams that show you where the students' feet should be.  He talks about classic tango music and how to dance musically.  You learn cool moves:  Volcadas, sacadas, colgadas, enrosques and pivots.  There is no end to the sequences of beautiful moves you can learn from Plato.

But you notice something.  He doesn't enjoy dancing with any woman.   When he dances you see him looking at the door, the clock.  His face is one of sadness or boredom when he dances.

Sorry, that is not Plato, but a counterfeit teacher.  Perhaps, he's really good at molding students to look just like him.  He creates others in his image and likeness
-- fantastic dancers who are unhappy to the core because no one is good enough to dance with them.  I say this not out of disdain.  They too can return to basics or go back to their day job.

Plato is truly a great teacher.  The real is eternal.  Each step on earth may be wonderful, but still is mutable and mortal -- only a shadow of the eternal idea.  Plato's goal for his students is to get closer to the human condition in relationship with true eternal substance.  His goal for you is to find the connection of soul, body and spirit.*  The volcadas, sacadas, colgadas, enrosques, and pivots are the shadows on the wall of the cave.

Distance yourself this counterfeit teacher!  Otherwise, his end (unhappiness) will become your destination as well.  With the teacher who dances without soul, you have no one to model the joy of lifelong dancing.

Tango is three simple things.  The warm and natural embrace, two people embodying the music, and tandem harmonic movement.  The overall goal is to find peace, closeness, to be present with your own inner world, and to respect the souls who have assented to walk with you on this wooden path to the immortal truth.

Go find Plato.


*
 Soul (psyche = the spectrum of knowing/feeling), body (embodiment), and spirit (pneuma = wind or breath:  phrasing of breath is musical phrasing, musica humana).


Plato's bust: photo credit (click here):  http://en.wikipedia.org/wiki/Plato

Tuesday, January 1, 2013

We Dance the Body Electric



Steel Engraving of Walt Whitman
by Samuel Hollyer (1854)
Walt Whitman (1819-1892) was not a tanguero.

He was an iconoclast poet.  In his poems, he spoke of the beauty of the male and female body in a way that shook conventions of his time -- and perhaps still today.  I think he knew something that tangueros and tangueras know about the distinct roles of tango.

In a time in which the practical use of electricity was rare, he wrote the poem "I Sing the Body Electric."   In this poem, he provided remarkable glimpses of men and women.  Tangueros and tangueras describe these differences in the rol masculino and the rol femenino.


An excerpt from this poem says this so well:


The female contains all qualities, and tempers them—she is in her place,
    and moves with perfect balance;
 She is all things duly veil’d—she is both passive and active...

...The male is not less the soul, nor more—he too is in his place;
 He too is all qualities—he is action and power;
The flush of the known universe is in him..."



If Walt Wittman had danced tango, perhaps he would have written something like this:

We Dance the Body Electric
  by Mark Word

We hear the music and it charges us fully.
We come to the milonga, seeking to recharge
Our body's need of touch, of human warmth.
The music magnetizes the room,
Filling each pour of our bodies.
Her charge and my charge are different
But together we are Yin and Yang --
Polar opposites creating a me that becomes we.
Without her energy, I am isolated, half of what was before.
I hear the music through her body and she, through mine.
We dance the Body Electric.

Saturday, December 29, 2012

If not for me, then for them



I just watch at the milonga -- hardly dance anymore.
My cigarettes slowly bring me to my end.
Her absence is a cold replay of a closing door.
Oh, how I wish I could reach out and send
One last message from earth to her above.
How I would give anything to hold her and dance --
Anything to have grown old with my Love.
Too late? Love can have another chance.

If not for me, then for them.



A tanguero's notes on the film:

When I discovered this film, I thought it was fairly new, but it appeared in 2010.  I was so moved, that I immediately wrote the poem, "If not for me, then for them."  I later received a message from Marco Calvise regarding my comment on "Milonga" from his YouTube Channel, saying that he was pleased that I had noticed little details, including that the woman was pregnant.

These are some of symbols which were I immediately saw:

The cast:
o The non-dancer Observer:  He is smoking himself into oblivion, a slow sort of suicide.  He is cheap with his first tip, but is extravagant -- 50 euros ($70) to help to give the couple a chance to reunite. 

o The married woman:  She is not only married, she is pregnant.  Twice her husband holds her stomach in a non-sexual way.

o The older man and woman:  It is not clear if they are a couple or not, but I think they symbolized to the Observer the growing-old-in-love that he did not have.

o The Tango Tomcat (flirt):  Great dancer, with whom the married woman first dances, attempts to kiss a woman and she resists.  The Observer sees this, and pays to get him out of the picture.  Also, notice the too close for comfort looks he gives the married woman.  I rarely see this at a milonga and find it creepy when I see it.

The props:
o The cigarettes are not only a way to slowly kill yourself, but here the one that he allows to burn without being smoked represents a life that suddenly seems over.  It burns the Observer's fingers because of his lack of attention.  Pain wakes him up to the pain of the moment:  The realization that life is running out (abgelaufen) without his own psychological insight and observation.

o The pocket watch:  Notice the loud ticking?  Mortality:  his own.  The woman pictured inside the watch is dead.  Ashes fall on mortality?  --  that's death.

o The Dead Lover:  The woman in the watch resembles the married woman.  Now, that makes us realize that the Observer was not looking her up and down sexually in the way we first thought.  She reminds him of his own losses and he wants to give the couple a chance (thus the name of my poem:  "If not for me, then for them").

Sounds/gestures:
o Clearly fluent Italian.  A friend told me that some critics of the film said it was not realistic for Buenos Aires.  Both the language and the gestures are fluent Italian.  Why would anyone think that this milonga is supposed to be in Buenos Aires?  Milongas happen every night of the week in Italy.  Chiaro?

o The sounds of dancing on the floor:  The sounds of grace come out more during the married couple's dance.

o Pauses are times to think and are not realistic for a milonga.  For those who like realism, go to a real milonga.  This is a film with a message to make in 13-minutes.  What appears to be a second tanda is only a pause -- the longest pause.  A cortina would have distracted the Observer's need to think.  The last dancers on whom the Observer fixes his gaze is the old couple -- a melancholic moment and a hope -- his loss and his hope for the couple's gain.

If I had three hands, I would give three thumbs on this short film.

P.S.  3 January, 2013  
As a reassurance that I wasn't reading too much into his film, Marco Calvise (pronounced kahl VEE zay) shared my poem and analysis on his own Facebook page.  Also he said "the best description of my work" on my Facebook link to this post, so I hope that means that I mostly picked up his intentions in the film.  Indeed, I may have read too much into things, but I think it more probable that I have missed a lot.  Comments are welcome if you see even more.


Photo credit:  One of many backstage photos the director sent to me at my request.

Thursday, December 27, 2012

Milonga at the Ponderosa Ranch?

Milonga at the Ponderosa Ranch in Nevada?
Here is a picture of an elegant milonga in Mannheim, Germany -- well, the ladies are elegant and the setting is on the banks of the Rhein.

The former cowboy from Nevada is the only one pictured wearing slacks.  I have obviously lost my cowboy heritage and wild, wild west culture.  I grew up in Nevada, you see.  I miss my horse -- I truly did own and ride a horse.  His name was Dusty.  Goldie, my dog, and I would go out on long rides, even under the moonlight and stars.  I wore mostly jeans as a kid.  I even wore a cowboy hat in middle school.  I am not kidding.  I joined the Sparks Rodeo club in High School for the sole purpose of chasing a cowgirl.

How is it that a person forgets his culture?  Maybe I have.  Maybe that is the question for Argentina and tango in general, too.

Anyway, I am tired of being such a freak, coming to milongas in slacks, a coat and a tie.  I give up!  What a weirdo!  Even Latino men have succumbed to US Casual Dress Imperialism... uh ... I mean cool-dude dress code.  And I am tired of women who say, "How nice that you dress up. You show respect for the women who dress nicely."  Respect?  Ladies, we all have to join the new century!  Get with it!

So my New Year's resolution is to join the crowd.  I even have a few ideas to help out the new world of tango:

Here's my Concept: In the tango world we include three distinct tandas at every milonga:  Vals criollo, tango, and the milonga.  But why stop there?  Since many men both in the US and Europe wear cowboy gear (jeans), I suggest other events!  I think one tanda of calf roping, followed by a vals would be perfect.  A friend in Australia suggests sheep wrangling -- local flair would be nice.  Spain should include the running of the bulls.  I have seen milongas with the running of the bulls in the US -- dangerous, but fun for the bulls (tangueros with horns).

Okay DJs, take some notes: 
  • Two tandas of tango, one tanda of calf roping.  (Tangueras dressed in jeans can rope goats, as they do in rodeos instead of calves.)
     
  • After the vals tanda, I suggest again two tandas of tango, and then a bull ride on a mechanical bull!  (Tangueras wearing jeans can do barrel racing at the same time in the outside lane of dance.) The last event, of course, would be a milonga tanda.  Then the fun starts all over.
     Comme Il Faut on a bull!
  • To save time and for the enjoyment of the people sitting down, the mechanical bull can be going in rhythm to the music in the middle of dance floor.  We'll just call this Ultra Tango Nuevo.  No bull/no fun.  Biagi tandas are for advanced Rodeo Tangueros only.  Sorry, no bull riding during the milonga tanda, the insurance company refuses to cover the liability. 


  • Note:  Sarcasm aside, there is a perhaps a solution to getting closer to the beauty of Golden Age tango and slowing the Advent of a Tango Apocalypse:  Ladies, praise a man when he finally wears slacks to a milonga or praise a man who is dressed appropriately.  Tango is more than a dance; it's a culture. 

    How is it that people sometimes forget their culture?  You tell me. I seem to have abandoned my own for some foreign culture from South America.


    Photos:
    • Las Morochas Milonga, Mannheim, Germany:  Andy Ungureanu (an excellent DJ and photographer).  

    Wednesday, December 26, 2012

    Moderate Christian Tango and Vampires


    What?     Moderate Christian tango and vampires?  





    I am not positive about this but I think both Vampire Milongas and Moderate Christian Milongas -- both have the same thing in common:

    Too many crosses would spoil the party.

    Imagine one tanda of tango as it were a walk through a beautiful house.
    Perhaps at the door there would be a cross.  In the hall a few more.  The living room is full of crosses.  There's one in the bedroom, the bathroom  and even in the basement.  Crosses are everywhere!  But not if you avoid too much of a good thing as much as I do.

    Perhaps teachers who start with teaching the cross as an element of tango's "basic step" have created this over-indulgence in crosses.  The cross is basic?  No!  It is hard to do well and it not "basic" (as in essential) either.   (See video below demonstrating a basic step with a cross on the fifth step of an eight-count figure.)

    Try dancing one tanda in which not a single cross is made.  I realize that I need to leave room for more crosses in the way I dance, but I have developed my own style of clearly indicating no crosses (unless the music really calls for it and the positioning is right).  Even so, I end up dancing with Christian girls who insist on a cross on every wall and one hanging on the mirror in the bathroom.  Too bad because they block something else that I had intended that really went with the music.  The most pious Christian tangueras place crosses in the hall and living room, and bathroom.  Surely you have seen a few tangueras wildly crossing at every opportunity. This is not bad, of course, but it's something like watching a Mexican baseball team during a crucial end-game play -- lots of crossing going on! On the tenth "suprise" cross, I have this overwhelming feeling of wanting to become a tango Pagan -- esepcially because of all the tango goddesses to adore.

    Here is an example of moderate Christian tango with Detlef and Melina demonstrating social dancing that is tuned into the true leader -- the music.  Help me count their crosses:  I see one, and it seems one cross can be enough when the music and mood indicate it!





    Here is a sad-to-say "perfectly typical" demonstration of a basic step demo as is accepted by many tango teachers.  Watch it first, and see if you notice on your own why it is such a questionable example of a basic step:




    So this is my take of why it is truly, in my admittedly not-so-humble opinion, NOT at all a basic tango step:

    1. The true tango basic step is a graceful tandem walk in a comfortable embrace.  The eight-count "basic" is not a walk, but a dance step. 

    2. The demo has no music!  The best idea of teaching eight steps was to show phrasing.  That misguided but best point is lost here.  Figures are ideas about dancing and not dancing.  (Let me explain "misguided":  Teachers who use the eight-count basic often demonstrate without music or start in the wrong place in the music for the concept to be understood.)

    3.  This video clip "basically" does not demonstrate tango culture:  The demo has a woman dressed nicely and a man who isn't, which is another model of the misconceived way to dance tango.

    4.  What is basic about this step they are teaching?  It is very hard to do well.  I don't know if I can do it very well.  I don't have much practice, you see.

    5.  The most basic thing a man should learn is NOT to walk backwards -- especially as his first step.  Teaching this is poor judgement at best.

    I am not planning on going to any Vampire Milongas, but I am clearly a moderate Christian Tanguero with a great deal of respect (adoration?) for Pagan Tangueras.  :-)


    Vampire's Tango logo:  http://michelehauf.com/tvt.html

    Tuesday, December 25, 2012

    Don't Dance with Sue

    Reaching new heights in tango. (Or was this martial arts night?)

    Perhaps every tango community has a Sue.  Some people don't know her last name, but somehow many figure it out without being told:  Ms. Nami.

    Sue Nami leaves destruction everywhere she goes.  Her boyfriend is Jörg Quake.  He has his faults too. They can unsettle the buena onda* of any sea of dancers, or blast any beach-milonga in a moment.

    For example, I might take a small step and Sue Nami takes a meter-long leap.  Her boleos are known to snag dresses and even clear the glasses off tables!

    My Tango Boat after dancing with Sue Nami
    I know you will ask, right? So how did we get up on the table anyway?  It was her far reaching tango walk that she had learned just that night!  After all, the teachers told us to make use of any space available while dancing.  Sue saw people making room (running), so she figured that it was show time.  What was I to do?


    *Buena onda = Good vibes (literally: "good wave").

    Photo of Table Tango by Prayitno
    Photo credit for boat photo 

    Sunday, December 16, 2012

    Tango Lessons for Dad (a Christmas Story)



    === Fiction by Mark Word ===
    Once long ago, but in a time very much like our own...


    My therapist told me I should write down my feelings.

    I couldn't do that for two years. I know I should have done it earlier.  When I first met him, I was crying out my eyes at night and I didn't want to cry during the day too. Also, it took a lot of time before I trusted my therapist. My parents forced me to go to him, and now -- not because of his therapy alone but by things he has done for my family -- he will always be a very important person in my life.

    Time has NOT gone quickly as everyone around me says. It was a century ago since my parents decided to divorce. I was almost fourteen. I am now a very old and creaky sixteen-year old now that a century has passed. I'm ancient at a young age.

    Everyone said I was depressed. The school counselor tells my mother. She believes the counselor. Mom talks to Dad. He agrees. I fill out a questionnaire and now the therapist is sure I am "a depressed young lady." May I roll my eyes?

    Bull! I wasn't depressed. I was just pissed off. I was sad. I was disappointed. And the worst problem any diagnosis a depressed person could have -- I am smart. If I wasn't smart, I would be happy. Pissed off/sad/disappointed/smart is not depressed. That is why I cannot stand therapists. What’s wrong with being sad for a good reason?

    As I was in my first session with my “therapist,” I thought I was lucky that at least he seemed kind of cool. We just talk about things I like at first. He’s curious about how I download music on my phone, and I show him. But then I wonder how much my parents are paying him to learn how to download stuff on his phone. That’s really my problem: Being smart and figuring things out in a world of dense adults.

    “I want you to be painfully honest here in my office,” he says. “What do you think about being here?”

    “Honest?” I say. “It sucks being here. I hate being told I am depressed and treated like a sick person. My parents are divorcing. My career mom already has a boyfriend I can’t stand. My Dad is moping around his new apartment, and my world has been ripped apart. I am not depressed. I am smart enough to know that my world is all screwed up!”

    “Sad, disappointed too?” he says.

    “Yeah. So is there a pill for making sure that I don’t feel this way? Is there a pill to be happy that my parents are splitting my world in half?”

    He really shouldn't have asked me to be honest. I was on my way to a raging rant.

    “Pills don’t take away these things, but often help people get on with their lives in the things that matter,” he says. He folds his therapist hands. “Your grades are suffering and you said you don’t like doing the things you used to.”

    “Yeah, that’s true. But I don’t want to take pills that make me happy but turn my teeth green ten years later.”

    “Okay, so let’s try something else. I have a colleague who has a dance and music therapy class with teen girls who learn a lot of different kinds of dance. She says the teens do remarkably well to overcome depression -- I mean, "sadness" -- with or without medication. Would you be willing to try that?”

    “I have two left feet,” I say, immediately throwing out that idea. “If you want to really make me depressed, put me in a group of girls who are going to see how I cannot dance at all.” I was sure that he would hear me – Mr. Therapist was supposed to listen right? But he said something that hit me:

    “Do you remember ever dancing as a little girl?”

    “Yeah,” I half-heartedly said, remembering that time.

    “Did dancing ever fill you up with joy?”

    “Yeah, sure. . . I mean, I remember and I have seen videos of me as a little girl dancing like I was crazy.” Funny. At that moment, I could feel my body buzzing with that joy I remembered.

    “Why did you stop?”

    "I dunno."

    "Many stop doing lots of fun things because of what others say or do,"  he suggested.

    “I guess I remember others laughing at me.  Like in third grade.  My mom prepared me for a show and tell dance.  Everyone told me I was great, but in front of the class I felt so stupid and some laughed.  So I guess, yeah, later I really froze when I heard others laughing at others at school dances.”

    “Well, maybe this dance class will take you back to introduce that little girl to you again – someone full of joy. Wouldn't that be better than taking a pill that you don’t want? Getting back to who you are?”

    So I agreed. And he was right. My right foot reappeared. Oh my God. I loved it. I was still mad at my parents, but each dance class brought me farther out of the slippery, slimy, mud pit I was in. I started doing better at school. I actually felt that I could talk about my disappointment with my parents. I no longer felt I needed to screw up at school so they would be reminded to be parents and reunite to save their daughter. I was doing better. Talking about it was good too.

    Other girls in the dance class said the same. They were doing better. We all had the chance to drop out of the class for the second round of eight classes, but no one did. The last class of the second session was Argentine tango. We fooled around before class pretending to do tango. Marion and Sybil danced their version of the tango. Marion had a fake rose in her mouth. I nearly peed my pants laughing. Talk about good therapy! Laughing like that was great. When the teachers came, they caught us fooling around and we all kind of came to attention, like naughty little girls in a boarding school. The guest teachers were cool, and they laughed too.

    “But now, I want you to see what tango really is all about,” the tango teacher said. He asked someone to choose any music that was romantic and they would improvise to that music. Marion, the girl I liked the most in the class, chose, without knowing it, my favorite song from when I was fourteen years old (a mere century ago). That song had held me together as my parents were divorcing. I loved the words:

    “I will never forsake or leave you
    Your love is stuck in my heart …
    Wherever you go or whatever you do,
    You are my end, you are my start.”

    He embraced his partner and they danced in a way I have never seen. It seemed that the music controlled them. They were not dancing to the music – the music was dancing them. It was like no amount of practice would have prepared them to dance that way. She closed her eyes. Their feet did all sorts of twisty things, leg hooks and taps here and there. How could the music so take over their bodies? It was so cool.

    After their little demo, we were all really excited about trying it. They taught us how to walk to the music. We also learned both roles. Since we were all girls, I liked how they described the roles as not being the man or the woman. We were either “the one who proposes” or “the one who accepts.” The tango lady suggested that the music leads, so we all had to listen very carefully and then stay in one role or the other.

    All the other dances we had learned in the class never had us touching anyone. The girls I danced with revealed more about who they are and how they felt about the world through their touch than words would have ever told me. I felt as if I knew the other girls in the class at a different level. At the end of the class, we begged the teachers to come back. I asked them for a business card.

    Later that week, I told my Dad I was going to move in with him if that was okay. He was delighted. I couldn't stand being around my Mom and her new boyfriend, but Dad was a terrible case too. His depression medication was beer and he was moping around. Who is being the adult here, anyway?

    Back then I needed some money for an idea I had that might help Dad. I called up grandpa and grandma. I got them to help me with a Christmas present for Dad: Tango lessons. He need dance more than me. I found the business card that the tango couple had given me, and we bought a package of group and private lessons.

    Dad had a bunch of little presents from me that year, but I asked him to open the envelope last. I don’t know why I thought he would be excited. He could see how dance was helping me. Wouldn’t he want the same? Instead he lost his smile and the happy face he had all morning. “I can’t do this,” he said. “I have two left feet.”

    Why do I have to play therapist? It is soooooo disgusting that I found myself using the same words the therapist used. “Dad, you don’t have two left feet. Did you ever have a time that you loved to dance?" ... and so on, parroting my therapist. The words worked so well on me. But not Dad. He’s a guy and has a whole life of being in his own little world, living in his den reading books and taking his work home to do. But I had special power the therapist does have. I had to use the princess daughter guilt-and-shame technique on my father too. “Dad this was good for me, and this is my Christmas present! How could you not accept it?” He had no choice. Poor man.

    At one time I really had a terrible relationship with my mother. I could see that Dad was really a pain. It wasn’t just the depression he was in after the divorce that I couldn’t stand. He was a bit cold, living in his own world. This coldness hadn’t occurred to me until we separately were taking tango lessons. I was used to Dad being Dad. By the time I was fifteen, I was in a youth group and he was in his own group with adults. At home or at the studio we would sometimes share what we were learning. These were magic moments. We laughed a lot. I saw Dad hugging other tango students. Something was changing.

    It started very slowly, but Dad and I were hugging each other when he came home. Hugging had stopped by second grade. I starting seeing how his coldness dried up the love that Mom had for him. She needed more, and I saw Ken, her boyfriend, in a different light. He is affectionate and warm to her. Tango was changing Dad so much, that I hardly could recognize the father I used to know as a little kid. It took a while, but he was becoming warm and present.

    A century ago, I was fourteen. This Christmas, Dad and I are taking a few lessons together now that I am sixteen. We are taking a train to a Father-Daughter Christmas Milonga in New York City – the joys of the big city.

    Isn’t it weird that I was sent off to a dance class for my depression? Dance helped me, but tango transformed my dad.

    This’ll be the coolest Christmas ever. Tango for Christmas.




    Christmas and Tango -- another theme:  A soldier returns home and learns more about trust.  http://tango-therapist.blogspot.de/2010/12/tango-uniform-christmas-story.html

    Photos credit tango Christmas ornament:  zazzle.com
    Photo for girls dancing comes from the article that inspired this story from Psychiatric News.

    Saturday, December 15, 2012

    A Tanda of Listening In

    Listening In

    Therapists listen to diagnose.
    Parents listen to guide.
    Friends listen to be present.
    Lovers listen to be close.
    But a soul listens in.

    No matter what role -- friend, lover --
    A soul listens in.

    Tonight I hold her.
    The music plays.
    I listen in.

    Her heart has so much to say.
    It tells me why she's here tonight,
    And where she'd like to go.
    She tells me -- if I wait and listen in
    Through a collage of mind-pictures.

    Her life in wordless heart-dialogue
    Paints itself on my listening-in-canvas.
    The voices of her soul's language
    Are like a singing whale I long to understand.

    Still listening in and wanting to know.
    The music leads us in a second song.
    Then I see-in, feel-in, listen-into her heart.
    Her soul speaks clearly now --
    Not of where she has been
    Or what she has seen and done
    But where she is going from here:

    We arrive at the eternal present.




    Photo credit: Twin Flame

    Monday, December 3, 2012

    Depressed Tangueras: Get therapy!

    Not (just) tango therapy!

    Get therapy from different sources.  Tango can look like an addiction if a person is depressed and relies too much on dance to help his or her mood.

    Can you spot the dysphoric tangueras at the milonga?  It's not hard to assess the distant stares the sad faces.  I do not mean picky tangueras, who want to dance only if it means the partner is musical and listening to her as well.  Women have every right to be picky.  I mean the rare (but nearly always present) tanguera who sits waiting for her one-tanda prince to come dance with her.  The common depressed tanguera, in my experience, is admired by other women for her dancing, but has this burning need to show off the classes, the shoes and the $1000 volcada she purchased.  The depressed dancer is often very picky about dancing and sullenly waits for only the best "ride."  Please get some therapy, and not just tango therapy!  It's not working!  You are depressed!  Clinically depressed.

    For years I have been saying that tango is therapeutic in spite of the many who act as if it is an addictive drug.   It is not a drug.  Although tango has helped me and countless people to celebrate life and take on the world, tango possibly could cause even more problems for the vulnerable, depressed person.  For a moment now, let's imagine together a woman struggling from depression:  Her marriage and job have not been going well.  Her teen daughter is adding to her stress and depression.  The school suggests that the daughter needs therapy.  So the woman takes her teen daughter to a psychiatrist.  The doctor puts the teen in a study on depression among young females.  Soon after, the daughter has a long-lasting intervention that keeps her out of depression.  That "intervention" in a recent study was dance.  (See this study in Psychiatric News.)  Now imagine that the depressed mother decides that she will finally do something for her own depression and she starts dancing tango because of her daughter's good results.

    There is a problem here!
     Tango and dance in a controlled setting can be excellent for many people.  It is NOT a first-line therapy for depression in a non-controlled environment.  The challenges a depressed person faces in tango include:  Gender imbalances (too much sitting and wishing), time away from a husband who doesn't want to dance, less time with her children, lots of time and money to go from  being a beginner to an experienced tanguera or to go off to festivals.  As a result, tango may be a really terrible choice for her to overcome her depression.  In this particular hypothetical example, the chances are high, according to the research, that the mother's depression also was a major cause for her teen's depression.  Choosing one or more first-line therapies is very important for her relationship with daughter, her marriage and job.  Tango is way down the list on appropriate therapies for clinical depression.

    Tango by itself would be wonderful.  But is it a place to start?  There are so many great therapy possibilities for her:  Her marriage is at a low and she's anorgasmic.  Marriage therapy and a physical?  Her work really is terrible and she hasn't the energy to think about other career options.  Individual therapy!  An antidepressant?  Choose one that will help with the smoking habit and not hurt your sex life even more.  How about yoga!  Exercise!  Fresh air!  A marriage retreat!  NOT tango, or at least not just tango.  Isn't this clear?  Please don't blame tango as an addiction if you refuse to get specific help.  However, if you get help . . . wow!  Watch how it changes your tango!

    The article in Psychiatric News above was a Swedish study.  The dance intervention was for 8 months, comparing another group of girls who did not go to the dance classes.  The report says, "The dance group reported better health than the [non-dancing] control group did. A significant difference between the groups remained a year after the intervention had ended."  Strangely enough the article's conclusion attributes the "significant difference" mostly to exercise.  I know the great effects of exercise (from running around 14 marathons), but the "runner's high" can also be attained by the very slow movements of tai chi or a slow tango (even by oneself).  It's as if the researchers just don't get it.  But you do, right?  Dance is therapeutic.

    Hopefully tango is not the only pill in your medicine cabinet.




    Photo credit: The photo is from the article cited above.
    Blog idea:  Thanks to my own personal triple-M psychiatrist, "Mi Milonguera Maria."   She sent me the above article from Psychiatric News.   Also, thanks Mikko (from Finland) for your challenges to my assertion that tango is therapeutic.  

    Saturday, December 1, 2012

    Chasm Embrace

    I can close my eyes.
    Tangueras in Buenos Aires.
    Close, warm, melting
    Into my embrace.
    But when my eyes close,
    Where are you?
    Our mind-embrace opens a chasm
    My imagination cannot bridge.
    I can fly in my mind or with a ticket.
    Buenos Aires is not so far away.

    But our embrace has Security Gates,
    Stopping your left arm from holding me,
    Your right hand, forearm pressing to mine,
    Your forehead, your smell from entering
    My being.

    The security guards block your embrace,
    Block your smile, your warmth.
    I struggle to empty the sharp objects
    In the pockets of my mind:
    The reasons we cannot be together.
    But the alarms go off,
    And I miss my mind-flight.
    The door closes. My flight leaves.
    The sun comes up and blinds my view
    Of the shining wings slowly turning away.

    Terminal Eins, Frankfurt am Main.
    I stand and watch. The embrace opens
    The ocean between us,
    filled with heart-tears.

    Tonight in my kitchen
    I will dance to di Sarli and wine.
    The embrace will close tonight
    As I hold you --
    Close, warm, melting us together.
    We dance in Argentina tonight.
    Our milonguero mind-embrace
    Holds you at least for a moment.



    Mark Word, December 1, 2012

    Photo:  Johann Stadlbauer, via milonga organizer Oskar Pankratz.  Location:  Sankt Valentin, Austria.
     
    Pictured: Michaela Honeymoon y yo.

    Tuesday, November 20, 2012

    The Tango Pseudo-Connoisseur

    Have you ever known a person who becomes a "connoisseur" of wine?  Often that person seems unhappy with most of the wine he or she drinks. The connoisseur has too often learned to be mostly unhappy.  Isn't that ironic?

    The majority of the red fluid in this picture is not wine:
    It's the fluid you and your friends' hearts pump.
    The path to becoming "one who knows" (from Old French: connoisseur) starts with drinking just any ol' wine. Then slowly taste discrimination comes along. Later, the risk grows that fewer and fewer wines will be as satisfying as they once were.

    "The one who knows" perhaps may not know the most important thing about wine: It isn't the red stuff in the glass; it's the quality of people with whom you share wine that is important. It's their lives, their flesh and blood in your life that matters most. Along the way, wine, or tango, or music sometimes no longer satisfies the "one who knows" who has become impersonal in their "knowing." Unfortunately this pseudo-connoisseur has learned so much it has them standing alone with the thing they know.

    Perhaps the Spanish version of the Old French word, connoisseur, conocer, can give us some insight about the difference between the pseudo-connoisseur and the true connoisseur:   Conocer is personal knowing.  Saber is impersonal knowing.  So the question, "Do you know [sabe] who that person is?" is answered with saber if you know who the person is.  However if you know her personally, you use conocer:  "Sí, la conozco."  [Yes, I know her personally.]  If someone asks you, ¿Conoces Buenos Aires?  The answer is "no" if you have never walked her streets or met her people.

    People, Presentation, Sustainability
    Knowing personally is the antidote against poisoning your wine, your tango or your music appreciation. I try to focus on the larger picture.  A true connoisseur knows the larger meaning of sharing wine. It may be a profoundly religious moment. It may be a celebration of a new love or very old friendship. Isn't it the same way with tango and other beautiful things in life?  A step in the right direction is to be a true connoisseur of taste in three things around the thing you love:  People, presentation and sustainability.   In wine, it would be a good-tasting wine, shared with quality people, and the excellent presentation of the wine at your gathering.  Finally, can this be sustained?  Can you afford to do this again?  In tango, it is tango-talent (as the thing "to know"), plus people with culture and depth whom you know.  A milonga with great music, lighting and a decent floor is the presentation.  Finally, can this be sustained?  Did you ruin your feet or your pocketbook?

    If you are out dancing just to be a walking encyclopedia of steps and to dance with only the best, you are probably on the the path to be unhappy with nearly every partner at a milonga.  It is all too impersonal.

    I am not suggesting, ladies, that you drink cheap wine! I understand that you have the right to be picky.  Save your feet.  Avoid the guy who doesn't bathe.  Turn away your gaze from the tango tomcat.  I understand why this must be done:  Dancing with men who jerk you around, step on your feet, and make you and your clothes reek is not sustainable!

    If I hold a beginner or any person with reverence and I am open to being present, I "hear" the story of a human being in front of me and that somehow harmonizes with the music in a very special way.  I believe that is what truly brings you back to tango over and over.  Keep doing this.  You will be blessed with many great tandas.

    I have learned this wisdom from tango more than anything else in my life.  I want to be a true connoisseur.  I want to be present with the person with whom I can share my wine, my tango, my music, my time.  I truly want to be the "one who knows."

    Embracing the moment is tango.  It's life.


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    Photo credit is on this blog page about the growing market of women wine connoisseurs.

    Monday, November 19, 2012

    Why do we stop dancing?


    Our human minds were wired to dance and sing.  That is what makes us human.

    Try this recipe:
    (a) Round up some children.
    (b) Play some music.
    (c) Shake and bake.

    In 10 minutes, notice the little homo sapiens go wild.

    If adults are around -- or older children -- we laugh.

    Later, the same little homo sapiens grow up and say, "I have two left feet."  They have forgotten who they were.  They have forgotten what it is like to be essentially human -- the only baby animals who naturally dance without being taught or coaxed.

    I wrote a draft post about growing up and forgetting.  But felt I should write about the same concept in poetry instead.  The first poem was "When we were both three" -- a poem about a rare moment when my thirteen-year-old son danced.  This is the kid that loved to dance as a small child.

    What happens to our dancing self?  Laughter made our little-kid self go and hide, I'm afraid.  The feeling that children get is that the people laughing are laughing in a way to hurt or to say that our dancing is a big joke.  It is mostly not intended to hurt, but my guess is being laughed at is the epicenter of why people stop dancing.

    Today I present the second poem (below), which is actually lyrics to a song about my being a kid and having a plastic guitar.  My family said I called this plastic instrument my "Hound Dog."  The guitar was named after the one song I loved to sing from Elvis Presley:  "You Ain't Nothing but a Hound Dog."  Writing the first poem about my youngest son being three brought up this forgotten event in my own life.  Some of my first dancing (like Elvis) was with my plastic guitar as a prop.

    I sang the lyrics of my new song ("Ain't Nothing like my Hound Dog") to my old 19-year-old son.  I felt good that he liked it.

    "Yeah, I wrote it during a very boring meeting at work," I told him.

    I again felt very happy when he followed up with sending me a YouTube video that he felt went along with the theme of enjoying dance but being laughed at.

    Before my presentation of my song "Ain't Nothing like my Hound Dog," let's first watch the video my son sent me:  The child is talented young dancer.  Pay attention to the laughter in the background.  When will this budding dancer realize that people should enjoy and not laugh?



    I am sure that no harm is meant.  People laugh.  And maybe it will never be interpreted as being wrong.  The chances are high, however, that he eventually have someone say something mean or hurtful, no matter how good he is at song or dance as he grows up.

    Many of us who dance tango had to rediscover the dancer in us!  Where was it hiding?

    My song below is dedicated to Gail Schumacher, the neighbor who smashed my plastic guitar.  Yes, I did hit her over the head with the remaining bits of guitar.  Yes, she did cry.  Sorry Gail, but luckily when you went to tell on me, my mother had witnessed your violent reaction to my song and dance.  Gail, I'm back dancing.  It it took a while, but I am back.

    Dedicated to all the dancers who have not yet found the dancer they once were...


    Ain’t Noth’n Like my Hound Dog

    Verse
    Hound Dog’s strings I strum all day.
    Hound Dog’s the only song I play.
    Hound-Dog-like moving Elvis hips.
    Hound Dog’s the howling of my lips.

    Chorus
    I’m a three-year old, one-man band
    Sing’n all the passion I can.
    I’m a three-year old, in-the-street band
    Dancing all the passion I can.


    [Wild howling guitar solo]

    Verse
    That girl’s a break’n Hound Dog with her fist
    She says she’s tired of sing’n and hips.
    Three-year old rage: Hound Dog’s on her head.
    Hound Dog’s last song’s a hit! -- on her head!

    Chorus
    I’m a three-year old, one-man band
    Sing’n all the passion I can.
    I’m a three-year old, in-the-street band
    Dancing all the passion I can.


    Bridge
    Sing, dance like no one’s around.
    Love your dancing and sing’n sound.
    Others may listen and stop you by hurt.
    Give them your veggies, eat the dessert!
    Sing, dance like no one’s around.
    Love your dancing and sing’n sound.


    Verse
    Hound Dog’s strings I strum all day.
    Hound Dog’s the only song I play.
    Hound-Dog-like moving Elvis-hips.
    Hound Dog’s the howling of my lips.

    Chorus
    Yeah...
    I’m a three-year old, one-man band
    Sing’n all the passion I can.
    I’m a three-year old, in-the-street band
    Dancing all the passion I can.



    By Mark Word
     a.k.a., the Tango Therapist


    Photo Credit of plastic guitar.