1520  Notes from Buenos Aires 7

Date: Fri, 11 Jul 2003 15:03:22 -0500
From: Rick McGarrey <RICKMCG@FLASH.NET>
Subject: Notes from Buenos Aires 7

Part 2 (Continued from 'Notes from Buenos Aires 6)

I've been writing about tango, and talking to
different people, but tonight I realized I had one of
the best people to interview about tango sitting right
across the table from me. Alejandra was born into
tango, she has a lot of experience in the milongas,
and she spent two years at the tango university here
in BA. And I should say here what is probably
obvious: Most of the smart stuff I am saying in these
posts about tango comes either directly or indirectly
from her. Here are some of her thoughts:

Q: How is tango here different than in the U.S?
A: Well, I enjoy it more here, mainly because you
dance better. You're more relaxed (this surprised
me). In the U.S. you're always complaining about the
music, or that someone else is getting in the way, or
talking, or not dancing right (I can't believe she
said this! I am very patient and tolerant at all
times).
Q: What are the best milongas?
A: If I am alone I dance mostly in the afternoons.
I'm looking for good partners and good music. I like
most of the milongas at Lo de Celia in the afternoon,
Natucci's 'Un Monton de Tango' (El Beso), and Gricel
on Friday. Most of the best dancers and the best music
are at these. The places people go to be seen don't
always have the best dancers, and not always good
music. If I am with you, I like the neighborhood
clubs like Saraza (This is the place we went two years
ago, the first time we went out dancing together. It
has good music with an indoor and also a great outdoor
summer dance floor that they polish before every
milonga).
Q: You have danced with a lot of different good
dancers, how do you follow?
A: I'm very sensitive to what's going on. I am
surrounded by the music, and to what my partner is
feeling. You can tell a lot about someone by dancing
like this. The body doesn't lie.
Q: Who are the best dancers?
A: The best dancers are the ones who can answer to
the music with the body. It's very difficult to
explain, because it's a feeling, but the purpose is
not the steps. The feet always move with the compas
so the body can answer to the music. The milongueros
always say that if you are in the compas, you can do
anything. ('In the compas' means being in time to the
music.)
Q: But what about using the feet to show the music,
isn't that style part of tango?
A: Well, if you are performing maybe, but in the
milongas here there are sometimes adornments with the
feet, but it is not a big part of our dancing.
Q: The milongueros all have a lot of different styles
and ways of using the music. What are the differences
you have noticed?
A: (A summary). She described older dancers who are
sweet, have seen and done everything. While some are
losing physical skills, they are very nice to dance
with and connect to. Their way with the music, and
with life itself, makes a great connection. Then,
there are some milongueros who really dance for the
woman. You can tell that they are really paying
attention, taking care, watching out for you. Some
are very smooth. She says dancing with them to Calo is
like a nice stroll in the park in Palermo. Some of
the good dancers have a hard lead, which she doesn't
care for, but says some of the other women like it.
And she says some of the men are 'sometimes showing to
the others.' 'I can tell, and I don't like it as much
when they do it, but some are very good dancers.
Sometimes they need to get students, and showing is
how they do it.' And others are selfish. 'Like
who?', I asked. She said, 'Well XX is selfish (my
favorite tango dancer). He is so strong in the music
that sometimes he just goes. He can't control
himself. It's okay, but you just have to hold on.' I
asked 'What about me? What kind am I?' She
said, 'You are a selfish dancer.' (I decided to leave
it at that. A similarity of any kind at all with XX
was good enough for me).
Q: What don't you like about the milongas?
A: Smoke. Sometimes I cannot dance. I have to stop
going.
Q: Who are the good teachers?
A: My only teacher was Celia Blanco. She is very
tough, she was trained as a Profesora de Danzas
Clasicas, and she is tough. But she was very nice to
me. I had sixteen lessons with her at Gallo Ciego
(another great tango name) and then she said, 'That's
enough. Go out and dance.' (note: We sat in on one of
her classes. She has never taught in the U.S, so I'll
try to write about her later.)
Q: Why don't you teach?
A: I'm in tango just for dancing. Looking for
students and competing with other teachers changes
it. (Note: I know that Alejandra has taught in the
past. She has sometimes helped milongueros give
lessons as a favor, which is how I met her. Also,
Argentina sent her to the U.S. last year to
demonstrate tango, and once she reluctantly accepted
the strangest tango job ever- the Argentine army hired
her to try to teach tango to its generals, so they
would be able to represent the country better at
foreign diplomatic functions.)
Q: Isn't it true that you have said that my mastery
of the dance is unequaled by anyone in Buenos Aires?
And what about those codes Sonia couldn't put in the
book, the ones every Argentine has sworn not too
reveal?
A: I was astounded by her answer! But I'm afraid it
will have to wait. It's getting very late, and the
doctor said if I don't get some sleep I will die so I
will have to save those unbelievable answers for
another time.

End