2737 dancers/teachers
Date: Fri, 3 Sep 2004 00:35:53 -0500
From: Michael Figart II <michaelfigart@YAHOO.COM>
Subject: dancers/teachers
Hello List, and warm regards to all,
Maybe I gave a slightly wrong impression in one of my postings, which my
friend Daniel Lapadula pointed out. I was talking about the long-debated
issue of good dancer-good teacher, good dancer-bad teacher, etc, etc,
and made the "offhand" comment to the effect that the worst "teacher"
I've ever worked with was Juan Carlos Copes. This was a very "off the
cuff" comment, and there was no "hate" intended or implied, Daniel.
Daniel, I highly respect you, and your teaching, and your love of tango,
and all of your opinions regarding such. I appreciate your trips to
Houston, and have enjoyed your classes here. I also recognize Senor
Copes as one of the finest dancers of Argentine Tango in the world, and
probably "THE FINEST" choreographer ever known. When I first started
dancing tango, I watched "Tango" about a million times, and replayed the
sequence with him dancing with that beautiful young lady about two
million times. Always hoping that one day I could be so smooth, so
elegant. That scene in the movie is such pure, clean, Tango Argentino at
its best. So, So impressive, and inspiring.
So, I paid the $400.00 (for the entire workshop, including others), two
years ago, partly so I could experience working with "El Maestro". I was
extremely disappointed. Granted, some of my disappointment was caused by
the organizer: (small rooms, unbearable heat, etc). BUT, Senor Copes was
very unprepared and there was no structure to his teaching. He actually
"forgot" what he was supposed to be doing, and had to take a break (with
his daughter), so he could go over the next cycle of his classes, and
90% of what he taught was way, way above the level of his pupils.
Daniel, I'm sorry, but the workshop was a bust, and Guillermo y Fernanda
were the stars.
Daniel Lapadula; I gave an honest, clean appraisal of the history of my
Argentine teachers. I'm sorry that I offended you with my opinion about
Senor Copes, but I think that he may, at least, partially, agree with
me. He came to Houston for money, (and I hope he got all he asked for!).
I think he knows he's not a workshop teacher, Daniel; he's a private,
one on one choreographer. Yes, Daniel, he is an icon in Argentine Tango,
and always will be; and I'll always appreciate him, if for nothing else,
for that scene in "Tango".........that was instrumental in me getting to
where I am now. And that has probably been instrumental in many
tangueros interest.
BUT! You know what Daniel!!!! Four years ago, about to this very day,
very close anyway.....a good friend of mine, my next-door neighbor,
Vickie, invited me to a "milonga". I had no idea what a "milonga" was.
It was in Victor's old place, in the Heights. I sat on the sidelines
watching everybody in their fine clothing, sipping wine, and dancing
this beautiful dance. I watched the performance by you and your partner.
And I told myself that this has got to be better than watching TV, and
playing with the dog every night. So you, Daniel Lapadula, may have made
more difference than anyone else in my tango career. I began classes
that very next week, and haven't let up since.
Daniel, you wanna know how many hours? Many, many thousands in the last
four years. I've not just taken classes, I've practiced at home, at
first by myself, then with others, then (after 9 months), going to
milongas, then going to workshops elsewhere, then privates, then Buenos
Aires, etc, etc, etc.
I still learn every chance I get, and always will.
Alright Daniel; wake up and check this out. Did I say Copes was a bad
dancer? Did I say I didn't respect him? Did I say anything other than I
didn't think he was a good teacher? Daniel, he's a great dancer;
probably the greatest ever, but, I'm sorry, he's not a great workshop
teacher, and I'll bet he'll agree with me, especially in the case of
Metatango 2002.
So, Daniel, ask around, and get off my ass. I've taken classes from
many; some were good, and some were bad, many were headed to places I
care not to go. The only class I've taken with Senor Copes appeared not
to have any idea where it was going, at all...
So you're going to sign off the list, huh, Daniel......so you probably
don't get this message???? I just wanted you to tell me where the "hate"
is, so that I'll know next time........
Truly, and warmly,
Michael
Date: Tue, 7 Sep 2004 10:11:46 -0500
From: Stephen Brown <Stephen.P.Brown@DAL.FRB.ORG>
Subject: Re: dancers/teachers
I have read a number of contemporary histories of Argentine tango that
credit Juan Carlos Copes for keeping Argentine tango alive during its dark
years and then making important contributions to its revival.
During the years in which Argentine tango was buried by police repression
of the milonguero culture, a ban on public gatherings in Argentina and
then the dominance of rock and roll music, Juan Carlos Copes and Astor
Piazzolla kept the flame of tango alive by performing countless tango
shows throughout the world. (At the same time Clubs de Barrio kept social
dancing alive under the radar of the Argentine authorities.)
In the early 1980s, the French government commissioned a tango show
featuring the music of Sexteto Mayor and the dancing of Juan Carlos Copes
with Maria Nieves. Copes helped put together the ensemble of dancers
which included Gloria and Eduardo Arquimbau and a number of other couples,
and the show debuted as Tango Argentino. (Copes was credited as the
choreographer, but everyone including Copes acknowledges that the seasoned
couples did their own choreography.) After a successful run in Europe,
Tango Argentino jumped the Atlantic for a successful run on Broadway and
then a tour of the United States.
Most everyone credits Tango Argentino with creating renewed interest in
Argentine tango. Of course, what people initially saw was stage
tango--which Copes acknowledges that he teaches--and the early waves of
learning were primarily of the stage form of tango. The social forms of
tango were slower to rediscovered.
With its relatively recent revival and niche market, Argentine tango has
something that is relatively unique in the dance world, beginners taught
by masters. Such interactions can be difficult and lead to strained
expectations on both sides. From time to time, a relatively inexperienced
dancer will offer some negative comments on Tango-L or another forum about
the trouble that they had taking classes or lessons from someone whose
teaching was beyond their ability to learn. And from time to time, highly
skilled dancers who are teaching Argentine tango have difficulty
understanding that learning to dance Argentine tango is simply a diversion
for their students.
Personally, I have found Juan Carlos Copes to be generous in sharing his
tango.
With best regards,
Steve
Stephen Brown
Tango Argentino de Tejas
https://www.tejastango.com/
