Monthly Archives: July 2011
Oh Javier… how we love thee.
If you haven’t been fortunate enough to have learned from Javier Rodriguez, let us share some of his wisdom with you. But first, let us give you a mini-summary of Javier in his role as a teacher.
Javier is blunt, has no shame, and shares all that he has learned and knows about Tango without apology. We’ve heard that (North) American Tango dancers/communities have found him to be too abrasive and too frank (ex., he has no problem telling women to stop squeezing their “chichi“) and he doesn’t work as a teacher so that he can lie to you and tell you how good your tango already is.
In North America (and we’re starting to think in all English-speaking countries) everything needs to be sugar-coated and oh-so-positive. That’s why anything goes in North American Tango. We don’t want to be told what Tango is or how to do it. We’ll tell people to follow Gavito’s advice when he tells a class to only speak positively about Tango and to only say what we like about a person’s dance (although we don’t know the circumstances behind that comment and in fact, he has told dancers to also notice what they don’t like), yet we won’t listen to Gavito when he says the embrace and the walk are what make Tango what it is. We think we can do it better and we think we should change it to make it our own (while calling it by the same name).
Meanwhile, in Asia, many of the cultures may be more direct (How old are you? Are you married? Do you have children? Why not?). However, they sure as hell aren’t used to hearing about “chichis”. Yet it’s these same Asian communities that embrace the traditions of Argentine Tango and will happily do as they are asked. They respect and look up to their teachers.
With that said, let us divulge some wonderful insights Javier and Andrea shared with the class in Seoul:
Don’t Castrate Your Partner Women, pull your hips back and make room for the men. When you keep your hips flat, you castrate the man you are dancing with by stripping him of his freedom to walk forward without restraint.
Javier demonstrated this with multiple men and we don’t think there was a person left in that class that doubted this assertion.
Hierarchy Among Dancers Javier & Andrea were asked about a problem that exists in various communities. What happens when the best dancers only want to dance with the best dancers, the mediocre followers only want to dance with the best leaders, and the mediocre leaders are left wanting? Javier responded (in a way that most of us North Americans don’t like to hear) that this is the way it is everywhere around the world… and this is the way it should be. If the mediocre dancers want to dance with the best dancers, they need to become better dancers. If the best dancers are already dancing with them, the mediocre dancers have no reason to improve.*
* There are too many dancers who no longer take lessons OR who only take lessons that teach new sequences rather than those that improve (BASIC) technique (which is where the problems lie).
Hierarchy on the Dancefloor Many dancers understand the dancefloor setup now. There’s an outer lane and one or more inner lanes. Javier & Andrea told all of us what many people learn after going to Buenos Aires: The outer lane is for the best dancers. It’s for those who understand floorcraft and who can dance well. Those who cannot follow the rules of floorcraft and, more importantly, are not very good dancers, should dance in the inner lanes.*
*Swallow your ego and place yourself accordingly on the dancefloor. In the same token, deal with the crappy floorcraft and try to dance in the outer lane if you’re one of the better dancers in the community.
Our Thoughts on What Others May Consider IDOLIZATION
We’re not sure where the loathing of “idolization” has come from. We understand that some people take their idolization too far… and obviously a teacher is not a god. But it seems that people are loathing the fact that some dancers look up to their teachers as mentors – with respect and adoration. Those dancers who respect and learn from/follow one or two professional teachers tend to be the best dancers in a room. It’s those dancers who learn from anybody and everybody who CLEARLY show no progress in their dance.
Who We Are
We are "Jorge" and "K": Argentine Tango dancers and teachers. In October of 2008 we set out on our Tango pilgrimage. We learned and danced Tango for 6 months in Buenos Aires, we traveled in South America for 4 months, and we returned to Buenos Aires for 2 more months before returning home.
Argentine Tango is more than a dance; it is a culture. With that in mind, we seek to educate and offer thoughts to our students and readers on (traditional) Argentine Tango - the dance that existed and continues to exist in the (traditional) milongas of Buenos Aires.
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