The Elusive Embrace
Now the mother of all dances was the one K had the night she had 5 dances. This far older man (maybe mid 70s) came in much later. He danced maybe one tanda, K saw him and thought, “Shit! I wanna dance with him.” :) His posture was amazing, he was so smooth, and so musical. Well K couldn’t believe that when she looked at him, he said yes (with a bit of surprise on his face :). The minute they went into the embrace, K knew that THIS was The Elusive Embrace she has been looking for and only felt (slightly) once before.
An Argentinean was visiting Toronto and he went out dancing one night. K had the pleasure of dancing with him three times that night. He was not a very advanced dancer, but he had “the” embrace… an embrace that is not felt in Toronto. It is this embrace that Jorge & K are on the hunt for and plan to discover before leaving this Tango land.
So as we were saying, K knew that this was going to be THE dance of the night. The embrace and the dance were like honey… It was like dancing on clouds. K felt so protected. The embrace was so soft, as was his core. He didn’t use his left hand much with K, but it’s likely that he uses it with the women he needs to. He definitely uses the right arm (using the elbow to lift or place) and he uses the right hand which in all honesty, was more than K needed or likes, but it was fine by her :) He complimented K after the first dance and then asked if Jorge was the novio or esposo. Then he said Jorge’s dancing is muy lindo… muy milonguero!?!? Holy crap! That was such an amazing compliment coming from him. After the second dance, we were stopped right in front of Jorge’s area and Carlos (the milonguero’s name) looked over at Jorge and gave him a thumb’s up regarding my dancing!! After we finished dancing, he then spoke a bit with Jorge and he kissed us goodbye at the end of the night.
We also experienced the same Elusive Embrace in our private lesson with our very young Tango teachers here. One dance with each one of them and we were in Heaven… and truly determined to find this embrace for ourselves.
More about “The Elusive Embrace”. The best way we’ve been able to describe it is this way: A leader with The Elusive Embrace feels soft and light, but is very strong, is very present, takes care of the follower completely, and leads gently, but with 100% intention. A follower with The Elusive Embrace also feels soft and light, is very present, is always right “there” never anticipating the next step, and has a soft strength in her core. The Elusive Embrace is pure Tango Heaven.
In Toronto, Jorge (and also K at times) have been told that everyone in BA would call us out on our dance background. We were warned that our posture would be slightly criticized for being so straight (hmm… like Todaro?!) and being “ballroom-like” (we have been criticized in Toronto for our posture… as well as complimented). We are happy to report that Jorge is being told over and over again by locals at different milongas that his posture is really good. Not one single person has asked us if we have a background in dancing or ballroom especially. We are truly happy about this because we were slightly worried that something was “wrong” with our posture. Our private lessons here also confirmed that our posture is good – only that we need to relax the tension in our arms and shoulders, keep our cores activated and strong (but soft tummies!), and continue to be soft in our leading/following.
Overall Comparisons Between Hometown and BA Tango
Truth: No one owns Tango. Truth: We, in particular, do not own Tango. Truth: Tango comes from this city – the city of Buenos Aires (no need to nit-pick and bring up Uruguay). We are currently in this city and we have danced at (only) six different milongas. Here is what we are observing so far:
1) American/Alternative version of Tango do not exist here, except by foreigners and young dancers who like dancing at places like La Viruta (a post will follow soon on our thoughts at viewing the dance floor at La Viruta)
2) Nuevo Tango is either not being danced at all in the traditional milongas or it is being danced by one or two couples in the middle of the floor (while the older locals look on in disgust)
3) SOS musicality does not exist in the traditional milongas
4) Local dancers who have been dancing for years respect the dance. Even the younger locals who have obviously been attempting to truly learn Tango are respecting the dance. What this means is that dancers are not trying to create their own personal version of Tango (which is seen over and over again in North America). They all dance ARGENTINE TANGO. They dance musically, they dance for themselves, all to the best of their ability.
We have only been here for 2.5 weeks and we are baffled by the amount of dancers in our own tango community who have been to Buenos Aires and return home only to continue dancing the way they do. They have witnessed how Tango is danced here. Did they not take in anything while they were here? Or was their goal simply to come here and watch how other foreigners dance and then pick and choose what they wanted to take from their observations? That said, after having spent a night at Canning followed by La Viruta where the floors are packed with foreigners, we have a better understanding (since so many foreigners spend their time dancing only at these places).
Read more about our experiences in our previous posts: Tango in Buenos Aires (Part I), Tango in Buenos Aires (Part II), Tango in Buenos Aires (Part III).