Salon Canning vs the tango organiser: why there are no good tango DJs

My Friend: Hi … organizers! Will you help Tom find good tango in your cities?

Me: I like anything with Golden Era music. Thanks!:)

Organiser 1: [Links to FB groups for those cities]

Me: Thanks! However, it’s hard to tell from FB groups which organizers/DJs play good quality Golden Era music, ie. no music after 1950.

O1: what are you looking for? milongas, classes, practicas?

Me: The Salon Canning experience lol

O1: it’s hard to predict sometimes even if you know the dj

Me: The DJ should inform the organisers about equipment set up and DJ set.

O1: they rarely do it

Me: I know. But they should. It’s like lottery.

MF: Hahaha the world would be a better place but only at Canning man… It’s a hit and miss everywhere yes

O2: Tom, O1 is right. You can’t be sure about the sort of music that DJs will play in the milonga in [country name]. Usually the music can be really ‘surprising’ meaning ‘shitty’. There are a few djs you can trust.

One of them is O1 :)) She played in my milonga and it was really cool. So I can highly recommend her. BTW, when will you play at …, O1??? I miss you!

As for …, there is good music at milonga …. The DJs are very good, with a good taste [dj’s]. They play traditional tango music.

And in … there is a great new milonga on … as well run by an Italian, Argentinian and Uruguay DJs who really take care about what they play. So you should be satisfied, Tom.

If you want you can check my milonga on …. We invite DJs and we try to find the good ones, I mean the ones who don’t experiment too much :))))

Me: Thanks O2, that sounds good. Basically I’m interested in the standard trad BA repertoire and a decent audio setup … no direct audio cable into the laptop audio jack, decent DAC and no lossy mp3s. Apparently that’s still a lot to ask. I still find DJs who haven’t heard of TangoTunes and use mp3s and the audio jack. This was excusable 5-10 years ago. I really wish there was some way of screening for these things. But I accept that being a musician I’m hypercritical and most people don’t care. I’ll check out those recommendations. Thanks again!:)

O2: Oh! So to be honest, you will suffer on … if you come because we don’t t have such an equipment at our place. Our regular lovely place has been closed because of pandemic, and now we are renting a students’ club dancing floor which is not perfect at all. Especially in terms of the sound. But if you just look at it like meeting new great people :))) you will have fun. I promise you 🙂

Me: Ok I’ll adjust my expectations. Which is your milonga?

[I’m starting to get frustrated as I’m getting a sense that the information I’m getting is all but useless and I want to get rid of the red herrings they’re throwing my way and focus on what I want, which was the original reason I’m having this conversation. I also noticed that O2 seems to be clueless about proper DJ-ing audio equipment.]

Me: People focus on the music that the DJ selects, which is either trad or not. But I heard “trad” DJs with really awful sound. And the three things that the DJ needs to really understand is sound files, music player software, and DACs. I discovered this by way of listening to classical music. The standard Mp3 + iTunes + audio jack (built-in DAC) are not designed for music reproduction, you know, what used to be called “Hifi” … High Fidelity. Modern music (electronic, pop) is recorded to sound good on the cheapest device possible. But tango is very fragile and needs super careful treatment and curation. But people aren’t doing that. There is a website called https://tangodjsforgoodsound.info and I think you guys should put your basic audio set up there, and make sure you always carry it with you. I’m guessing that people aren’t losing their DACs. I’d suggest having a Dragonfly DAC as a backup.

O2: That’s interesting. I will talk about this with guys who really care about the sound and quality of the music they play. Thanks for sharing it.


 

What’s interesting about this conversation is that these “organisers” and “tango DJs” appear to be completely clueless about what amounts to a basic audio setup for tango, and when I broach the issue they try to change the subject and finally just go cold as I’m not responding to their efforts at marketing. They appear to know little or nothing about it, or at least its not something they want to discuss. Instead, they want to focus on “meeting people” and “DJs that don’t experiment too much”, and that the DJs are Argentinian, Uruguayan and Italian . What does that mean? When you go to Salon Canning you’re not there to “meet people”, you’re there to dance. Also, you expect no experimentation from the DJ. You expect what you get every time you go there, traditional Argentine tango music. It’s always the same. Even at the hipster milongas in BA the music was never something I had to pay any attention to since it was all acceptable. Yet you go elsewhere and whether the DJ is Argentinian or not the music is consistently frustrating and jarring.

My online tango friend Bononno (his blog is Tango High and Low) started a topic on a tango forum “What makes a good DJ?” To quote:

I’ve been thinking about this for a while but am only now getting around to asking. (I searched the archives but couldn’t find anything in the forum on the topic.) After listening to some wonderful DJs and some really atrocious DJs, I’m wondering why this happens. The corpus of danceable tango songs is large, but not that large. There’s a fixed body of songs from which to draw, almost exclusively from 1925 to 1950. There are certain orchestras that are essential to any milonga, and some that aren’t. But I know from experience that some DJs play one magnificent tanda after another, with appropriate cortinas, and others are all over the map, mixing classic tangos (generally fine) with later songs that are almost never played. Generally, these tend to be overly dramatic, largely vocal songs from the late 40s and 50s. Generally, these are songs I am unfamiliar with.

 

I am also beginning to wonder about Argentine DJs. We’ve got a bunch who live here and others who come through here and most of them are not to my liking (some are terrific though). They have a fondness for offbeat songs or very late examples of Pugliese and Troilo, which are difficult to dance to and go on for far too long. The cortinas often consist of cheap top-40 rock-and-roll, which generally spoils the mood of the milonga. Or they play 10-minute salsa songs. (A bad idea at a milonga in my opinion.) Is this a porteño thing, playing vulgar rock and outlier tangos? I realize the tradition in B.A. is a bit different than what we have come to expect elsewhere, but there’s a lot of beautiful tango music out there; no reason not to play it.

 

What’s surprising is that there a number of good, solid DJ playlists available, recommendations on which composers to play and what periods, and so on. I’m not saying it’s easy to be a DJ, but they could at least stick to music that the crowd can dance to and wants to hear. I’m not asking for favorite songs or orchestras (I have mine, you have yours), but it’s awfully frustrating to go to a milonga and sit out many of the tandas because the music is just not something that moves you to get up and dance. In tango, there’s no need to try to expand the repertoire into obscure or unloved tangos; you simply have to pick and choose the best from what’s available. And there’s a lot.

It should be simple, so why isn’t it? As Bononno recognises, the tango DJ should stick to the established tango repertoire and have a clue about organising the tracks, and that’s hardly rocket science. The more difficult part lies in getting a decent sound.

There are two reasons why tango DJs who are moving around on the milonga scenes around the world are allergic to traditional tango music. First, there is the technical difficulty of getting a decent sound out of Epoca de Oro music. Most DJs know little more than to set up some music or DJ software on their laptop and to get some tango music to play. The worst case scenario is if they use something like iTunes and mp3 music files. Better if they use some sort of a “lossless” format and a better music player. But that’s still going to be far from enough and so they “experiment” in order to spice up a set which is falling flat.

In order to make traditional tango music come alive ideally you need high quality transfers from the shellac records to high resolution 24bits/96kHz FLAC (Free Lossless Audio Codec) files with no “cleaning” or compression at all. You try to clean up or compress the file and the music sounds flat and lifeless. You’ll just have to live with the pops and noise. Then, you’ll need a decent set up on the computer. You’ll need music player software that is designed for quality sound reproduction. Neither iTunes nor even DJ software for electronic music like Traktor is adequate for this. You will need something dedicated to high fidelity reproduction like JRiver Media Center or Audirvana. Finally, you will need a decent external USB DAC (Digital-to-Analog Converter). The built-in DAC inside your laptop is not adequate to quality sound reproduction. Yet I continue to see tango DJs plug the audio cable directly into the headphone jack on their laptop. It’s a complete joke.

Tango music would be consistently great if tango DJs and organisers cared about DJing as much as they care about promoting themselves. Unfortunately, and this is the second reason, they don’t. What they sell is red herrings: meeting people, dancing lessons, workshops, events, marathons, and loud high energy DJ sets spiced up with a lot of non-standard numbers, in other words, they sell a lot of buzz. With very few exceptions, sticking to quality traditional tango music is not in their business model. Their business model is selling tango product. Also, too many seem to crave all the attention they get on their FB pages, their 100s of international FB friends, promoting stuff with posters, a lot of online technique lessons, etc. If you, on the other hand, just ask for traditional tango or the Salon Canning experience they tune out. You can feel the Arctic wind. They just couldn’t care less. It’s boring and they couldn’t get attention on their FB pages and the associated status, international friends, exoticism, or product for that. There would be no buzz. Salon Canning is the tango marketing buzz killer.

Video analysis of inefficient and efficient movement in Tango Estilo Milonguero

This analysis of videos of people dancing tango will make much more sense after doing the ABCD Method foundational practice a couple of times rather than relying on the visual image alone even with the explanation provided. Experiencing the way in which the upper body connects to the action of the feet is likely to provide much more insight and understanding of what you’re looking at. I will use SST for Salon Style Tango and TEM for Tango Estilo Milonguero.


Tango Estilo Milonguero (TEM) is defined by an unchanging embrace or hug, with elbows floating around the level of the shoulders and pointing out rather than down (see Embrace: the essence of tango). The constraints on the dancing are the posture, the embrace, the music, and the changing momentary situation on the dancefloor. The dance is an improvised variation on the walk.

We can visualise or have the mental image of the walk either in the horizontal or vertical dimension (see Mental imagery and partnering technique: push-pull vs long spine). The horizontal type movement will lead to push-pull type partnering and will lead to movement which is less efficient in terms of (a) the use of space, and (b) the transmission of lead and follow, and therefore also (c) the range of options for improvised movement.

When we look at dancers we only see the movement in space. However, once we have experience of the vertical mental image (see Video: ABCD Method foundational practice) we should be getting better at identifying the two types of movement generated by the two sorts of mental image, horizontal/push-pull vs vertical/long spine, and how that affects the dancing.

In the videos discussed all the dancers are putatively demonstrating Tango Estilo Milonguero as defined by the type of embrace. However, there is a difference in the partnering technique due to the different type of walking and, as I argue, mental image that these dancers use. In the first set of videos we’ll look at the horizontal approach, it’s visible elements and how it affects the movement, use of space and movement possibilities, and then we’ll look at the vertical approach.

I admit that based purely on the visual image any number of different interpretations and judgements of the movement are equally possible and plausible and indeed this is the source of so much confusion. My commentary should be taken as an interpretation and evaluation from the vantage point of someone who has experienced tango movement generated by the long spine mental image and makes more sense when this mental image has been experienced.


Example 1: Tete Rusconi instructional video in TEM

In these instructional videos Tete is demonstrating the TEM embrace and movement. It has many of the elements of efficient TEM movement. But when you look at the walk you can see that he initiates with his chest and then falls into the leading foot. Initiating this way commits him to the step but then his step is too short and it gives the impression of the step being too short for what was intended, mainly because his partner is rather small and not extending enough to make the step larger. Overall, the walking takes much more space than would be available at a crowded milonga and would not be viable. The range of movements also seems quite constricted by this approach.


Example 2: TangoChino, TEM vs SST lesson demo

This video attempts to demonstrate the difference between TEM and SST, but the instructors import the horizontal image of SST into TEM. A clear sign of a horizontal mental image is the woman’s embrace which is around the man’s arm rather than up on the shoulder. This prevents him from communicating his intention without moving in the horizontal dimension first.

The result is that the movement is stifled and lacking in freedom and expressiveness, as if the dancers are lacking space which is typical of this approach. While you get the intimacy of close embrace you lose dynamism and expressiveness. This is probably the reason why many dancers who identify as dancing “close embrace” do an “in-out” approach, dance close embrace and then open up when the want to do some moves.

While the technique of crossing instead of pivoting is typical of TEM, you will notice that when the dancers transition from TEM to SST they change the steps from rhythmic to smooth. But dancing in this rhythmic fashion clearly takes up space and would not be efficient in a crowded milonga, and seems to be necessitated by the partnering technique in which you have to keep walking. Either way, it’s not accurate to characterise TEM as this sort of rhythmic walking. It is more accurate to say that TEM faciliates rhythmic dancing when it is required, but this is clearly not always required (eg., you couldn’t dance this way to Pugliese) nor efficient, and so will create a misconception about TEM. Moreover also clearly contradicts the smooth movement of Tete in Video Example 1, creating further confusion.


Example 3: Tango Vagabundo TEM demo

This is a very common approach to TEM which basically imports most aspects of SST into TEM and results in very inefficient and restricted movement that require opening up. Elbows are pointing down and the woman embraces the man in a SST embrace which pushes his leading arm down. That is a sign that the leading is push-pull. While there is some crossing footwork characteristic of TEM, the ochos are done by pivoting and the woman has to open up and they’re in an “armpit” embrace rather than chest to chest. The result is a dance lacking in dynamism or freedom of movement, and gives people a false impression of TEM, again, mainly because it imports movement technique from SST into a close embrace.


Example 4: Sara Torricelli & Gianni Loppi demo

This is exemplary of many of the aspects of competent TEM dancing and the result is fluid, dynamic and efficient dancing. Although this is a floor show taking up space this can be easily adapted to dancing at a crowded milonga. To an untrained observer the walking movement is, as in the case of the previous examples, in the horizontal dimension. But the mental image here is vertical. There are two signs of this. First, the position of the elbows. Second, the action of the feet. Although in motion the feet seem to move along the floor, when you stop the movement you can see that actually the man anticipates horizontal movement by pulling up with his heels. In other words, half of the movement is up. This means that by the time he moves forward or back he’s already communicated the movement and the woman steps comfortably without any rush.

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Notice that here the pulling up of the heel is not merely the purely decorative, non-functional boleos that you see in SST (see Beauty or kitsch). In SST this movement is non-functional because the embrace does not allow for this movement to be transmitted to the partner. The structure of the TEM embrace means that this movement is directly communicated to the follower and is therefore functional in the movement technique. Also, it is not a kick to the back but rather a vertical movement of pulling the knee and the heel up in the vertical dimension rather than, as in the case of the boleo, to the back and out.


Example 5: Silvia y Tete

In this video we can see Tete dancing very differently from what we saw in Example 1. The use of space is much more efficient, there is greater variety of movements and greater fluidity, dynamism but also stability in his dancing. What you will notice is that there is much less of an effort to flow smoothly along the floor and more pronounced pulling up of the knee and heel. Again, these are not decorative boleos but are functionally integral to dynamic and efficient dancing in TEM. Also notice that when he exaggerates this movement into a decorative or expressive feature, he pulls the knee up rather than back and out as in the boleo. This is what I call emergent movement which is decorative movement that naturally arises out of functional movement technique and in contrast to purely decorative choreographed “decorations” remains functionally connected (see Choreography vs emergent movement).

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Example 6: Ricardo Vidort

Probably the pinnacle or ideal example of TEM technique that I describe here on ATH, and what I base my analysis of TEM technique on, is the posture, embrace and walking movement of Ricardo Vidort. Here it must be mentioned that I look at his dancing from the point of view of technique rather than the specific steps that he does. My focus is on the embrace, esp. the position of the elbows, and the specific way in which he walks which never commits him to a step but which is always reversible (see Walking and the principle of reversibility).

The initiation of the stepping movement with a horizonal floating of the heel and the knee is visible. There is also an instructional video in which he demonstrates and instructs on a motion in the lateral direction. My approach to teaching is slightly different. First, I don’t think that explicit instruction is the most efficient approach and that the focused movement practice in the ABCD Method is a more efficient approach. Second, I feel that explicit instruction for women to cross tends to lead to that movement becoming a habit and a step executed even when it is not led, rather than just a variation on the walk, and so I wouldn’t recommend teaching it that way, but rather as an exploration such as the Cross Walk (see Video: ABCD Method foundational practice).

The following video is a good example of the TEM embrace and also in the efficient use of floor space and reversible walking. There is hardly any movement in the horizontal direction beyond a step or two, and always in a compact and controlled manner. Visible is also the lateral movement that Ricardo uses to communicate his lead.


Example 7: Myriam Princen with Ricardo Vidort, female movement

The technique for men and women is essentially the same. Women are often taught in SST and also in some TEM lessons to extent her leg when walking. But when the mental image is vertical the technique for walking in TEM should be the same as the man. It is more difficult to see the image of the heel floating up in the woman because the high heel shoes already push the heel up but in this video we can see that Myriam Princen floats up the knee. Notice I’m not saying that she’s bending the knee. The key here is that the walking movement is initiated by floating the knee up. There is no need to throw the leg backward in the horizontal direction as is often seen in tango lessons (see screenshots in Mental imagery and partnering technique: push-pull vs long spine). In this video you will also notice all the elements of the vertical or long spine mental image in TEM, the elbows around shoulder level, lateral movement (there’s also a visible tilt) and the corresponding fluidity, freedom but also efficiency and reversibility of movement. There’s virtually no lag between the lead and follow.

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Mental imagery and partnering technique: push-pull vs long spine

As I have pointed out (Mental imagery in movement learning) there are several ways of eliciting movement. The most common way that is found in dancing classes is by way of demonstration. The instructor demonstrates a movement or a technique and this provides the visual image that the learners use to replicate it. Another way that is found in movement exploration and improvisation practices is by way of a mental image or visualisation that the learner is verbally instructed to generate himself and that the instructor has found generates the required movement pattern or technique without a need for demonstration. The reason for the latter approach is that what we see when we look at a movement is more often than not misleading and, absent further explanation, tends to focus on merely superficial aspects of movement rather than its internal organisation.

Screen Shot 2020-07-06 at 8.17.49 pmThis is in fact the situation in the teaching of probably the most important aspect of tango dancing: the technique for partnering, that is, for leading and following. The visual image is highly misleading in terms of what actually happens in efficient partnering. The teacher demonstrates the movement and what the students see is movement in space that is horizontal. The teacher moves forward or back into space. Tango dancers are said to move like a cat and this is essentially the image of horizontal movement. The cat extends its paws forward and glides along and similarly the dancer extends the foot and pushes into the space. Indeed the whole idea that in tango we walk reinforces this image, but consider the image of walking up a ladder.

This analysis of tango movement seems plausible if we look at dancers moving together through space. Good dancers seem to glide along the floor smoothly and effortlessly. Also, it is easy enough to get students to practice this sort of movement individually walking up and down or around the room pushing into space. It gives them the feeling that they’re learning to dance and takes up class time. It’s a good way to start the class as a warmup to some tango music and satisfies several requirements of conducting a tango dancing class.Screen Shot 2020-07-06 at 8.09.44 pm

Let me briefly go on a tangent into education theory and quickly explain three approaches to designing a teaching program or syllabus. Syllabus designs can be categorised as (a) teaching centred, (b) learning centred, and (c) learner centred. A teaching centred syllabus is built around the teacher’s credentials and the need to conduct lessons and “teach something” rather and less on the needs of the students or the outcomes of the teaching. The success or failure is measured on whether a class has been taught rather than whether the students are “getting it” or whether any tangible outcomes have been achieved (ie., the students learn the skill or perform in a test). A learning centred syllabus is focused on the goals or outcomes, so that if outcomes are not reached the syllabus needs to be changed. A learner centred syllabus is focused on whether students feel that they’re getting it.

Now, although the practice of walking individually might satisfy the need to teach something the outcome of this should be that this walking technique should then provide the basis for walking with a partner. But this is where problems arise. Pushing horizontally into space might work in individual practice but with a partner now there is a person in front of you. The man can’t just step forward. The man has to first indicate to the woman his intention or the direction of the movement, and then the woman has to receive that information and initiate her movement so that they move together. There are several ways this can be communicated. One way is through the hands. So some teachers teach a push-pull technique in which the lead-follow is transmitted through the hands. Alternatively teachers advocate leading with the chest where the man moves his chest around and the woman focuses on following the chest with minimal use of the hands.

The problem is that starting with the visual image of horizontal movement we end up with a highly inefficient technique for partnering. The man has to plan and signal his step through either the hands or, which is even worse, chest. The idea is that with enough practice and skill the planning, signalling and reception become instantaneous. While this might make sense in theory what we actually find is that so long as dancers hold on to the idea of horizontal movement the partnering is inefficient and cumbersome.

This is the basic reason why most “academico” dancers look so different from so-called “natural” or “intuitive” dancers, in particular, why their dancing looks less graceful and more forced and consumptive of space (see Naturalness in tango dancing). Furthermore, leading/following the chest is totally inefficient as there is really no way for the woman to see or otherwise sense the chest quickly enough to follow efficiently . How is the man to signal a simple walk with the chest unless he just starts walking? But this will startle the woman and she’ll fall behind which will create tension. Hand leading on the other hand requires tension in the arms that is also highly inefficient. You end up with the sort of push-pull partnering technique that is typical of ballroom dancing which creates tension in the body and inefficient movement.

Screen Shot 2020-07-07 at 2.35.11 pm    Screen Shot 2020-07-07 at 2.37.18 pm

Fig 1. In this partner walking practice we can see that the man leads by simply starting to walk forward and the woman falls behind and so that he basically walks into her, probably because there isn’t enough tension in the hands and she’s trying to follow his chest. She then “catches up” and pulls away. This lag between the leader’s signal and the follower’s reaction is the normal dynamic in the horizontal push-pull scenario. (Source: Milongas en Uruguay FB group)

It is common to notice that “academico” dancers use space differently from “milonguero” dancers. Because studio trained dancers visualise partnering in the horizontal dimension they always move in space or if they turn in place they take up at least double the amount of space necessary. But in a crowded milonga it is necessary to dance using the minimal amount of space and it appears that “academico” dancers are unable to use space efficiently (see also The fundamental problem of global tango).

Screen Shot 2020-07-07 at 3.24.05 pm    Screen Shot 2020-07-07 at 3.25.27 pm

Fig 2. How do you get from A to B? Theory: you adjust what you learn in A to B. Reality: you forget what you learned in A and adapt to B. Or more typically: What you learned in A becomes a habit and prevents you from participating in B effectively. Alternative: instead of learning A, learn B directly by changing the mental image.

We also notice that the image of horizontal movement creates problems with the partnering technique for close embrace/apilado type dancing. Students are instructed to lean against each other and then move horizontally. The image is the same but instead of leading through tension in the hands the dancers are required to push-pull at the chest. But this creates exactly the same problem as in the case of partnering through the hands. The leader needs to plan-signal and the follower needs to listen-respond. If the leader needs to “change his mind” then he needs to signal to the follower to “cancel” the previous instruction and change direction and so on and so forth. All of this creates tension and negative feeling, and is responsible for a lot of bad dancing experience and loss of motivation.

This situation is in fact the inevitable end result of starting out with the image of dancers moving in space in the horizontal dimension. If you look at a crowded milonga like the one at Salon Canning dancers move in place around and only momentarily move horizontally in space. The situation that you get in a studio lesson with plenty of floor space is not the norm but the exception. That is, if the goal is to be able to dance in a crowded milonga, then the situation of the studio lesson cannot be taken for granted. In fact, I’ve seen many teachers, including those from Buenos Aires, who either cannot dance efficiently in a crowded milonga, or who completely changed their “style” of dancing from what they were teaching.

I think that the assumption is that when you’re learning you need to start out this way and then you will somehow adapt or figure it out for yourself. But again we find that many, perhaps most, do not figure it out. Also, isn’t the point of tango lessons that you don’t need to figure it out for yourself and that what you learn will take you to being able to dance at milongas in the most efficient way possible? Viewed in this way it seems that the teaching technique that uses the image of horizontal movement is completely counterproductive.

The alternative to the visual image of horizontal projection and smooth cat walking is the mental image of upward projection or a long spine. My contention is that you visually perceive as walking in the horizontal dimension conceals the actual mental image that drives efficient dancing which is in the vertical and upward dimension. It is the image of the spine lengthening upward. Through some experimentation and reverse engineering I have found that this mental image is best sustained through the position of the elbows, that the position of the elbows best signals the technique that underpins efficient TEM partnering. Elbows that are below shoulder level and pointing down signal push-pull partnering whereas elbows that hover at or above shoulder level and point outward signal the long spine image and partnering technique. Coordination Practice 1 Floating Foot and Elbow best exemplifies and reinforces this mental image that should be sustained throughout the dance (see Video: ABCD Method foundational practice).

The next question is how this changes the mechanics of the partnering. As I explain in Walking and the principle of reversibility we can initiate a walking movement that is elliptical in the vertical and lateral dimensions, and this movement can be transmitted (without moving horizontally in space) through the primary and secondary connections of the embrace (see Embrace: the essence of tango). This type of movement utilises the principles of efficient movement and does not require any process of planning-signalling-reception-execution. Instead, there is an immediate connection between the partners who simply need to learn the basic rules of efficient movement (see also the “finger dance” in Walking and the principle of reversibility).

The practices for Alignment, Back Release and Coordination of the ABCD Method provide the basis of the long spine image. Once this image is established Direction provides the technique for movement which takes place naturally, efficiently, instantaneously and without the need to power into the step horizontally which is highly inefficient in terms of partnering and use of space. The leader initiates with the foot then changing weight and releasing initiates an efficient transmission of the direction of movement to his partner. Because the woman is standing in a dynamic position (see Back Release Practice 2: Floating Foot) she can respond efficiently (see Coordination Practice 2: Extending, Direction Practice 1: Turning Out).

Video: ABCD Method foundational practice

 

ALIGNMENT

  1. The Bow
  2. Spine roll

BACK RELEASE

  1. Turning
  2. Floating Foot
  3. Turning and Floating Foot

COORDINATION

  1. Floating Foot and Elbow
  2. Extending
  3. Extending and Turning
  4. Floating Elbows, Extending and Turning

DIRECTION

  1. Turning Out
  2. Turning Out Forward/Back
  3. Turning Out with Floating Elbows

EXPLORATION

  • Cross Walk

 

 

TangoVoice’s real agenda for Argentine Tango uncovered

It is not always all that interesting to look into a person’s motivations when they take a particular stance on Argentine Tango. You’ve got the usual suspects. You’ve got the typical Argentine guy in Europe, US, Australia or Asia. There’s no mystery there. They are just the typical Latino guy on the consumer ethno-dance scene that provides them with some cash, attention, access to women, that they just would not get back home where they are just another boring non-significant loser (and that’s what the majority of these types are in fact). Then you have the leftists, the feminists, and progressives who insist on reconstructing a social practice to fit their own retarded leftist agenda, to suit their own sick mind, but in the process also to score some of the same sorts of things.

You get some of that with TangoVoice. But when you look more closely you also get something else. In particular, three items come into focus. First, there is the wordiness of it all. That’s a salient trait right there that might get you to think about who this person is. High verbal IQ is not equally distributed within the population. Second, there is the condescending view of the local population in the US. The idea is that these people are not “happy” because they lack physical touch, and they need “therapy” that “liberates” them from their misery of contact deprivation. And tango is a therapy that these repressed people need. Third, there is the tolerance of feminism and non-traditional sexual orientations (homosexuality and trans) and the view that intolerance to these is just a sign of mere prejudice, indeed, it’s fascism!

Now, there is a group of people who feature quite prominently in the history of tango in Buenos Aires, who have also written profusely about the need of Europeans to liberate themselves from their repressive patriarchy, which they identify as the source of the “authoritarian personality”, and who have consistently advocated sexual liberation and various forms of body or sex therapy to deal with what they see as the sickness due to sexual repression based on Freudian principles. I mean, we are talking many books, virtually all the major authors, many of whom are still taught at universities. Moreover, they feature prominently in dance departments and in the creation of various body and sex therapies.

You hear that Freudian therapy is quite popular Buenos Aires. Indeed, these people have been helping the men of Buenos Aires to deal with their sexual repression by supplying them with women from Europe. In their own publications that are easily found with a simple Google search they talk openly about the large scale sex trafficking of women form Eastern Europe to South America in the 19th century. Somehow, they themselves don’t seem to be very proud of that history. Perhaps if it wasn’t their own women that they were trafficking it would not get any mention, indeed it would be regarded as anti-semitic, alas it was their own women that they were trafficking and they themselves admit it.

So here we have uncovered the real identity and the real agenda of TangoVoice. Virtually all of the names of the people who are engaged in using sex as a “body therapy” for repressed Europeans—Europeans who therefore have authoritarian tendencies and who need to be encouraged to be more open to homosexuality, transgenderism and demographic replacement,—are ethnically Jewish. It is no wonder, therefore, that the idea that Argentine Tango might be a European dance used to help Europeans socially interact, to help in courtship towards marriage within an ethnically homogenous society is anathema to them. It’s fascism! Their goal is the exact opposite. It is to use tango to “liberate” Europeans from the idea that they should court each other for the purposes of procreation, and instead to use sex to make them less rather than more reproductive. I guess it’s possible to view things like prostitution and degeneracy as part of the history of tango and therefore as “traditional” in that sense, if it reaches your goals. But then we should be open about what the real agenda is.