dance floor thesis

You look like you've had a few lessons

2007-06-11T10:54:00.000-07:00

Last night after a grueling first ever softball practice, I impulsively pulled off the freeway at University Ave, parked my car, reapplied my lig gloss and deoderant, grabbed my standby shoes out of the trunk, and made my way into the Pasta Bar. Upon first glance the situation lacked promise; Javier was not there, and women outnumbered men by a dozen. Not to be dissueded, I sat down at a table of gussied up gals, and strapped on my shoes.

I stayed about an hour and got in 3 great tandas, including one milonga set with Mike. What a way to jump back in! At first I felt like I suddenly had forgotten all the steps, how to follow, how to listen...but soon I was falling back on my body's own memory, and the things/feet began to fall into place. Relax.

DL pulled me out for a set. I guess that ice is now broken. That's good. But I can't help but think of the recent essay I read on men and homosocial behavior in tango...the woman taking on the role of the male genitalia in a contest of manly display of power. The way he pushed me, dizzied me with non-stop molinetes and turns, it was an act of aggression. I was left exhausted, disoriented, heaving. Fun? Not so much. Not given the circumstances.

Mind Games

2007-06-02T07:04:00.000-07:00

Last night was, I believe, my last chance to dance tango in Sacramento. I convinced Jain to go with me, and TH even sounded like she was in when we talked earlier in the day. Later she called and had hooked up with other people, so Jain and I were on our own. We had dinner, walked around, had a drink, and by the time we'd finished, it was 11pm. No problem because the tango people said that things don't really get hopping till around that time anyway. Well, We checked the scene out, and yes, it was beautiful...wide wooden pillars, beautiful wood floor, 14 foot ceilings, red velvet draperies...a punch bowl in the corner, and WOMEN. About 75% women, and not one identifiably single man. This was going to be rough.

As we sipped our drinks..J a beer, me a way too strong coffee and kahlua, I began to wonder about the situation. What were my chances of a good night of dancing? with so few guys to so many LOCAL women, and so few people overall, I know that there would be very reduced chance of me getting asked to dance. and then, all the sitting and waiting. the other women's eyes on me, the anxious desire to be dancing and not sitting...

Jain watched me stare zombie-like into my coffeecup. she knew something was up. are you ok?, she asked. Yes, fine. Just trying to decide what to do. I see, she said. You're tired.
too tired for the mind games.

The Directed Study Proposal

2007-06-01T06:40:00.000-07:00

James Boyd-Brent: Directed Study, Fall 2007 (3cr)
Kristin's purpose and objectives

Further explore the concepts discussed in the Nature of Representation as Visual Communication class, specifically related to mapping and non-traditional ways of mapping non-traditional geographies.

Experiment with and develop skills in printmaking media, especially screenprinting. I would like to coordinate these efforts with the concepts of mapping.

Use traditional printmaking techniques in conjunction with digital media to create projects that express concepts and themes related to my research areas of interactivity and tango dancing.

books are interactive. maps are interactive. tango is interactive.

Spend time working with James, a member of my thesis committee.

Work: Produce 2 large projects related to the intentions outlined above.

Sacramento, Impressions

2007-06-01T06:27:00.000-07:00

Yesterday I arrived in California's capital city. I'm here for the EDRA38 conference, 4 nights, one suitcase, one presentation to give. We dropped TH off at the Grand Sheraton Hotel, where the conf. is also being held, and then the driver continued on to my hotel. The Travelodge Downtown Sacramento. Needless to say, they are sure liberal when handing out hotel stars these days. I guess it takes 3 stars to wipe down filthy walls and change out cigarette burned blankets...in my non-smoking room (touché).

B had told me to do some dancing while here, so i did some pre-search online and found a couple of places (2 to be exact) for thursday events, and one of the them was within a mile of my hotel. It's called Tango by the River, and the website looked pretty promising! The other event was with some Luis "el Suave" guy, and in the suburbs (RED FLAG!).

Sacramento has this 1800s neighborhood near downtown and the river, which is called Old Sacramento. The entire area looks like a movie set, except the building are real, not just wooden fronts...like straight out the old west. It was a boom town around 1849 california gold rush, and prospector's came to this riverfront town to stock up on provisions, and a bit of rowdy behavior.

Tango by the River is located in an historic building in Old Sacramento, and website claims it was voted America's most beautiful tango salon. Jain and I walked down to the district looking for dinner, which we found at a Mexican terrace (ok food, no espectacular). I had my shoes in my bag, but was unsure how to stay for dancing when Jain wouldn't want to and would probably not want to walk back home alone. I felt it out, and it would have not been cool. But we peeked upstairs at the class that was going on, (pre-practica), and it looked normal, chilled-out, not too many people, not as spectacular as one might think. Still, I told Jain that if I didn't go last night, I'd have to go tonight. B's orders

Notes recap

2007-05-21T09:40:00.001-07:00

How does tango relate to Interactive Design (ID)?
Consider the elements (break it down): time, person(s), skill level, learning, visual cues, auditory cues, audience, score?/feedback, payoff, objective, identity, avatar?, apparel, traffic, anticipation, cause & effect, response, focus, attention...

The creative project will show the visual and interactive aspects of tango...explain the interactivity of tango in a visual manner.

Why tango? Why bathrooms? Why baseball? Why the passion, the fervor, the addiction?
Why not?

Tango as a MODEL for interactive design. Tango IS interactive. Interactivity goes beyond electronic buttons. Tango is everything we try for in interactive design. Digital identities, tango identities..modes of interaction.

Categorize the levels and ways of Tango..how it relates to ID.

Betsy's Paper on Postmodern Dress

2007-05-21T09:01:00.001-07:00

So I found the notes from last week's meeting and then spent some time organizing all papers and what-not into a thesis binder. good job, kristin. step by step.

Last week Brad gave me a copy of his wife's paper on postmodern dress. Reading the article, I see how it was a valuable piece of help in my pursuits. First of all, seeing how the paper is structured and how the study was conducted: Besty interviewed 15 students from DHA (apparel, i think, all of them), 2 rounds of interviews totalling about 3-5 hours each. In her methodology she explains how the questioning went, and why things were kept both open-ended and specific.

Using the students at the U was smart for a few reasons; mainly, B had easy access to the sample group. Also, the sample group, as fashion students, were likely to be very willing to talk about fashion issues and make thoughtul responses to B's questions.

The paper's layout follows a familiar pattern, but is neater and cleaner than some I have seen working with TH. Almost formulaic, it is my next intention to map it out, sort of deconstruct the outline of it and possibly begin to use it as a working template for idea generation. (will need to cite B for this).

The introduction section was the most relevant to my work. Like my earlier ideas, B starts by loosely defining a design term (postmodern), briefly stating the interesting phenomenon she's going to examine and why it might matter, introduces some established design theory, and finishes with her purpose statement....A road map for (my own) success?

Later, in the Lit Review, she speaks of emergent viewpoints, much like my idea of themes. She also talks about "visual evidence" of postmodernism, as examined from non-apparal works, like architecture, art, and literature. This is parallel to my visual data gathering of photography, film&video, apparel, and text related to tango as dance, but could also branch out to explore "interactivity" from various angles, not just design. hmm.

meeting + practica with Maximiliano Gluzman

2007-05-18T07:11:00.000-07:00

Monday morning's meeting with Brad was a turning point. Of course I took some good notes, then let 4 days pass, so I lost them. Here's the jist:

Starting Now:
4 days a week schedule, 3.5 hours/day: working from 8:30am-12noon.
Only Thesis, cut distractions.
Sit down and write.
First 15-30 minutes for the blog. (=blog entries up to 4 times/week)
Wed, Fri, Sat, Sun= days off.

Questions
How is tango interactive? (How ISN'T it?)

Is tango interactive design?

Can tango teach you about interactive design?

What are the overlapping themes of Tango/Design?

Where the hell did I put my notes from the meeting with Brad?

GOING ON
Gather up theory: design research, design theory and methodology, interactive design themes
My data: any lit on tango? plus my notes, photos, observations, blogs, creative response
staying on schedule, according to the plan (next due date, June 5th email to brad)
consider the final creative output...

Start writing:

layers of interaction (tango)
online interaction
cause and effect
response
initiation
addiction
alter egos/identity
dress
atmosphere/environment
dancefloor
audience
music
interface
multi-sensory
communities/circles/groups

suerte, chica!

Fresh Start/Addicition

2007-05-18T06:52:00.000-07:00

Feels good to be back.

Question:
Why are people so fanatical about tango? : for example, why does every look at me with pity when they see that I haven't been dancing in a month? "Oh, the horror! How can you stand it!", or worse, "Ohhhh...I'm sorry."--It's almost a practiced art of dismayed, aghast, disbelieving flabbergastation...how could someone possibly stay away?! Part of me feels the tinge of judgement, but mostly I feel impervious. There is no malice behind these comments. And I myself feel no regret at having been away. Personally, taking extended breaks---from anything---usually renews my energy and interest. Not to mention that I have a pretty busy schedule that included 2 night classes all Spring, and a host of other interests to pursue. I've dipped into the tango lifestyle, and I feel comfortable leaving it to the others.

I wondered about this for while, asked myself if it was an act, or at least a conscious exxageration; a learned group behavior, or maybe even a competition between tango dancers. because truly, this is something I observe in MANY members of the TC tango community. Even my advisor does this to a certain degree, and not because he's worried i'm not making progress on my thesis. i'm sure he's talking about the dance and not the thesis. Everyone does this! Not to give guilt trips, no. Sometimes to establish themselves, yes. I love the circles we form and go around introducing ourselves at tango events; seems like unless you're a brand-spanking new beginner, every single one there is eager to announce out loud what a hard core tango addict they are (literally, i heard, "I'm _____, and I'm a tango addict."), how many years they've been dancing, and how many nights a week they go out dancing; anything less than 3 night/week gets an eyebrow raise.

Is this an addiction contest I wonder? Is it possible to dance in moderation?

Last Friday's Milonga @ Four Seasons

2006-12-20T13:30:00.000-08:00

Tango.
I remembered why I love tango last Friday. It was just one of those nights. I walked in the door, I took in the sights, the music, the feeling..and I felt so good to be back. After more than a week away, my body and my spirit were just aching to be reconnected with the milonga.

I waited for a couple of minutes before taking off my scarf and coat. I just wanted to watch and soak it all in. There were less than 30 people there in all, but the dim lights, including the colorful strings on the christmas tree in the corner, made it seem un-empty. I assessed who was in attendance---and who I would hope to dance with that night. Michael was at the sound deck, selecting his next tanda, Chris was seated at a small table, talking to someone and obviously boycotting the current song, Gilbert was dancing on the floor, and so was Mark (who smiled at me). I didn't see Ilya, to my dismay. But Doug was there, and he's always a gentleman.

I took off my coat and switched my shoes. And soon I was dancing. I don't remember the order, I don't remember with who exactly..but I think I danced virtually every song for the next hour and a half. But what made this night special among all other tango nights, was that I enjoyed every single one. There was not a moment I wasn't relaxed and completey submitted to the moment. To be so present in the tango is to forget every-thing-else. (sigh). A very good night.

up to speed

2006-12-12T09:12:00.000-08:00

que horror. almost a month since my last post. this entry had better be a good one in order to compensate for the delay.

why so absent? busy, yes. distracted, también. dancing a bit less, too these days. The obvious reason for that is that javier is gone, but only the last week or so. A terrible week without tango, I might add. I also failed to arrive at the TSOM milonga, furthering my suspicions that God simply doesn't want me to attend. It's always circumstantial something that keeps me away; even if I make my best efforts to be there. This time I was at another party and it was such a good time, it just got too late to switch venues. And Hopkins is really far away. Do I even know were Hopkins is? No.

So far this entry is not interesting. (Sorry, I'm a bit rusty, out of practice...)

My tango research is on display at the Nash Gallery; part of the PRAXIS/PRACTICE exhibit. nice turnout for the reception on Dec. 1st. I was especially glad to hear Ranja and Pauline's impressions, the dancers and designers that they are. Pauline's face when she saw me that night at the milonga said it all; I knew she liked it. And she blushed at the sensuality of it. I agree; I blushed too during the editing. It was quite intense! Blushing at the illusion of seduction. (Tango theme?) It is an illusion. 3 minute interlude with a stranger (often), alone in a crowded room (theme!).

Here's a thought; I should put myself on assignment, much like they do with stock photographers. My assignments should vary by week. I should go out into the field, armed with a camera, and hunt for tango themes in daily life. Like axis. i could find that anywhere, connection, balance, ritual, role-playing, musicality, response, seduction, sensuality, romance, illusion, collectivity, isolation, identity...

bueno, pues.

Sabine's Music Suggestions

2006-11-14T12:41:00.000-08:00

Hi everybody,

I was asked to sent a small list of artists and/or particular albums that I think are danceable music.

Here it goes:

first: names of particular numbers that are played often and by different Musicians:

Libertango (I recommend Yo-Yo Ma or Astor Piazzolla)
Comme il Faut ( Carlos Di Sarli ) - older music, with a beautifull beat to it
Desde el Alma (Osvaldo Pugliese ) - tango wals (very well known)
Flores del Alma (Hector Pilatti, Lalo Schifrin and Viviana Vigil - Tango - soundtrack from the motion picture)

"new" tango music (modern)
Artist: Bajafondo Tango Club, album: Superville
Artist: Jaime Wilensky, album: Tango Nuevo ( Sentimientos on that album is my all time favorite!)
Artist: Tanghetto, album: Hybrid Tango
Artist: Gotan project, they have many albums, all of them very nice

Tango orchestra's:
Silencio
Orquesta Juan D'arienzo
Mandragora Tango ( our local tango orchestra, you can purchase their albums sunday evening at Loring)

Artist: Carel Craayenhof, album Tango Royal (also very nice background music as well as dance)
Artist: Astor Piazolla, there is sooo much out there from him, but it is not all very dancable, but beautifull though
Artist: Carlos di Sarli
Artist: Osvaldo Pugliese
Artist: Rodolfo Biagi
Artist: Juan Carlos Caceres ( he uses a lot of the old " drum beats" , beautifull voice)

Mixed album, various artists
Album: Best of tango Argentino - name: Milonga Vieja Milonga
Album Tango - Tanog the Originals, vol 1

And this is just the beginning!!

Sabine

On DJing for Tango Milongas: Thoughts from Lois Donnay

2006-10-31T12:07:00.000-08:00

Last night at the Oddfellows practica, virtually nobody showed up, but I did have an interesting conversation with Lois regarding DJs at Milongas. She commented that this Saturday's milonga at 4 Seasons was bound to be good because Dave Rost is probably the best DJ in town. I asked her (in my ignorance), So what differentiates a good DJ from a bad DJ? There were some chuckles.

I wonder if the others even know themselves.

Well, Lois indulged my curious question with a great answer. First of all, there was quite a bit of rumbling throughout the community following last months TSOM milonga, which was DJ'd by Dan Larson. Apparently (I didn't go) his music did not go over well at all, with some people remarking that they couldn't even dance to it..it was so undanceable. A mix of very alternative and and electronic sounds, and lots that is just American pop-style.

Lois explained that a good DJ will treat the milonga music the way a man approaches a date with a woman. You start out sweet and chivalrous, you don't come on too strong. You want to build the romance over the night; seduce her from beginning to end. You want her with you the whole way. Musically, this translates to starting the night out easy, with some traditional tangos that have a clear beat; easy to dance and get the dancers warmed up. Little by little the choices can begin incorporating the more passionate melodies and complex beats; the Puglieses should come here, but should never start out the evening. Later on still it may be time to throw in some of those alternative tangos, and by the end of the night, if your woman is willing because you've followed the rules of the seduction game correctly, she'll be like putty in your arms.

More from Florencia: Regarding Tango's Cultural Difference

2006-10-31T12:06:00.000-08:00

My very dear students and others,

I really need to thanks your presence in my classes. I want to thank all the attention that you put to my instruction and the effort that you do to get better in your tango every time you are in class.
I also want to let you know how proud I am of your progress and how happy make me feel when I heard that my own students are getting very good complements from the best dancers who came to the Festival last September about how good their dance, the same when they travel around the country for tango.
I always assume that you know that but may be you don't so I feel that I have to tell you this, I'm very proud of all of you.

I also want to express that I understand the effort because this country is very hard to accept other people cultures, americans like to be missionaries where ever they go and to who ever is acting different that they are, is almost in your blood, not all of you but many of you.

Then you see tango and you like it because you perceive something is different there, a beauty and may be some kind of freedom that you are not used to have, so you come to my classes thinking that learning tango is just learning how to dance and you feel frustrated because you find out that is much more than that. Guess what, you can not learn tango detached from our culture, I'm sorry to tell you this but I know that many of you by traveling to my country more than once already find it out but I see others struggling with continuous disappointment and frustration in classes because you are expecting fast and easy results and you get slap by a big cultural difference.

You know what? if you want to learn tango you have to be open to accept the cultural differences as well as we have to accepted when we decide to work here, is not an effort from one side, it has to come from both sides or it would never work.
I heard women mostly complaining: ... "She is not giving any individual feed-back"... OK, I listen to that and I ask you, did you ask your teacher to give you some feed back when you were in class????

At the moment I don't have I believe in classes people under 18 years old and I consider you are ADULTS and I understand that things here are served to you in a way that you don't need to work for, but this is here in US, nothing to do with our culture and less with tango.
I'm sorry but if you want to learn tango you have to be open to learn in a different way or you are missing the most important lesson.

Tango is not made for whimpies. You do have to work your way to get it and that's how we do learn in my country and you can not buy the dance without the rest of the package the same way you can not pretend us to teach it different because we don't know how to do it.
We could though make the necessary efforts to understand each other and that's why I need you to brake those barriers by coming and letting me know what do you need, because there is not way I can guess it.

In Argentina we do teach/learn very different than here, usually in a group class the teacher shows the material and give general corrections to the group and make some individual corrections when they are really urgent but we respect the process of learning by letting the student figure it out by them self, we don't want to bother so much with corrections and feed-back unless is requested, and then we are very happy to help if that happens because it creates an immediate communication teacher/student that start to make sense, so if you don't dare in asking for a feed-back you are wasting your class, is your responsibility to ask for and not the teacher.

Last week Kristin Helle was asking me if I could let her know which are the 5 more important ingredients in order to learn how to dance tango and I think I surprise her because she was expecting a more dance technical answer and what I said is: HONESTY, SELF CONFIDENCE, SENSUALITY, MISCHIEVOUSNESS and TEMPERAMENT, and then she said "but that's not what we learn in classes?" and I'm answering my self, she is right but are this people ready to work in a very deep psychological level in order to make those changes?? May be you can give me some answers, I hope you do but is not going to be any easy and that would not be my responsibility for sure, I'm not going to became a missionary trying to change such a deep cultural difference, you don't have to change but for sure is going to make the way you dance different.

Remember always, YOU DANCE THE WAY YOU ARE. Everything is expose when you dance, is impossible to hide it.

See you in classes,

with love,

Florencia

Loring Tango Study Break

2006-10-30T15:40:00.000-08:00

So I'm at Espresso Royale in Dinkytown last night, which was a Sunday night. I'm working on Mexican and Ojibwe housing research, but I need a break. Luckily in my tote back of books and highlighters, I've also tucked a pair of tango shoes. I fish them out, pick up my purse, and walk across the street to the Pasta bar. Within minutes I'm dancing to Mandragora's rendition of Vuelvo al Sur (my heart sings!), in the arms of a smiling, prancing Paul (at least this time when he introduced himself to me he questioned whether we'd met before; this guy is something else; I literally "meet" him every single week. I must exist on that black hole portion of his brain).
I danced with 5 men last night; it started out shaky (paul's dancing is easy but dull, followed by an uncomfortable and demoralizing turn with Niko---he really shouldn't be teaching on the dance floor. it's not chivalrous. And I took offense at him critiquing my embrace when he was holding me like a floppy dish rag). But then things picked up, and my last 3 songs of the night were danced with David (or is it just Dave) the slim, bearded man who is a close friend of Sandy and Sylvie. He's a lavish dancer; I know he performed in Maria de Buenos Aires at Jeune Lune, so he has some choreography under his belt, too. It was fun, and his way of not making me feel idiotic on my mess-ups puts him high on my list of nice leaders to dance with. After that high note, there was nothing left to do but put my Danksos back on and walk back over to the coffee shop and my waiting pile of work.

Florencia's Thoughts on Tango Ingredients, and a new milonga at Matty B's

2006-10-27T10:02:00.000-07:00

Dear Florencia,
If you were to say the 5 most important, crucial ingredients for dancing tango, what would they be? Is it possible to say each thing with one word, like, for example "Connection", etc.? Perhaps it could be "the 5 things you must learn to dance tango", something like that.
Thanks, Kristin

Florencia responds
1. Honesty
2. Self confidence
3. Sensuality
4. Mischievous
5. Temperament

That sounds very interesting. Please let me know and send me an email so I can let my students know in advance.
Thanks,
Flor

**************************************
After finishing the last of the 7 class series in the Beyond Beginner group, I celebrated by checking out the opening night of the Maddy Bs milonga. There was a nice turnout, mostly older TSOM heavies, but I did get asked to dance quite quickly...a nice fellow named Scott. He dances well. The floor was a tough adjustment; it's a sort of wood (laminate?), but very waxy or something; we stuck like crazy. So they put down baby powder to step in, and of course, then it's too slippery. I guess practice. i felt very unsteady. Steve, the perennial sore spot, asked me to dance. How can I say no, really. But I was nervous as a result, and I suppose it showed. He didn't do much to make me feel better, either. Brad may think he's a nice guy, and maybe he really is; I just don't feel it. I think the ego bruising either hasn't healed, or just won't. Are the effects of refusal permanent? I suppose they sure can be.

I'm not sure whether I'll go again; definitely not on a regular basis. The food was horrid; my calamari was fried, but the breading was absolute liquid mush, and the squid was rubber band chewy. At least they comped my bill without me asking.

How To Do the Splits

2006-10-25T15:20:00.000-07:00

Some people are just more naturally flexible than others. I believe that ANYONE who really works at it can learn to do the splits. However, before you try to get into a split, be sure you have stretched your legs.

Try a pike stretch 1st; sit on the floor on a pike, legs straight, toes pointed, and try and get your nose as close to your knees as you can. Hold for 30 seconds. Next, flex your feet, keeping the nose as far down as possible. After you have done this, sit in a wide straddle, and attempt to get your elbows on the floor. Hold 30 seconds, then reach your hands as far out as possible, attempting to put your nose on the floor. Again, hold 30 seconds.

Next, place either leg in front, and lunge from your knee; your rear knee is on the floor, your front foot is far in front. Hold 30 seconds, then sit back, straighten the front leg, and try to place your nose on your knees. Then slide as far into the split as you are able. Repeat on the other side. Hold each position 30 seconds.

NEVER bounce while stretching or push yourself past the point of pain. Slow and steady does it.

Many people feel that the body is more flexible after a warm bath, so you may want to try these drills after a warm bath. I advise doing this 2 times daily, morning and evening. If you keep at it, you should see a lot of improvement in your flexibility.

The above information is used with the permission of Lee, a host of the Gymnastics Forum.

Private Class w/ Nick Jones

2006-10-25T10:41:00.000-07:00

these are the points to take away from Nick's Class:

Go through the Process to find the sensation; don't just look for the sensation.

Rib cage/solar plexis/secrum; they work together

Spend more time between the weight changes; draw that moment out

take smaller steps in general

Contra body movment; consider your natural walking movement; your NATURAL VOICE. don't scream.

Breathe out (exhale) when changing styles

Don't bend your knees too much, only a little (soften) and keep them at the same angle of bend

Frame UP for the milonguero chop chop no push style; frame flows and sweeps for the other/nuevo style.

Pause within the music; small steps, barely perceptible; build the connection; the intimacy of the communication.

Nick Jones' Tango Workshop

2006-10-23T11:32:00.000-07:00

It started on Friday night with an all-levels class and milonga. I had come from a long (but productive) day at the office in Owatonna. I got home with just barely time enough to unwind, eat dinner, and get ready for the night. It was not one of those nights where things were going easily. I couldn't find anything to wear, and tried on 2 dresses and 2 shirts before settling on something; in fact, i was already in my coat and opening the door of my apartment to leave, when i went back into my room and changed one last time. I ended up in my black pants and a black tank top with a green ruffled camisole over that. To be honest, I felt kind of dorky. The all-levels class was OK; not too different from the Thursday class Nick taught; we worked on musicality and quality of movement. Then the milonga started. It was the best milonga I've ever been at. I enjoyed every single dance. it is still happening; a daily awareness of continued improvement.

Saturday's classes were about levantadas; the leader doing a sort of sweep/barrida, to colocar the follower's foot in the precise place he desires; either into a cross, a leg wrap, or out in a parallel step. Extremely important in all of these maneauvers is the balance and controlled shifting of weight. Also, as Nick emphasized to me, keep your leg straight; otherwise it's just not pretty.

Sunday was another good day. The first class went a bit rougher for me personally. I was tired, not entirely focused, a bit jittery from the morning caffeine fix. And my first partner was this very nice fellow, but whom i find annoying as a partner. I just shut down when I try to dance with certain men. It's an unfortunate consequence of learning and improving. I'm becoming more and more snobby, and don't care to dance with people who I don't consider "good enough". I try to balance this, accepting the natural cycle of learning, and remembering the kindness that certain leaders paid me by dancing with me when I was brand-spanking new on the tango dance floor. Anyway, we worked on style; on feeling the music and changing our body's movement and rhythm according to the music; Because you can deconstruct the music into layers, so to speak, and dance according to one of the layers, and then switch to dance to a different layer. A good lesson in musicality.

The last class on Sunday was the Milonga con traspié class. SO MUCH FUN! I just loved it. I loved it so much, it occurred to me that milonga could become my new favorite thing to do (surpassing tango). we shall see.

Take away points for the milonga: try bending Charlie Chaplin style to play with direction! Lean back when moving back (for followers), and forward when moving forward, side for side, etc. Try the teapot spin, wildly mini-stepping around a tight little perimeter...but use these accents sparingly, and only when musically appropriate. Have fun!

Skipping Class, Making the Milonga, and a new Volcada

2006-10-17T07:24:00.000-07:00

From the beginning

After last Thursday, I felt I just couldn't take it anymore in Florencia's beginner class. My experience had been so distasteful, and the bad taste lingered all the way to the next Thurday. So after getting up at 6:30, commuting an hour and half south through rush hour traffic, working a strenuous 8 hour day stuck at a desk, only to repeat the commute in reverse, I was more than happy to say "heck with this", and I skipped class. As I daydreamed about NOT attending class that afternoon at my desk, I imagined that instead I would simply get home, changed out of my work clothes, stuff my face with whatever was in front in the fridge, and pass out for the night. As it turned out, I got home and actually had energy! (just not for Florencia's beginner class!) So I went to the gym. It was lovely. I had the whole upstairs to myself nearly the entire hour. And I took it easy, working some of my long neglected yoga stretches and abdominal exercises. Then, to really wind down, I grabbed a People Magazine and climbed onto a recumbant bike. Ahhh. So much better than "melting" into a partner with an unfortunate smell.

Friday i made my little comeback. First was practice with Javier at the gym in the morning. Practice went well; we worked a lot on ochos and giros (his ochos, too). And Friday night I went to the 4 Seasons/Puro tango Milonga that Michael Cordner does. it was really fun! Hadn't been there since before Argentina, and only once then. I danced with several guys, including an older man (just one awkward song), with Michael--an excellent dancer, whom I enjoyed, with Iliya (sp?), the dark brooding Russian man who has seemed to look right through me up until this very night--he was also good; very good, but as I told Javier, his dance language is like a distant dialect of my language...Mutually intelligible, but with a lot of "Huh?"s. I want to try again. Also danced with ConnectionMike. I'm going to call him that from now on! The older guy from Florencia's classes, longish silvery hair, bald on top, dark thin eyes, almost always seems to wear a purple shirt...He's not the most chivalrous fellow; I mean, he can be a bit preachy...but he's alright. and he's all about the connection. Connection, Connection, Connection. You almost HAVE to say that word 3 times. Well the highlight of the evening was that Sandra, the adorably gorgeous curly-haired redhead whom I believe to be one of the finest tango dancers (her footwork is sooo....pretty. it's just pretty) in the city, well she came up to me at the end of the night and paid me the kindest compliment; said how lovely I was dancing, and in so little time; that i would certainly become an excellent, excellent dancer. Coming from Sandra, this was even more encouraging.

Last night was Monday night, and I again went to Practica at Oddfellows Hall in St. Paul. I danced with Javier virtually the whole time; well, all except the last 2 short tangos which I got Gibson to put his shoes back on for. javier and I were engrossed in a new project; executing volcadas, with and without leg wraps, on both sides, and in succession. I think the 30 minutes we worked at it were some of the most productive time we've spent practicing; i love learning something new, something concrete; it's a welcome refreshment from simply honing the posture, the walk, the embrace/connection, etc. We videotaped the volcadas--to see our progress and for future posterity. I'm pretty thrilled with it all.

and that's about it. :) 4 Seasons Practica tonight...

Dance Your Way to a Better Body

2006-10-14T16:01:00.000-07:00

Regardless of gender, generation or income group, more and more people are going to the dance floor for a workout versus a gym and an exercise physiologist at New York City's Hospital for Special Surgery, a leading center for sports medicine, thinks she knows why.

"The best exercise program is one that is safe, balanced, promotes fitness and importantly, one people will do regularly because they enjoy it," according to Polly de Mille, exercise physiologist at the Women's Sports Medicine Center at Hospital for Special Surgery.

"The social aspects of dance help to make it very attractive for an increasing number of people versus, say, an elliptical training machine. Scientific studies are now also telling us that many things make dancing an excellent fitness regimen with attractive benefits," de Mille said.

Of course, balanced, targeted gym workouts can provide excellent fitness benefits as well but for some people, the "fun factor" is missing at the gym.

"Those working out in gyms are often plugged into their iPods or their reading material, following their own regimen. Those dancing, however, are often moving in unison, possibly facing one another or touching, and having a communal experience. Connection and cooperation with others is integral to the experience," she said.

Dance is also very good for balance and posture, according to Beth Shubin Stein, M.D., an assistant attending orthopaedic surgeon in the Women's Sports Medicine Center at Hospital for Special Surgery who is trained in sports medicine and shoulder surgery.

"Dance is also a great aerobic workout and in addition tones many different muscle groups," Dr. Shubin Stein said.

Popular TV programs like ABC-TV's "Dancing with the Stars," which returns for its third season September 12, underscore the romance and passion sometimes involved in dance. De Mille cautions, however, that people need to know their limits and pace themselves before considering some of the acrobatic moves seen on TV.

While dance may not be for everyone (de Mille personally finds regular runs in Central Park to be very calming) and a few precautions need to be kept in mind, she says studies clearly show the health benefits of dance compared to gym workouts are impressive. Specifically:

Dance movements are multi-directional versus the straight forward motion on treadmills, ellipticals, Stairmasters etc. Joint mobility may benefit from the varied movements. One study demonstrated improved range of hip motion and flexibility of the spine on young adults who followed a three-month program of dance training.
Dance movements are weight-bearing and varied compared to a stationary bike. That is important for maintaining or improving bone density. Studies of recreational ballet dancers between the ages of 8-14 show higher bone mineral content in their hips and spine than in girls who did not dance.

Dance requires agility and balance as well as various speeds of movement, skills that are generally not a focus of typical gym workouts. Studies of older populations who engage in dance-based exercise programs demonstrate improvement in balance and agility. This may be important in reducing risks of falls in this population.

Dance is mentally stimulating, requiring focus on coordination and learning movement patterns. Most people will read, listen to music, or watch TV to alleviate the boredom associated with most indoor exercise equipment. Dance requires being mentally engaged with physical movement, a constant mind-body connection.

Emotional responses are common in dance and would rarely occur in a gym workout. The music, movement patterns and mental engagement involved in dance often evoke emotions. One study showed that breast cancer survivors who participated in a 12-week dance and movement program not only improved their shoulder range of motion but showed improvements in measures of body image and quality of life.

Dance also can be a substitute for a cardiovascular gym workout. Depending on the type of dance, dance can be an excellent cardiovascular workout when done regularly. It would result in the same health benefits associated with any form of activity that involves sustained effort in the target heart rate zone such as improved cardiovascular function, lipid metabolism, endurance and body composition.

De Mille advises people considering dance as fitness therapy to keep three key points in mind:

Treat any pain first -- People should see their doctor and perhaps a physical therapist to have their pain issues diagnosed and treated properly. Pain is a warning signal that something can be wrong.

Wear good shoes -- Dance shoes often don't have the kind of cushioning and support that other exercise shoes offer. Style should not completely replace sensibility. Dancers should be careful about the footwear they select.

Don't get swept away - People can challenge themselves more than they should. As with any activity, pacing yourself, listening to your body and knowing your limits is important.

"From a mind-body perspective, anything you do successfully on the physical end will positively affect your mental and emotional states. Dancers have excellent posture and just standing a little straighter can have a surprising transfer of power to your next board meeting or challenging conversation," commented Jenny Susser, Ph.D., a sports psychologist at the Women's Sports Medicine Center at HSS.

Source: Hospital for Special Surgery
Released: Tue 12-Sep-2006, 21:05 ET

Hoy es viernes...

2006-10-13T19:29:00.000-07:00

quiero bailar.

practicing with javier this morning was lovely, as usual. i enjoy it and feel that we improve as a result, which makes it entirely a worthwhile use of time.
milonga tonight at 4 seasons.

Mon. Practica/Missed Private Class

2006-10-11T16:37:00.000-07:00

It's been a bit of an inadvertent tango break. I went to practica on Monday night at Oddfellows Hall, but only danced about 6 songs. I wasn't into it. I realized something important that night. I've reached a point where I am beginning to be picky about my dance partners. I think on one hand it means I'm shallow (hehe), and on the other hand, it probably points to a new level of skill as well. I don't want to dance with someone who smells bad or creeps me out, and I shouldn't have to. I also get tired (it is tiresome) to dance too long or too often with someone who is not challenging you, or at the same level.
Of course, it is clear that the men have a harder row to hoe in tango. 1 year of following does not equal one year of leading. they have a much harder time of it, and it takes MORE time. but you know, I can handle that. I remember the guys who asked me to dance last year when I was just getting started. I also will remember the guys now who are asking me. just as I'll remember, of course, the guys who routinely ignore me at milongas and practicas. there are only a couple.

Yesterday (Tuesday), there was a jumbling of plans with Florencia regarding our private class; she wanted to change something, but didn't call till the afternoon; then we couldn't reach Javier to tell him, and so things fell through. We ended up postponing the class entirely, which is fine with me, although I'll miss out for 2 whole weeks. I went to my sister's volleyball game instead, and my whole entire family was there. Afterward we took her out for pizza in Milaca. Their team beat Ogilvie 3-0. It was a good game, and actually, it was well worth missing tango.

Beginner Class with Florencia/Healthy Balance

2006-10-06T08:54:00.001-07:00

Today at noon I'm attending the Design Dept.'s social mixer/presentation on maintaining a Health Work/Life Balance. It comes at an opportune moment for me, as I approach (3 days away) the one month mark since my tango debut back in MN at the festival immediately following my return from BsAs. This morning practicing with Javier in the St. Paul gym, we reflected for a moment on this time that has passed, and the distance that has been travelled...we've both come far. We feel it. And we also feel that it's been far longer than a month. Dancing every day will do that to you I suppose.
the health balance is also on my mind as I begin to become more aware of how much time i am devoting to tango, and what is being sacrificed as a result. Also, there is a physical toll being taken, most acutely felt in my feet, which are flat to begin with, and prone to soreness. I am going this afternoon to by some appropriate orthopaedic clogs. i need to save my feet.
But then too, I have to look objectively at my schedule, and make some decisions about what to keep and what to drop, in regards to my tango schedule. I am way behind on my class work, my actual thesis research, and most alarmingly, my 20hrs per week research appointment with Tasoulla. I need to get organized.
The first thing to go will have to be the Thursday night beginner class. I don't like it. I hate dancing with some of those guys; they are so new, so inexperienced that i feel it's near impossible to improve myself while dancing with them. it's a tough stage. i want to help cultivate new leaders; but honestly, some of these guys appear to be **gulp** sin remedio. And to be even more honest, there is one particular man I just repel from. i don't like his look, his smell, his speech, his dance...i dread partnering with him. In a practica or milonga situation, I could simply avoid him or decline. I wouldn't have to dance with anyone i didn't want to. but it's a class, and we rotate....and i have to embrace this person, a melting together of bodies, a synchronized breathing, a moving as one...it's more than i can bear. i just can't do it. Unfortunately i bought a 6 class package, and we're only 3 weeks through. what should i do? i don't quite know. If i quit I fear Florencia would be upset with me. i need to keep her on my side, supportive.
i don't like feeling compelled to do things i find so horrible. i want to defend myself against this type of thing, defend myself against throwing dirt on tango. this is the kind of thing that falls you OUT of love.

Random thoughts/ideas/images

2006-10-03T18:49:00.000-07:00

Images of
Connection
Concentration
Balance

Clumsiness/Error
Deviation
Line of Dance

Broken mirrors
backward images

role reversal

Oddfellows Hall Practica: Oct 2, 2006

2006-10-03T18:38:00.000-07:00

Lindsay, a UofM student and tango devotee, recently took it upon herself to organize an informal Monday night practica to be held at the Oddfellows Hall on Raymond Ave in St. Paul. The space is large with an unpolished wood floor, a single row of beaten and battered theater seats lining the perimeter, and a strange arrangement of mirrors at the front stage. the effect of these mirrors on the dancers is comical; from a frontal angle you and your partner appear as torso-less heads with legs, or conversly, midgets with heads and torsos attached directly to feet.

Last week was the first night of the practica; it was attended by only about 5 people, and I spent about half the time sitting and watching (as the odd woman out). Last night, however, there were significantly more people, and I stopped dancing only to attempt some quick video recording--of course capturing the unique effect of the dancing midgets.

Last night I was in love with tango. I was dancing without thinking, and it was absolutely lovely. I felt the change. and later, when I got home and looked at the 3 minutes of footage I had shot of me dancing with Javier, I saw the change, too. I have improved significantly. The connection is coming. I'm connecting on multiple levels. with myself, my objectives, my research, the music, and with my partner.

3a Clase Privada con Florencia

2006-10-03T18:34:00.000-07:00

Something happened today; I left class happy, exuberant even. I have improved and Florencia lo ha notado. She of course had criticisms for me; ans not surprisingly they are the same ones we have seen in the past 2 weeks...

lead from the back....FALL...let yourself go
don't OVER ROTATE the hips...follow his shoulder
Face your partner
Don't step past his shoulder. In close embrace everything is smaller

But the breaththrough tonight came as a surprise.

AXIS. Weight on one leg. ONE SIDE. That frees the hip.
LOOSEN the hip.

Loosen the hip.

AXIS. AXIS. AXIS.

AXIS

Thesis Progress: Meeting with Faith/Meeting with Brad

2006-09-26T17:16:00.000-07:00

Last Friday with Faith.
A delicious lunch at Muffaletta. We chit-chatted, caught up on life. I heard about Sweden and about the Ojibwe traditional arts program/grant at Cloquet. I told her about Buenos Aires. How I loved it. I had the Asian pork burger with sweet potato chips. And she helped me with some advice, but mostly with encouraging words. She is very in support of arts research and the particular style of inquiry that I'm attempting. It's awesome that I have such support, because it makes all the difference to me in terms of my motivation to continue forging ahead. Without it I think that within a short time I could rationalize myself into backing away from all this, coming down from the tango cloud so to speak, and finding a more predictable route to finishing this degree. But then, that would be boring.
Anway, Faith mentioned her colleague/partner at Art Ed., a guy (can't recall his name), but she seemed to think it would be worthwhile meeting him (again, cant' recall specifically why). Just keep it in mind.

Today at 10am with Brad.
It's always a challenge to have to articulate to someone else this "thing" that exists as a nameless, shapeless tangle of energy and fledgling ideas in my brain. But it's good, and exactly what I need to do from time to time; force the thoughts out of me. thoughts i spend so much time internalizing that without intervention could easily defy language altogether and exist only as physical and visual expressions. Hopefully I'll get to that part later; after I've written the thesis.
I showed Brad one of the books I picked up recently, and we talked more about the emergent themes in my research.
RITUALS
ROLES AND ROLE-PLAYING
LAYERS OF CONNECTION
and the idea of comparing a tango or a milonga to a work of digital art a al Mitchell's Reconfigured Eye.

Those are all potential points of departure, and he agreed that they all relate/are directly analagous to interactive design. But as of today, this is my homework:

HOMEWORK
Add to the blogs--catch up on everything to date, including BsAs and after (Tango Fest, Hello!)
Start the formal lit review--in Word, not online; reserve online lit review blog for informal events; art shows, lite cinema, etc.
Keep Reading
Keep Dancing
ps from Brad: What about an out of town tango experience? Chicago?

2a Clase Privada con Florencia

2006-09-26T17:00:00.000-07:00

Whew. That was super tough. I'm lucky that I'm not in an emotional state of mind today, or I might be crying. It's just so hard going back to square one; like I know nothing, understand nothing...It's a complete deprogramation that she is asking from me, and I am utterly confused. I told her so. She told me not to worry, that soon I will see a big change. We will keep working.
There just seem to be so many contradictions at this point, in terms of what i'm being told, how i'm being instructed. some of that is simple misunderstanding, one person doesn't understand one explanation the same way as another. but when I told Florencia i was confused, she nodded and agreed that would be normal since i now have to undo so much of what has already been done. This is of course, true. But I was speaking specifically about feedback I had received from her in the class. On one hand, for example, she's telling me over and over again to be high...SUSPENSION....and then the last parting tip was to be LOW...LOW and grouned on the beat. Yet in the middle of the class, I was instructed to never change my level. What do I make of this?
And there's the question of where should I actually put my butt. Out? In? Under? Amputate it completely? I'm so confused.

TAKE AWAY TIPS
On the back step, reach with the toe, and then ROLL the foot down from the toe, to the ball, to the arch, to the heel.
Do it noiselessly
Do it fluidly

Transfer weight quickly, and find your axis
SUSPENSION
Push into the ground while simultaneously reaching high to the ceiling. This releases your hips.
Face your partner means "face your partner". I was confused, and attempting to parallel shoulders. NO.

Ms. Rieko

2006-09-19T18:21:00.000-07:00

"Tango is my husband. I will never be lonely."

I met Rieko at Daniel Machado's art gallery opening reception. When I saw her, my first instinct was to be extraordinarily jealous, because she is a beautiful woman. From her slender frame to her long black hair, I could tell by just watching her move that she was an accomplished dancer. She was graceful and elegant like American women rarely are. Rieko is Japanese, but has been living in Hawaii for many years. Her voice is so soft and high-pitched it seems like a falsetto until you realize that it is in fact her true voice. When you talk to her you find yourself lowering your volume to little more than a whisper to match her volume, and speaking slowly as though she did not understand you. but the irony is that she DOes understand you. In fact, you get the sense she sees ALL of you. Your intentions, your desires, your passions; Her strength is in identifying your passions. And then she asks you about them. Reminds you what you have to do with them. She has the aura of true wisdom and enlightenment. To me she said, "Kristin, you are a very sensitive person. But you should not worry so much about the other people. You can say no."

The fascinating thing about Rieko. Her love affair with tango. She had been living in Hawaii and working as a wedding coordinator there. She danced tango, and had a steady dance partner. I am not sure whether the relationship went beyond tango or not. But then she did something wild. She left everything; her job, her house, her tango partner...everything. For tango. You see, she had been to the tango festival in Miami, and there she had seen Lorena y Osvaldo, a stupendous tango couple from Buenos Aires. They took notice of her, because they had seen her at a previous festival, and they noticed the remarkable improvement Rieko had made in the interim. For this reason, they invited her for what Rieko calls "the chance of a lifetime". They were going to be 6 months straight in Buenos Aires; something unusual for them, as they are almost constantly on tour. They asked her to come to Buenos Aires and study under them. Rieko did just that. And I can't even describe her in words how her faced looked as she told me this story. But it was nothing less than pure ecstatic GLEE like that of a child, and too see it on the face of this woman of 56 years...She is nuts, I thought. hmmm.

So here she is, only about 2.5 weeks into a 6 month stay in Buenos Aires. She is already talking about staying permantly. She fills her days and nights with only tango. At the art gallery she was anxious to leave and get to the milongas. She began dancing in the gallery to Federico's improvised mate-blown songs. She laughed like a little girl as she spun in molinetes around his body. I looked on in wonderment at her state of joy. She existed on a level I couldn't reach. I knew I didn't feel what she felt. I wondered if I was capable of such uninhibited love, such committment. She told me that she had no desire for a man. She had no time. She told me a story of how a man had approached her at a milonga recently, and asked her to be his lover. She replied "No thank you", and then told him what she says she tells all her pretendientes..."Tango is my husband".

1st Clase Privada c/Florencia y Javier

2006-09-19T17:59:00.000-07:00

Before I forget what I have to do:

Keep the secrum down
push the shoulder blades down; round your shoulders back, palms up to position shoulder blades
Shoulder blades point down connecting a triangle with the secrum
Secrum points down to the heel of the weight bearing leg
Find the middle of the foot on EVERY step
Each step find the moment of SUSPENSION
DISASSOCIATION DISASSOCIATION DISASSOCIATION
Follow the frame; watch the shoulders
Don't push with the hand; Relax it!

When you step forward:
Don't jump; do it smoothly; careful in the transition
Keep the same level; don't go up and down
The pelvis and torso are steady
Soften the knees
Don't worry abou the extended back leg; LET IT GO!!
YES, step with the heel; The heel must touch, Heel to Toe, Heel to toe.
Groudn with the heel.

When you step backward:
Let yourself FALL
Ground yourself with the toe;
Lead from the back; don't bend forward

Wednesday, Day 2 in B.A.

2006-09-18T17:56:00.000-07:00

an improvised art gallery tango

Rough Synopsis of my 2nd day in B.A.

Aesthetic observations:
tourist tango; loud and llamativo
Red, Intense red interiors; lights, fabrics, furnishings, etc.
Gold, ornamentation; ostentatious; but old.
Nobody's playing much alternative tango music (electronica)

Regarding last night in Salón Canning:
visually: smoky
people standing on chairs, craning necks to see the dance performers
Osvaldo y Coca; him, bony but debonair, her, stout and matronly in conservative dress and glasses; he loves the crowd, loves the attention; throws kisses to the people and basks in their admiration.
Slippery smooth parquet floor (guide book and people I met all concur that it's "the best floor" in B.A.)
Contrasting ages and styles; see the old modesty of Osvaldo and Coca and thier milonga, see the young glamour, sequins and theatre makeup of the young tango couples who dance Tango Escenario (fantasía)

Miercoles Schedule:
Clase con Ernesto en DarCos
Foto Show de Daniel Machado
Villa Malcom Milonga
La Marshall

Art Gallery: photo exhibit Opening de Daniel Machado
I arrived here around 9pm, and wandered around admiring the works of 4 separate artists at the shared exposition. On the third floor I encountered Daniel's work, whom I had met the previous night at Salon Canning. Soon I was reunited with Daniel and introduced to three of his friends; Federico (Uruguay), Rieko (Japan/Hawaii), and Nieko (Japan). The third floor was basically empty as most of the gallery patrons were congregating downstairs (to be near the food? or perhaps because Daniel's photos were slightly uninspiring). But we enjoyed the public privacy of it, and began an impromptu milonga of sorts; Federico, a wild and unfiltered soul, pulled a mate (a gourd for drinking yerba mate) from his pocket, and began blowing into it while humming tangos. Rieko began dancing molinetes around him, and soon we were all laughing at the spectacle.

Villa Malcolm; a young crowd; has to be! only 3 pesos cover charge ($1, roughly). linoleum floor, 25 foot ceiling, darkened space; DJ works from his Mac laptop in one corner. Girls line up to one side of the room waiting to dance. couples and groups sit in tables toward the back, or along the opposite wall.

They wear a variety of styles of dress; the guys in blue or dark jeans, black pants; t-shirts or long sleeve button-downs. anything goes. The ladies are even more disparate; i see elegant dresses and sweatpants side by side.

La Marshall: this is a gay-friendly milonga, and i see male couples, as well as some female couples dancing on the floor. I marvel in curiousity to see a man performing the delicate "female" adornos; it strikes me as incongruous somehow; despite the skill in their execution. hmm.

I must talk about a beautiful woman I met named Reiko. But she will require a separate entry all her own.

TangoJasapico :: photo exhibit, Buenos Aires

2006-09-16T17:02:00.000-07:00

Ballet Dermitzakis Mariano Manikis
TangoJasápico :: danza y fotografía
Tangojasápico es una performance de danza y fotografía cuya coreografía está basada en la analogía rítmica del 2x4 del tango argentino y el jasápico griego, cuyos orígenes (alrededor de 1900) son de extracción urbana, de las zonas marginales del puerto y del arrabal.
En la obra se van alternando vivencias y abstacciones, que surgen de la intención de expresar sentimientos a través del lenguaje de la danza, inspirados en una historia de inmigración, y desarraigo, de amor, de pasión y deseo.
El marco escénico esta dado a través de la proyección en pantalla gigante de fotografías que acompañan el relato danzado, generando así el clima adecuado a cada momento de la obra.

TangoJasápico :: dance and photography
TangoJasápico is a performance of dance and photography whose choreography is based on the rhythmic analogy of the 2x4 beat of Argentine tango and Greek jasapico, dances whose origins (around 1900) are both of urban extraction, emerging from the marginalized zones of the port and the arrabal (outlying areas of the city).
In this presentation, the works alternate between lived experiences and abstractions that arise from the intention of expressing feelings through the language of dance, inspired by a history of immigration, of uprooting, of love, of passion, and of desire.
The scenic frame is given through the large screen projection of photographs that accompany the danced story, thereby generating the suitable climate at each moment of the presentation.

Buenos Aires

2006-09-15T10:19:00.000-07:00

I just got back from Buenos Aires; well actually, it was just over a week ago already. How time flies! I have so much to report. It has been a complete blur of happiness, fatigue, sore feet, beating hearts...I loved it so much. I'm going back. It's just a question of when. gosh, now that I think of it i have to leave this for a moment and check airgorilla.com for flights....

ok, nothing looking good right now, but i know the dates i want; dec. 26th to jan. 15th. about 3 weeks exactly.

so what happened in argentina? everything, but to summarize in one phrase; i fell in love with tango. dind't feel like this before. didn't have this excitement, commitment, or desire to learn. now it's all i want. it's all i think about. i dream about dancing. i dream about the music. i hear it in my sleep. i correct my posture as i walk, as i drive, i find places to dance, people to dance with, every single day. i know that the more i improve, the more i will understand, and this is about understanding. about feeling, and comprehending.

i was so nervous when i left. i was nervous about getting to the airport on time, about flying in the wake of the london terror threat, about arriving alone in a huge city where i know no one. but it was useless worry. the flights were fine. i watched a movie on the connection from DC to BsAs. United has screens in every seat. and more leg room (note to self). It was Mission Impossible 3, and they fed us a choice of beef or pasta. Normally i would choose pasta, but in honor of the occassion, i chose beef. It was delicous.

Arriving at the Ezeiza airport, I gathered my bags, changed some dolares to pesos, and walked into the waiting area beyond customs. Sure enough, a man was waiting there with a sign; "Ms. Kristin Helle". I followed him to the taxi, and enjoyed the 20 minute ride into the heart of the city, listening as he pointed out the various neighborhoods (barrios) that we passed. Soon we were winding through the narrow streets of San Telmo, and stopping in front of a large, purple metal door. I was dubious. This did not look like a warm, inviting place, let alone a hotel! He rang the bell, and within moments, a tiny window in the door slid open revealing a pretty pair of eyes. He explained who I was, and I smiled and greeted her. She opened the door. Was this Lina? She's gorgeous, I thought. She must be a tango dancer.

After getting settled in my little room, I took a shower, got ready, and headed out for a walk. I started by recorriendo the places I knew from my first trip in March 2005. i walked from San Telmo (estados Unidos to Independencia station), and followed along Avenida 9 de Julio (the largest blvd in the world, by the way). until Avenida de Mayo, where I turned down and located the Hotel Castelar, a familiar site to put me at ease in the big city. I continued down the Avenida, spotting other recognizeable locales; like the Moncloa where I ate my first empanada de queso, and Ávila, where you can have a night of authentic Spanish food and flamenco in Buenos Aires. Walking further, I arrived at Plaza Congreso. I looked around, let myself enjoy the satisfaction of having 'arrived', and turned back. I was hungry. I pulled over in a place that had stuffed a 'volante' in my hand a few blocks back. El 36 Billares. I went in, sat down, and ordered the day's special or mini bife con patatas y cafe con leche. I was starving. I hadn't realized how much. As I ate, a table of about 8 or 9 guys to the side of the room stared at me smilingly and joked with one another. I concentrated on cutting my meat into small pieces and using the right utensil in the right hand to put it into my mouth. I had an audience. To my left, on a small stage, a thin man played a mix of tangos and latin classics on a piano. I smiled when I recognized "Cielito Lindo".

Leaving the restaurant, I wandered around a bit more, to Suipacha and Esmeralda before heading back to my hotel. I went into DarCos shoes and bought a pair. I also jumped in on the last 30 minutes of one of their 'in-store' classes. I had danced tango in BsAs! I then walked down toward Tango Brujo, but before I arrived, I was distracted by a beautiful pair of blue shoes in a store called Mirtha Paulo. I went in, and left with the blue shoes on custom order, and a pair of pretty red suede and patent black shoes in my hands.

Walking down Calle Florida, I stopped in Galeria Pacifico to see if i could locate this Tango "school of escuela", as Dan called it! I found it, and got a schedule of their classes. I also stumbled across a photographic art exhibit called Tango Jasápico (I have to look up the meaning of "jasápico"). The photos were gorgeous. See next blog entry for more on that exhibit.

For dinner I located Bar El Federal in San Telmo and ate Ravioles de pavita (house specialty) c/ salsa mixta y ensaladilla rusa. muy rico.

I was dismayed at how much longer the walk seemed to talk coming back home. I arrived tired and sore, and no sooner in the room did I strip down and crawl under the blankets. My alarm was set for 10pm. I had a little over 2 hours to rest.

Waking up was hard. I didn't want to move. It was cold in the room, colder still outside, and the bed was like heaven. And the butterflies had begun. I would soon have to do the thing I dreaded; walk into a milonga alone. At which point I would be faced with two nerve-wracking possible outcomes; or I'd sit "planchando" --i.e., no one would ask me to dance, or, someone would ask me to dance, and I'd have to test my wobbly legs with the big buenos aires boys. **Gulp**.

Designing the right "Look".
Comfort was important, because I felt my insides were working their way outside; I needed to do everything possible to feel more comfortable. But I also needed to consider sex appeal. I had been clued in enough to know that the only thing going for me at this point, in terms of attracting dance partners, was appearance. I chose a pair of black pants and a black halter top, hair pulled back to show off my big Latina-style earrings, lots and lots of eye makeup (we're going for sultry, here), and just for fun, i tried on the new sexy red/black patent leather shoes and looked in the mirror. Looked good, felt good (except for the shoes, which felt like stilts). I was ready. I called for a taxi.

The desination, which had been recommended to me by Lina, was Salón Canning. I exited the cab, and walked up the hallway to the salon entrance. Inside I found one extraordinarily large room with a large square dance floor of square parquet in the middle of it. Against the far wall was a humongous. printed collage wall hanging depicting a milonga of dozens of couples dancing at the Canning, and several prominent figures highlighted in the foreground (I could identify none of them). The usher sat me at a table with another single woman. She and I smiled at greeted eachother. I was relieved to not have to sit alone. After talking a bit, she revealed that she was a professional tango dancer, but currently without a partner, having been somewhat recently dumped. It's hard to find a new partner, she explained. First, there are so many more women than men, and to be partners depends on so many other determining factors; height, style, level of skill, and plain old chemistry. She seemed sad as she explained these things to me. And I realize now that I didn't see her dance a single time the whole night. She, the professional tango dancer, was left "planchando". I was more fortunate. I sat a scant 5 minutes, if that, before an awkward "cabeceo" was directed my way.

I was so nervous, it couldn't possibly be meant for me! But the tall, young man repeated the gesture, and his eyes bore through my skull. I dared myself to meet his gaze, and raise my eyebrows tentatively in question. He nodded again, more effusively. I gulped and nodded back. He moved toward me. I stood, wiping my palms against my pants. Here I go.

I smiled at him, took his hand, and weaved through the tightly packed tables and chairs, teetering on my sexy new red shoes. They were leather bottom, which along with the 1.5 inch height increase, made them a stark contrast to the shoes I'd been dancing in for the past year. I soon discovered my error. The parquet floor at Canning was glossy smooth; slick and slippery. This combined with my own nerves, which threatened to short circuit at various points all throughout my torso and limbs, made me feel like a twittering leaf on a branch in a rainstorm.

The dance was unremarkable except in how clumsy I felt. We danced 2 songs, since you always finish the tanda. Then he escorted me to my chair. I was aware only of the pounding of my heart. But as soon as I sat down, I became aware of somthing else; the heel on my right shoe had separated from the bottom of the shoe! It was utterly broken. I was appalled. The girl sitting with me was also aghast. Luckily I had brought my old shoes with me as well, so I quickly switched. no sooner were they on, than another man, an older porteño this time, came over and invited me to dance. he was substantially shorter than me, and wore a stiff tweed suitcoat. Again, it was awkward, my heart and pulse raced uncontrollably. He walked me back to sit down after 2 songs when we heard the cortina. At this point I did begin to feel somewhat less panicked, but still far from relaxed, and far from enjoying this tango thing. I was going by sheer willpower.

Another older gentleman called me out. This was better. He was a stronger lead, my own "ice" had been broken, and he patiently led me around the floor in simple steps. Was I getting the hang of it? We danced a full tanda, talking a bit between songs; how are you, where are you from, what is your name; how long have you been dancing; how lovely to meet you; but never thank you. To say thank you is to make your exit and signal the end of the dance.

The tall young man came back and we danced again; better this time. And I repeated with the 2nd older gentleman again. Then we saw the performances by the recently crowned world champions. i must confess, I saw very little of the performances with so many people standing in front of me. I rather gave up, so low was my energy. It all made so little sense anyway, and only served to make me feel that much more inadequate. Once they had finished the 2nd round of dances, I made my escape. It was 3:30am. I had survived my first night in BsAs. I deserved a bit of sleep.

Looking ahead from where I am now

2006-04-13T09:14:00.000-07:00

Despite recent setbacks that merit not one more mention, things are already regaining momentum. I have recently come across SEVERAL strong sources on research theory that relates directly to my research, with specific relevance to both dance and design...as social constructs, and as visual communication. 2 theories in particular, a activities theory and hermeneutic inquiry theory, will keep me occupied for the time being.

I'm also talking to James Boyd-Brent about a directed study in printmaking for the fall. This is going to be fun. I just have to come up with enough funding to feel that I can safely afford to make the trip to BsAs. Luckily, It does buy me some time in that I can prehaps go in January instead of in August (frees up my summer, and I can keep working full speed ahead), AND, who knows, there could be some other grant money out there floating around.

Tango Love/Hate

2006-03-29T11:28:00.000-08:00

As I begin to absorb this tango-fest of literature and imagery, it's becoming more and more obvious that I'm going to have to take a deep breath, close my eyes, and get utterly personal.
This is my first time on a blog, and it's interesting that, even though nearly no one even knows about this site, I'm still treating my writing as if it were formal prose for public consumption...not at all like the private meanderings of a young woman's heart, reverently recorded in 'dear diary' format and locked in a secret drawer.

In a way, that's good, because it keeps me focused on the task (gathering data),
but in a way, it's restrictive, because my inhibitions keep me from recording the feelings that accompany each one of these tango experiences.

If I have learned anything, it is that tango is a metaphor for life's emotional wreckage. Tangos in film show themes steeped in love; love lost, love fleeting, lover scorned, lover turned to gambling or to the drink...lover can only depend on his mother. Tango all is suffering; it is joblessness, hunger, vagabonds and homelessness; tango is deep, mourning melancholy, a sadness that is grieved through the music and movement of limbs. That's why tangueros say, to dance tango well, you must know what it is to suffer; to feel heartbreak; to feel defeated. (please note that clearly there exceptions to this "rule")

Tango has infiltrated my life and my love. Full, complete sentences must cease momentarily here. the desire to have a partner...someone to dance with; someone to go to practica and milongas with; someone to always come back to, even if you dance with 15 other men the same night. tango is wanting to keep a relationship together, maybe just for the sake of tango; when all else is falling apart, you think to yourself, don't let go! you need a tango partner! Where on earth will you find another! tango is fighting over who's culture prohibits what dance...what is in one's blood, so to speak, and what is not. tango is spending $130 for a beautiful pair of italian leather shoes, smooth, hard leather soles that will glide across pistas, and then seeing a similar pair on sale at a discount store for $49, and feeling buyer's remorse; tango remorse; relationship remorse. That store was the wrong store, they ripped you off; that dance is bad for your, it's not in your culture, not in your blood; that girl will only drag you down, she ripped you off, she's not your culture, she wants to dance with other partners...Tango is, give it another try.

Tango is love-hate.

Michael Cordner's tango class

2006-03-24T13:40:00.000-08:00

Last night Florencia was away, so Michael Cordner filled in as our teacher. There were several new faces there, including a man taking his 2nd tango lesson ever.
Michael was good, clearly a strong dancer and he really emphasized to us an apprecation and sense of music. As he said, you will never be a great dancer if you do not learn to listen and respond to the music.
We worked on walking, first of all, and then on check steps (I think this is what Burak kept calling 'toco y me voy').
The class (last night, and the group in general) is good, because it is helping me to cover and refine all those basic fundamentals that were missed early on when I jumped in with Burak's intermediate group, but I can't help starting to feel a bit stuck when it comes to the male partners. One drawback is that I feel as though I'm dancing with leaders that, since they're SO new, they're not helping me to dance better. The other observation I've had is that some of the other dancers in the class have been at this same beginner's level for over a year! When do they graduate to the next level? Is it their choice to just stay at the bottom of the pile?
I am anxious to move on. I realize I'm still learning, improving in posture, musicality, in smoothness, and balance, but there is that anxious little voice that just wants to dance with the really strong leaders; the ones that know how to lead all the fun figures and use energy to give momentum to the turns. That's when dancing becomes so exhilarating for me now. I suppose I'll have to be patient.

Practica Session

2006-03-08T11:59:00.000-08:00

Every Tuesday night, Four Seasons Dance Studio hosts a práctica session for all levels of tango dancers. Last night I went and it was the most excellent experience. Much better than my first time.

I was happy to see about 12 people there, and a good 50/50 mix of men and women. I quickly found a partner, a tall guy named Mike (from Florencia's wed. night intermediate class) who re-briefed me on the cross-step (that all-important tango fundamental that I skipped right over in Burak's classes). Then he showed me a few things on close embrace – the style of tango where the man and women actually connect at their torsos.

It was challenging to say the least! I'd only ever danced close embrace when at Loring Pasta Bar, and then out of pure necessity (the place is packed, and most guys end up leading a close(r) embrace. So now after last night I realize how much I did not and do not understand about the style of close embrace. First of all, when done correctly, it feels incredible. Rather than on feeling his lead from only his shoulders and hand on your back, the woman can feel the lead through her entire trunk. I was picking up on the smallest transmittals from Mike (who happens to be a really strong leader anyway). Doing an ocho (figure-eight) in close embrace was an entirely different experience, feeling my torso roll onto the side and then back again.

I feel a new appreciation for it, and am excited to try again.

Tango in Hollywood

2006-03-07T11:13:00.000-08:00

I'm reading a book by Robert Farris Thompson titled TANGO: The Art History of Love. The first chapter is called "Tango in Hollywood", and it details the history of Tango as presented in mainstream film. Each instance is discussed in detail, illustrating the birth and propagation of tango myth--the ridiculization, the cartoonization and stereotyping, the rediscovery, and the current trend towards full appreciation of the art of the music and dance.

Movies that feature Tango

The Four Horsemen of the Apocalypse (Rex Ingram, 1921)
Sunset Boulevard (Billy Wilder, 1950)
Some Like it Hot (Billy Wilder, 1959)
The Conformist (Bernardo Bertolucci, 1970)
Last Tango in Paris (Bernardo Bertolucci, 1972)
Soldaat von Oranje/Soldier of Orange (Paul Verhoeven, 1977)
Alice (Woody Allen, 1990)
Scent of a Woman (Martin Brest, 1992)
Indochine (Regis Warner, 1992)
True Lies (James Cameron, 1994)
Schindler's List (Steven Spielberg, 1993)
Evita (1996)
The Tango Lesson (Sally Potter, 1998)
Tango, no me dejes nunca (Carlos Saura, 1998)
Tango, the Obsession (Adam Boucher, 1998)
Flawless (Joel Schumacher, 1999)
Assassination Tango (Robert Duvall, 2003)

Tango Class with Florencia

2006-03-06T19:28:00.000-08:00

Last Thursday after tapas at Solera, I stopped in at 4 Seasons to check out Florencia Taccetti's tango class for advanced beginners. I liked the looks of things --although women outnumbered the men 2 to 1--. She said that was unusual. Anyway, she re-invited me to the Tuesday night Práctica at the studio, and I AM GOING! Tomorrow. Can't wait. Haven't danced, really danced or practiced, in too long. Loring Pasta Bar doesn't count.

Street tango in San Telmo

2006-02-26T22:01:00.000-08:00

Street tango in San Telmo
Originally uploaded by tangoThesis.

Taken in March 2005
A form of "professional" tango dancing. Marina Palmer talks about her own experience as a street dancer on the famed Calle Florida, BsAs, in her book Kiss & Tango. Her salary during that time? $15 per day pre-2001 devaluation crisis. $5 per day post-2001 devalution crisis.

Resume dance position

2006-02-24T09:04:00.000-08:00

I'm thrilled to discover that today the pain in my foot is officially gone! Since sustaining a minor injury nearly 2 weeks ago, my dancing has been on hold. I bought the special podiatrist-recommended inserts and have stuck to my more ergonomic shoes (mostly!), and finally the wincing pain is gone.
Dancing may now resume.

andale, pues...

2006-02-23T16:58:00.000-08:00

the inevitable has arrived.
so called deadlines have been flexed beyond their breaking points, and stalling must give way to action. i have to start my thesis. not just because i'm 18 months into my MFA and already sliding towards the out door, but because grant and scholarship funding proposals are due this month.
not that i need the money.

there have been so few times in my life that i've been financially equipped to make such quips, i feel positively COMPELLED to say that! but monetary support=emotional support, and THAT one cannot drum up on one's own.

i should mention that i'm pursuing an MFA in interactive design from the University of Minnesota (twin cities). the plan is to fulfull my creative thesis for the degree with a tango related project involving travel and study in argentina...and whereever else i decide is IMPERative to my research. Specfics are still unkown, but hopefully will unfold in the process of recording thoughts, images, experiences...

research methodologies for qualitative studies require field notes, so that is what this blog pretends to be; my journal. i'm not exactly sure how it's going to turn out, how candid i will (can afford to) be. but i'll try to stay committed, tracking my tango exposures...from books, music, live interactions, whatever. a ver que pasa, che.