Archive | April, 2020

Tears for Orlando Paiva

Argentine tango Dancer Orlando Paivaby Terence Clarke, author, journalist, Alma del Tango board member

In 1995, Orlando Paiva was visiting the United States and stopped at Nora Olivera’s Sunday afternoon class and practica in Berkeley. These were very special sessions. Nora is noted for her exceptional teaching, especially in the way that she never molly-coddles the students. She tells you the truth about how you’re doing, and if you’re having trouble, she always offers a way to resolve the problem.

I had been studying tango for about a year, so I got quite a few justified suggestions from Nora, and I can still recall almost the exact words she used for many of them. Precision, exactitude and follow-through are the prime elements in Nora’s advice, and those who understand that her deep love of tango is what drives her realize how valuable those elements are.

She introduced Orlando to the class. At the time he was about sixty years old. He was very slim and gray-haired, and dressed in tan slacks, a navy-blue blazer, white shirt and tie. Not a demonstrative man in conversation, yet he exuded a kind of kindness that won over the students immediately. Nora later told me that he had a serious heart condition at the time yet he persisted with his tango no matter what.

She asked him to perform for us. I don’t remember to which tango he danced, but it was slow and extremely elegant, with the nonetheless acerb bite that makes tango music often so revealing of deep emotion. He took his partner into his arms and began dancing.

You could see immediately the care with which he pursued the dance. He walked very slowly, and I remember how he would let his trailing foot follow along, pointed back, the toe at an outward angle that underscored the grace with which he was moving. Straight-backed, immersed in the music, and very formal, he made his partner look beautiful because she too was so involved in the way he was dancing. You could feel her intensity, and part of that, I’m sure, was enabled by Orlando’s caring escort of her around the floor.

He performed none of the gymnastic irrelevancies that so often appear in the work of today’s show dancers. No kicks. No lifts. No impossibly fast tripping about. This man was a tanguero, and you could tell that by how respectful he was of his partner and of the music. He moved very slowly, and every step was a marvel.

The students loved it and responded with much shouting applause. I turned to Nora, my own noisy clapping appreciative of what I had just seen. But what I saw now astonished me. Nora, who knew Orlando well, was awash in tears. I cannot recall another occasion when I have seen her so taken by what she has witnessed. Later, I asked Nora if Orlando’s heart condition were one of the reasons for his dancing so carefully and slowly. She responded that, no, this is the way Orlando has always danced. “He is a great master, you see,” she said. That was all the explanation I needed.

This video gives you a good sense of what Orlando Paiva could do. The quality of the video is not good, for which, apologies. But please note how beautifully his partner Cristina Benavidez follows him. She is wonderful herself, of course. But Orlando gives her the opportunity to dance in so contemplative a way that her performance reveals her very heart. Watch with what attention the audience watches them. The response of the audience at the end will give you a good idea of what you’ve just seen.

Orlando Paiva died on November 28, 2006.

Read about Debbie and John’s friendship with Orlando

Terence Clarke’s latest non-fiction book An Arena of Truth was recently featured on National Public Radio’s All Things Considered.

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Dancing with Orlando

Debbie Goodwin with tango master Orlando PaivaHow Debbie & John came to know, study and dance with the Maestro

by Lanny Udell, writer, content strategist and Alma del Tango board member

While Orlando Paiva may not be a household name, to the tango cognoscenti he is highly revered for his elegant and graceful, and very personal style of tango 

Debbie and John had the pleasure of studying and dancing with him going back to the late ’90s when Debbie also assisted in his classes and served as his translator. In fact, she partnered him when he was training Robert Duvall and his wife, Luciana Pedraza, for the movie Assassination Tango.

Here’s how it all began:

Back in the day, Fairfax residents Al and Barbara Garvey were passionate about tango and wanted to build the Bay Area tango community, which was small at the time. They started a newsletter for tangueros so everyone could know where and when the milongas were being held, and when visiting professores were coming to town. Their effort grew into the Bay Area Tango Association.

Orlando was living in Los Angeles at the time, and when he arrived in San Francisco needing a partner, the Garveys called Debbie, who also speaks Spanish.
But even before that, Debbie and John had taken workshops and studied with Orlando privately.

“What impressed me about Orlando,” says John, “was that he was very deliberate in his movements, he did everything with precision. By profession he was a machinist, and that translated into his dancing. His movements were precise…always the same…the embrace, posture, foot placements.”

And he was a stickler about followers’ feet, says Debbie who learned her beautiful foot technique from him.

You can see other influences of Orlando’s style in their dancing, such as going to the cross in cross system, with the elegant way the leader holds his left leg back. And the level changes during the Basic.

Orlando’s Signature figures

Orlando taught tango for more than 45 years, creating at least 160 exclusive figures, and he gave each one a name.

Tango dancers Debbie Goodwin & John Campbell in El Puente, the bridge pose

John & Debbie in El Puente, it only looks like a volcada

El Puente, or bridge pose…“It looks like a volcada, but the way you get into it is the opposite,” says John. “You enter it from a left turn. The leader invites the follower to step around him until, gradually, you get the lean.”
Salida del Gato … “His version of walking to the cross which also took the couple from a close embrace into an open embrace,” explains Debbie. “he moved like a panther, so his name, Salida de Gato, Entrance of the Cat, was fitting.”
Giro Común translated it means “common turn” … but it wasn’t so common the way he did it, says Debbie, “it was so beautiful!”

When Orlando was coaching Debbie and John on how to teach tango his advice was, “you can’t fix everything…find the thing they need the most help with.” Sound advice from the maestro.

Later, Orlando returned to his hometown of Rosario, Argentina where he had a home, studio and workshop. He continued to teach there for the rest of his days. One of his sons followed in his footsteps and later in life changed his name to Orlando Jr.

Read Terry Clarke’s article, Tears for Orlando

More from Debbie & John’s photo album:

Alma del Tango daner Debbie Goodwin practices with Maestro Orlando Paiva

Debbie & Orlando

Tangueros John Campbell, Al Garvey, Orlando Paiva

L to R: John Campbell, Al Garvey, Orlando Paiva

Debbie Goodwin teaches with Orlando Paiva

Debbie assists Orlando in class

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