Tag Archives | Argentine Tango

The Lost Love of Ada Falcón: Part 2

Argentine singer Ada Falcon

Argentine tango singer & film star, Ada Falcon

by Terence Clarke, journalist, author and Alma del Tango board member

In one of the most famous disappearances in the history of Latin American music, Ada Falcón, the great Argentine tanguera, left show business. Her retirement was sudden, completely unexpected and extremely strange.

She had begun to appear on the streets of Buenos Aires in disguise, her head swathed in scarves, multiple shawls hanging about her shoulders, her lovely eyes hidden behind slab-like sunglasses. She stopped recording. There were reports in the newspapers about strange nighttime peregrinations, about her odd dress, and her raving. Eventually her mother realized the depth of Ada’s distress, and took her to Cordoba, Argentina, where Ada entered the Molinari Convent of Franciscan nuns.

There is a great deal of speculation about the end of her career, the entertainment life she had known almost since birth, and the decision to enter the contemplative life under vows of poverty, chastity and obedience. Most center upon her love for the orchestra leader Francisco Canaro, because Canaro had a wife.

Evidently Falcón had been very guilt-ridden about her affair with a married man yet overwhelmed by the love she felt for him. She pleaded with Canaro to divorce his wife so that she could marry him. Canaro agreed but did not actually go through with the divorce action. He kept Falcón on one arm and his wife on the other, for years. There were family reasons, Canaro said. The Church. The need to wait for a while to keep it respectable. Careers. Obligations.

Falcón waited, until the day Canaro finally admitted to her that he would never leave his wife under any circumstances.

Falcón went to the streets and wandered, swathed in craziness. Eventually, in desperation, sheltered by her mother, she entered the convent. Ada Falcón died in 2002, at ninety-six, in the convent in Cordoba. She seldom left the place, she never recorded another song, and apparently never recovered her heart.

Terence Clarke’s new novel, The Splendid City, with Pablo Neruda as the central character, will be published in January.

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Who was Max Glücksmann and how did he influence tango? Part 2

by Terence Clarke, journalist, novelist and Alma del Tango board member

Argentine tango singer, Carlos Gardel

Carlos Gardel, signed to an early recording contract by Max Glücksmann.

 

We learned last month about the beginnings of the Argentine recording and film industries, principally through the efforts of Max Glücksmann. Eventually he was to build those industries into a business powerhouse. But Glücksmann also had extraordinary taste when it came to popular music, and he knew he was onto something when he first heard the singing voice of Carlos Gardel.

A former street singer, Gardel had made an early reputation as half of the Razzani-Gardel duo that was popular on the Buenos Aires music scene before and during World War I. Eventually the two split up, and Gardel continued on as a single, signed to an early recording contract by Max Glücksmann. Gardel was still a criollo singer whose music had a country flavor heavily influenced by the music of the Argentine pampas and the gauchos.

But he was an urban kid.

As in many great cities, there were populations in Buenos Aires that had been forced to emigrate from other countries by war or economic difficulties. There was chaotic urban noise and emotional dissociation, the alienation that comes from the break-up of families, the loss of community and the anger and rage that can result.

Gardel was no stranger to this, and his first solo recording, in 1917, was a tango entitled “Mi noche triste,” about a man sitting alone in his Buenos Aires room, crushed because his lover has just left him.

The first such recording ever made

Tango had existed for years before this, but more as a folkloric music and country dance. What Gardel was singing was urban, new, and instantly popular. Gardel went on to become the biggest-selling music star in the Spanish-speaking world, an international phenomenon of enormous proportions.

Ateneo Grand Splendid bookstore in Buenos Aires

Ateneo Grand Splendid bookstore located in Glucksmann’s former “special” concert theater in Buenos Aires.

On October 12, 1924, Gardel made one of the first live radio broadcasts to be produced from the studio of “Lo Grand Splendid,” Glücksmann’s new headquarters housed on the upper floor of his new “splendid” concert theater. (Now transformed into the most beautiful bookstore I’ve ever seen, the Ateneo Grand Splendid is located at Avenida Santa Fe 1860 in Buenos Aires.)

Gardel became a movie star so well thought of by Hollywood that by 1934 he was being prepared by Paramount Studios to become the next Maurice Chevalier. On March 5, 1934, Glücksmann arranged for a short wave radio hook-up, broadcast by Radio Splendid in Argentina –- from a studio in the Grand Splendid — and NBC in the United States.

The artists were Carlos Gardel and his long-time guitarists Guillermo Desiderio Barbieri and Angel Domingo Riverol. This occasion was memorable for a unique reason, since in fact Gardel was singing in New York while the guitarists were playing in Buenos Aires. It was one of the first such international broadcasts ever made.

Glücksmann had essentially gained control of the Argentine record industry. He did it while nonetheless becoming a hero to musicians through his practice of paying them royalties. He was the first in Argentina to suggest this, and in so doing made Carlos Gardel a world-class star and a multi-millionaire. Other Argentine musicians may not have climbed to Gardel’s heights of fame, but they all benefited from Glücksmann’s careful protection of their artistic rights.

Max Glücksmann died on October 20, 1946.

Terence Clarke’s new novel, The Splendid City, with Pablo Neruda as the main character, will be published in January 2019. A translation to Spanish by the noted Chilean novelist Jaime Collyer will appear later in the year.

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Slip on your tango shoes and join the celebration…

22 years of Alma del Tango in Marin and 11 years in San Anselmo

Dance Studio sign Alma del Tango

by Lanny Udell

Time flies when you’re busy dancing, teaching and building a community around Argentine Tango. Just ask Debbie Goodwin and John Campbell.

This month they are celebrating 22 years of Alma del Tango, and 11 years in San Anselmo. Join the festivities on Friday, September 28,  with a class, milonga, performance (by them) and live music by Seth Asarnow y su Sexteto Tipico. .

How it all began
You may know the story of how John and Debbie met at Stanford Tango Week back in 1996. It was love at first cabeceo, and since then the pair has been devoting their lives to each other and to the dance that brought them together so many years ago.

Read their story here, in our June 2013 Tango Lovebirds article

Debbie Goodwin and John Campbell, tango dancers

Debbie & John in 2001

At the time they met, Debbie was working on an undergraduate degree in dance and teaching in Auburn, CA. John began commuting from Marin on weekends to be with her and they formed Alma del Tango as an umbrella for their tango activities. In 1997 they started going to Buenos Aires to study with the masters for a month each year.

In addition to Auburn, Debbie taught in Sacramento, Davis and Nevada City. While deciding on her career path, she realized that she was fascinated by the cultural aspect of social dances. Ergo, the name of their nonprofit became Social Dance Cultures with Alma del Tango as one of several programs under its auspices.

Dipping their tango toes into the Bay Area
Every other weekend, the couple went into San Francisco to dance and John introduced Debbie to the local tango community. They frequented the Club Verdi, Broadway, and the Golden Gate Yacht Club. After seven years of commuting, Debbie and John settled in Marin together. John was teaching tango classes through Tam Community Education at the time. Among his first students were Alex and Karina Levin.

“John was one of Alex’s and my first tango teachers,” says Karina. “We first took classes with him in 1999-2000, and later we studied with Debbie and John. They played a dramatic role in our development as tango dancers.”

Couple dancing tango at Alma del Tango in Marin

Alex and Karina Levin 

When Karina’s life dramatically changed in 2013 with the untimely death of Alex,

“Debbie and John were the ones who embraced me and carried me through the pain. They are not only my tango teachers, they are my dear friends.”

Time out…briefly

After they married, Debbie and John took a break from teaching to concentrate on artistic endeavors. But it didn’t last long. In 2004, Debbie founded Tango Con*Fusión, the all women professional dance company. But the urge to teach grew too strong to resist, and in 2007 they started a class at Drake High, which long-time student Boyer Cole describes as “a hot night in the cafeteria with 57 students on a concrete floor.”

Dart and Dottye Rinefort got their first taste of tango the following year. “2008 marked the start of our journey into the world of Argentine Tango with John and Debbie. It was in a small, windowless room at Drake High School, filled with faces eager to learn this challenging dance. Many of those faces have continued on this journey with us and are among our treasured tango family,” says Dottye.

Dottye & Dart Rinefort at Alma del Tango in San Anselmo

Dottye & Dart Rinefort greet guests at the milonga

Dart adds: “To a non-dancer, John and Debbie’s step-by-step approach along with tons of patience and encouragement helped turn an incredibly formidable dance into an enjoyable and rewarding experience. For us, they have brought to life the rich history, music, passion and improvisational possibilities of tango.”

Building community in San Anselmo
Driven by the desire to build a tango community in Marin, Debbie and John began searching for a venue. At that point they were teaching privates in the living room of their home. They rolled up the rugs and moved out the furniture. Clearly, a studio was needed!

When they found the current space in the Knights of Columbus hall, they started renting by the hour. “I got tired of carrying in the sound equipment for every class,” John says, so they decided to rent it on a permanent basis as the home of Alma del Tango.

“We wanted a studio where people who wanted to dance well could learn and grow,” says Debbie, “and we wanted to offer programs that would enhance their experience as a community, including classes for all levels, practicas, milongas, performances, student productions and guest artists.”

To transform the space to match their vision, they had the stage built and added stage curtains. John installed video equipment, lighting and sound equipment, turning the bare bones dance hall into a tango center, the only one in Marin.

“We put a lot of time into designing the classes and making students aware of the historical context of the dance,” explains Debbie. “At the same time, we want to be cutting edge, which is why we continue to study the new developments of the dance and have visiting teachers as well.” 

Tango maestro Eduardo Saucedo teaching at Alma del Tango in Marin

Eduardo Saucedo, guest artist in residence for the month of August

Deborah Loft, a long-time supporter says:

“Over the many years I have been studying tango with Debbie and John, I have seen them go from weekly classes in a generic space at Drake High, to building a community with our own studio, stage and boutique; several classes a week (sometimes with visiting dancers from Argentina), monthly milongas (often with live music), and performances. What an accomplishment! This has taken great dedication on their part, and I am so grateful that we have these resources right here in San Anselmo.”

Philip Benson became a regular at Alma del Tango in May of this year. “Alma del Tango is the jewel of Marin for Argentine Tango students and dancers, he says. “John Campbell and Debbie Goodwin are superb instructors and hosts. They have created a warm, encouraging environment in which to learn, dance and connect with others who have an interest in or passion for this unique form of communication and connection. I am grateful for the opportunity to be part of this wonderful community.”

Argentine tango dancers Debbie Goodwin & John Campbell

For Debbie and John, teaching and performing together is so fulfilling

For Debbie and John, the years of dancing and teaching together have been fulfilling. “Not a week goes by that I don’t learn more about teaching and gain a new appreciation of movement and helping people,” says John. “I never thought I’d have a second career as a dancer!”

Alma del Tango gave  Debbie a place to pursue her creative work and to have community. “Especially with the kids away,” she says, “I love having my tango family around.”

“John and I really enjoy teaching together, that’s why I’m so happy to be back teaching the full program since recovering from my knee injury.”

Reflecting on her experience at Alma del Tango, student Errin Loveland says:

“I came to ADT in February of this year at a friend’s invitation. I had no dance experience of any kind, though I was open to whatever I encountered. I felt welcomed immediately as Debbie and John have created a warm space for those that are absolute newbies. Their own love of tango shines through, and they are eager to share what they know both technically and around the music and history of Argentine Tango. Debbie and John encourage a community atmosphere that supports learning what can be a very challenging dance. I look forward to attending for years to come. There is so much more to learn and explore.”

Tango dancers Debbie Goodwin and John Campbell

Debbie and John invite you to join their anniversary celebration at a class, milonga and performance, September 28 at Alma del Tango. Live music by Seth Asarnow y su Sexteto Tipico.

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Eduardo Saucedo is Alma del Tango Artist-In-Residence during August

Eduardo Saucedo, Alma del Tango Artist in ResidenceCome study with the Maestro!

By Terence Clarke, novelist, journalist and Alma del Tango board member

The first time I ever saw Eduardo Saucedo dance was in a show at the Confitería Ideal in Buenos Aires, some years ago. He had written and choreographed the piece, and his role was that of The Wolf in a tango version of the fairy tale “Red Riding Hood.”

Eduardo paced about the stage, heavily made up in wolfish costume, his eyes wild, his voice growling, even terrifying. Above all, he danced with remarkable strength and bearing, given the rich comedy in the role he was playing.

It was marvelous!

Students and devotees of Alma Del Tango have a remarkable opportunity to study with Eduardo as he will be the artist-in-residence for the entire month of August. Eduardo is from Buenos Aires and has long been recognized for his love of and passion for the dance. His teaching, always creative, is in the same moment eminently practical. He begins with the authentic tango embrace and goes from there. He always observes the traditions of tango, while at the same time bringing fresh innovation even to the simplest of movements. His classes are also noted for their humor. Studying with Eduardo is demanding…and a lot of fun.

An internationally celebrated artist

Eduardo has been involved with some of the most important tango events internationally. Most notably he has for many years been an invited teacher and performer at the famous CITA Festival, held every year in Buenos Aires. In the United States, he has performed and taught at Nora’s Tango Week in San Francisco, performed with the Debbie Goodwin Dance Company in their show, Me Llamo Tango, and the Portland Tango Festival, to mention a few.

He has also performed at some of the key tango venues in Buenos Aires, including Salon Canning, Almagro, the legendary Confitería Ideal, and, one of my favorites, El Viejo Correo.

No stranger to video and film

Eduardo appeared in the National Geographic series Consequencias in 2010. Co-produced with Fox Telecolombia, the series was an attempt to educate viewers about contemporary issues, political and otherwise, in Latin America. He is also prominently featured in a documentary titled My First Tango by the German filmmaker Judith Schwyter, which was released in 2013.

The film, with English subtitles, gives you a close-up view of the tango dance scene in Buenos Aires, and intersperses that with footage of Eduardo giving a young woman her very first tango lesson. The lesson finishes with, to her great delight, an entire tango in the arms of the master. The film gives you a good idea of what a careful and compassionate teacher Eduardo is. Come experience that for yourself!

This August marks his fourth time as Artist in Residence at Alma del Tango. Teaching with him will be the women of Tango Con*Fusión, featuring Debbie Goodwin on Friday nights. Following the Friday night classes Eduardo will co-host a practica with Debbie and John, and on the fourth Friday, he and Debbie will perform during La Milonga de San Anselmo.

To book a private with Eduardo speak to Kikki when you come to class or contact info@almadeltango.org.

Watch Eduardo dance at Nora’s Tango Week
Watch the documentary, My First Tango (It’s delightful!)

Terence Clarke’s new novel, The Splendid City, will be published next year.

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The Gods of Tango, a novel by Carolina De Robertis

Book cover, The Gods of TangoReviewed by Terence Clarke, novelist, journalist and Alma del Tango board member.

Carolina De Robertis is a novelist living in the United States and writing primarily in English. She is of Uruguayan roots, however, and has written provocatively about characters whose entire consciousness derives from the land, the traditions and the politics of Uruguay and Argentina. Her latest novel is The Gods of Tango, published by Knopf.

In 1913, 17 year old Leda arrives by ship in Buenos Aires, from Italy, ostensibly to be greeted by her new husband Dante. Once on shore, she learns that Dante has been killed in a street battle between syndicalists and the police.

With only the clothes on her back and a single trunk containing her things, a little money, and the violin that her cherished father gave her, Leda moves into a conventillo named La Rete, in the poor wharf-side neighborhood of La Boca. Conventillos basically were tenements, some set up by the Argentine government, others privately run, to house the thousands of immigrants pouring into Buenos Aires during the first years of the twentieth century.

A polyglot of cultures

The conditions were uniformly terrible, with many people crowded into warrens of single rooms. The conventillo would often have a central patio with a source of water for cooking and washing, which would be the gathering place for the tenants. These sprawling edifices housed people from all over the world, and must have been a polyglot confusion of languages, cultures, manners of dress and, most principally for Leda’s purposes, music.

She hears her first tango in La Rete and is immediately smitten by it. She has never even imagined such rhythmic intensity, or such soulful intent and passion, in any of the music she has ever heard. She can play her father’s violin (although at first her efforts are insubstantial), and she determines to master the tango.

There is, however, a problem.

Tango in 1913 Buenos Aires is the domain of men, and men alone. The only women involved are those who work in the many boliche cafes and bordellos of Buenos Aires, and the duties of those women have little to do with music. The very idea of a woman playing tango is ridiculous to the men.

Leda comes to understand this quickly. Wrapping her breasts to diminish their presence, getting her hair cut in the style of a man, and dressing in her deceased husband’s clothes, Leda leaves the conventillo and takes to the Buenos Aires streets, now calling herself Dante, after her husband. She does so with violin in hand.

Leda remains so disguised for the rest of the novel, and she becomes remarkably well known as a musician. Working at first in the poorest of little boliches, she hones her talent until she becomes one of the best tango violinists on the Buenos Aires scene. But she does so as a man, and the disguise—and what it teaches her about the privileges that men enjoy that are forbidden to women—becomes the very vehicle for her rise to tango eminence.

The ways De Robertis presents the confusions that arise for Dante, her fellow musicians, and her lovers, is one of the real innovations of this novel. De Robertis writes with considerable passion and beauty about the kinds of sex that Leda finds and, of course, the kinds of love that she finds.

For anyone who cares about the origins of tango, this novel is a fine addition to the history of that soulful music in its Rio de La Plata birthplace. Find The Gods of Tango and Terence Clarke’s latest novel, The Notorious Dream of Jesús Lázaro, at Amazon Smile. A portion of your purchase benefits Alma del Tango.

 

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The story of the Milonga

Terence Clarke, writer, tango

Terence Clarke

By Terence Clarke, novelist, journalist and Alma del Tango board member.

Terence Clarke’s latest book is New York, a collection of stories, all of which take place in New York City. He and his partner Beatrice Bowles are the organizers of the milongas at The de Young Museum, the Palace of The Legion of Honor, and The Ferry Building, in San Francisco. You can see him in his role as the moderator of Alma de Tango’s video “Tango: A Romantic Ritual.”

In 1883, an Argentine writer named Ventura Lynch, who studied and wrote about tango and all its variations, described tango’s older relative, the milonga: “It is so universal in the environs of Buenos Aires that it is an obligatory piece at all the lower-class dances (in Lynch’s Spanish, “bailecitos de medio pelo”), and it is now heard on guitars, on paper-combs, and from the itinerant musicians with their flutes, harps and violins. It has also been taken up by organ-grinders…It is danced in low life clubs, and also at the dances and wakes of cart-drivers, the soldiery, and compadres and compadritos (i.e. streetwise ruffians and gangsters).”

This was written well before the tango’s own development in the twentieth century. But the milonga was already an ancient term, and referred to music and dance that was, in the days long before Lynch, not Argentine at all.

The famous early gauchos from the Argentine pampas and elsewhere in southern South America…lonely cowboys wandering from place to place in search of work…also sought entertainment. They found it in their own “payadas,” which were verse-competitions in which a gaucho, with his guitar, would sing a verse of his own making, and a second gaucho would respond with a competing verse, an answer to the first payador’s offering. Inventive rhyming language back and forth was the goal, accompanied by guitar, with quick thinking and improvisation the method.

African influences

Some of these gauchos were black, and before 1861, the year slavery was outlawed everywhere in Argentina, many of the servants and country working class were black slaves. They had been brought to Argentina from the Niger-Congo regions of Africa, where the many Bantu languages and dialects are spoken. One theory has it that these slaves, not understanding the Spanish in which the payadas were sung, and noting how much language there was in the competitions, referred to them with the word mulonga, which is the Bantu for the Spanish palabra, or the English word.

So these payadas were a lot of talk, and with time, the competitive gatherings became known more universally throughout Argentina as milongas.

Dance was not far behind, and at first it was an individual expression, in which a gaucho (probably bottle in hand, his movements fired by drink) would dance to the payadores’ music by himself. Simple, a step to every beat of the music, rough-and-ready solo moves were the earmarks of the early milonga dance.

Sometimes, the men would dance with each other…milonga’s earliest appearance as a couples event. Later, as the music and dance moved toward the city in the nineteenth century, the presence of women became a reality (usually women of not much virtue). The phenomenon was deeply influenced by the black former slaves, whose presence in Buenos Aires made a permanent mark on the music and, especially, the dance. The best-known rhythms were the habanera and the traspié, the syncopations that we now always hear and see in contemporary milonga. Both are of African origin.

With time, the milonga became not only a music form in its own right, but also the single word that would describe a gathering of people coming together to dance. So,—¡Vamos, chicos, a la milonga! “Let’s go, guys, to the milonga!”

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Students of the Month ~ Jim Depeyster & Lynn Tompkins

by Lanny Udell

Jim & Lynn dance at Alma del Tango milongaDancing tango since:  Jim started dancing Argentine Tango in the mid 1990’s. He was living in New York at the time and after seeing a tango performance he was intrigued. In 1993 he saw an article about Buenos Aires in Smithsonian Magazine which mentioned clubs where people dance tango all night. He thought, “yeah, I’d like to go someplace where they dance tango all night.” So he started to look for a place to learn tango in New York. “I searched for a year and a half,” he says.

Lynn was living in Colorado, but the couple met in Florida when both were visiting their mothers. She moved to New York in 1997 and they started taking tango lessons together. “Fortunately, our relationship was strong enough to survive our early tango years,” says Jim.

Why tango: Jim had danced ballroom but wasn’t satisfied with it. “When I found tango, I knew there was no point in doing anything else,” he says. Lynn, who loves all kinds of dance, decided to learn tango so she and Jim could dance together.

After moving to the Bay Area they found tango in the City and danced at the Golden Gate Yacht Club and the Verdi Club. Eventually they found Gustavo and Jesica in Marin. “At the time we were volcada challenged,” says Jim, “they took us through that.”

Favorite part:  For Jim it’s about the connection and communication on the dance floor. Lynn agrees. “Touch is a basic human need,” she says, “and tango is difficult. You have to be brave to keep working at it. If it weren’t for the touch, people may not stay with it.”

The couple makes tango a central part of their exercise routine. They dance two to three times a week, primarily at Alma del Tango. “Lynn has cleverly molded this into a dinner date—dinner and tango, it’s part of our relationship,” Jim explains.

About Debbie & John: Jim first danced with Debbie at a practica at Bay West. He knew she was a teacher but didn’t know about her role as a founder and choreographer of Tango Con*Fusion. When Lynn watched Debbie dance she realized that she was not like other dancers. “She was doing something different, it’s the way she moves, the way she pushes off.”

“We gravitated toward Debbie and John as teachers,” says Jim, “and they’ve taken us over the colgada threshold.”

Anything else? In July 2017 Jim had hip replacement surgery. He wasn’t allowed to dance for six weeks. At the end of the six weeks he was on the dance floor the next day. 

Last word: When she isn’t practicing tango or enjoying a daily walk with Jim, Lynn can be found in her art studio painting portraits (people and pets) or still lifes, or on location painting in plein air. See her work here.
 

Painting of tango dancers by Lynn Tompkins

Dean and Raya at the Seahorse

Cat portrait by Lynn Tompkins

Cat portrait

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Student of the Month ~ Laura Gish

by Lanny Udell

Tango Student of the Month Laura Gish

Dancing tango since: Laura is celebrating one year of immersing herself in Argentine tango. She had dabbled in classes before but didn’t find them satisfying. Then she met Wade Spital (a regular at Alma del Tango) at a party and he pointed her in the right direction.

Why tango: “I had been interested in Argentine tango for several years,” says Laura. “The essence of it intrigued me.” She loved the theatrical expression of tango, and the romanticism. “When I saw it performed I said, oh, I want to do that.”

Back story: As a child, Laura felt shut out from artistic expression, discouraged by her mother who was a performer. To deal with her feelings, she turned to horses. “They were my stability, they taught me everything,” she says. She bought her own horse when she was 11 years old. Shoeing horses became Laura’s passion. If she couldn’t dance, she’d do, what was for her, the next best thing.

Favorite part: “Learning tango has been an interesting journey. I’ve always picked things up quickly but tango stopped me in my tracks,” admits Laura. When she found that she had chosen the most challenging dance, she realized that she had to live in the moment. “It put me in touch with my emotional side and I accepted that I’m on a lifelong journey.”

Lady’s Tango Week in Buenos Aires

Student of the Month Laura and Veronica take a selfie

Laura and Veronica ready for the milonga

Unexpectedly, the trip brought up a lot of emotional issues for Laura–it was a very expensive therapy session, she says. At first she wanted to flee, but she stayed and pushed through her fears. “It was a big shift for me,” says the tanguera. “When I came back I felt I had the strength to be in my own shoes.”

Laura with Barbara Henry at Lady’s Tango Week


About Debbie & John:

When I started coming to Alma del Tango, I felt at home. I felt that this is the soul of tango and it’s where I want to be.

With Debbie and John, you don’t feel that it begins and ends with them,” Laura explains. “They’ve built a community and it’s very comfortable.” In addition to the Wednesday night classes, Laura has taken some privates with John. “That’s helped boost me,” she says.

Last word: “Now I feel like I’m at the beginning. I have no expectations. I’ve arrived at a place where I can let it flow without a preconceived notion of what I should be doing. Now I’m just going to enjoy myself.”

Alma del Tango student Laura Gish and her dog Stewart

Laura and her pal Stewart at Alma del Tango

Alma del Tango student Laura Gish

Laura and taxi dancer in BsAs

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Tango Con*Fusión premieres Sex, Women & Tango at SFIAF, May 26-28

Tango Con*Fusion dancers

Tango Con*Fusion, the all women dance company, challenges the iconic images of gender roles in Argentine Tango in this boundary-breaking dance production. Directed by Debbie Goodwin, and choreographed by Debbie & cast members, the show will be presented at the San Francisco International Arts Festival at the Southside Theater in Fort Mason.

Should feminists dance tango? That’s just one of the provocative questions this exciting dance production  seeks to answer.

The mere mention of Argentine Tango conjures up the iconic image of the macho-male and hyper-feminine woman of Argentine Tango. Yet many feminists dance Tango socially and professionally. How can this be reconciled?

Sex, Women & Tango explores this issue and more, such as body image, street harassment (the piropo, or cat call), same-sex couples and social and economic equality.

Says Goodwin:

Debbie Goodwin, director/choreographer of Sex, Women & Tango

Debbie Goodwin, director

“Because of the current political climate and the objectifying
attitude toward women, Tango*Confusión is delving deeper into women’s issues. Being an all-woman dance company, I felt we needed to make our voices heard, to create something in this art form where we can bring these subjects up.”

Meet the cast of Sex, Women & Tango

The Tango Con*Fusión dancers include Mira Barakat, Christy Cote, Michele Richards, Mila Salazar, Rose Vierling, Pier Voulkos and Jasmine Worrell.

Guest artist Marcelo Molina

Also featured are International artist, Marcelo Molina of Buenos Aires, Argentina;  Jonas Aquino, Daniel Peters and Casey Young.

Scott O’Day is featured on guitar.

 Joining Debbie Goodwin on the Creative Team are Daniel Peters and Pier Voulkos

Order tickets now !

Performances are Friday, May 26, 9:30 pm; Saturday, May 27, 7 pm; Sunday May 28, 5:30 pm.

General Admission $25; Children under 18 $12.50 (PG – not suitable for young children)
Box office: www.sfiaf.org/tango_con_fusion
Southside Theater, Fort Mason Center
Phone: 415-399-9554

Sex, Women & Tango is sponsored by Alma del Tango

For more information: tangoconfusion.com 

 

 

 

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Student of the Month ~ Marty Benson

by Lanny Udell

Alma del Tango Student of the Month Marty BensonDancing tango since:  Marty has been dancing most of his life, primarily swing dance. For him, dancing brings together two of his passions—sports (movement) and music. He had taken some tango classes years ago and came back to it about 14 months ago.

Back story: In May 2012, Marty was blindsided by a diagnosis of Multiple Sclerosis. He became paralyzed and was hospitalized for six months, undergoing aggressive treatment. Told he might not walk again, Marty was determined to get through this ordeal and stayed focused on his desire to get back on the dance floor and the ski slopes. After his release from the hospital, he began rehab in early 2013.

“Dance is good therapy,” says Marty. “I still have issues with balance but tango helps.”

Debbie Goodwin agrees:  “Studies have shown Argentine Tango to be therapeutic for all types of physical and emotional conditions. Its multifaceted movement stimulates the brain, improving coordination and balance.”

Never expecting this level of recovery, Marty’s neurologist didn’t think he’d dance or ski again.

Why tango:  For Marty, tango is the most communicative dance between two partners. “There is room for interpretation, you can really work within the structure of the music,” he explains.

About Debbie & John: Marty heard about Alma del Tango while taking swing dance classes at another Marin venue. He attends the Level 1 and 2 tango classes on Wednesday nights.  “Debbie and John break down the patterns very well, in an understandable fashion. Their interactions are fun…they don’t always agree but they work it out in the class.”

He also likes the building itself.  “It’s fun to go there…it’s like a clubhouse with friends to dance with. It furthers the sense of community of Alma Del Tango.”

Anything else?  Marty is the proud owner of a 1978 Cadillac Eldorado.  “1978 was the last year of the really big Caddies – America’s luxury car,” he explains. “In 1979 they began downsizing.  The ’78 still had the full-sized “three body trunk.  It’s like a ship, you don’t drive it you pilot it.”

Last word: Marty’s ultimate ambition is to dance the swango – a fusion of swing and tango. (See examples on YouTube)

Tango dancer Marty Benson with his 1978 Cadillac Eldorado

Marty Benson and his 1978 Cadillac Eldorado with “three body trunk”

 

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