…just like you can’t dance tango without certain, specific timbres of tension at different times, neither can you truly practice anti-racism without purposefully leaning into the tension you experience when looking at the ways your actions (or inaction) uphold white supremacy.
Read MoreIt's not possible to rid yourself of implicit biases. But it is possible to bring them to your conscious attention and be honest about how they have affected your functioning and ideology as a tango dancer. This is how we can begin to short-circuit the unconscious wiring. We can consider honestly our choices of dance partners and social connections and get curious about the reasoning and feelings behind those choices. We can examine the images that come to mind when we think of the word "tanguera" and be intentional about widening our definition of who fits this description.
Read MoreI was wondering what to write about in this blog post and I decided to cheat a bit and instead of writing something focused and practical, I would instead do a brain dump. However I will throw the reader a rope by repeatedly asking a focus question throughout so they can hopefully put this brain dump into a useful frame or context. So the focus question is this: What does it mean to be musical? Musicality in terms of Argentine tango dancing has been a long standing interest of mine.
Figure 1: The journey towards the “singularity” or how I stopped worrying and learned to love tango music
Like Alex Krebs says in his interview: “It starts with the ear.” Tango music, especially during the 40’s, was incredibly rich and varied. To an inexperienced dancer, the music is a mystery. It starts, it ends, it goes up and it goes down, becomes busy or slows down. However, with persistent listening you start to hear individual instruments and what they do. Elvino Vadaro’s sweet sweet violin in Orquesta Tipica Victor; Biagi and his successor Polito’s electric piano accents in D’Arienzo’s orchestra; and the weeping bandoneon of Anibal Troilo. But once you start hearing these things in the music, then what do you do?
Most tango dancer’s first encounter with musicality is stepping on the “compas”, or the strong beat. It seems like the dancer joins the orchestra as a percussion instrument in an orchestra that typically does not incorporate percussion instruments. Can you find the beat? Try clapping to the music. The place in the music where it feels natural to clap is where you step, or land. I’ve been wondering lately why the default is to land and not set off on the beat.
The next layer is recognizing that the music comes in pulses. Pulses are also called “phrases”, and usually come in intervals of 8 strong beats (4 bars, 7 steps then a pause). Not always the case though, unless you’re Carlos DiSarli. After this came the realization that there is a structure to tango. A good guide to this is the book by Joaquin Amenabar: Tango: Let’s Dance To The Music . If you have the chance, grab the book and have a read - it’s worth your while. I believe he’s going to be in LA in July sometime; I loved his classes when I took them & highly recommended them.
Aspects of tango music then revealed themselves through interesting rhythmic patterns or accents, which can be made use of in the dance. Again, I have to credit Professor Amenabar who taught me the difference between “false” and “true” traspie in milonga, as well as an introduction to the 332 rhythm. I first came across the 1241 rhythm through one of Homer’s youtube videos; he calls it the KMG or Kiss Me Goodnight rhythm. I further extended my understanding of this rhythmic element during private lessons with Mario Consiglieri & Anabella Diaz-Hojman. The blogger Tango Therapist discusses the vals cruzado which he defines as a counter accent to the dominant vals accent - check out this article as well as this one for more information. Recognition of and more importantly practicing to make use of such rhythmic accents is an invaluable tool in one’s musical toolbox.
The next realization was that different orchestras have different ways of playing or interpreting tango music and that these differences can be used in dancing. For example, playing a legato counter melody low on the fourth string of the violin, in contrast to a highly rhythmic staccato main melody is common in in D’Arienzo’s works, and sometimes in Biagi, Donato and Canaro. Check out Michael Lavocah’s Tango Stories: Musical Secrets - it’s a great overview of the popular Golden Age orchestras and what characterizes them.
The next revelation was that one can group the tango orchestras according to their style and characteristics. This was sparked by a talk by Mandragora Tango The main point is that, although knowing which orchestra is playing could be used to aid in predicting aspects of the music, actually being familiar with these characteristics gives the skill set that can be applied to any orchestra, resulting in a deeper and more nuanced and more present connection to the music
Finally, as I developed my musicality toolbox, it became increasingly possible to connect “feeling” with “dancing”. In the beginning it was expressing this feeling imparted by the music yourself; later it was the ability to impart it to my partner. How one “articulates” a vocabulary becomes a way to express the music, whether it be “kiki” (staccato) or “bouba.” As musicians use different articulations to give character to the notes they play (it is the “how” of playing a note) a dancer can also do the same with vocabulary, following and reflecting the character of the music and more importantly, its emotional content. In addition, for me tango became increasingly analogue instead of digital, and critical to this revelation was the writings of Alex Krebs and the interview of Tete Rusconi on “cadencia.” I don’t really want to talk about this idea here as to do the concept justice I would have to do a separate blogpost on the subject. Nevertheless, I highly recommend that you should go read it for yourself. I am not exaggerating when I say that this was an idea which flipped my dancing on its head and made me reevaluate how I danced.
This is where I am at in my musical journey. Still, I find myself asking, what does it mean to be musical within the context of dancing Argentine Tango? Can you help me? What does “being musical” mean to you when you dance tango?
Dear friends,
Big news! Stefan and I are so happy to introduce you to the new owners of Oxygen Tango in LA, Magan Wiles and David Lampson. We are honored by their choice to accept the gift of O2 and take it forward.
In this moment we are filled with nothing but love and gratitude, and excitement and curiosity for the newchapter that's beginning.
David has been part of the Oxygen community since its beginnings, and gotten progressively more deeply involved, especially in the past few years, taking on a variety of roles including teaching and hosting. Over the years there were lots of times when Stefan and I got stuck, and Dave's kind heart and listening ear, insane attention span and capacity to focus deeply and think clearly were so helpful in moving through. We worked closely together on not only the Tango Lexicon, but also the 12 Fundamental Techniques of Tango. He's donated scores of hours of formal class instruction, and, probably hundreds of hours of informally helping beginners grow or simply experience Tango. Dave's depth of understanding of Tango, his commitment to continue to learn and improve, and openness to seek connection with all kinds of people, are a true inspiration. Dave's a graduate of Stanford University, a writer, and fluent in Spanish from living in Buenos Aires.
Magan came to us through the recommendation of our mentor Brigitta Winkler about a year and a half ago, dove into the Tango Challenge, and as she learned more about O2 she quickly saw that she could help the community by applying her business and financial skills to streamlining and documenting O2's backend administration. I appreciate that she fully comprehends the essence of Oxygen Tango and can speak inspiringly about co-creation and community, while also thinking clearly about the realities of business and working intelligently with risk, tradeoffs and deadlines. Magan received her MFA in acting from the University of Tennessee, and is the Founder of Hustle Creative.
We ask you to enthusiastically support them in their brave choice to lead this community. Their vision is to make Oxygen Tango a sustainable organization that will be around for the long-haul, and they have already started serving this vision using the funds of the transition period to create a reserve for O2, something we've never had before. Being owners of O2 is an exciting, creative role, and also one that brings with it responsibility, complexity and emotional challenge, as they will be making decisions that affect many people. It is a beautiful thing that members of our own community have stepped up to lead the organization they love in a way that will require them to give of themselves without expecting commensurate financial reward. Please thank them and welcome them into this new context, and support them and co-create with them, as we will be doing.
Stefan and I will continue participating enthusiastically in the Oxygen community in many of the same ways: facilitating the Tango Challenge and Steady Challenge, producing the Graduation Ball, leading clubs and learning labs, and just being around at practicas.
We are also looking forward to the opportunity to develop ourselves in new ways. We are working on establishing the Tango Hatchery, an organization that will provide resources and training for Tango organizers. We will continue to develop and expand the Tango Challenge and create the structures for making it available in new communities. Mitra will continue to develop a peer-to-peer learning system to provide a foundation for tango learning communities. Stefan will incorporate his roots as a choreographer into his Tango offering and create beautiful tango-inspired pieces for the theater, weddings and special events. We will continue to keep you posted about our new initiatives and endeavors. We are each looking forward to stepping into new roles where we can expand and flourish.
These past eight years we've spent working with community members to establish O2 have been incredibly rich. All of us have done amazing things together and we can all be so proud to be part of something that will endure in the hands of people who love it.
We are grateful to all the teachers, DJs, bears, challengers, helpers, advisors, donors, lenders, mentors, partners, members, buddies, friends. Alejandra DiBlasio, Alexandra Mason, Alex Bartos, Alexei Tsekoun, Ali Guerin, Alice Wang, Alicia Maccarone, Amy Zhou, Andrei Andreev, Anna Leon, Anna Shen, Anna Thanukos and Jon Wilkening, Annette Corsino, Annie Liou, Autumn Augusta, Ayano Yoneda, Bharath Sankaran, Brian Nguyen, Brigitta Winkler, Brittney Horner, Brooke Moore, Bruce Blair, Chad Wehba, Charles Whobrey, Christine Oustry, Cristina Ladas, Crystal Adams, Dan Martin, Daniel Rizzotto, Daniel Trenner, Darius Martin, David and Diana Crispi, David Lampson, Derek Tang, Devin McMahan, Diane Yoon, Dominique and Gary Hirschkron, Dong Sung An, Edith Chen, Elisabeth Raff, Elizabeth Arnold, Emmet O'Conlon, Eric Finke, Fabienne Bongard, Fay Woodward, Felipe Martinez, Frank Dong, Gary Ashwal, Gary Love, Glenn Campbell, Guillaume Chaslot, Henry Finkelstein, Hernan Bejarano, Holly Darling, Homer Ladas, Isaac Hagerling, Isaac Oboka, Jaimes Friedgen, Jane Liu, Jay Ocampo, Jenna Keltz, Jennifer Bae, Jo Nguyen, Johnny Nguyen, Joshua Beeler, Joy Kerin, Karen Baez, Kate Moxham, Katya Kosarenko, Kay Pih, Kim Eng, Koral Simpson, Korey Ireland, Kris Shinn, Kristen McCown, Kyla Mares, Lampis Zalavras, Laura Saenz, Lauren Kendrick, Lee Blaugrund, Lisa Hylton, Lissandra Ellyne, Liviu Barna, Magan Wiles, Marina Belozerskaya, Marjorie Martin, Martha Ganser, Marvin Lee, Mary Fu, Maya Reynolds, Melanie Merians, Melika Adams, Melodie Kao, Michael Grandcolas, Mike Koh, Nancy Duckworth, Naomi Hotta, Naz Martin, Nesli Erten, Patricia Bijvoet, Paul Duke, Paul Mejasich, Pei Pei Tan, Phoebe Park, Pierre Candelaria, Rebecca Shulman, Reza Kiandad, Richard Kim, Robert Le, Rose Bloomfield, Sabine Ibes, Sandra O'Donnell, Sarah Elmaleh, Scott Haller, Sergio Palermo, Shane Crosby, Sharna Fabiano, Shearon Bogdonovic, Shorey Myers, Solomon Russell, Steve Escarcega, Susan Bragg, Tania Darnton, Tanya Spektor, Ted Jastrzembski, Thomas Fischer, Tomas Howlin, Tyla Tabers, Victoria Godfrey, Vincent Wong, Vin de Silva, Vita Markman, Vladimir Sierra, Yukiko Sato, Yuliana Basmajyan, Zana Fong. I hope I didn't forget someone - there is a lot of history! There are hundreds who have given in their own silent, tiny, invisible, spirited ways - it's all those tiny ways that add up to community. We are looking forward to continuing to enjoy co-creating with all of you.
We are planning a reunion-renewal milonga party to celebrate this meaningful transition together some time in May or June and hope to see all of you there!
What makes Oxygen Oxygen? To us it is the mission to end the illusion of separation -- it's the spirit of co-creation; the way that everyone is encouraged to explore both roles; the ability to get together at least twice a week in the same spot; the culture of stretching and trying out new things..."Believe in yourself. Dare to live your dream. And dare to believe in each other." We believe in you, 100%. And in ourselves, and we are looking forward to where our dreams will take us all.
Love, Mitra and Stefan
Want to change the world with social media? We live in a world where tiny touches and clicks can move thousands of hearts and minds. But, without the right approach, it's also easy to use social media to reinforce old, outdated paradigms - and contradict the very values you are trying to spread. This is to share some of what I have learned about how the mind and communication works, and how you can be a positive cultural force through your daily post.
Metaphors structure our thinking and our debate. To raise the level of debate, we need to introduce new metaphors that will be a bridge to new realities. Here is my take on some NEW metaphors and messages that, I believe, need to be introduced and reinforced. They directly contradict and provide alternatives for current frames being repeated all over the media (including social media and conversation).
This metaphor replaces the obsolete but popular metaphor that "the nation is a family" or "my race is my family." It shifts focus away from haggling over "-isms" and "political correctness."
"Fear tends to activate desire for a strong strict father," according to cognitive scientist George Lakoff. Today, the "obedience-to-a-strict-father" worldview can do more harm to freedom, diversity and earth than we might imagine. These new metaphors focus attention on the problem of fear itself and offer alternatives, like curiosity and health.
Fearful people want things to change quickly, and sometimes they are seduced into believing that simple, direct actions will be effective in removing the situation they fear. "Direct causation is dealing with a problem via direct action. Systemic causation recognizes that many problems arise from the system they are in and must be dealt with via systemic causation," as Lakoff also notes. It may be that the people you disagree with embrace direct causation. We can help them have confidence in the power of understanding systemic causation.
Share compelling personal examples of impulsive ideas wasting money, vs. slow, steady solutions creating results.
This metaphor focuses on the virtue of curiosity, and the fact that it's in our control. The attitude of curiosity has the power to transform fear. Help people who feel weak and scared of "others" flip this by embodying and activating and celebrating curiosity.
There are a lot of broken, sick, traumatized bodies in the authoritative "strict father" world. Deep down people know that this isn't how life should be. Reinforce over and over again that "a strong/loving family means you feel free/happy/healthy/good/strong/alive" and "freedom feels beautiful and healthy."
With these new metaphors we will reclaim the words "freedom" and "family," and infuse them with healthy meaning.
What kinds of stories, images, examples, case histories, headlines, hashtags, games, t-shirts, slogans, stunts, bumper stickers, ETC would bring to life these metaphors ? Let your imagination run wild and then KEEP at it.
Let's do it - and as we do, remember that we ARE one human family, and let our every tiny interaction be infused with that loving kindness to one another. It's all those tiny touches - genuine hugs and smiles - that might REALLY change the world. So, let's do it, let's change the world, one embrace at a time. Love, Mitra
