Thursday, February 23, 2012

Tango-Beat Blog's Last Entry

Tango-Beat, my blog, has a new name.

Since 2009 I have been writing a blog, which I thought would be more about music and especially rhythms of tango. Sure, I have written on this, but rarely. It is time for a change, especially because a company called Tango Beat has full rights to that name.

The new name of my blog is:

I have a new entry there already, called the Essence of Tango, because as I was moving over my blog to the new name, it was a draft I accidentally published.

PS.  If you read the comments, my blog was nearly named "Tango Iconoclast."  However, I decided on "Tango Therapist" over "Tango Iconoclast." because I am perhaps the opposite of this.  As a few people have pointed out, I am not up to the task of being an iconoclast.  That's hard work!  And much of what I promulgate is a return to traditional tango because of its therapeutic effect in contrast to an every-increasing love of show-tango and tango-as-tourism.  I promote the ideat ideat that a man and a woman taking full responsibility for being present in a dance.  This notion is not iconoclastic but the return to the sacred icon that has been shattered by the same producers (or mentality) that is behind "Dancing with the Stars."

Saturday, February 11, 2012

Milonga Lisa

My Milonga Lisa*

The music is fast.
I don't push her to take the next step.
The music drives her to do that!
The music leads --
No, it drives us a la vez.
But she stops when my body signals
The music's moment of pause.
A new phrase takes us back to tempo.

At end we stop and laugh
Like children who've jumped
From a swing to roll on the lawn.
We smile as we lie on the grass.
The music starts; no time to talk!
We run back to swing yet again
To the divine voice of La Música.
My milonguera sits in the Louvre of my mind,
The coy woman who has returned my nod.
She is my Milonga Lisa.

*From Wikipedia: "'Milonga Lisa' [means 'Simple Milonga'], in which
the dancer steps on every beat of the music; and "Milonga con
Traspié," in which the dancer uses Traspiés or contrapasos (changes of
weight from one foot to the other and back again in double time or
three steps in two beats) to interpret the music. Thus, dynamics may
be danced without having to run fast or without the use of much space.