Showing posts with label Psychology of Tango. Show all posts
Showing posts with label Psychology of Tango. Show all posts

Saturday, December 10, 2011

Returning from War in my Tango Uniform

The following story is fiction with a high percentage of truth.  Find what seems to be true to you. This is a story about finding liberation from jealousy and possessiveness.  (I originally wrote this in 2009 while living near Ft. Hood, Texas).


It wasn't the prettiest tree,
but we guarded it well
The hardest thing for me to be deployed was not getting shot at. Having near-miss IED explosions that dazed me were horrifying too, but the hardest thing was to be away from my fiancé. I wanted to believe that she was being faithful, but there were so many stories of women cheating on their men. “Teresa was different,” I would tell myself. “She has true class and culture. She wouldn't do that.” But over and over we would hear about affairs that were being firmly denied, and the facts came in that were undeniable. Although it was against regulations, we even had access at S-2 to use satellites to go look at our homes. I had heard stories of guys who could see the pickup trucks parked out in front of our homes, and later the denials over the phone. Soldiers went home for two weeks of home leave, and they had their stories too. Infidelity was our obsession.

Although it was against regulations, Specialist Gaffney in the S-2 shop went and took real-time photos of everyone's home near Fort Hood.  He was in our platoon, and decided to do us all a favor.  One evening he handed out "pictures of home" to everyone in the platoon.  I told him that he could be busted to private for that.  "The intelligence satellites are to keep us alive from deadly threats, not to see who is sitting on your porch at home, Specialist!"  But then, I couldn't help but look at the photo.  Teresa's car was there.  No pickup truck in sight.  I didn't bust Gaffney to private, but he had extra duty and a counseling statement.  If the captain had known about it, he would have had an Article 15 and lost rank for sure.  I was easy on him because he just was being stupid and wanted to help everyone in his own 19-year old way.  



The winter sun on Teresa's car near Fort Hood made
 it look like a pickup truck at first glance. 


Since learning tango with Teresa, my fiancé, I noticed the word "tango" being said all the time in Iraq.  In the military if you are spelling something out on the radio or even in person, you don't say "t" but "tango."  Also, everyday I would hear someone saying “Tango Uniform” for this or that, meaning "broken."  For example, over the radio, we would hear that a vehicle had broken down and was irreparable: “Call out the wrecker, it’s Tango Uniform.” In reality “Tango Uniform” means "T.U." for “tits up” (that is, flat on your back).  Radios, vehicles, even relationships were "Tango Uniform" -- ruined by infidelity or some other thing.  The first sergeant even said at chow, “My marriage is Tango Uniform."   I would have thought that the young marriages would be the most fragile, but officers and senior enlisted soldiers had the highest statistics for relationship casualties.  The rear detachment commander had checked the First Sergeant's fears of fidelity.  At chow Top lowered his head and told me, "Yeah, she's cheating on me.  My kids even know the guy, and he’s sleeping in my bed.” He told me that he didn't want to go back because he was afraid he’d kill them both, leaving his children without parents – one dead and one in prison.  I felt sorry for Top because he would never confide in the chaplain or -- God forbid -- go to the behavioral health tent.  He'd just suffer on his own, and maybe he'd join the other soldiers on the growing list of soldiers at Fort Hood who had consummated their deep pain with a murder/suicide.  I didn't let my mind wonder about this.  I couldn't report the top NCO for pondering murdering his wife, but if it happened, I knew that I would never be able to get that out of my mind.


Instead, I preferred to think about good reunions.  I preferred to imagine having Teresa in my arms again.  Before I left for Iraq, Teresa and I had taken some dance classes and we loved it. First we loved salsa the most. But then we discovered Argentine tango.  We were getting pretty good at it before I left.  To keep me up on my tango, Teresa has been sending me videos of “tangueros” dancing, and I even practiced by myself whenever I had a moment by myself. I loved to watch, but again, the atmosphere of distrust made it very hard for me not to feel jealous and wonder if some sultry tanguero was slipping off with her after a dance. I wondered if she were happily “Tango Uniform” with him in bed and that our engagement also might be sadly "Tango Uniform."


Next to my cot, I always had a stack of her letters that always started, “Dearest Tanguero Adorable…”  She often wrote about being true to me.  She affirmed her maturity, her own self-worth and of course, our love. I hated that I still had my doubts. But I did.  The negative thoughts would come to me and whisper, “A lot of women were saying this, and they were off doing the wild thing.”  But one thing she said really made me believe her. She told me over a crackling long distance conversation, “Sweetheart, you know, if a lot of these women had a way of getting their need for touch met, then they might find it easier to be faithful. Tango allows people to get an important need met—the need to be touched. And if they had any sense of culture and self-discipline they would feel no need to go beyond that.” That sounded genuine. I also was able to dance a few times and feel what Teresa was talking about. There was dancing at a large FOB not far from our sector in Baghdad, and they had salsa dancing there. I found myself feeling so much better after that dance, and even more committed to Teresa.  The magic of music, dance and human touch fulfilled me.  I didn't have to go beyond that.


This is where the driver should
maneuver with "back ochos."
Close to the end of our deployment after I came back from a mission with my platoon, the commander was standing there, and I thought there was bad news. We all fear last minute tragedies in theater or back at home at the last minute before returning.  It seems like shit happens all the time at the very last minute of a deployment.  We were supposed to come home on the 10th of January, and we didn’t have much time left in country. As I had suspected, the commander had bad news.  “The XO's team just missed running over an an IED, and he’s being MEDEVAC’d to the hospital in Baghdad.  He’s doing okay -- nothing really serious, but that means that you’re going back early as the rear-Detachment commander instead of the XO,” he told me. That meant that I’d lead the forward party to help prepare for the return of soldiers back home at Fort Hood. 


My emotions were properly dampened as the commander told me.  First of all, the XO and I were close friends.  We were in the officers' basic course together; so this was terrible news, but at the same time I knew that I would be home for Christmas.  It is probably impossible for most people to understand that this actually 99% bad news that I would be home for Christmas.  I felt like a traitor to my platoon, getting to go back early. I felt humiliated telling the soldiers under me, and all the while I was so happy to be leaving that hell hole and see Teresa. I was totally conflicted in my feelings.  But if I had been given the chance I would have stayed.  Like it or not, I was going back in time for Christmas.  I also decided that I would not tell my family or even Teresa.  I felt sort of ashamed that I was coming back. I was also dreading my return to my fear of what I might find remaining of my hope of marrying Teresa.


What would I find? Intellectually, I knew that everything would be okay, but I had these great fears in my gut too -- fears that seemed deeper in my gut than the the dangers of going "outside the wire" on a mission.


When I arrived I had to go through lots of briefings and medical screens like everyone else would have to do in January. But on Christmas Eve, I would be free. I knew where Teresa would be from our conversations -- at a Christmas Eve tango party. So I put on my dress blue uniform – the only thing I had at my locker at work. I drove down to the University of Texas in Austin.  The UT Ball Room was down I-35, sixty-something miles from Fort Hood, where the milonga was being held. I put on an overcoat so as not to cause a scene when people saw me in uniform at the dance. 


It took a while for me to spot Teresa. She was dancing with a handsome man, and I felt my face turning red. I stood in the back, and no one seemed to even notice me. I realized that I was spying on her like Specialist Gaffney's eagle-eye from through the stratosphere.  I knew it was wrong for spying, and I deserved extra duty like I had given Gaffney.  Also, I felt this mad jealousy well up in me because they were chest to chest, and he danced so well. She looked so satisfied in his arms. I had a feeling of great sadness at first: Like a little boy who was watching his best friend run off with someone else. Then I fought back the rage and jealousy. I tried to stay in the shadows of a far corner but I was sure that my red hot face would surely alert everyone that I was there.  Certainly someone would ask, "What's burning!"  The striped sides of my dress blue uniform pants surely would give me away if I tried to escape now as the tanda ended.
  

As people were leaving the dance floor, I spotted Teresa coming my way. My stomach twisted and my hands were sweaty. 



An older gentleman stopped her with a nod of his head. Another song started and they danced. She had not recognized me. The man was old enough to be her father. Wow, he was good. He made the younger man look like a klutz. Although they danced simply, people stopped to watch them.  Teresa and he looked as if the music controlled them, forcing them to dance so wonderfully. Teresa looked like she were in some sort of tango Nirvana, and I realized that it was the music, the touch, the moment that was filling her soul. I felt this … this … huge well-spring of emotion, of love, of trust.  She wasn't in heaven because of that old man but because of the power of the embrace, the music and joy of movement, just as she had said before.


As if I did not even choose to, I felt my overcoat fall to the floor around my feet. People were leaving the dance floor, and someone said, “Teresa! My God, he’s back!” 


Teresa's tanguera friend was pointing with one hand and the other was over her mouth, realizing how loud she had said it. The room went dead silent. Everyone started clapping, and Teresa came running to me, with a crowd behind her. She melted into my arms. She was crying. Others stood by and gave me hugs like I was their long lost friend. “Thank God you’re back. Teresa has told us so much about you; it’s as if we have known you forever,” an older woman told me, holding onto my hand like my mother would.

This is the tango community: A bunch of people who touch each other as if this were what human beings do best. 

The music started again, and she led me out onto the floor.  I felt so self-conscious at first.  It was like a wedding dance and we were the only ones on the dance floor.

I just tried to do what I had seen the older man doing, listening to the music and letting the music move my feet. I danced simply, but it felt like I was on a level that I had never had experienced. It was the embrace, Teresa melting into my soul.




My engagement and my love for her were all saved from my worries of catastrophe and hurt at that moment. 


Now when there is a military event, Teresa does no longer calls my uniform my "Dress Blues"; she calls them my "Tango Uniform" because of our reunion dance in Austin.   


I am reluctant to tell her what "Tango Uniform" really means.




Post Script:
This story is of course fiction, but so true about soldiers, love, trust and what tango has to offer the world.



Photo credits:
Link to IED explosion is here.
Older gentleman photo:  Visit  
http://practimilonguero.wordpress.com/page/4/
The photo of Salado, TX was from Google Earth.
All photos with the "tango uniform":  Izabella Tabarovsky, Washington DC



Photo models:
Dina Dalipagic and some unknown tanguero in uniform.

Note:  The "Tango Therapist" now resides in Germany.  He is father of two sons who live in Germany.  Besides being a lover of Argenitine tango and a tango blog writer, he is a therapist for post traumatic stress disorder (PTSD) and family problems (now in Germany) and is a lieutenant colonel in the US Army Reserves, Medical Service Corps.

Saturday, November 19, 2011

The Healing Embrace

Tango can be just a dance.  It can be much more.

West End Library Practica
When I am present, I feel a transfer of information.  More than just a transfer, I feel an understanding, an empathy.  But it's only when I am present. Listening.

I have experienced this myself, but it has been validated in movement therapy (tango therapy).  When I was working with a combat veteran and his wife, using the therapy protocol I am developing.  We worked on two psychological traumas.  One was with his father's abuse and the other nearly dying in combat.  In the first case, she felt the hatred leave his body.  "His body vibrated, and I knew that he had forgiven him," she said.  Immediately he felt sorry for his father who never got to know three grandchildren and his amazing wife.  In the combat trauma resolution, he felt that his wife fully understood his experience.  That is what many vets NEVER feel -- they do not feel anyone could understand them, especially their partners.

I feel this transfer of information only when I am listening for it.  It makes sense, right?  If someone is talking to you, and you are not listening, what do you hear?  Even if you half-way hear what they are saying, there will be misunderstandings.  So try listening.  I find it easy to forget to listen.  So I practice!  Non-auditory communication is an art, whether it is in "listening" for visual body communication or "listening" through the embrace.

Let me give you an important personal example:  A while ago when I got a new job, I organized a farewell luncheon at a salsa lounge, which provided a fajita buffet for us.  A semi-professional dance friend of mine came and taught my colleagues how to salsa, and we demonstrated a tango, a vals and a milonga.  After eating, I danced with many colleagues, but when nearly everyone was gone, I got a chance to dance with a person at work whom I did not trust -- a chance to dance with the enemy.  My work colleague was once a dance instructor.  We had endured a long difficult relationship, but after everyone had left and I was about to get in my car to leave on a 3-day drive to my new job, she suggested we dance a salsa.  I suggested a tango.  We danced well, although she had never danced tango.

The dance was very healing for me -- I think for both of us.  Dancing with her had a lasting effect on me because much was forgiven through our embrace.  It was as if I knew how she felt.  Immediately I felt an enemy had been destroyed through mutual compassion.

I cannot speak for her, but for me a lot of animosity melted at that moment.

Some say that tango is only a dance.  It can be much more.


Photo credit:  Eddie Arrossi, photographer and tanguero, Washington, DC

For friends in DC, here is Eddie's link to that event -- the anniversary practica celebration:  www.eaphoto.com/works/2011/library

Friday, November 11, 2011

A-Theist Tanda


What is more powerful than an embrace?
 Words?

“People usually consider walking on water or in thin air a miracle. But I think the real miracle is not to walk either on water or in thin air, but to walk on earth. Every day we are engaged in a miracle which we don't even recognize: a blue sky, white clouds, green leaves, the black, curious eyes of a child -- our own two eyes. All is a miracle.” ― Thich Nhat Hanh



The vals played.  I always wonder what makes the vals feel so divine.  She snuggled up.  A familiar embrace.  I felt a difference.  We danced.  The first song ended.  I usually do not talk much between songs, but I asked, "Something is on your mind," I can feel it in your body.

"My good friend died in a car wreck."


"Oh no!  I am so sorry to hear that."


"And we were in an argument before she died. . . . I feel terrible . . . .  and I wish I could have told her that I loved her before she died.  I keep having nightmares about her."  She paused and then began to cry.


"Did you know her family?" I asked. 


"Yes, very well.  We lived near each other.  They are like second parents to me."


We danced again.  I held her now in a different way.  I danced in the simplest way I knew possible and embodied the music.  She cried in my arms.


The
vals stopped.

"How well do you know her character?"


"She was like a sister."


"Then you know what her character would say to you now, is that right?"


"She would say that she loves me, and to go on with my life."


"Can you do that?"


"I don't know."


We danced again.  I held her again, leaving room for her friend's character to speak with her.  Her balance was sometimes a bit off, although that never happens with her.  I knew she was having a conversation.  The music stopped.


"Can you do what you know she is asking you to do -- to love her and go on with your life?"


"Yes."


"I suggest you pray for her parents.  It's harder for them than for you, I think."


"I know it is hard for them.  But you know I am an atheist."


"Of course I know that.  But that is the best prayer.  If you ask that God to be with her parents, God will hear your pray perhaps more than anyone who is a believer."


"How's that?"


"Because I have an idea that God tires of having so many friends who want his riches and eternal life.  God might feel like the rich kid on the block.  Everyone loves him because they want something from him.   If you don't want these things, I think your prayer goes on top of the pile to be answered.  Your friend would like this too."


"Yes, she would."


We danced.


This time I held her and a certain energy went between us.  I cannot explain it.  But I have an idea that her prayer had a lot of power that night.  No adoration. No riches.  No request for eternal life as a special favor for believing in God's holy Awesomeness.  Just "be with her parents, God, will you?"


And I said the atheist prayer too:  "No special bargains, God.  Be with these bereaved parents!  Be with my friend!  And if you won't be, I will be with them in my heart . . . b
ecause this is the way you made me and put room in my heart."


Cortina.





Afterword:  Events and details are changed to protect the identity of this person and her grief.  I cannot tell you if the parents felt God's presence, but the nightmares stopped.

The miracle is the embrace, the music, and the walk that embodies the music.  If these do not lead to peace and the miracle of life, I am not dancing tango.  Thich Naht Hanh said it so well.  Tangueros and tangueras know of the miracle and joy of life better than many.

This story appears today on Veterans' Day for a special reason.  The person who died was a young veteran.  The risk of death and serious injury of veterans is 10 times the risk than in a combat zone during the first six months after they return.  The price of war is far greater than what the general public knows.  And if we did know, I believe we would all be fierce Warriors for Peace.

Happy Veterans' Day.



Photo credit link.

Friday, November 4, 2011

Wanted: Tango Teacher in Heaven

Photo by  Laura Peligrino



Earth and Heaven
When a tanguera is taken from our arms
We know she will be at home in heaven.
Tango friends know more than most
What heaven on earth feels like
  in our blood,
  in our sinew,
  in our feet.
The music declares order and meaning in the universe.
The embrace speaks heart to heart for those who listen.
The movement creates the musica humana.

When her family assembles to mourn her,
They will embrace each other more that day.
They will do what we do all the time.
Those who loved and honored her most
Will feel the power of the embrace to say
What a million words cannot.
They will know what we know each day.

We can only guess at the depth of their loss
But over many miles we reach out with our thoughts.
And if we could, we would embrace them and share their grief.

In heaven the angels needed a Tango Instructor
They did not ask if it were okay with us.
But we know that she will teach them well
To experience Earth-in-Heaven
As she helped so many experience
Heaven on Earth.

Mark Word
in Memory of Anne-Sophie 

Saturday, October 29, 2011

FDA Warnings on Tango

Warning:  Your stage tango may be
hazardous to my health.

I dreamed last night that an advertisement for Argentine tango was on television.  It was wonderfully done.

The couple was all alone on the dance floor as others watched them.  The camera panned across the adoring faces of those watching.  Then I saw close-ups of the dancers' feet, a shot of their hands together and moments of passion expressed on their faces.  The dancers dramatically displayed well rehearsed moves that needed no lead-and-follow because they had learned patterns they had practiced over and over.

At the end of the advertisement, the tango scenes continued with wonderful moments of ecstasy and grace, but a hurried voice mentioned all the side effects that the Federal Drug Administration had required the tango industry to include:

 "Side effects include loss of friends," the mumbling voice quickly said, "loss of money and harm to others.  Many tango students report that they eventually only horrify good dancers on the social dance floor.  50% of those who buy this product report that they experienced the side effect of endangering others on the dance floor.  The other 50% were simply unaware of how much they were endangering others."

Of course this was only a dream.

But I invite you to watch the faces of those new to tango, watching social tango dancers.  Now look at others who have been dancing for a while also watching.  Everyone seems to be looking at the same couple, who briefly look up to see who is paying attention.  The beginners are watching and hoping that they one day can do the cool moves too. Tango dancers trained in emergency medicine are watching in case they are needed to help those who might become injured.  Others are horrified and are watching as if they were stuck watching a B movie -- tango without laugh-tracks to cue the audience when something is meant to be absurd or funny.

Before the FDA gets involved, don't you think it is time to require a product claim for tango?  For those teachers who are selling showmanship tango for social dancers, shouldn't a side-effects warning be required?   Stage Tango on the social dance floor, like all ego-enhancing drugs, should have a warning.

One must weigh the benefits against the side effects.


Photo credit:  http://www.verbum.biz/blog/?paged=2

Wednesday, October 26, 2011

Why she is smiling in his arms?



I have rarely felt envy in dancing.  I love watching people who can dance better than I.  But the other night I felt envious of a guy dancing with a tanguera I know pretty well. I saw the person I practice with dancing with a new guy in town and she was smiling with him in a way that she rarely does with our dancing. We were not connecting at all that night. It was really terrible in fact. Partly, the floor was too slippery for the leather shoes I had on. But it only got worse.

Finally, I made a comment that we were not connecting well that night. She said that it was because I was too interested in my own steps rather than hers. The most hurtful critiques are the ones we fear are true. Really, am I that bad? Maybe, but it is also a slap in the face to have to take the full blame for the disconnect.

I felt that she had broken a sacred agreement and an important element of tango etiquette not to critique your partner on the dance floor. I had, of course, opened the door by commenting on OUR dancing that night.

I was ready to walk out the door. I was fuming and mad at myself for being envious of him doing such a great job of making her smile so wonderfully.  It seemed that she had been frowning the whole time with my dancing that night.

I did not leave because I had so many friends I wanted to dance with. My dances with them were wonderful. I was smiling a lot. Finally, I danced with a short Chilean woman who hardy was getting to dance at all that night.  The dance with her was absolutely wonderful. I hope my practice partner wasn't watching. I was smiling just too much!  But when I did start dancing with my practice partner, we were once again tuned and we were both smiling.

What happened that night?

The next day, I read an article, called "Misunderstanding the affective consequences of everyday social interactions: The hidden benefits of putting one's best face forward" by Dunn, Elizabeth W., et al. in the American Psychology Association's PsychNet online resource.

The authors would have done better research if they had been tango dancers.  Tango shows us that we humans do better with our close relationship when we interact with strangers. Perhaps this psychological phenomenon is similar to biological in-breeding.  Once we become "familiar" (from the word family), dancing can become stale without outside influences. On a social level, people learn a lot about themselves and their own creativity by having interactions with strangers. However, when people are asked to rate the enjoyment of an interaction with a close person versus "that stranger over there" the participants in a psychological study found that they over-rated the enjoyment they would have with someone they know, and under-rated the enjoyment they thought they would have with a total stranger.

I think that people who really love tango and are couples or practice partners should take note. It is good for your dancing, your relationship and your dance progress to dance with others.  The thing we learn the most is that what works with strangers, works with those closer to us.  If we treat friends and family with as much attentiveness and simple respect, great things happen.  When the researchers instructed people to put as much effort into their close partner as they did with the stranger, the interactions with the partner was much better.

Since that time, we talked about the disconnect, and I found out that a milonga she feels I try out too many things.  I told her that I was afraid I was boring her.  She just wanted to get in a groove and enjoy things that are know to work, and then apply the millions of variations of these simple elements to the particular orchestra being played in that tanda.

Then last night something very remarkable happened.  The music was playing all by itself at the practica when I came in and no one was there.  I danced by myself.  It was euphoric.  She arrived and we danced.  We had classes we wanted to review, but we just danced and danced and danced.  I cannot tell you which cloud we danced on, but it was past cloud nine.  Others came and all tandas I had were this way last night -- absolutely heaven on earth.

No -- even better than heaven on earth.  The angels were envious as they watched that night.

I turned and told one of the angles.  "There is no reason to be envious.  You might want to try what I did.  Dance with a stranger."



Note: Dunn was co-other with Biesanz, Jeremy C.; Human, Lauren J.; Finn, Stephanie.
Source of reference with link to the original work from the American Psychology Association's:
http://psycnet.apa.org/?&fa=main.doiLanding&doi=10.1037/0022-3514.92.6.990

Photo Credit: Woman smiling http://www.helltodanaw.com/tag/dating/

Tuesday, August 30, 2011

Logotango: Tango with personal meaning

Dr Frankl suggested that a "Statue of Responsibility" be placed
on the West Coast to compliment the "Statue of Liberty."
This sketch in part of the the current plan.

The story of Viktor Frankl's life is the story of Logotherapy.  He was the founder of the so-called "Third Viennese School of Psychotherapy," following Sigmund Freud (the will to pleasure) and Alfred Adler (the will to power).  However, Dr. Frankl felt that humanity's will to have meaning was more important than pleasure and power.  ["Logo" comes from the Greek word "Logos," signifying meaning, reason among other things.]


From Viktor Frankl's lead, I am suggesting the term Logotango: Tango with personal meaning and purpose.


For those interested in the background of this remarkable man and how his work and philosophy fits into tango, I have a permanent resource page that gives a larger background of Dr. Frankl and Logotango.  The shorter version of this post continues below.    


Logotango describes the positive and powerful influence has in many people's lives.  If you are going to dance tango for more than just a fad season of you life, it will have to "survive" many things.  If it has a purpose, then it will survive.  I will even go so far as to say that you must dance Logotango if you wish to dance through your life.  Otherwise, my guess is that someday you will be "cured" from your tango addiction (a Freudian, negative philosophy).  Logotango lives on and continues to bring you and others joy.  But purpose and meaning must continue to be redefined and rediscovered.


The four elements of how many people understand the meaning of life are: purpose, values, efficacy, self-worth. Baumeister and Vohs (2002) have synthesised these four factors from their interviews with many people. If you do not build these things into your tango, who will?


I will share my explanations of Logotango using the four above categories:


Purpose:  I am aware of basic needs being met in tango.  I need air/food/water/shelter.  I get all of those at a milonga.  I need human touch.  I get this more than anywhere else in the world as a single man at a milonga.  I need to move.  All human beings would soon die if they were not allowed to move.  A person would soon go mad.  I could run or bike or walk, but dance is the best of all.  Now, my purpose beyond some basic needs as described by Freud:  My purpose in tango is to share the joy of the music with another person.  They way I share this with her and she with me will be a unique experience.  My purpose too is to be a part of the larger community of tango.


Values:  I love the sense of culutre that counters a world without values, kindness, gentleness.  The tango world has only the values I bring to it.  Sure, I am influenced by what others have defined as "Tango Culutre."  But ultimately, I must express my values as a gentleman and live my values of kindness.  What a great community to practice these and receive these!


Efficacy:  After a tanda, there is a sense that "we made it there together."  What a great moment to share, over and over.  I maintain efficacy by taking classes and always learning/practicing efficiency, the twin sister of efficacy.


Self-Esteem:  Skill development only starts after about 700 hours of work on most skills.  In tango there are skills upon skills upon skills.  And they all keep returning to the basics.  I have put in my 700+ hours, and this builds my sense of self-mastery.  In my case, my years of musical study and practice adds another level of joy and mastery, and tango allow me to return to a part of my life that I had somewhat abandoned as a former professional musician.


Logotango is tango with meaning.  The meaning must be yours.  Share it with me!  Perhaps it will bring meaning and purpose to my world.

PS:  Also see the article: The Meaning of Life (in Under 300 Words), which attempts to succinctly describe the meaning of life in just a few hundred words:
  1. Purpose - this could be living happily ever after, going to heaven or even (whisper it) found at work. Whatever it is, meaning in life comes from reaching goals and feeling fulfilled. Even though fulfilment is hard to achieve because the state fades, people need purpose.
  2. Values - people need a moral structure to work out what is right and what is wrong. There are plenty to choose from: some come from religion, others from philosophy and still others from your friends and family.
  3. Efficacy - people want to make a difference and have some control over their environment. Without that, the meaning of life is reduced.
  4. Self-worth - we all want to feel we're good and worthwhile people. We can do this individually or by hitching ourselves to a worthy cause. Either way we need to be able to view ourselves in a positive light.

Photo credit:
Go see more about the plans for Frankl's vision of a "Statue of Responsibility" to balance off the "Staute of Liberty":  http://www.sorfoundation.org/

Tuesday, August 2, 2011

A Competition-Free Zone


I had a dream about going to a village in which cooperation and teamwork are the only value.  The chief of the village showed me a race track in which the participants had many obstacles to overcome.  Each needed teamwork to overcome, and at the end the finish line was wide enough to have the whole team go over the line at the same time.  All things I experienced, including eating, were about ending together.  No one would get up after eating and clean up as the others ate.  They finished eating together by watching the pace of others.  They even drank the same way.

Then at night I was invited to see a village dance.  When I went into their dance arena I was amazed to see a group of musicians come out and one had a bandonión.  Could it be?  My jaw dropped down as they played a di Sarli tango.  My paralyzed shock made my body freeze as I heard the chief of the villiage explain tango.

"This is a dance that has a race track, but there is no beginning or end," he explained.  "It appears that everyone is dancing in couples, but in reality this is a dance of the whole community.  No one is trying to be better than another person.  Sure, there are talented dancers, but we all try to value the dance first between two people.  That means, that the man holds her as if she was the only woman in the world.  If she is old and sick, he holds and steadies her as if she were his beloved grandmother.  However he sees her at that moment, she is the only woman in the world."

I wanted to respond but I was still paralysed.

He knew that I was from the outside world of competition; so he explained more:  "The women learn also to be the same way.  She embraces the man as if he were the only man on earth.  Once they have done this, the dancer can also appreciate the others around them.  The dancers dance with the whole community with  playfulness on the dance floor that makes it a dance of the community.  If it were not this way, people could just stay home or dance alone in their kitchen."

Finally, I could speak, and said, "I see that they dance tango in a way I have not seen before.  Where did they learn those steps?"

"They didn't learn steps," says the chief.  "We found that once a teacher taught steps that competition took over.  We found that people horded steps and some were rich and other poor.  Other teachers competed to have more visually appealing steps, and soon the most visually appealing steps caused even more competition on the dance floor.  So now our teachers focus on how to embrace each other and how to follow exactly what the music is telling them.  We emphasize dancing together and dancing for your partner.  Since then, we have noticed a new level of original dancing and a new appreciation of how the music informs us where to put our feet.  It may not look as pretty as in the world of competition, but are people happy there?"

I shook my head to indicate a sad "no."  Then I woke up.  My newspaper was at my front door.  The Wall Street Journal, I read with my coffee, has an article about a legal case in Buenos Aires.  I am not surprised that the journalist would not understand the essence of tango.  He must be thinking "ballroom" or "Dancing with the Stars."  He reports on how xenophobic the Argentines are about wanting to have their own national championship.  This is tantamount to complaining that the English have a national marathon competition and they are being sued by Kenyans for not allowing them to run.  The article makes me wonder who will "win."  I am sure someone will.  Then will people be happy?  No!  So I hope to return to the village and have a talk with the Chief about this. Will you join me?

I said it was a dream.  But it is not a dream in the night.  It is my dream for tango.  The village is your community!  You are the chief.  Tango is your dance to help understand the rules and values of a world without competition -- if you will allow it to do that.  Be aware that once you establish this village and it grows with others that soon the world will find out about this great place.  The visitors will go home and maybe create competition-free zones or another little village.  Some reporter then, might visit each of these competition-free areas and write a traveler's guide.  Of course, everyone will want to go to the place that earned five stars on being the "best competition-free zone."  The world will certainly find out, and now the competition-free zones will need to compete for first place to keep the tourists coming.

There may not be a way preserve this state of mind of non-competitiveness.  Maybe we are doomed to make everything into a competition!  So I am comitted to living with the paradox of tango being antithetical to competitiveness but strangely well suited to competition.

Tango, like life, is a paradox.  But I hope that you and I will embrace this paradox.  One day we will meet and dance together.  If you are a man, I will dance near you/with you on this race track with no finishing line.  If you are a woman, please hold me as if I were the only man for that moment, and I will hold you as if you were the only woman.

Maybe this is not a really a dream; perhaps it is a delusion.  I like my delusions.  Will you join me, Chief?




Photo credit for village chief:
http://www.visualphotos.com/image/1x5075608/village_chief_in_ghana_africa

Sunday, July 31, 2011

Highs and Lows at a milonga

If you put out your hand, perhaps you may find yourself richer than before. 
We all have had a tough milonga.  I have a pretty good idea that mostly the "highs" people have at a milonga are from excellent dancers, and the "lows" are from some beginner that tortures you though a tanda. Well, that has happened to me too, but not last night.

First, the Mountain High
Last night I put my hand out to a woman as she came near, wending her way through the crowd as I stood near the dance floor smiling at her.  She had assented to my cabeceo from about 4 meters away.  However, as I put out my hand, two women put theirs in mine!  Now I had a problem!

Every milonga has a story!  About four tandas later I told the lady who had mistakenly thought I was inviting her to dance, "Ma'am, I think I owe you a dance."  She seemed eager but very shy.  I asked her name, and from this intro, I started speaking to her in Spanish.  I found out that this little Peruvian lady had taken lessons but had never gone to a milonga before.   I don't think I will ever have a self-esteem issue after all the praise that sweet woman bestowed on me.  She didn't know that she was to stay with me for the three waltzes of the tanda.  She lavished embarrassing praise upon me, and nearly took off!  I had to stop her from leaving.  I told her about "el grupo de canciones" of a tanda.  I knew that as she was leaving that it was my way out of dancing more, but instead I danced the entire four songs of the tanda.  It was really wonderful. She was remarkably talented. It was her maiden voyage.  She made my night.

Now the Valley
I dance with a lot of very accomplished dancers; so I am certain that no one in my tango community will know who I am talking about.  After many wonderful dances with friends and some strangers, I finally danced with an accomplished -- no let's say, Very Accomplished Dancer.  In the middle of a milonga tanda she says, "You are dancing by yourself."  I was not sure what this means, mostly out of shock.  I have danced with women who are doing all sorts of decorations and I know how this feels.  It is hard for me to continue after such a nebulous and brash criticism but I listen to the music and do my very best.  She is sweet and it does not at least look like she is upset with me as we walk off the floor.  We go back and continue to talk.  She explains that I don't lead clearly with my torso and that milonga is more than just walking!  I am sure that I need to go in and revamp the entire way I dance.  Perhaps I should just find a bridge and end the torture I cause many pooer women!  She makes it clear that I am messing up on the most elemental level; so for the moment, I am considering just giving up altogether.  "Thanks for making this clear now!  I should have given up 4 or 5 years ago," I think to myself.

This phenomenon is called "Tango Trauma."  But it is easily healed.  Sure, I DO want to heed this unsolicited sage advice regarding my level of suck-ed-ness.  Surely it will make me grow because it did not kill me to hear her opinion, right?  Undoubtedly she had a good point that I have a long way to go and end point will lead me back to the most basic of things:  the embrace.  But how am I to psychologically survive to the next milonga?  I needed some sort of special milonga antidepressant!

I took one little "pill":  I remembered the little Peruvian tanguera.  I remembered how I got to be her first ever partner at a milonga and how she just was besides herself in joy.  And then a whole host of women stood in line behind her and reassured me of my worth.  The therapy worked.  I am whole again because I know that I hold no grudge against my Sage Adviser.  So even if you don't have too many experiences with other dancers, let these words embrace you:  You are unique and every person deserves to dance without criticism at a milonga.  When it does happen, sure it will hurt, but you will have many people who were and will be glad to have you in their arms.  Stick with these memories and thoughts.

Life has it's highs and lows, so does the milonga.  Dwell on the view from the mountain top.  You will need it to endure the Lessons of the Valley.



Outstretched hand photocredit:
http://www.flickr.com/photos/eyedeaz/3660876708/
The embracing words:
http://radiantfear.blogspot.com/2010/09/day-165-ezra-9-10-acts1-proverbs-1.html

Monday, July 25, 2011

Developing Originality

There's nothing new under the sun?  There is you!  Wondrously unique.


A philosophical and somewhat cynical view of the world says that "originality is dead" and that there is nothing new under the sun.  Well, that is a cranky-old-man view of the universe.  Once we start getting older, we too easily can intone what the stoic biblical writer said:

“That which has been is what will be, That which is done is what will be done, And there is nothing new under the sun.” – Ecclesiastes


The same writer said that there was a season for everything:  A season for war and a season for peace, as season for tango. . . well, not tango, but the other things.  You see, tango is new and original!


This is your season to be original.  


You have learned what the masters have done, but now it's your turn to be more of who you are and not just copy greatness.  If you are a young person at heart, everything is new from your perspective.  And isn't that the perspective that should be central -- not what others have done or said, but what you are discovering all for yourself?  Just because someone else has been to  Laguna Arenál in the Cloud Forest in Costa Rica, does that mean that you shouldn't discover it all for yourself?


My earlier post on the insight I got from a conversation with an artist friend has had immediate results to help me understand my own path in tango as an art.


The day after I posted The Unbalanced Tango Faculty, I was dancing at the "Milonga de Los Santos," in Washington DC, and a few new insights about originality in tango came to light.  In Friday's blog on the "unbalanced tango faculty," I imagined a fictitious university called "The University of World Art," and I imagined that tango had its own college -- "The School of Tango."   I was thinking that my expression of tango was mostly in the area of recognizing and valuing the social aspect of tango.  I mentioned that I was a small-time teacher in this fictitious university.  I portrayed myself only interested in the social tango and the connected tango walk insofar that a simple expression of tango would help me as a trauma therapist (using tango therapy).


However on Saturday night, a tanguera friend, Carol, commented that I do a lot of "steps" that no one else does.  She had said this before, but this time I was more aware of the value of originality from my conversation with my friend, Alex.  As a trained artist, a painter, Alex had mentioned "originality" as one of the three things that art instructors obsessed on.  The other two were skill and the expression of some social theme or value.


Why Originality is Natural
Think snowflake.  Original. Unique.  Each brain, each soul, each person is unique.  Therefore we should fully expect that we all have the innate ability to develop originality.  But there are obstacles to this natural fact.  I think I know why originality is sometimes stunted -- not only in tango or any art but also in much of how we think:


We copy too much. 


I have discovered this all by mistake in tango.  If I had a lot more money, I would be taking private lessons and more group lessons so I could copy the masters.  However, at the moment I hardly can pay for milongas; so dancing with others has been my "School of Tango."  The "faculty" consists of teachers like:
  •  Classic tango composers, such as Biagi and di Sarli,
  •  Lots of tangueras, with their own unique response to my attempt at accompanying them on the wooden path,
  • Watching others dance live or on film clips.    



Picasso's work you may have never seen:
He knew the basics first.  
Don't get me wrong; I have had some very important teachers, and I mention them in my meager, low-budget Tango Résumé.  I value teachers because I learned this from being a musician and a late-blooming athlete.  Great musicians and great athletes often continue getting coaching throughout their lives.  Both Pablo Picasso and Tiger Woods learned from their talented fathers, learning the basics from the start.  Without coaching, surely both would not have done well with originality and a higher development than their initial coaches, and then later their continued growth with truly great coaches.  Especially for people like me who have less talent, we need more time with the masters.   I know that I have a deficit in having good coaching, but also, it has unwittingly pushed me to listen better to the tangueras with whom I dance.  Often they have danced with great tangueros, and they respond in different ways than I expect.  Because of this, for example, I have learned to do a triple volcada and other "1000-dollar moves" because I am paying attention to how these ladies respond.  Also, even a beginner tanguera can allow something that I would have never thought of without her.  What a great "School of Tango"!


So value the basics and copy the best, but then eventually develop your own style.  This is easy.  The task is philosophical and psychological.  First, we must value originality, and see it for its natural value.  The biblical writer was 90% right and 10% wrong.  And the 10% has transformed the world he knew to the one we know.  Secondly, let's face the facts!  How can we deny our own brain's uniqueness, and thereby allow this uniqueness to play itself out along with other influences from others?  I know many  musicians who did a terrible job of copying other musicians, but people liked the way they played.  Originality sometimes is the outcome of not being a very good copycat.  Technical skill along with listening to the music and your partner will bring originality to your dance.


Ultimately for everyone the the "teaching faulty" should be the music and the many tangueras/tangueros and coaches with whom you can co-discovered a new expression of art.  Has it been done before?  Who cares if it feels new and is new to you.  So try to experience originality as a child does.  "Becoming as a child" or having "the beginners mind" is the cornerstone for the artist who values originality and the wonders of life.  


Back to Carol's Comments:
After our first song of the tanda, Carol told me, "That was wild!"  I wasn't sure that "wild" was good.   She assured me that "wild" was good.   "Well, the music made me do it!" I said.  Osvaldo Pugliese made me do it.  I had very little choice in the matter.


Then during the very next dance I discovered a new turn I had never done before.  I will call it "vuelta de ochos caminandos de Carolina" (description below) because Carol inspired it.*  So originality is listening to who you are, who she is, what the music is saying and coming out with something new.  Perhaps the move might be new ONLY TO YOU, but who cares if someone else has done it if you stumbled onto it all by yourself?  Others may have seen a pristine waterfall in the Amazon, but if you stumble upon it yourself, then you too have "discovered it" just as much as Cristobal Colón "discovered" America in 1492.


At the milonga be original
unless you see this sign.
So go out and discover your own New World of originality, your own "America."   But if you do, dance with the Natives and then go home.  You don't have to take over anything or kill anyone.  It's bad tango etiquette.  If only the Spanish and Pilgrims had known tango etiquette the world would be a different place!   












*Attribution to the music and partner:
Magic moments and discoveries must be recognized and appreciated -- like blessings.  I highly suggest that you recognize the music and your partner's role in this magic if you want to develop "Good Tango Karma."   




Very obscure foot note about the move I named after Carol:  
The description of this particular move is a series of about three or four back ochos for her while the man is doing ochos caminandos.   The name "caminando" is because both are taking the same amount of steps (walking together).  The man has his right foot forward (when the turn is counter-clockwise).  A clockwise turn is difficult in close embrace but is possible and requires the man's left foot forward.  The man must over-step the last part of the ocho (on the unison fourth step) in order to make her pivot to make a full circle.  If you have any questions or want to see this, I may record this and put it on YouTube.






Light bulb photo credit:
http://davidmichaelangelosilva.wordpress.com/2011/04/11/originality-is-dead-but-its-okay/  

Friday, July 22, 2011

The Unbalanced Tango Faculty

The Tripod of Tango: Skill/Social Value/Originality

I realized something about tango during a conversation about tango and art.

Alex, a painter and graphic artist friend of mine, told me about his experience in a prestigious school of art in California.  He had a great instructor, who pointed out three schools of thought that pervade at most large schools of art.  His mentor told him to look for three types of teachers who have their special focus:

1.  The Obsession for Skill as an artist.

2. The Obsession for Originality as an artist, to do things others have not done before.

3. The Obsession for Social Meaning -- to create art that speaks to the larger human condition.

This same teacher, however, pointed out that no matter which school of thought you followed, the artist will die poor if he or she does not create something aesthetic that others can understand.  Skill, originality and a social meaning have no value if people cannot understand it or are not drawn to the artist's intended message.

Skill by itself has no soul.  Originality can be simply weird or too visionary for it to be appreciated.  Social meaning can be a preaching stump for some "enlightenment" that will only embarrass the same artist in 20 years.

Imagine now if we look at tango as it is taught and practiced today throughout the world.  We hear so much in classes about our stances and balance.  So, one might think that tango, as an improvisational dance with intricate balance issues and changing of individual and shared axies that tango itself would be taught in a balanced way. But it is not.

One might think tango as a socially rich dance with an intricate social etiquette, that it would be taught with a balance of technical skill, social sophistication and a keen eye for original expression that values the larger social picture. But it is not.

One might think that tango as a remarkably original art form as we see at the highest levels of the performing arts (unlike in ballroom dance which looks more and more the same at the highest levels) -- that TANGO of all art forms would look like a tripod, a very balanced structure of Originality/Skill/Social Value.  But it is not.


At the University of World Art: 
The school of tango's faculty is unbalanced 


Our schools of the Art of Tango are very lopsided.  The majority of our teachers in tango are following the Obsession for Skill path. 

This is the sad state of affairs for tango.  Imagine if a school of jazz -- perhaps the most improvisational music since baroque -- just worked on skill, intonation and theory!  Imagine if sociologists, community activists and social rights organizers were mostly interested how well their plans could be implemented rather than how many lives were positively impacted!  Imagine if the school of Arts & Sciences at any university had no faculty member interested in the principles of exactitude and technique to add to the social impact and original expression of the arts? 

The School of the Art of Tango has an overwhelming faculty obsessed with Skill & Techniques.  The head librarian has all the steps ever created all neatly cataloged.  Sure, the teachers may be very balanced as dancers with originality.  In fact they may be sought out as performance dancers because of their originality and musicality as their most salient strength.   They may love their work for the social connections and the social meaning of human connection between dancers.   However, they do not help their students with floorcraft or community building.  Instead, they teach steps they most like or what their students want to copy.  They teach without pairing it with a particular piece of music that spawned it.  The Skill & Techniques Faculty may dance well in close embrace, especially when dancing just for fun, but they teach open embrace because social connection is secondary to opening up and showing one's skill with sacadas, ganchos, vocadas, colgadas and boleos.  Skill is what the vast majority of teachers hammer.  You will NOT get good grades in the School of Skill & Techniques if you dance musically while in close embrace.  No cool scadas, colgadas, volcadas?  You'll get a C and not be allowed to perform with the top students upon graduation.

Practice what you preach
Okay.  I too am an unbalanced teacher.  I admit it.  My ability as a teacher is only to get people to walk, to listen each other's souls and the music.  I am a very lopsided teacher.  My methods are only focused on connection because I use tango as trauma therapy.  An amazing thing happens, however, in therapy.  People learn to dance well and fast.  Their musicality is outstanding.  But my focus is all about the social aspect first.  That is my bias, my own obsession as a non-tenured teacher in a small, windowless room at the School of Tango.  At my closet-sized office, I have over my door my own "tripod" of balance.  Although I do believe in the balance of Skill, Originality and Social Value, my little sign reads:  "The heart.  The soul.  The connection of two."  Yet, doesn't this sound rather primal too?  To me it sounds like what tango was and not what it has become.  It sounds like a Buenos Aires with no dance studios and tourists. 

The world of tango teaching is not all bad out there.  Tango is resilient.  Often the people who once just loved Tango Nuevo with a strong electric bass and drums and were "step collectors" magically fall in love with the classics, the social embrace and the simplicity a musically inspired tango walk.  Also, teachers of social tango abound who know about the art of balance.  You must find them (or be one yourself).  Excellent skill-focused teachers respond to their students too; so tell your teacher that you want to develop your own expression of tango; tell your teacher you want to develop a way of dancing that will connect you socially to people for the rest of your life.  I have had had some great teachers who taught from the heart and practiced a balance of social value/skill/originality.  Without them as my guides, I would not enjoy tango as much as I do.

While out on a search for your teacher, look for balance.  Balance looks like a tripod.



Post a Comment:  If you cannot post easily to this blog, please send a comment to mark.word1@gmail.com.  I have had email from readers who have said their comment "disappears" after they send it.  So please copy your comment before sending it forward!  I'd love to hear from you.


Photo Credit, and to see the artist's work go to:
http://fineartamerica.com/featured/tango-kimberly-eshelman.html

Ciò che rende il tango antisociale

  Ciò che rende il tango antisociale Rifiuto, a differenza di paura, tristezza e rabbia sembrano dolore fisico nelle scansioni cerebrali Tra...