Showing posts with label argentijnse tango. Show all posts
Showing posts with label argentijnse tango. Show all posts

Saturday, 17 March 2018

Styles of tango

What are the different styles of tango and why is it important?


For some time I have been intrigued by the different styles of tango as a topic for both understanding but also for how this understanding then has a huge impact on how I dance and teach. When I set topics based around understanding the styles of tango, people often ask why they would want to have this information when they simply want to dance comfortably with a partner and do all the different tango moves available while dancing with the music. For me it’s one and the same. To dance a comfortable dance with all the vocabulary options available is to be aware that each style offers different ‘natural movements’ and ‘unnatural movements’ in the body due to the choice of embrace, way of communicating/ connecting between leader and follower. But also importantly to understand that tango is a dance and music genre that has evolved and been fused with different influences through the years. So what are the different styles of tango and why is it important? Its important for the comfort and effective communication between leader and follower. Music can dictate the style or the style influences the way we interpret the music. Lastly it is a topic misunderstood and full of obscurity due to the lack of documentation about the earlier styles and that while people think they know what style they dance its usually a mixture. I hope to shed some light and at the very least bring the topic into the open for discussion.

Below I will go through and briefly explain the various styles in chronological order where possible, the music that has influenced them and the history surrounding them.

Canyengue is a dance that preceded tango and has been born, left to history and revived again with what people think was the original style and feel of the dance. Said to have been danced between 1870s- 1920s and contained the original volcada. One big difference between the old canyengue and the revival is that originally canyengue was danced in taverns or the cobble stoned streets of Buenos aires, making smooth elegant movements impossible.  Dancers adopted a more jerky hopping style which has been smoothed out in the revised version due to being danced on better floors and by dancers having a smoother stepping technique in their bodies from dancing tango. Most of my sources agree that music of canyengue was 2/4 time and contained the habanera rhythm that gave the dancers a more lilting feeling while dancing.  Steps by the women were small and contained due to the fashion of long tight dresses at the time. Dancers used a v shape embrace while sharing an axis, allowing a lot of shared upper body movement. Often danced to music from the old guard like early Francisco Canaro, Roberto firpo and Francisco Lomuto.

Roughly in the 1880s Canyengue evolved further into two different recognised styles. Probably more of an evolution than suddenly arriving Orillero (1880’s-today) and Liso (1880’s – 1910’s) styles came to the floor.  Tango Liso or smooth tango is said to be an early term for tango de salon and took on the character of small steps due to there being many dancers on the crowded floors of the inner city. In contrast Orillero developed in the outskirts of the city where there were less dancers and so this style took on a form of bigger steps and vocabulary including a lot of playfulness with Rhythmic syncopated quick steps, cortes, quebradas, sequidillas and even jumps.  In outward appearance Orillero was more staccato than the smooth Liso style.

Tango liso became Tango de salon or tango that’s danced in a ballroom (salon). Not to be confused with ballroom tango that could be said to be yet another style of argentine tango but has become more closely related to the other ballroom dances and their own unique philosophy about dance. Salon tango developed around 1910s and is the root for a lot of the modern styles today. Whatever Salon tango was in the beginning it was social, danced in the centre of Buenos aires and danced by the upper classes where Orillero was danced by the poor. It later lead to distinct styles with their own flavour.

Following the threads salon de tango lead to club style (also known in the 1940s as confiteria style or tango apilado) characterised by the couples appearance of leaning toward each other creating a shared axis, full upper body contact and upper bodies parallel in the embrace. Giving rise to more staccato movements and feet were kept close to the floor. Due to the full body contact dancers couldn’t disassociate in the same way that the contemporary tango de salon dancers could, giving rise to a number of movements that felt more natural for the Club style e.g. cortes, ocho cortado, volcada like movements due to apilado or leaning. Club style later becoming more famously known as milonguero style when people visiting Buenos aires observed the dancers way of moving. Some say it was also an advertising gimmick in the beginning of the 1990s when people used the term to describe the only authentic way to dance tango because this is what the milongueros dance in Buenos aires. The milonguero style has taken on a life of its own with avid followers have even begun to set up special events for those who want to dance with a particular dance floor etiquette including no lifted legs (boleos or ganchos), good line of dance and the use of cortinas and tandas. Which allows for the wonderful phenomenum of the cabaceo, a way of asking someone to dance using eye contact and body language.

Another thread from the 1910s-1940s tango de salon is de Villa Urquiza style. Villa urqiza is a barrio or district in the north of Buenos aires and the dance is characterised by a smooth slow elegance and changing distance in the embrace. Some choose for a v-shaped embrace while others remain more or less parallel as the changing distance between the couple allows for a lot of freedom. When danced close it tends to be only the solar plexus contact which allows a lot of torsion which is essential for movements like pivoted giros, sacadas, and a specific range of free leg movements.

The third thread coming from the original tango de salon is caberet and later the show styles of tango fantasia and escenario. Styles in their own right and often the first thing none dancers see of tango. With influences from ballet, other sorts of show dancing and the social styles of tango. Show tango in all its forms is often said to not be the real tango and yet it has a strong identity and image in peoples minds as well as many bigger movements filtering down into the social dancing.

With any evolution there will always be a Nuevo style or new way, whether really a style by itself or a new outlook on what has been before. It depends on the time and how main stream this Nuevo style becomes. Some say that the term was first coined with Petroleo in the 1940s celebrating choreographic advancement through innovation and investigation into whats possible instead of what has been. Others would more commonly recognise tango Nuevo coming from a group of four men who came together with the idea of systemising tango allowing for a more didactic approach to teaching and learning. Gustavo Naveira, Fabian Salas, Chicho fromboli and Mauricio Castro identified more possibilities of what was already danced through this process allowing greater ability to improvise and brought new names for things already danced, one example of this would be volcadas which can be traced back to the axis sharing canyengue style but also a more recent dancer famous for the apilado (lean) style in which he danced many volcadas if not constantly in volcada, Carlos Gavito. The one big thing that did change from the 1990s with this Nuevo style is that teaching has become higher quality, understanding of tango and what we do as dancers has gone deeper than we have ever gone before and in the last few years people have been bringing the things learnt in this new movement back to the close embrace and traditional music that is so rich  and intriguing to dance on. Nuevo usually isn’t lasting in the same way, good traditional music can’t be listened to enough. For many argentines the term doesn’t even exist while many Europeans believe it to be big steps, none traditional tango music inviting open embrace and big extreme vocabulary. So whether you take any one of these three possible explanations of neuvo style I would like to leave you with this last thought. In 1940s Petroleo and his friends created a Nuevo style, in 1960s-1980s piazolla was described as making Nuevo music/neo tango music and in the 1990s Naveira and the others created a new movement with their systemisation of the dance. For me Nuevo style only exists in context with the traditional styles as its more a movement forward from what has been than an actual style of its own. What do you think? Nuevo styles in the future will be different in character but will probably use the same name.

In conclusion, one basic division in styles is those for social dancing and those danced during shows. What people understand as milonguero, tango de salon or any of the other styles seem to be blurring, making the general concensus over what these styles are nowadays move further away from what they were originally. Loosing the old dancers who were around in the times we have been discussing through this article means that now more than ever its important to find more clarity on what has been and document it before it leaves us forever. Or maybe, this loss is part of the evolution of tango and the history is carried in our steps. Food for thought. After some years of searching for the new way we have started to look for authenticity of the traditional tango.


Check out one of my other dance articles.

Make tango history and upload!
http://www.chicloca.com/2016/01/ten-things-you-didnt-know-about-style.html 

'A Vision of Tango'

'Abundant obsession', Argentine tango

Why we love Pilates (and you should too)


Thursday, 3 November 2016

10 Quick Surprising Tips About dancing

 

As a professional dancer i have picked up quite a few little tricks over the years. Usually because i made a whole handful of mistakes and endeavor not to repeat them. Here are 10 quick tips to help dancers whether beginning students, experienced dancers or professionals (probably you have your own).

Build body memory. For each simplified basic movement of the dance or movement activity you wish to improve in. In the end a good teacher can simplify anything you need to understand, but you can't fudge the repetition needed to make a movement become learned.

Increase body awareness. With body awareness its a much quicker process to learn any movement based activity. Without it you can spend years trying to make changes that either will take longer to happen or your body simply won't understand on an intrinsic level.

Find your learning style. Become aware of the ways you learn best e.g. visual, kinesthetic, audio etc. Use the ones you are strongest in while translating to others you are less good in. The translation process makes the learning more profound. For example, i learn visually and kinesthetically but when i first started to teach i had to structure things in a verbal way for my students. Especially with questions but also to relate to the many students who aren't able to learn from a simply visual perspective. I found by making this translation of dance into words i learned a great deal myself too and continue to enjoy this new found learning style.

Give yourself time to find the learning space. Many students arrive at the start time of the class.  Totally understandable with the busyness of most of our lives. But it often results in feeling rushed, not something that promotes learning. With a bit of careful planning you can give yourself 5 minutes to acclimatize before the class starts by arriving a bit earlier. This 5 minutes is great for letting your brain become ready to learn.

Warm up before classes and social dancing. Sometimes it feels silly but warming up the body is really important. The more the activity asks from you, and this is personal, the more you should prepare yourself for it. When you are warm you also most better and more fluidly. The chances of one of those dances you will remember is much higher.

Learning is forgetting. Keep in mind that to learn something and take it in at a deeper level we often need to see it several times. Similar to body memory but for the brain. Let yourself forget things as part of the learning process.

Make sure your clothes don't hold you back. Depending on the type of activity you do, make sure your clothing allows for the movements you want to do as well as keeping you sufficiently covered. There is nothing worse than trying to do something and finding you either can't do it or don't want to as it leaves you exposed.

Take time for your own translation. Particularly for partner dancers but also for students who take a lot of classes. Its useful to take 5 minutes by yourself to put all the things you have learned into your own words and understanding. You can take a step deeper to try and link other things you do as part of your activity into this and check it with a trusted teacher or more experienced dancer. I always invite my students to check ideas with me and also tell them when its possible but not my personal approach or maybe i don't have the answer due to it being outside my expertise or comes down to a choice for the student i can't answer for them. After all i am not a guru but a dancer.

The first time you learn something sticks with you forever, or until you do a lot of hard work to change it. The first time we properly learn something we take it into our memory in a more profound way than the second and third times. Its good to make sure that you understand it correctly this first time and that you are getting quality information. This way you will avoid many bad habits that form due to misinformation. Secondly the amount of work it takes to change this first memory once made.

Ask your teachers why. If your activity is anything like Argentine tango then the question why is a good one. In tango everyone and anyone can teach, with a huge range in abilities to dance and abilities to teach. There are good dancers and terrible teachers, good teachers and terrible dancers and everything in between. The question why tends to cut through the crap. If they can give you a solid and clear reason why, then they probably know what they are talking about. If not then you can think on this. Just be a little aware of the difference between question about a step or subject being taught and questioning the teacher themselves. The second one is unpleasant on the receiving end and feels as though you are being asked for you credentials as a teacher. This is likely to close up most teachers making this a moot point. Active learning is essential to efficient learning and becoming more proficient. Its also rewarding and personally i find it gives a lot of enjoyment.

I hope these were useful. Try them out and if you want more information post a comment below. It would be great if you can spread the word about our new blog using some of the buttons below.We will regularly be posting information about dance, health and a little on Argentine tango.

Thursday, 4 February 2016

The 9 Biggest Dance Mistakes You Can Easily Avoid



After years of watching dancers on the floor and working to improve the technique and posture of students. I have noticed some easy to avoid mistakes which tend to have big consequences in the dance both socially and for the dancers own health. Look at the list below and check where you stand, is there one you can avoid?


  1.  Bad quality shoes or wearing really old ones might very well be beautiful or super comfy, but do very little for you feet. Ranging from breaking when you only have one pair of shoes with you to physically placing your feet in an estranged position affecting muscles and alignment.
  2. Cling filming. What is that you say? well imagine the super thing plastic rapped around a vegetable and then imagine that this is what many women do with their hips. Rapping the guys package that in the least can be annoying and make guys avoid dancing and girlfriends won't like it. Make the social side of dancing easier and take your hips away from the leader. Its titillating and to all the women out there, that guy who loves to dance with you while you are doing this probably doesn't dance with you for your skill!
  3. Not caring for each others bounderies and the bounderies of the people around you. Often we become more relaxed about contact as we become more advanced in dancing. Caring for the bounderies others have around you takes a little bit of thought and can make a huge difference to the relaxation of the social environment. Respect individuals, their relationships and your own.
  4.  If you have a storm cloud above your head people won't ask you to dance in social settings. Imagine you are in their place and you see someone sitting there, obviously wanting to dance but is really saying with the body language that you will have a terrible time if you dance with me. You are probably very unlikely to go and ask them to dance.
  5. The dress that always moves up and too tight trousers. While the rules in dancing about clothing is often more relaxed so good pointers would be to make sure you choose clothes that won't become indecent when you move and avoid tight ones that will hold you back. A short tight dress will always move up.
  6. Not warming up before dancing. this is a well known one i think but well worth mentioning. Whether its light exercise or a rigorous workout, warming up the body is essential and gives time for the mind to get into the flow too.
  7. Apoligizing too much when things don't go well. This is a little counter intuitive but saying sorry for every mistake will not only make the others around loose focus but also make the likelihood of more mistakes higher. Everyone from beginner to advanced dancer is making mistakes all the time. The only difference is that higher level dancers aren't worried about it and actively search to deal with the thing that happens like regaining balance, rather than stop the dance to say sorry.
  8. Doing all the dance moves you know in the first dance. Whether you are a solo dancer or a couple dancing, bringing out your whole repertoire is usually overkill especially with a new dance partner who has to decipher or an audience who don't have enough time to absorb some of the great things you are doing in the barrage of steps. In many cases less is more.
  9. Expectations of dancing with the best dancers or an amount of dancers in one evening. I think we all fall into this trap at times, but consider this. If for example you have a storm cloud over your head (point 4) would you dance with you? probably not so why go into an evening expecting a certain number of dances. Secondly if you are less experienced why go creating a pressure that you must dance with all the best dancers in the room in order to have a good evening. Often as one of the experienced dancers in the room i will active avoid those who want to dance with me because i am a teacher and instead will go to those who see me as a person and with whom i can have fun with at what ever level of dancing. Going without expectation can give some pretty incredible evenings full of fun, socialising and dancing.



Any more things to add? I am sure there are a whole load more for this list. Add suggestions to the comments section below or check out one of my other dance articles.

Make tango history and upload!
http://www.chicloca.com/2016/01/ten-things-you-didnt-know-about-style.html

'A Vision of Tango'

'Abundant obsession', Argentine tango

Why we love Pilates (and you should too)

 

Monday, 25 January 2016

Make tango history and upload!


 


Introducing 10 tips to find great tango on the web


In this day and age the internet and all things social media are opening up some interesting options for niche groups like Argentine tango lovers to share and bring new information to the surface. Many tango dancers resist all things modernized in the upkeep of the old ways and the charm that comes with them. While i too must confess to being in love with many of the social and practical etiquettes of tango, i am also loving the new information at my fingertips. Like the old black and white videos of people dancing in prehistoric tango times or the up and coming dancers doing their first promotion videos.

Much of tango history has gone uncatalogued making it harder for those who would like to spread informed and widely respected information about Argentine tango. Whether about how tango was danced in the early days with the stories of that time, or indeed techniques every student should learn to become a good dancer. We each have our ideas on this, but with time some of the best resources have diminished with the ageing of orchestra leaders and notable dancers who were around in the good old days when Argentine tango was forming and being shaped. With the natural cycle of life and ageing come the deaths of some of our most renowned maestros and the generations that have witnessed a lifetime of tango and its evolution. Prompting a wish amongst the many Tangueros out there to preserve some of this knowledge in the shape of video interviews, documentaries, articles, and online resources making this information available to the world.

We can actively take part in our Tangos history by becoming active in uploading old footage and publicizing the new dances being created. Below is a short list of some of these new fountains of knowledge, in no particular order.


Tip 1: TENGO UNA PREGUNTA PARA VOS por Pepa Palazon,


A video series where Pepa interviews many of the worlds best known tango dancers. Getting their take on all things tango. Search the above title in youtube to find a huge number of video interviews. Including Julio Balmaceda, Gloria y Rodolfo Dinzel, Milena Plebs. (spanish)
http://www.youtube.com


Tips 2: The Youtube search


Type any of the following words in together and you will find a whole wealth of old videos of everything from D’arienzos dramatic leading of his orchestra in the 1940s to black and white movies of some of the first tangos ever recorded on film. search terms to try: tango orquesta, 1920 tango, 1930 tango, 1940 tango, golden age tango. (various languages) http://www.youtube.com


Tip 3: Todo tango website


Probably one of the best known tango website resources out there, giving deep and informative information about dancers, musicians and all things tango. If you understand spanish then its well worth checking the spanish pages and each language has a different amount of information available. I found the rap sheets on the orchestras useful in getting a feel for how all the different musicians interrelated and through this how the end result we hear today came to be. (Spanish, English, German, Portugese) http://todotango.com/


Tip 4: Tango.info site


This is very basic in the way it looks but if you are interested in no fuss information it provides a great source of information laid out in a utilitarian but easy to understand way. (various languages due to user content submission). https://tango.info/

Tip 5: To tango net


This site has some great articles about everything included in the tango genre http://www.totango.net./


Tip 6: Cyber tango site by Cristian mensing


An incredibly useful site with listings such as links for journals around the world, articles, books, websites and blogs for more information about tango. Its a great resource. (english) http://www.cyber-tango.com/e/art_e.html


Tip 7: Articles and book by Christine Denniston


i found her articles and website when i first started dancing and in want of more knowledge. With easy to understand and informative writing style, this is a great place to start reading about tango history. (english) http://www.history-of-tango.com/


Tip 8: Tejas tango dictionary


A great regularly updated tango glossery of terms explained. (english) www.tejastango.com/terminology.html


Tip 9: Argentine tango videos net


This is a website dedicated to videos old and new, http://www.argentinetangovideos.net/

Tip 10: Tango and Chaos


Read stories of recent times in Buenos aires with Tango and chaos website - (english) http://www.tangoandchaos.org


With the new information coming to the surface all the time it enables us to further research argentine tangos murky beginnings and hopefully write with a more informed approach than the regurgitation of tango histories out there. Many containing the same play on words, vocabulary and factual information. Wanting to offer my students a history of tango on my website at one time or other, i was also culprit of this. With the continual new information we have a very natural record being created like never before. There are many ways to be an active part in the history of tango, come and join in the fun.


Other articles in the dance genre:

'A Vision of Tango'

'Abundant obsession', Argentine tango

Why we love Pilates (and you should too)

Wednesday, 13 January 2016

5 fantastic dances to improve your fitness, which fits your personality type?

Ever wondered why some people tango and others do rock and roll? With a few exceptions that like to mix it up, many people get attracted to different dances. What brings people to a dance in the binning and what keeps people training once they have started? Well I am not sure i have the answers to this but to have a little fun, I have listed 9 dances below and their personality types.


Bohemian thinker / artist

Argentine tango is a mixture of introvert and extrovert. Both for show and social, in full view and danced for the couple alone. Scientists and artists looking for a way to communicate, usually finding hard to do this in every day life. It appeals to the masculine mind with its geometric concepts of lanes and line of dance, circles and angles for turning and much more. Sophistication and trampery in one foul swoop, not to mention the more commonly seen variations in dance couples, men leading men, women leading women gives tango the title Bohemian dance of the group.

Party animal

Salsa - generally extraverted unless you see the natives dance (people dancing a long time to a high level), then it can be slow and sensual. Salsa tends to attract the younger generations who like to party but want something more than simply bouncing around. Full and curvacious, even men will discover hips in this dance. Culture and modern music mixed in a party atmosphere with bright colours and vivacious music filling the whole room,  think carnaval. This dance is queen of the party.

 Sorceress / magician

Flamenco - dramatic outward appearance and a lot more going on inside, strong rhythmic movements. Masculine and feminine mixed together with energy and purpose. Traditional feel and dress exuding the best of old times in performances that make your hair stand up on end. The duality of the masculine and feminine found in this dance rarely seen so equally standing side by side make this the dance of those who want to explore their inner power and expression enabled by the play with live musicians. Making this dance the one divine connection of all things.

    Hippy fest

    Folkdance or Balfolk - high energy, fun with simple movements compared to other dances. Great for getting everyone up on the dance floor, its the social animal of all the dances listed here to the point of attracting all those who don't want to go mainstream. Cross culture sharing, hippy hugging and live music create lots of great sharing experiences with this dance.

    Chilled out groover

    Swing - with different moves set groovily in the 1920s-1940s jazz scene. Golden oldy or nostalgic young one who likes to get a feel for the richness of a whole range of different dances included in this genre. This dance brings lots of great historic references together with the dance that is still very actively danced today and increasing momentum by all accounts. This dance is king of chilling out and variety.

    Please take this as a little fun, i love dancing and think every dance has its charm. 

    Liked this? then it would be great if you share you dance personality, even if its not the dance you actuality dance at this moment. I often wondered at the personalities of different dances and there are so many that aren't on this list. i made a shortlist this time but maybe another time its nice to broaden it out. i hope you enjoy.


    Other articles in the dance genre:


    10 Quick Surprising Tips About dancing
    http://www.chicloca.com/2016/01/10-quick-tips-about-dancing.html

    'A Vision of Tango'

    'Abundant obsession', Argentine tango

    Why we love Pilates (and you should too)

    Friday, 8 January 2016

    10 Quick Surprising Tips About dancing



    As a professional dancer i have picked up quite a few little tricks over the years. Usually because i made a whole handful of mistakes and endeavor not to repeat them. Here are 10 quick tips to help dancers whether beginning students, experienced dancers or professionals (probably you have your own).

    1. Build body memory. For each simplified basic movement of the dance or movement activity you wish to improve in. In the end a good teacher can simplify anything you need to understand, but you can't fudge the repetition needed to make a movement become learned.
    2. Increase body awareness. With body awareness its a much quicker process to learn any movement based activity. Without it you can spend years trying to make changes that either will take longer to happen or your body simply won't understand on an intrinsic level.
    3. Find your learning style. Become aware of the ways you learn best e.g. visual, kinesthetic, audio etc. Use the ones you are strongest in while translating to others you are less good in. The translation process makes the learning more profound. For example, i learn visually and kinesthetically but when i first started to teach i had to structure things in a verbal way for my students. Especially with questions but also to relate to the many students who aren't able to learn from a simply visual perspective. I found by making this translation of dance into words i learned a great deal myself too and continue to enjoy this new found learning style.
    4. Give yourself time to find the learning space. Many students arrive at the start time of the class.  Totally understandable with the busyness of most of our lives. But it often results in feeling rushed, not something that promotes learning. With a bit of careful planning you can give yourself 5 minutes to acclimatize before the class starts by arriving a bit earlier. This 5 minutes is great for letting your brain become ready to learn.
    5. Warm up before classes and social dancing. Sometimes it feels silly but warming up the body is really important. The more the activity asks from you, and this is personal, the more you should prepare yourself for it. When you are warm you also most better and more fluidly. The chances of one of those dances you will remember is much higher.
    6. Learning is forgetting. Keep in mind that to learn something and take it in at a deeper level we often need to see it several times. Similar to body memory but for the brain. Let yourself forget things as part of the learning process. 
    7. Make sure your clothes don't hold you back. Depending on the type of activity you do, make sure your clothing allows for the movements you want to do as well as keeping you sufficiently covered. There is nothing worse than trying to do something and finding you either can't do it or don't want to as it leaves you exposed.
    8. Take time for your own translation. Particularly for partner dancers but also for students who take a lot of classes. Its useful to take 5 minutes by yourself to put all the things you have learned into your own words and understanding. You can take a step deeper to try and link other things you do as part of your activity into this and check it with a trusted teacher or more experienced dancer. I always invite my students to check ideas with me and also tell them when its possible but not my personal approach or maybe i don't have the answer due to it being outside my expertise or comes down to a choice for the student i can't answer for them. After all i am not a guru but a dancer. 
    9. The first time you learn something sticks with you forever, or until you do a lot of hard work to change it. The first time we properly learn something we take it into our memory in a more profound way than the second and third times. Its good to make sure that you understand it correctly this first time and that you are getting quality information. This way you will avoid many bad habits that form due to misinformation. Secondly the amount of work it takes to change this first memory once made. 
    10. Ask your teachers why. If your activity is anything like Argentine tango then the question why is a good one. In tango everyone and anyone can teach, with a huge range in abilities to dance and abilities to teach. There are good dancers and terrible teachers, good teachers and terrible dancers and everything in between. The question why tends to cut through the crap. If they can give you a solid and clear reason why, then they probably know what they are talking about. If not then you can think on this. Just be a little aware of the difference between question about a step or subject being taught and questioning the teacher themselves. The second one is unpleasant on the receiving end and feels as though you are being asked for you credentials as a teacher. This is likely to close up most teachers making this a moot point. Active learning is essential to efficient learning and becoming more proficient. Its also rewarding and personally i find it gives a lot of enjoyment. 

    I hope these were useful. Try them out and if you want more information post a comment below. It would be great if you can spread the word about our new blog using some of the buttons below.We will regularly be posting information about dance, health and a little on Argentine tango.



    Other articles in the dance genre:


    'A Vision of Tango'

    'Abundant obsession', Argentine tango

    Why we love Pilates (and you should too)

    Wednesday, 6 January 2016

    How to Solve the Biggest Problems With dance shoes



    Shoe problems for anyone who relies on shoes for a particular purpose will find it annoying to get problems. Whether you are a runner, cyclist or dancer, your shoes and in fact clothes are important to enhance what you are doing and able to bring. Read this article further to find out some of the problems faced by dancers and tips for working around them or avoiding them altogether.

    Top 6 categories for problems dancers have with shoes:


    1. Breaking in new shoes: Especially as there is often a recommendation to start with a smaller size than you actually wear. This is due to the material expanding and as dancers we want an as near perfect fit as possible. The what degree smaller depends on the dance, the shoe and type of material its made from.
    • Tip, I would suggest here with leather and suede shoes is to put them on a heater for 20 minutes before wearing them. Note that the heater shouldn't be hot enough to damage the shoes, just warm them past body temperature so the material expands. When you place them on your foot the material is softer and if this is repeat a number of times it begins to mold the shoes to your feet, fitting them perfectly without the normal process of wearing them in.


    2. Getting used to different heel heights (even for men with cuban heels). Many women aren't used to heels and when they come to dance they find it difficult as suddenly they are asked to don heels in many dances. Dancers are rarely taught how to use their shoes in the movement. Its all very well putting good looking shoes on your feet but if you don't include them in your technique they will trip you up.
    • Tips is to wear new shoes on uneven surfaces, or ones that make your ankles work. Usually when we put on new shoes we forget that we need to accustom our bodies and in particular muscles to the changes created. Ankles are often too weak to offer stability when someone wears high heeled shoes for the first time. The thicker the heel the easier it is on your ankle, the lower the heel the easier too. The other thing is the that a dancer needs to build their technique to include shoes as a tool for the trade or hobbie. Simply sticking shoes on our feet regardless of how beautiful is a common mistake.
    3. Shoes that don't fit correctly can be a pain, quite literally. Either through rubbing, being too small or so big that you are unable to move properly in them. The style of the shoe is also important when working with feet of different proportions.
    • Tip,  Length, width, high arch, flat foot, shape of foot are all factors to consider when buying new dance shoes. Best thing is to ask a dance teacher or a knowledgeable shop assistant. Good ones are often trained in dance shoe fitting. After owning a few pairs of shoes you can also look back and see which shoes where the most comfortable and worked best for you in terms of shape and style.


    4. Dance shoes that break are a problem.
    • Tip: many can be fixed easily and its well worth training a cobbler or shoe repairer in your city to mend dance shoes. Particularly if you are a professional and wear shoes out like no tomorrow.
    5. Our old dance shoes affecting our movement. This can come in the form of wear and tear that simply means you have to work harder to maintain balance and equilibrium in old shoes. The other problem that arises for newer dancers who have drastically changed the technique of how they use their feet, is that the wear of the shoe often reinforces old habits. How does this work? well if you imagine someone moved and danced with all their weight on the outside of the foot and mostly on their heels. You will find that the outside of the heel is worn down and the engineering of the shoe starts to break with wearing the shoe in a way its not built for. Yes there is shoe engineering and design that enhances certain things we want as dancers in our shoes.  Ballet shoes are a great example of this.
    • Tip: Even though old shoes are at their most comfortable and if worn a lot are dear friends, know when their time it up. Comfort is usually a sign that the engineering of the dance shoe is breaking down and past a certain point it doesn't do anyone any good. Get to know a cobbler in your city who can repair some aspects of aged shoes, particularly if the shoe is good but its the heel that has worn down. This is often easy to fix, as are straps that have got loose due to expanding and worn out soles.


    6. The engineering of shoes. Have the shoes been balanced correctly, basic test for this is if they can stand up by themselves without falling over. Other factors include twisted heels, the foot pattern being well proportioned, the orientation of the heel distributing weight to different parts of the foot if not aligned properly. Then you get into things like distance between the heel and the place where the ball of the foot meet the floor. Its rare to find a shoe that is perfect and rarer still to find two. So the suggestion here is to be aware of what you have, don't buy something that is terrible quality and work with how the shoe balance affects you.
    If you find any other problems it would be great if you add them in a comment. I hope this list and tips help. More articles like this will be coming soon. 

    Other articles in the dance genre:


    'A Vision of Tango'

    'Abundant obsession', Argentine tango

    Why we love Pilates (and you should too)
    'Abundant Obsession' Argentine tango dance
    'Abundant Obsession' Argentine tango dance

    Tuesday, 5 January 2016

    Why We Love pilates (And You Should, Too!)




    Pilates is such a great exercise system both holistic and hands on. Its often underestimated as yet another class you can do at your local gym. But it can be so much more in terms of fitness, health, a great figure and not to mention great for dancers. Find out what Pilates can do for you and some great links to professionals near you. Find out the great things it can do for your health below.

    The top 6 reasons you should include Pilates into your daily routine:


    1. Increase circulation and relieve tension - Great for when you have been behind a computer all day and your circulation is sluggish due to inactivity. 

    2. Improves posture - For those style conscious people who love to wear nice clothes. The better you look and feel about your body the more you can make out of the things you wear.

    3. Enhances body awareness - In this day and age of computers and technology, people are loosing the sense of moving in their own body. Sound strange? Building up greater body awareness can help to improve core body strength and movement. Not to mention make  dance and movement activities fun while technique is quick to integrate.

    4. Improves muscle tone - working with the core muscles of the torso as a central focus for powering the arms and legs. Giving a powerhouse for controlling the multiple movements we do in everyday life. With the right muscles toned and active it also decreases the likelihood of injuries. 

    5. Improves breathing practices and energizes - The Pilates system uses a thought out and deliberate way of breathing during exercises. Consciously used doing particular types of movement for different effects. Many people these days don't have good breathing practices. These would be to breath efficiently using the stomach and lungs each time you breath in and out. We get into habits like not breathing through the nose or short shallow breaths. Breathing slower and deeper energizes the body while being more efficient. 

    6. Great for people with mobility problems - many exercises are done on the floor, sitting in chairs and using other props for help and support. You don't need to be a dancer to try this, in fact quite the opposite applies.

       

       

       My personal experience and your, build up some knowledge about yourself


      I have mixed a number of pilates exercises into a daily routine which keeps my body toned and working effeciently. I have to admit to off times where i don't practice, but always feel the difference when i get back into the flow of regular practice. My body loves it.

      For me its important to find out what you need from a daily or even 2 times weekly workout. Manageable sessions that can be repeated are key here. Important factors can include:

      • Strength
      • Flexibility
      • Build
      • Proportions of the body.
      • Movement Activities hobbies or work.
      • Health issues or weaknesses in the body



       

      Taking the above list and using myself as an example:


      • Strength - I am very strong in my legs and strong in my core muscles. weak in my arms and neck.
      • Flexibility - I am super flexible in my lower back, less in my upper back, not naturally flexible in my legs while arms and shoulder blades are very flexible.
      • Build - I am tall, with long legs and arms, medium shoulder width and hourglass figure.
      • Proportions of the body - I have longer legs than my torso but have a balanced proportion, with a long back.
      • Movement Activities hobbies or work - I am a professional dancer for my work, i like to learn other dances and movement forms to a high level including pilates, yoga, kung fu amongst others, fashion and posture are important to me as they bring an extra quality to how i look and feel.
      • Health issues or weaknesses in the body - I am super flexible in my hips and have to watch for injuries when exercise. Health issues around digestion and dizzyness due to an operation I had on one of my ears affects me from time to time.


      Find the answers for yourself:


      How to find out where you are stronger and weaker? 


      Think back to times when you are lifting things, this should give you some good answers. Otherwise check with a health specialist like Pilates, dance, or health related teaching/practitioner. This information can help to tell you where you need to work on your strength and where you should maintain your current level.

      How to find out your areas of flexibility?


      Do some simple stretching exercises and be careful of your bodies limits. Again ask a dance teacher or other movement professional for some exercises if you are unsure which ones to use. This information can help to tell you where you need to work on your flexibility and where you should maintain your current level.


       What type of build and body proportions do i have?


      Body build is often a bit difficult to know offhand. Ask some people around you what they think and find people in the street who match how you see your self and then ask where you would but their build on the scale of things. There is a lot of great information on the web about build and proportions so maybe give google a try. Otherwise get in touch with our contact form, i am happy to help. For proportions get a long mirror and ask yourself 2 questions: 1. Is my body longer than my legs or vice versa, 2. what are the general lengths of my arms, legs, torso in relation to the size of my head.

      This information can help to tell you where you about your body, how to work with posture and also how the length of the body often shows the things you can work on. Longer limbs usually need core body exercises and movement control/awareness while being naturally graceful. Shorter limbs often get more tension and need to work with relaxation. These are gross generalisations. Its difficult to describe the complexities of proportions and body build here and its always best to get expert advice in person.

      If you find some funny things out, please don't worry. When we really look at ourselfs we reallize we are a bit strange looking and beautiful. Keep in mind everyone who does  this will probably feel the same. You are unique and beautiful, don't forget it.


      Why are my health weakness's, work and hobby activities important?


      These allow you to keep in mind important factors that you should keep in mind while exercising. Any health problems of weaknesses you might have should be taken into account when trying Pilates or any other activity alone. Notify your teacher if doing a class. In places where you body is weaker do less repetitions and lower level intensity exercises to build up the strength in that area. Too much can lead to injuries, take care of yourself.

      The movement things we do for work and hobbies are useful bits of information. It tells us how fit we are, whether our body is used to moving or not and the types of movement it knows in its body memory already. A more movement active person can often learn things faster and take more intensity while those less used to moving need a little more time to build up on knowledge and intensity.

      Couple your growing knowledge with a great exercise system like Pilates and you are made for life. If Pilates doesn't workout then try one of the other great ways to exercise and experiment until you find one that is right for you.

      Other articles that may be of interest in the fitness genre are:

      What is the relationship between nutrition, healthy eating and fitness
      Whats the relationship between nutrition, healthy food and fitness - See more at: http://www.chicloca.com/2015/12/relationship-nutrition-heathy-food-fitness.html#sthash.8yKzmRHF.dpuf
      Whats the relationship between nutrition, healthy food and fitness - See more at: http://www.chicloca.com/2015/12/relationship-nutrition-heathy-food-fitness.html#sthash.8yKzmRHF.dpuf
      Tokyo street fashion (東京のストリートファッション), inspired Starwars and imitating Manga - See more at: http://www.chicloca.com/2015/12/tokyo-street-fashion-inspired-starwars.html#sthash.I5INGx4X.dpuf
      Other articles of interest in the style genre:

      Other articles of interest in the style genre:

      Other articles in the Travel genre:
      Little black dress, all its cracked up to be
      http://www.chicloca.com/2015/12/little-black-dress.html - See more at: http://www.chicloca.com/2015/12/tokyo-street-fashion-inspired-starwars.html#sthash.I5INGx4X.dpuf

      Other articles of interest in the style genre:

      Other articles in the Travel genre:
      Little black dress, all its cracked up to be
      http://www.chicloca.com/2015/12/little-black-dress.html - See more at: http://www.chicloca.com/2015/12/tokyo-street-fashion-inspired-starwars.html#sthash.I5INGx4X.dpuf
      Whats the relationship between nutrition, healthy food and fitness - See more at: http://www.chicloca.com/search/label/Health#sthash.gptmqDHq.dpuf
      http://www.chicloca.com/2015/12/relationship-nutrition-heathy-food-fitness.html


      Womens health and body building
      Womens health and body building
      http://www.chicloca.com/2015/12/womens-health-and-body-building.html




    Sunday, 3 January 2016

    Latest Photo shoot, images of a dancer...new black dress






    New black dress design, trying it out with favourite dance shoes and some other colour accents in jewellery and makeup. Check out this dress and more at Cielita Loca store.


    Other articles that may be of interest in the style genre are:

    Tokyo street fashion, inspired by Manga?
    Tokyo street fashion (東京のストリートファッション), inspired Starwars and imitating Manga - See more at: http://www.chicloca.com/2015/12/tokyo-street-fashion-inspired-starwars.html#sthash.I5INGx4X.dpuf
    Other articles of interest in the style genre:

    Other articles of interest in the style genre:

    Other articles in the Travel genre:
    Little black dress, all its cracked up to be
    http://www.chicloca.com/2015/12/little-black-dress.html - See more at: http://www.chicloca.com/2015/12/tokyo-street-fashion-inspired-starwars.html#sthash.I5INGx4X.dpuf

    Other articles of interest in the style genre:

    Other articles in the Travel genre:
    Little black dress, all its cracked up to be
    http://www.chicloca.com/2015/12/little-black-dress.html - See more at: http://www.chicloca.com/2015/12/tokyo-street-fashion-inspired-starwars.html#sthash.I5INGx4X.dpuf
    http://www.chicloca.com/2015/12/tokyo-street-fashion-inspired-starwars.html

    Little black dress, all its cracked up to be:
    http://www.chicloca.com/2015/12/little-black-dress.html





    Wednesday, 16 December 2015

    'Inside Story' Argentine tango traveling the world

     


    Smooth Moves Ezine March 2008

    Argentine Tango came about in the late 1800's, at a time when many cultures were mixing (mainly European and Argentine), in music, in culture and in a basic need to survive in a place where work was scarce, The lure of promised riches from fertile land in Argentina were laid barren when many immigrant men arrived from countries all around the world. They found desert or rock in their allotted land, and so most migrated into the big cities, namely Buenos Aires and Montevideo. At one time there was approximately 70% men to 30% women and it was said to be even worse, this was due to many of the immigrants having left their families behind. These where the circumstances that lead to the formation of Tango, and the common representation of two men practicing together in order to increase their chances of dancing with a woman.

    Its very hard to say exactly where it came from or how it formed, due to the many myths that engulf its past adding to the element of mystery in the dance which is so much a part of our intrigue as dancers. Some say it developed in the brothels of La Boca a barrio of Buenos Aires, others whisper conspiracy in saying that it originated in Montevideo and isn’t of Argentine origin at all. For me as a dancer I feel its origin isn’t so much important as its nature to evolve and change with the times, and even the fashions of clothes, music and the way people are expected to relate to each other in society have had influence. The pencil skirt for example, made it impossible for the women to make large steps, so in the 50s when this was ‘ la mode’ the movements become smaller and much more compact. But there is also a wonderful sense of preserving the old, there are many organizers that promote traditional tango in a form that is as close to Buenos Aires as it ever can be considering that we live in a another culture with a different way of life, tempered also by a change in times and the roles of men and women.

    But the dance is something more than an explanation of its existence. This is merely a context for tango, a generality or cerebral way to try and understand it. My personal experience of Tango has been an adventure I could not have predicted. Improvisation, playfulness and a willingness to explore are characteristics in the dance that have unconsciously diffused and taken residences as a way of life.

    I still remember my first lesson which was in a big theatre, edges darkened, lights dimmed for atmosphere and its most prized possession was a perfect wooden dance floor. A woman clad in a beautiful flowing dress, red when caught by the light, took us through the first steps of tango. There was one moment about half way through the class, when she gave me some hint or glimmer of what the dance could be like in experience both in terms the sensuality in the body while creating the movements of tango, and the feeling of simply expressing the music. I was hooked in the space of half an hour only to be told afterwards that there were too many followers, and that I being the last to sign up would have to wait until the new classes started. I was upset and crying when I left, but was soon rescued by another teacher who had more men than women. So the precarious start to my tango journey had begun only to lead to more obsessions in body and movement as the months past. I now teach and dance all around the world, moving from one dimly lit room to another.

    I am always in search of something that the dance gives me and still I cannot name it. But what I do know is this dance is beautiful for the fact that you can never stop learning if only you are open to the possibilities. The improvised nature of Argentine Tango gives special moments of spontaneity and connection very hard to find elsewhere. With music and a space to explore and freely express it being introduced to the concoction, I am surprised any of us ever find a reason to stop.

    The dances existence was provoked by the differences between men and women. Its evolution and origin forming from the immigrants with their many dances, and music traditions when arriving to Argentina. Its status and reputation growing with the travel between Buenos Aires, Paris and the popularity that is growing around the world. Continually evolving with the times but protectively coveting the old and the traditional. Lastly Tango is the technique and playful improvisation that allow two people to experience connection with each other around and through the music.

     

    'Step into the Dark side'

     

    Smooth moves ezine, September 2008

    The tango dream, one of passion, amor (love), and the embrace. Often blurs through taboos such as sensuality, lust, sexuality and politics. Painting a smudged flowery picture that is perceived to include clearly all of the above.

    Another image is one of the Holy Grail that entraps every dancer into an ever-lasting fanatical search of the ‘One moment’ within which we will find a deep-seated feeling of unity with our partner and the space. Forever goaded on by the multifaceted mysterious awe of the elixir de tango that is the music. On occasions when we find such a connection it feeds the addicts need to find more of the same sustenance. So we are doomed or enlightened (depending on ones outlook), in the search for the Holy Grail, that is the oneness of two. But what about a step into the dark side.

    The drama, passion and fire of tango are often what attract people to start dancing in the first place. But this is only surface tension seen and exposed in stage tango (tango fantasia). My interest is in the emotional and physical fuel that feeds the fire. Not the fire itself. As a dancer and teacher of tango I am intrigued by the processes people go through in order to learn and through this enjoy the dance. The way they deal with often-intense situations. The expectations and desires that come into play when confronted with oneself in relation to a partner or social jostling of a group of dancers. The desire to know oneself, to be sensually in ones own body. Or to explore the boundaries of sexuality within the dance. Sexuality and sensuality are often mixed up with desire or lust and amor (love).

    Sensuality can be seen as ‘a preoccupation with the gratification via the physical senses. It’s about arousing the senses or appetites. Internally its about embodying yourself, externally exciting the senses of another person’. But this is too mechanical. As a dancer I don’t always seek to sensualise the dance for the other person. I am in the search to become sensual in my own body and to find a containment that allows me to know and feel myself better. Through this my feeling of sensuality is made stronger because it’s more intensely concentrated. Other people can enjoy the sensuality they feel in me, and even become sensual through this. But the important thing is that I am sensual for myself. Many people take this as a sexual come on within the dance. One is not allowed the hedonistic feeling of being in touch with ones own body. Instead it’s often taken into new realms of lust, love and sexuality.

    I have seen many short stories of love/lust grow and diminish around me. Sometimes lasting only a few hours, days and long ones weeks. These stories are the culmination of two people dancing in the right circumstances to allow two to become one in movement, embrace and thought. What I mean by stories is basically taking this connected and sexual dance feeling to bed. WE, in our present culture don’t understand how to be in our bodies, so when we experience such a connection with someone that’s so strong, be it sensual sexual or otherwise. We mistake it for love in many cases. In others where there is more experience of this phenomenon, it’s more about a necessity in the fulfilment of desire, closeness and often wanting to be in RELATIONSHIP but have many fears around this in everyday life. Tango attracts many people who are unable to be in relationships in the outside world and so instead search for the hedonistic instant gratification found in tango. Often being disappointed (after a while), in what they find. But for me one thing seems clear. We all want to feel secure and be LOVED. Not all will agree, but if you look closely I think that you will at least see in others that what motivates us is to find security in what we need to live, one aspect of this is intimacy with others. We will go through many profound emotions, experiences the unfathomable histories of hurt and pain that are deeply held in our body memory. Also remember the joy and laughter, the happiness of good times and what it was to be accepted in a group or by an individual. The embrace once more allows us to experience this acceptance.

    Permission is given, one dancer to another. The embrace is unhurriedly made. The dance begins, and the connection is made. The exploration of what is comfortable starts and then the tuning in fades. The individual ceases to exist in the sluicing movements of tango, endlessly moving around each other, sometimes for hours on end. All senses are unified in the sole purpose of staying present NOW. Attention focused somewhere in the centre of the embrace. Oblivion to the outside world in a cocooned sphere of energy and desire. Again the need for containment is present which intensifies all. The more restrained one is in not acting on desire, the more one is able to experience the nature of the desired. It’s like standing still when the music is building higher and with more energy, higher and higher again elevated into a climax of notes that ecstatically entwine themselves in the bodies of the two dancers.

    The other alternative is to take all the energy of this epiphany and to spend it in movement, thus diluting and loosing the moment. Often seen in show tango because it’s more interesting for the audience to see movement and speed rather than a seeming closed off unemotional dance. The image of an animal with four legs comes to mind. Words hardly do this justice but if you have felt it you will know what I am talking about. If you haven’t then you have an idea of what could come.

    Politics is also rife in tango as with any place where strong emotions exist and there are high personal stakes to be gained and lost. I am not talking about the politics of tango schools or those that exist between two teachers. But of the politics of hierarchy. One rises or falls on the grounds of dance ability and social ability. Being a performer, a teacher and/or organisers also has a big effect. The status is not so important as what it means. SECURITY in ones social group. More dances giving more chance of INTIMACY and possibly LOVE. Along with Stability and acceptance. We are happy in these states but what about taking a step to the dark side?

    The alternatives are infinitely more interesting. Feelings of exclusion, not being loved, loneliness in a room full of people. Not feeling good enough, young enough or beautiful enough to be danced with. Age-old insecurities held in mind and body, suddenly exposed by rejections, the intimacy of an embrace or even a teacher working with a specific body part.

    For example the jostling that can give a feeling of being with the in crowd is often due to past angst with groups. Someone who has experienced being a nerd or social outcast in school might feel the need to be ‘cool’ surrounded by those people who represent this. But if one is not accepted and in some way feels excluded deep emotions arise. I have the experience of one particular person being distraught, crying and intensely angry at not being asked to dance. She saw it as her right to have a set number of dances in one evening. The anger was directed at me because I am a host and teacher. For three days this woman let go of all her frustration at the situation, her anger and later the tears and sadness she felt at once again feeling like an outcast. I simply held the space, open for her to feel and to experience the process she needed to go through. On the fourth day she came and apologised. She owned her feelings and we talked of a time at school where she felt insecure and lonely. It was due to a lot of things happening in her family life at the time, but the loneliness and insecurity were created by a group of people at school. She had unknowingly transferred this past situation into this new group of people, and strangely they were reacting in the way she expected because she was projecting past pain onto new people. Of course they wouldn’t want to dance. On the 5th day she had the most dances she had ever had and said goodbye to be smiling and happy. She had been able to find a way of releasing old histories and found security and even a possibility for intimacy in someone else.

    Another example is of a businessman who is used to working for himself. Having full autonomy and power to do, as he will in his working life. In other words an alpha person. He is used to being associated with the top, and will find it difficult firstly to start at the bottom in learning to dance. But also in not necessarily being seen as alpha in the tango world. The number of times I have been surprised to discover how many men and women there are, with high powered jobs and who are confident at what they do. When it comes to tango they become shy and seemingly needy of attention. Like a fish out of water, they try to find their way back to what they know. The top of the hierarchy. Either through obsessive learning of the dance or by association with the top. Anger is something often felt if they aren’t able to find water, i.e. to become alpha. I have another experience of an aggressive man in classes who is incredibly intelligent. He has the need to be recognised. He knows all the terminology and tries to bully teachers into giving more information than he is ready for. He gets angry if he thinks someone is denying him and passive when he is receiving a lot of personal attention from the teacher. When things don’t go his way or he can’t find a movement he is ‘supposed’ to know he will often take it out on his partner. A while ago we had a private lesson that I was secretly dreading, but agreed to. We had 2 dances in the whole lesson. One to start and one to finish. We ended up working with aggression and anger, what these meant for him. He wanted to explore these topics with me, and we made a good start. He realised that by being anxious about where he was in the social world of tango and as a dancer he was becoming a monster. Someone who everyone avoided and refused to dance with. His story is a little longer and took a lot more lessons but over the months he has become calmer and softer with his partners. Again through being aware of feeling insecure and out of water he was able to start to find more favourable place for himself.



    Whether we are aware of tango as love and passion, or a simmering cauldron of sexual energy and sensuality is based on point of view. Backed by personal experience both in life and how much experience of tango one has. I am not intending to make you mind up for you, but to simply bring a little more light to the sexuality, sensuality, lust, love and politics that are seemingly inherent in tango.

    Alongside this our own personal quests for the ‘Holy Grail’, each of will have a completely different story to tell, but there will be similarities in experience. Many people I have talked to at one moment or another, have felt some disillusionment about these deeply unfathomable moments of connection that at times surpass anything they have ever felt with a lover or partner. One has no idea its possible until it happens, it’s rarely talked about in any depth and one automatically assumes you have felt it when it is talked about. Without knowing for sure, with no context of what it is and what it means. It’s often misunderstood to be love instead or lust. There is no black and white here only a grey area for every individual is different, every experience of the ‘Holy Grail’ is different and is for the dancers to place.

    If we take one step into the dark side we can become more aware of ourselves, we can open up possibilities in creating the security and intimacy we want and need to be happy. But this road is more difficult as you will find many things about yourself you don’t like and will want to change. And many others aspects of yourself which are truly beautiful and should never be exchanged for simple acceptance in a group.

    The journey through darkness is more profound than the light at the end.


     

    'Storm Walker' poem written in Buenos aires Argentina

     

    A little of Buenos Aires

    She walks the storm
    Enclosed by skies fallen, no! falling tears around
    Greetings from a friend
    Reaching through skin to bone

    Now she may cry
    For the storm will cover her tears
    As long as she smiles
    No passing stranger will see her wants and fears.

    I walk stricken streets
    Through the deluge of storm
    Here I can cry
    As my tears will go disguised
    As long as I smile
    No one will know the sadness that fills me
    But in reality one has only to look into my eyes to see what is truly within.

    But I am changed by storm as it enters into me
    I am laughing as I walk these soaked streets
    While others run and hide, and watching me precariously
    My eyes twinkle reflecting humour of the lightning lit sky

    Who is this stranger who carries this drenched laughter
    Like a child she stamps her feet
    knowing well that each step means more water
    I smile back at her, for she has touched me to my core
    I see sadness in her eyes, and spirit in her heart
    This beautiful entity, walking freely
    taken by tempest, to some remote land

    she is storm walker…but is surely of this land………………..