“Remember, no violence here, guys.”
Tuesday evening class at Casa Tango with Daniel and Vera Calcines.
No violence? In a dance class? What is Vera thinking?
I am just off reading a true story about a young female journalist from Calgary who had been kidnapped in Somalia and held hostage for 429 days. Now that was violence. (I will spare you the gory details but a great book – House in the Sky, by Amanda Lindhout.)
But this is not Somalia, this is Edmonton, in a dance class. Do we look like Somalian pirates?
An explanation is needed. The lesson is about an alternative way to lead a voleo. (Pay attention to the feel of the language, the energy, the body mechanics). I have been doing voleos for years and always the same way. I plant my legs firmly, I stiffen my upper body and in the middle of my partner’s backward ocho, I lock my arms and whip her free back leg into a forward ocho. No subtlety in the lead, no question about what is intended, no alternative step permitted from my partner. It is an assertion on my part, not a suggestion or invitation, an insistence, a command lead requiring an immediate, forced, compliant response.
To use Vera’s term – violence. Certainly no one is injured and not nearly as offensive as stepping on a foot or kicking a chin or even budging into the line of dance. All very harmless on one level. Violence nonetheless.
In contrast, consider the fluid lead that we are being taught this evening. As the follow begins her (his) step backward, the lead, taking care to support his (her) partner on her axis, steps around to meet her free moving leg. The follow instinctively aborts her move and smoothly changes direction to realign herself with her partner. No jerking, no whipping, no strong-arming on the part of lead. Instead he provides support, invites a response, creating time and space for the follow’s self-redirection.
No violence.
I love it.
I have spent time and effort over the years in my professional capacity learning non-violent verbal communication, (speaking in a non-judgemental, non-aggressive, accepting manner, owning one’s thoughts and feelings, creating space for the listener.) The notion comes to mind that tango (depending on how it is taught and danced) is the equivalent on the physical plane. This is non-violent non-verbal communication. We are addressing and undoing the roots of violence where it really resides – in our bodies!
So I continue to practice unlearning my violent habits, attempting a smooth transition, providing support and creating space for my partner. Once in a while I get it right and my partner squeals with delight,” Yes, freedom, space. Wonderful. I love it!”
Great. She loves it too. It’s working.
Thanks for posting the upcoming workshop with Luciano & Rocío.Regarding boleos we believe that they are one of the most difficult moves to do properly in tango. In addition, they are seldom done in a milonga unless they are done in a form called social boleos. We have many types of boleos including high, medium, low, and social boleos. In our first trip to Buenos Aires, in 1999, we had the misfortune to see an accident in a milonga. This happened because a boleo was done and the lady’s heel hit the leader of another couple dancing close to them: he got a cut about four inches in his thigh and was taken to a medical centre. So we are paranoid when people start teaching/learning boleos without the proper precautions and/or improper technique.
We hope to see you at the workshop,
Tangazos,
Cristina & Vicente
Thanks so much for your comments and for taking dialogue about tango in Edmonton seriously.
It really irritates me when an advanced dancer does not lead a voleo properly – and then is offended when I don’t do one. I’m also frustrated with teachers whose students stick their leg out, bent at the knee and, with no contact with my leg, assume that I will see the invitation, move over and willingly hook. Voleos are simple to execute gracefully and don’t need to be ‘snapped’ into place – unless there is room and it’s invited by the music. A smooth and ‘proper’ voleo looks more like a contact improv or contemporary dance move – your leg can’t help but hook when you’re flowing together in this organic way. I see it more often in tango nuevo/comtemporaneo. I feel the energy of violence when I see stage tango.
In addition to being a student/teacher/practitioner of non-violent tango I am also the same with verbal non-violent communication. Again, it’s difficult to retain composure and still engage when ‘violence’ is led or is the response. But we practice. And we remind each other gently of the best way to be with each other. Thanks for doing that Aydan.
Very insightful. THank-you.