Tango

On Saturday I tried a new milonga. I had attempted to reach this venue once before, after Hurricane Irene. Roads were closed, and the detours led to more closed roads. After an hour and four phone conversations trying to get directions, I headed back home and stopped in at another friend's birthday party. This time, I wisely planned to meet other dancers at their home, and then ride in the back seat of their car.

With a GPS, the driver found the destination easily. Without a GPS, it would be nearly impossible. The building is in Sugar Loaf, NY, down a dirt road and not visible from the main street. It's a beautiful community/cultural center with artwork on the walls, and one side entirely windows. I was warmly welcomed by the host, and hugged by a dancer I haven't seen in two years. That night there were guest instructors, a well-known female instructor from NJ, Carolina Juarena, and a world champion from Columbia, Carlos Paredes. Now, to the heart of this post.

During the lesson, Carlos emphasized that the leader (usually male) needs to look at the woman (the follower), and make a connection with her. The leader's goal is to be sure the follower is comfortable during the dance. And if there is a mistake, it is not anyone's fault. Try again, keep dancing, have fun. And yet... many leaders do not seem to follow this practice and it seems a shame. I had one dance that night that turned out to be unnecessarily stressful as I attempted to follow leads into tricky steps with a man I did not know while dancing in close embrace. Many tango dancers would blame the leader in this situation, with the argument that if he leads correctly, I will be able to follow. True enough. But why even create a situation where the dance is ruined?

A possible answer may be the marked contrast between the way professionals dance vs. the "average" non-professional dancers (most of us!). In Argentina, my instructor regularly reminded his students that professional stunts belonged on the stage, not on a social dance floor. Maybe it's too difficult to resist the fantasy of looking as good as the pro's.

http://www.carolinadancer.com/
 

Merry Christmas

In the locker room at the Y this morning, another woman and I chatted about how we had to take down our Christmas trees today. She informed me that for many people, January 6, or Three Kings Day, marks the true end of the holiday season. She briefly summarized the story of the kings, and concluded with the warning that it was simply bad luck to take down the tree before the twelve days of Christmas passed. For me, last weekend was filled with holiday activities and there was no time during the week between work and dance, so I planned for today. However, with a day filled with sunshine and the warmth of 60 degrees, my tree remains standing, and still decorated. Sigh.

This holiday marked the return of two past traditions: dinner at Union Square Cafe in NYC, and attending The Nutcracker at Lincoln Center. My kids and I managed to time our dinner at Union Square to coincide with an absolute downpour. We planned an easy walk from the Chelsea Market to the restaurant. However, that idea changed when by 5pm, it was pouring. Umbrellas offered no protection from rain coming down sideways, and after two blocks we were soaked! We were lucky to get a cab! I will say that the dinner was worth it, but I won't rush back. Service was as good as ever, the restaurant as beautiful as ever, and the food very good, though somewhat drab on the plates.

My son declined a ticket to the ballet, so it was just "the girls." Of all the Christmas activities, The Nutcracker is arguably the most splendid. The music for this ballet was written by Pyotr Tschaikovsky, and adapted from E.T.A. Hoffman's story, The Nutcracker and the Mouse King. Tschaikovsky wrote three ballet scores: Swan Lake, Sleeping Beauty and The Nutcracker. The first full-length, two act version of the ballet was presented by the San Francisco Ballet in 1944. (The first time I saw The Nutcracker was, in fact, in San Francisco at the Opera House!) George Balanchine's version premiered in NY in February, 1954. Ten years later, the NYC Ballet moved to its present location and redesigned the ballet. From 1964 till now-- almost a 50 year tradition of The Nutcracker during the holiday season! Jen and I loved every minute of the performance from the "growing" Christmas tree, the battle with the Mouse King, the ribbon dancers, Mother Ginger, and my favorite, the pas de deux between the Sugar Plum Fairy and her Prince.

By the way-- After the ballet, we ate at Nick and Toni's Cafe on 67th Street. (Same owners as the fancy Nick and Toni's in East Hampton.) Salads, soups, pizza, and full dinners. Since it was late, we had pizza, salad and roasted local vegetables. All wonderful. Beware though- my beer was $9!
http://www.nickandtoniscafe.com/

Sweet Medialuna

On alternate mornings in Buenos Aires, I would stop at the bakery next to my apartment and purchase "dos medialuna" for seis pesos (less than $1.50). The medialuna are shaped like a croissant. However, the outside is soft and brushed with a sweet glaze. While the inside is airy, the dough is sweeter and heavier than a French croissant. I ate the medialuna with Patagonia Wild Berry Jam that I bought at the local Disco supermercado.

I'll confess- I brought a few medialuna home with me. One I ate on the plane when we landed at 6:00am in Houston. Another I gave to a friend who is an avid bread baker. Secretly I hoped he could duplicate them here in New Jersey. I kept the last one on reserve in my freezer, and ate it this morning with the wild berry jam. Is it reason enough to return to Buenos Aires for fresh medialuna?

http://www.thefreshloaf.com/node/12224/medialunas-recipe-needed-argentina-breakfast-roll

Tango School

According to friends, the Escuela Argentina de Tango is the place to take tango classes. So, after barely 24 hours in Buenos Aires, I went with mi amiga Susanna to attend two classes with her favorite instructor, Jorge Firpo. Mind you, this is after an early morning run, walking for a couple of hours, and a full lunch at La Posada de 1820. The "executive menu" offers a mid-day special, generally between the hours of 13h y 16h. (1:00-4:00 pm). This particular restaurant serves three courses for 34 pesos, or under $10. Soup, main dish, dessert. Mineral water or wine are extra, and nearly the same price.   laposadade1820.com.ar/

The first class on salon style tango started at 5:30pm and was 90 minutes long. The second class which started promptly at 7pm was Vals- Giros y Contragiros. A "giro" is the term used for a molinete. The classes were well attended, with a balance of men and women. (An aside- one of the guys in the class who knew Susan from last summer, began to talk to me in Spanish. When I said, "No habla espanol", he replied in English that he thought I was Argentine!) By 8:30 after both classes ended, my feet and legs were about to go on strike. There was no way that I would have energy for a milonga! Instead, we went for wine, a snack, and conversation.

On YouTube, there are many videos of Jorge Firpo. Here's one of Jorge dancing a vals at the school. I think the man standing against the mirror in the black shirt is Roberto, someone who was in my class, too!

 

Throughout my stay in BsAs, I took one or two classes on most days. Along with the classes with Jorge Firpo, I especially liked the women's technique classes with Aurora Lubiz. Being in the class of women and working together in pairs or groups to practice balance and adornments was probably more beneficial than the mixed classes. Hopefully, I can find a similar class in NJ or NY, since it's a bit far to get to BsAs every Saturday at 11:30am in order to take one of Aurora's technique classes!
tangopulse.net/interviews/aurora_lubiz.php

Comme il Fait

To find the most famous store for tango shoes in all of Buenos Aires, Comme il Faut, you must know the exact number of the street address, Arenales 1239. Along Arenales, there is no sign. The number is on the side of the building and a walkway leads to a group of fancy boutiques. CF is listed in the directory posted on the left side of the walkway. Pass three shops, walk upstairs, buzz and enter the store.

Once in the store, you will notice something unusual for a shoe store, no shoes on display. Sit down and a sales clerk will ask a few questions. What is your shoe size? What color would you like? What heel height? I asked for size 38, black or purple, medium heel. Then, she brought out boxes and boxes of shoes to try.

In less than an hour, I selected a pair: violet and bronze, medium spike heel. Muy bonita. The price was less than I paid two years ago for a pair in New York City. Each shoe was slipped into a pouch of its own. Included was another bag to carry the shoes to a milonga, so everyone would know where you bought your shoes. All placed into a black and white CF shopping bag.