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The first song came to an end. She was still here,  without any signal of breaking away. So we remained embraced, standing in the floor, breathing… Dancers were chatting nearby, some inches away. The noise sounded yet so far away.

We were in another zone, whichever space in the floor that we occupied at that moment.

The second song started. I forgot how to lead. I didn’t even want to move. I felt her nose, her eyelids, the contour of her face, the proximity of her lips, the moist warmth of her breathes…

The music stopped, again.  Our bodies were still glued together. I relaxed and readjusted my right arm, she her left. We let some air in between our chests. The cool air contrasted the warmth of the bodies, made me feel that her body was burning. Like magnets, we closed our embrace. The next song began.

Somehow (the instinct of a dj?), I realized that this was the last song. A twitch of sadness grew from nowhere, as if someone whom I have known for very very long were leaving, a part of my heart was leaving too. The feeling of void.  I had tried very hard to hold back, but something was coming down on my cheek. I couldn’t tell if it was bead of sweat…And I had never met her before… until 15 minutes ago.

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don’t just listen. Sing along. It is a duet!

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Because that’s the only suitable way.

From maestro Jorge Dispari. If you are interested in, watch the clip. My Spanish is very limited, so I could only quote the subtitle.

It is not very often for us to hear such an honest talk. A lot of teachers try to sell you the glamorous side of tango; try to make you someone who you are not, a star, a performance dancer, an “artist”. Otherwise, they are afraid that they would not be commercially successful. And a lot of student are drew to tango, because it is sexy, it is fashionable… they want to learn the form, without the trouble of understanding its culture, its essence. Like in martial arts, however, one doesn’t go too far learning just the form. Any art without soul isn’t good art. Anybody can teach how to move, very few can tell why.

Here is a performance by them, dance (or should I say walk) to D’Arienzo. No sacada, no boleo, no volgada, not even a giro. Simply walk…

PS. Have a wonderful holiday, fellow tanguero(a)s!!!

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We danced two tandas in a row. Second night of the festival. First time ever.

In between the songs, We remained embraced. Magnetically.

The frantic circus of festival milonga disappeared. Magically.

The only awareness I had was the softness of her embrace, as if I were in the cotton field.

…

She is now gone for a tango tour in other countries.

Several days after…

The warmth of her embrace, however, is still lingering in my dreams.

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Dug up an old magazineLa Milonga Argentina tonight. I picked it up in BAires during my second trip in 2008 . At that issue, there was an interview of Sebastian Arce.

Here is an excerpt from the interview that I like to share:

Q. You dance with pauses, whereas many kids of your age don’t do that.
S.

It has to do with what we were saying before about introspection. It’s when you know that what you’re doing has an expressive purpose and comes from a feeling, you pause to seek that feeling and from that feeling comes the movement. But when one believes that it’s only movement, then one isn’t bothered about seeking what it is that it provokes, lo hace de manera intelectual. Yo no les creo a los phibes hoy!

He is touring in the US this month: this week in San Francisco. Next week in Baltimore.

Here is a recent performance of him and Mariana that I like very much, to a song that I love: Fresedo con Ricardo Ruiz “Buscándote” 1941

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