Commentaries on Argentine Tango and Lifeby Stephen and Susan Brown
How We Are Together
7 November 2008 — Susan Brown
It is not about how we dance, but how we are together!
from Taboe Tango Camp
Egotism or Cluelessness?
26 October 2008 — Stephen Brown
A friend of mine who teaches in another city recently announced that admission to her intermediate/ advanced classes would be by invitation or audition only. She had to take this step because she was having a problem with too many people showing up who weren't able to keep up with the class and were impeding the progress for those who were truly intermediate and advanced. She said, "Other students in class should be your peers, not your teachers."
At (now defunct) Tangri-LÁ,
Johanna Siegmann writes a similar story about another instructor who was offering an intermediate/advanced workshop:
"In the past, these workshops were attended mostly by students who had woefully over-valued their actual skills, being barely able to walk while in the Tango embrace, much less be intermediate or advanced at anything other than over-appraising their abilities. ... [A]fter being forced to devalue several intermediate/advanced workshops due to a preponderance of attendees who were neither—[the instructor] addressed the issue head-on" by reminding the students that they needed to approach learning with humility which included the instructor's appraisal of which level of classes were appropriate.
Like Johanna, my sympathies are with the instructors, who are likely risking losing many students—not only those directly excluded, but those who might stay away because of what they hear.
It's interesting to ponder why the practice of overrating oneself seems so common in tango—and elsewhere in life. We all likely know self-anointed tango "instructors" who can barely dance themselves.
Johanna offers one explanation, "Unfortunately, there appears to be a deplorable lack of humility these days, everywhere you look. And if you are looking at Tango, it is dismally present everywhere. As if the learning process was demeaning and disrespectful. As though room for improvement was a personal flaw. Or admitting we need training wheels is somehow insulting and humiliating." (aka egotism?)
Without disagreeing with Johanna, I would offer another explanation. As is pointed out below, incompetent individuals fail to recognize their own inadequacy because they tend to overestimate their own level of skill and fail to recognize genuine skill in others. (aka cluelessness?)
Either way, lack of self-awareness is the root of many evils.
Wanting What You Want
26 October 2008 — Susan Brown
"Remember no project is too ambitious if you crave the result enough." Kay Gardiner and Ann Shayne
In a 1999 article
published in the Journal of Personality and Social Psychology, Cornell psychologists
Justin Kruger and David Dunning find that incompetent individuals fail to recognize their
own inadequacy because they tend to overestimate their own level of skill and fail to recognize
genuine skill in others.
"The ultimate key to my heart is held by myself." Roxanne Swentzell
"It's so important to remember where you come from, because if you don't remember where you come from,
you don't know who you are or where you're going." Roxanne Swentzell
"The professional photographer takes assignments from 'without'... [T]he creative photographer...takes
assignments from 'within'... The conflict from assignments from 'without' versus those from 'within'
often perplexes the serious photographer." Ansel Adams
At (now defunct) Tangri-LÁ,
Johanna Siegmann writes:
"'Chasing the steps' may be one of the most perfect phrases I've ever read regarding Tango. For me it describes the type of dancer that doesn't get 'it' or has not yet gotten 'it'. ... [A] lot of us eventually stop chasing the step in order to chase the connection."
According to Warren Buffett, Benjamin Graham once expressed to a friend
the thought that he hoped every day to do "something foolish, something
creative, and something generous."
At (now defunct) Tangri-LÁ,
Johanna Siegmann writes:
"In the universe of the tango embrace, the supreme being is intimacy, not sex."
At some point, most tango dancers choose not to improve because the cost of developing skills isn't paid back with a sufficient improvement in the quality of the dance experience. A person with a greater interest in tango or lower development costs may pursue the development of their skills further, but still reaches a point where the additional cost of developing skills outweighs the gains. In a partner dance, such as tango, the skills of one's potential partners can greatly influence how much furthering one's own skills improves the dance experience. The return to developing one's own skills is greater when one's potential partners are skillful than when they are mediocre.
The required complementarity of skills in dance partners can lead to a situation in which an entire community remains mired in mediocrity—even though many individual dancers may wish that they and everyone else had better skills. In an established community dominated by mediocrity, a number of individuals seemingly have stopped their development as tango dancers at a relatively low level. High costs to developing skills could contribute to such mediocrity. Maybe the community is mired at a low equilibrium created by group dynamics—and the view that everyone dances with everyone. Each member of the community thinking strictly of their own enjoyment from dancing stops developing skills when their own additional enjoyment from developing those skills just offsets their own additional costs. Each person acting individually bears their own development costs but gains only a portion of the improved dance experience. Some of the benefits are distributed to their partners. If self-interest dominates as might be expected, individuals don't take into account how their skills affects others and do not pursue the development of tango skills to the point that others in the community would like. Consequently, each member of the community would like everyone in the community to develop a higher level of skills, but no one individual acting alone will do so. In addition, highly skilled dancers may find it difficult to keep their skills honed while dancing in a community dominated by mediocre dancers—further reinforcing the mediocrity.
In many activities dominated by mediocrity, those who have the aptitude and the desire to improve often find that a strong personal drive to excel can propel them well beyond where their own community is mired. But tango is a partner dance, and it is better to find at least one partner who is willing to work together toward the same goals of highly skilled dancing—by taking some private lessons, attending workshops in other cities and practicing a lot. But even if an individual couple working together succeeds in boosting their skills dramatically, they could find their enjoyment diluted when they dance with others in their own community, or they could find themselves feeling isolated when they no longer want to dance with others in the community who haven't made a similar committment to develop their skills.
Perhaps a better idea is to form a small practice group of both men
and women, in which everyone has similar goals, is willing to work and
to create a supportive environment for each other. In addition to
practicing together, the group might want to consider organizing lessons
for themselves, attending workshops in other cities as a group, etc.
Most importantly, everyone in the group must make a committment to developing
a high level of skills for dancing tango. When the group has succeeded
and begins attending milongas in the community, there will be less dilution
of the efforts because everyone in the group will have several potential
partners from the group with whom dance at milongas. Moreover, the
group's development may act as an impetus for better dancing in the entire
community because an increase in the number of better dancers in a community
raises the return to improving skills, even for those were outside the
Shortly after dancing with Pablo Veron at the 1999 Santa Fe Tango Week a woman told me in a gushing, dazzled tone, "I didn't feel like he led me so much as I felt like he willed my movements." Ever since then, what she described has been my goal as a leader—finding the balance between strength, grace and gentleness that conveys the lead in such a way that the woman doesn't feel at all pushed around, that she has a good idea what I am trying to have us accomplish, and that she is able to express her own voice.
Stermitz provides a list of the many ways to lead a woman's movement::
- leader changes weight
- follower steps on the slow beat unless prevented
- leader shifts axis
- leader lifts shoulder (uggh!)
- leader bends axis
- leader settles hips
- leader pushes hips out
- leader rotates (spirals)
- leader rotates (pivots)
- leader lifts and set down follower with arm
- leader uses tummy to lift and set down
- leader uses hands to move follower
Tom says that he uses all of the techniques on the list except shoulder lifts and axis bending. He doesn't like these two for tango. He adds, "The good leader uses multiple techniques at the same time, which can make the lead extremely subtle, yet extremely clear." What Tom describes sounds to me a lot like willing her movements.
I have taken a somewhat broader approach to learning how to lead, but one that is consistent with Tom's list. As I see it, nearly all of the lead as conveyed by movement of the man's torso, regardless of style. The man's right arm sometimes adds reinforcement as an extension of his torso's movement, but without any rigidity or sense of pushing. Use of the hand in leading is usually reserved to signal a few of the occasions when the follower is asked not to shift her weight as the man moves. There may be other exceptions, but nearly all uses of the hand to lead that I have seen taught are completely unnecessary and potentially unpleasant for the follower. Dropping or lifting a shoulder or bending the axis can take away from the perceived quality of movement in tango. The voice is not used for leading.
Whether one wants to pursue Tom's detailed list or take my broader approach
as an avenue for developing leading skills, it seems appropriate to explore
and be conscious about how each of the leader's movements contributes to
the intended lead, and then develop a body sense for the appropriate leading
movements. Either way, I see the goal as being the same—finding the
balance between strength, grace and gentleness that conveys the lead in
such a way that the woman doesn't feel at all pushed around, that she has
a good idea what the leader is trying to have them accomplish, and that
she is able to express her own voice.
In Dallas/Fort Worth area, the tango community seems to have a roughly equal balance between men and women. In some North American cities, the gender balance in the tango communities can be quite unequal, usually with more women than men.
Stermitz provides some insight about why that happens:
"In the beginner classes, the gender ratios are always close to 50/50. The problem is in the upper level classes. I don't want to be harsh, but look at the Adv-beginner and Intermediate classes for the different teachers in one community. Some are 50/50 some are 80/20. In other words, the problem is methodological and intentional (or ignorant).
"Retention rates in tango are low, so the filtering process is determines the gender ratios. Out of a new beginner class, maybe 90% quit. If the rejection rate is unbalanced, say 90% women and 95% men, the teacher is creating double the number of women. In other words, the filtering is so drastic that very small changes in the filtering process has a huge effect down the road."
Tom also offers some specific suggestions for retaining men in his Tango-L
According to Judi Neal at Edgewalkers, "[A]n edgewalker is someone who walks between two worlds." At Boundary Crosser, Carol Ross describes a boundary crosser as someone traveling in many worlds, fitting in none.
Crosser, Carol Ross wrote:
"To find a group of natural boundary crossers, join a community of tango dancers.
"I recently attended a friend's 50th birthday party ... What had not changed [about my friend] was his distinctive, rich voice, his engineering-oriented career, and his love of tango. ... In fact 90% of the party goers were [his] fellow tango dancers. ... The first part of the evening was spent talking to tango enthusiasts, about how they got started, where they dance, why they love it so much, and what they do when they are not dancing. During the second half of the evening, I was the keen observer of what makes this dance so magical, from the outfits worthy of a serious whirl on the floor, to the smooth moves from plenty of experts in full body motion. It was full immersion into another world for one evening.
"[I]t turned out most people at the party had been practicing tango, consistently, for five or more years. ... People don't take up the dance lightly. And like my friend, most had long-time careers in something completely different. The woman who sat across from me at dinner ... remarked how tango dancers fall into two camps—those in the 'touchy feely' professions (e.g., musicians, massage therapists, artists, nurses) and those in analytical professions (e.g., software developers, product managers, network administrators). She explained that it takes both sides of the brain to do tango and only those who can make the leap to the 'other side' become good at it.
"The dance takes close communication between the partners. ... It turns
out that alot of the communication comes through the chest. ... If this
wasn't complicated enough, there is no percussion in tango music. Finding
the beat can be a challenge for newbies. Other oddities I observed included
full stops in the dancing--complete pauses that are timed to integrate
seemlessly with the rest of the movement—and a swiveling of the female
hips reminiscent of a secret handshake. ... Unlike the stereotype of tango
as a movement of wild abandon, I observed it to be a thinking and sensing
person's dance, one requiring whole brain thinking."
"Be regular and orderly in your life like bourgeois, so that you may
be violent and original in your work." Gustave Flaubert
"To create a space where a person can explore his or her movement in
a safe place is much more important on any level of dancing than the moves
or technique." Nina Pesochinsky
Nina Pesochinsky wrote:
"If someone is comfortable with his/her own body, there is nothing and no one that can 'make' this person to be uncomfortable. What happens instead is that people ignore their discomfort in the regular life activities, move themselves out of the body and into the head, and stay there until they arrive to tango. Tango is just a mirror of what is already there.
"Walking in Buenos Aire is good for tango, true. But what is much better is to ride the old Mercedes buses. If you can keep your balance without holding on to anything, and do it every day, the tango improves dramatically. :)
"That 20 year old bodies are better than 40 year old bodies. Not true. 20 year old bodies are ignored and disconnected usually because the person is some place else. If one has been doing something with his or her own body since the age of 20, and has been doing it for 20 years (not tango, but something that involves some consistent and purposeful cultivation of the body), his or her body will be much, much better at 40 than at 20.. The problem is that many people arrive to tango after their bodies had fossilized, and after living in their heads for decades.
"The longer I dance, the less I understand who is a beginner and who is advanced. I believe that the problem is tango dimentia that sets in after some time of dancing—one sort of forgets the way home and it does not matter. :)
"Tango alone cannot teach a person to move and to be connected with the body. Other things are needed. There is a reason why people come to tango. More often than not it is subconscious. But each person does know what he/she needs or wants and is able to pursue it, if the conditions are right. To create a space where a person can explore his or her movement in a safe place is much more important on any level of dancing than the moves or technique.
"When people begin to dance, something important and big has already began to happen to their psyche. Some call it the emergence of the authentic self. It is a process for everyone. I believe that it is a very painful process. All transformations are painful.
"I believe that if a tango teacher recognizes that such a transformation
is taking place in his or her students, he or she can tend to the space
that is needed, and the trust that gets built, and gently help them move.
It is amazing to see the incredible speed with which people learn tango
in these conditions. The role of the teacher then become that of
helping a person to emerge authentic in the dance."
In the liner notes for her CD Troileana, Liliana
"[Anibal] Troilo was a passionate admirer of [Carlos] Gardel and spent his life fathoming the depths of the soul that had already been mapped out by the Mute One. For this purpose, he used his musical genius and the compass of his poets. Troilo, whose openess and generosity was legendary, was very parsimonius in his choice of lyricists: only the best would do. And, if truth be told, a considerable part of great Argentine poetry can be found in tango lyrics. Poetry that in Troilo's pieces carries the power of lived experience.
"This Gardelian exploration undertaken by Troilo and his friends lights up the the Golden Age of tango-song. Tango that is felt through the music, imagined in the lyrics and danced by our feet. This is the tango that I wish to celebrate in Troileana.
"Troilo's repetoire is magnetic, substantial, demanding. It is demanding on the listener because these tangos make you (almost, almost) want to slit your wrists. It is demanding on the musician because while its technical difficulty is first of all imposing, once this has been mastered, it must be abandoned in order to reach the emotion. And it is demanding on the singer, who must embark on a rollercoaster ride of high and low notes, rapture and silence, coarseness and tenderness.
"If anything, I have attempted to interpret these pieces with truth. With depth of feeling. As if they were my own veins."
For more information, about Liliana Barrios and Troileana, see
The terms used to describe styles of tango are not uniform. What one person calls "close-embrace-style tango" another might call "milonguero-style tango"—neither term necessarily referring to the way that milongueros dance tango. Whichever of these two term is used, what is meant is an attempt to teach a form of tango that is more suitable for dancing socially than for show.
Trini de Pittsburgh (aka Trina Regaspi) wrote:
"It seems to me that we may now be at a crossroads. The close-embrace 'movement' began as an answer to more show-style teaching methods (complicated patterns, open-embrace, etc.). As close-embrace became better appreciated, taught, and practiced in the U.S., it started to incorporate some nuevo elements. Both styles encouraged vocabulary that was organic. However, the close-embrace that I see most of the time is different from the style that I see the milongueros do. The milongueros do a lot of basic steps but add a lot of footwork for musicality. But now that close-embrace (in whatever form) has become more of the norm, are we now interested in it becoming more showy? I've noticed that it's the beginning women who want to do the showy steps (boleos, volcadas, leg wraps), and the men oblige them. And I can see it heading back to where we started—show tango."
For some related thoughts, see On
Style and Styles (4).
Nina Pesochinsky wrote:
"There is a huge confusion about 'styles' in tango. Some 'styles' are nothing more than bad form, bad technique, and, on the whole, bad dancing. ... People often select a 'style' without having the technique to build it on. Dancing in a 'style' without a technique is a lie, a cheap immitation of something that could be fabulous.
"I am all for tango nuevo in good form with technique and a lot of training. ... Gustavo, Fabian, Chicho and some others have technique that allows them to have a true style, chosen by them and not by default because they cannot do anything else. Most of those who imitate [Gustavo, Fabian, Chicho] and call themselves 'nuevo' dancers usually do not have such technique, tend to be quite lazy in regard to mastering the dance in a technical sense because they cannot dance anything else, are usually awful to dance with, look terrible and appear to be deaf, since most of the movements tend to happen outside of the music.
"Originally, nuevo tango was something very exciting. We all did it and worked like demons. And loved it. Now it is just a lot of bad dancing (with a few exceptions)."
Seduced by Tango (aka Tango Seduction) was to be a feature-length documentary hosted by Robert Duvall and intended for PBS broadcast. The project was cancelled for lack of funding later in 2008, What follows are my comments about the project from 25 March 2008.
Seduced by Tango follows acclaimed Tango artist Pablo Veron as he works with non-professional dancers from around the world. Each of the dancers is from a different culture, and each has a different story to tell. Although their differences might be profound, tango is what unites them as they work together toward a common goal: to perform tango at a milonga in Buenos Aires, the birthplace of Tango. Along the way, the viewers come to understand the dramatic history of tango as dance, music, and a metaphor for human connection.
In the video about Seduced by Tango, the producer/director Catherine Tatge says, "Tango has spread all over the world, and the passion that people have for it is just remarkable. I mean once you start dancing tango, it's like you can't stop."
Do you dance tango socially? Have you been seduced by tango?
Has your life been changed by your association with tango? If so,
you and your dance partner may be able to participate in the making of
a feature-length documentary film, led by Emmy Award winning director Catherine
Tatge. For information about participating in the film, see the Tango
Seduction or Seduced by Tango websites. (Both sites
Can anything match Argentine Tango for first, second, third or lasting impressions? This picture accompanies "Argentine Nights" an article in the March 16 issue of the New York Times about expatriates and various aspects of Buenos Aires nightlife including tango.
"The greatest improvisers of all time spend their effort not on improvising
but on practice." Chris Kimball (of America's Test Kitchen)
Chris John Jordan wrote:
"To 'dance tango' is to dance the music that is tango."
In writing for this column, and in thinking about tango, I frequently find myself drawn to ideas and stories that help define artistry and mastery.
In the Winter 2007 issue of Jazz Improv magazine, Sue Terry recounts a story that was told to her by bassist Chip Jackson who had heard it from jazz pianist Billy Taylor. The essence of the story follows.
Many years ago, when jazz pianist Billy Taylor was on an extended engagement on the West Coast and jazz pianist Art Tatum was living and playing on the West Coast, the two would hang out together in after-hours clubs, where bands often played informally all night long.
One night Taylor and Tatum were in such a club, when a European approached Tatum and introduced himself as a pianist and Tatum admirer. He said, "With your permission, I'd like to play your version of Tiger Rag." (Tatum was known for playing in an extremely complex style.)
The man sat down and played the difficult piece note for note, just as Tatum had recorded it. Disinterested, Tatum sat at the bar and ordered another beer.
Taylor said to Tatum, "Ths guy is pretty good."
But Tatum shook his head and responded, "He knows what I do, but not
why I do it."
Escaping, 24 December 2012
Imagination, 1 December 2012
Narcotango Recording New Studio Album, 30 September 2012
Videos de Milongas, Buenos Aires, 2 February 2012
Andrea Missé, 2 January 2012
Technique, 16 December 2011
Without the Music, 8 December 2011
Let's Step on the Ground, 7 December 2011
Awaken, 6 November 2011
Proof, 7 October 2011
Gloria y Eduardo: 50 Años con el Tango, 3 July 2011
Mastering Technique, 15 June 2011
Tradition, 30 May 2011
Buying Tango Shoes in Buenos Aires, 30 May 2011
Tango de Salon or Tango Milonguero?, 29 May 2011
Myths About Dancing Tango, 1 May 2011
The Continuing Conflict Over Tango Styles, 17 April 2011
Nuevo Milonguero, 13 April 2011
The Dancer's Expression, 9 March 2011
Happy New Year, 1 January 2011
How We Are Together, 7 November 2008
Egotism or Cluelessness?, 26 October 2008
Wanting What You Want, 26 October 2008
Unskilled and Unaware, 4 October 2008
Who Holds the Key?, 7 September 2008
Remembering, 2 September 2008
Professionalism and Creativity, 1 September 2008
Chasing the Steps, 18 May 2008
Everyday Goals, 8 May 2008
So Much More, 6 May 2008
Taking Control of One's Own Development, 2 May 2008
Some Thoughts about Leading, 30 April 2008
Gender Imbalance in Tango, 24 April 2008
It Takes Two Minds to Tango, 23 April 2008
Being Original, 22 April 2008
Exploring Movement, 22 April 2008
Kinesthetic Sense, 21 April 2008
Troileana, 14 April 2008
Close-Embrace-Style Tango at a Crossroads?, 12 April 2008
On Style and Nuevo Tango, 4 April 2008
Seduced by Tango, 25 March 2008
Argentine Nights, 18 March 2008
Improvising, 7 March 2008
To Dance Tango, 21 February 2008
Why He Did It, 06 February 2008
Blogging: Truth or Truthiness?, 26 November 2007
What Is a Master?, 17 November 2007
Orquesta Color Tango in Dallas (2), 2 October 2007
Orquesta Color Tango in Dallas, 20 September 2007
All Things, 24 August 2007
Staying Alive, 23 August 2007
Education, 22 August 2007
Finding Our Own Tango, 6 August 2007
Tango Is Simple, 1 August 2007
Who We Were Meant To Be, 1 August 2007
The Woman's Role in Tango (2), 1 August 2007
On Perfection and Heaven, 31 July 2007
Practicing for Effective Dancing, 31 July 2007
The Woman's Role in Tango, 26 July 2007
The Embrace and Tango, 24 July 2007
Open or Close Embrace?, 24 July 2007
Tango Festivals and Approaches to Learning, 23 July 2007
Learning the Structure of Tango, 23 July 2007
The Structure of Tango, 20 July 2007
Approaches to Learning and Authenticity, 19 July 2007
Authenticity, 19 July 2007
StepMeisters Abound, 16 July 2007
Invierno Porteño, 5 June 2007
Tamango on YouTube, 26 February 2007
Otoño Porteño, 12 February 2007
Where to Buy Tango Shoes in Buenos Aires, 12, February 2007
Illegal File Sharing Doesn't Affect CD Sales, 12, February 2007
The Greatest Ideas, 25 January 2007
Headlines and the Human Body, 24 January 2007
On Differing Styles and Overtraining, 17 November 2006
Changes in the Tango Scene, 9 November 2006
Bridge to the Tango Videos To Be Discontinued, 6 November 2006
What the Bleep is Tango?, 9 October 2006
An Interview with Roberto Alvarez of Color Tango, 8 September 2006
Dancing, 31 August 2006
Argentine Tango: The Way You Dance It, 16 June 2006
Finding Self-Expression and Freedom in Argentine Tango, 16 June 2006
North American Tango Festival Update, 14 June 2006
Evolution, 8 June 2006
Becoming an Expert, 6 March 2006
Destiny, 14 February, 2006
Knowledge and Wisdom, 1 February 2006
Tango Workers or Dancers?, 10 January 2006
North American Tango Festival Update, 1 January 2006
Are Disagreeable People Entertaining?, 30 December 2005
Will Your Dreams Come True in Buenos Aires?, 21 December 2005
North American Tango Festival Update, 1 December 2005
Dancing Tango Boosts Brain Function, 21 November 2005
Familiarity Breeds Comfort, 21 November 2005
The Music Is Essential 21 November 2005
Dancing to the Classics, 21 November 2005
Is Argentine Tango Changing?, 21 November 2005
The Joys of Simple Tango, 9 November 2005
Finding the Best Style of Tango, 2 November 2005
North American Tango Festival Update, 1 September 2005
Developing Skills for Social Dancing, 12 August 2005
On Style and Styles (4), 12 August 2005
The Dance, 10 August 2005
On Style and Styles (3), 10 August 2005
On Style and Styles (2), 9 August 2005
On Style and Styles, 8 August 2005
Seduction or Imposition? (3), 27 July 2005
Seduction or Imposition? (2), 27 July 2005
Seduction or Imposition?, 26 July 2005
Hidden Tango Conversations, 25 July 2005
Finding Connection (4), 25 July 2005
Finding Connection (3), 22 July 2005
Finding Connection (2), 22 July 2005
Finding Connection, 21 July 2005
Incomplete Education, 19 June 2005
The Invitation to Dance in Buenos Aires, 11 May 2005
Resolving Problems, 11 May 2005
Tango to Evora (Alternative Tango), 19 April 2005
Why We Dance Tango, 16 March 2005
Hit and Run Milonga Through Christo's Gates, 28 February 2005
Tango: The Spirit of Argentina, 25 February 2005
Cultural Values and Styles of Argentine Tango, 20 February 2005
Tango Is (Fill in the Blank), 10 February 2005
Asfalto, 4 February 2005
Roles and Relationships in Argentine Tango, 1 February 2005
North American Tango Festival Season Underway, 31 January 2005
Milongas in Buenos Aires Reopening, 28 January 2005
Being A Follower on Axis in All Styles, 18 January 2005
Dancing to the Music (4), 1 January 2005
Dancing to the Music (3), 30 December 2004
Dancing to the Music (2), 20 December 2004
Dancing to the Music, 17 November 2004
El Arranque on Tango Fusion and Other Approaches, 10 November 2004
A Tango Festival during Thanksgiving in Austin, TX, 27 October 2004
Robert Duvall in Dallas, 27 October 2004
How Am I Not Myself?, 26 October 2004
Some Tango-Fusion Music to Consider, 12 October 2004
Bravery, 17 September 2004
Becoming a Good Tango Dancer (4), 9 September 2004
Becoming a Good Tango Dancer (3), 8 September 2004
Beginners Taught by Masters, 7 September 2004
Some CDs for Learning About Tango Music, 23 August 2004
La Yumba, 20 August 2004
Argentine Tango Survey, 17 August 2004
The Road Not Taken, 12 August 2004
Becoming a Good Tango Dancer (2), 9 August 2004
Becoming a Good Tango Dancer, 6 August 2004
Excellent Teachers, 16 July 2004
Art as an Expression of Oneself, 16 July 2004
Tango Terminology, 15 July 2004
What's New?, 22 June 2004
To Embrace, 13 June 2004
Shall We Dance?, 10 June 2004
Denver TangoFest Recap, 9 June 2004
Techno Tango, 3 June 2004
Denver TangoFest Photos, 3 June 2004
No Right or Wrong in Tango, 3 June 2004
Stretching Exercises for Tango Dancers (2), 2 June 2004
Intelligent Dancing, 2 June 2004
Stretching Exercises for Tango Dancers, 1 June 2004
Tango Takes to the Air in Colorado, 1 June 2004
Leading and Following, 28 May 2004
More on Dancing at Tango Festivals (3), 28 May 2004
Tango Animation Online, 26 May 2004
More on Dancing at Tango Festivals (2), 25 May 2004
More on Dancing at Tango Festivals, 25 May 2004
Inside the Dream: Celebrating Women Who Dance Tango, 24 May 2004
Inside the Dream, 24 May 2004
Dancing at Tango Festivals, 23 May 2004
The Summer Tango Festival Season Is Upon Us, 23 May 2004
The Best Teachers, 23 May 2004
Cliquishness at Milongas, 19 May 2004
Lao-Tzu on Leadership, 19 May 2004
Teaching the Inner Essences of Tango, 18 May 2004
What About Leading?, 18 May 2004
The Gift of Tango, 17 May 2004
Following Doesn't Describe the Role, 17 May 2004
Why Biased Views Are Self Perpetuating, 15 May 2004
Ultimate Partnering, 14 May 2004
On Seeking Heaven Rather than Perfection, 14 May 2004
American, Argentine and International Tango, 14 May 2004
What Appeals to Today's Tango Dancer, 13 May 2004
Dancing with Grace, 13 May 2004
Yin and Yang of Tango, 13 May 2004
Developing Ease, 13 May 2004
Dancing in the Music, 13 May 2004
Dancing on the Beat, 13 May 2004
Open Architecture and Tango, 13 May 2004
On Language and Tango, 13 May 2004
Developing Mastery, 13 May 2004
Developing Their Own Style, 13 May 2004
A Tender Embrace, 13 May 2004
Open Embrace, Soft Embrace, 12 May 2004
Intensifying the Experience of Tango, 11 May 2004
Why Goldern Age Music Still Dominates Milongas, 5 May 2004
The Meeting of Two Personalities, 3 May 2004
Approaches to Teaching and Learning Tango, 30 April 2004
Taking Tango Styles to Extremes, 24 April 2004
Rhuummmp and Ric Tic, 23 April 2004
Dancing Tango in Tight Spaces, 13 April 2004
Partitioning the Dance Floor to Accomodate Different Styles, 12 April 2004
The Sweet Zone of Tango Rhapsody, 11 April 2004
Nostalgia for the Bohemian Ideal, 6 April 2004
Tango Chooses You, 5 April 2004