ONE TANGUERA'S EXPERIENCE WITH GUILLERMO DEFAZIO
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Lynn
Aug 21, 2008, 11:58:48 PM8/21/08
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BACK TO SCHOOL
Tango school, that is. Ok, not school, but to classes. A class, to be precise.
Every now and then I am inspired to take a private class from a visiting teacher (group classes ceased to be beneficial for me about 6 years ago). And who, you may ask, would possibly draw me out of my bah-humbug-ness and pay through the nose for the privilege?
"Los Hermanos Macana" - the phenom brothers act turning the tango world on its ear. THAT's who. I have referred to them previously on this blog, and for me they are - if not the absolute best - very near the top of the heap of professional tango dancers. I did not know if they were equally excellent teachers, but I was about to find out.
I will not ramble on about why I believe they are the best, but it has to do with how they combine an extraordinary level of technicality, musicality, musical expression, and humor - the latter sorely lacking in most tango expression.
I grant you the brothers do NOT represent the more "sensual" or "romantic" aspect of Tango (although I personally find laughter VERY sexy). Last night they performed at a local milonga to a thunderous reception. The attendance record was broken by a landslide. I have seen many luminaries dance through our town, and none have received the screaming accolades and demands for encores the way they did. These are substantive dancers who just happen to be adorable and charmingly funny.
But back to the lesson.
I wanted to take a class with them because I felt that after almost a year of not dancing, this might be a good time to review my technique, and work on any issues I may have developed or that might be developing. And since I think these guys are technique GODS, who else to go to?
I booked the lesson through a local tanguera who is hosting them, and requested the taller of the two brothers, since I'm about 5'10" in heels, and didn't want to tower over the shorter one. So, you can imagine my reaction when I arrived at my lesson, the door opened, and I found myself craning my neck straight up to look at Guillermo. He is 6'5" (and weighs about the same as I do.) Enrique, the "short" brother, is 6'2"...
Although Guillermo compared me (favorably) to his mother... he is absolutely adorable. And a really terrific teacher. I asked him which brother was the better dancer and he unequivocally answered it was Enrique, although he was the better actor. After an initial dance to assess my "level", he identified a couple of things he wanted to work on. But first, he complimented me on my dancing, telling me I had the soul of tango and that my dancing expressed that.
His first correction - surprise! - was to my foot position during ocho pivots. Like so many people who have been dancing Tango a while, I constantly seek to find more "artistic" foot positions for my steps, as well as emulating certain movements or touches I found pleasing in others. Sometimes the result, without my realizing it, is that my artistic foot position becomes a technical problem. In this case, that lovely "v" position during ochos (imported from Ballerina-land) was the culprit for several tiny technical difficulties I have been experiencing since - well, I imagine since I started doing that "v" position! Back to parallel!!!
The second thing we worked on was a direct result of correcting this tiny foot position. Now that my right foot wasn't flared out but parallel to the other during the pivot, I could step directly into my partner on his right without any worries about the tip of my right foot catching on the tip of his right foot. Executing the ocho with my feet in this position allowed me to maintain full body contact throughout the movement without having to keep a tiny distance for my right foot clearance. Outstanding. What a difference!!
And finally, he corrected a detail on my giros. He described a "triangle" my steps create in the giro to my right, and a parallel exit from the giro to my left. It took me a while to figure out what he meant, and then another while to translate the information into my body. But when it all came together, the result was a crisp, perfectly executed giro in either direction without any wobble from overcorrecting.
These corrections, and this class, were more for my own, internal personal journey. Most leads would probably scarcely notice these adjustments. But they make a world of difference to me. I am known for my exceptional smoothness in dancing, which I achieve by making minute adjustments to any of my own technical imperfections as they occur. The less I have to correct myself, the more I can stay in that smooth and luscious "flow". So these tiny corrections make a world of difference in my own enjoyment.
At the end of the class, Enrique arrived (straight from the airport), and Guillermo had me dance with him. I was shocked by how their dancing styles are such polar opposites!! Guillermo has a very playful, very relaxed style, while Enrique is a highly polished "bailarin". Although dancing with them both was a died-and-gone-to-heaven joy, and although Enrique was a much better height for me, I felt much more comfortable with Guillermo. Without know it, Guillermo was the perfect brother for me to have studied with, since our dancing styles - and our humor - were most similar.
Learning and improving our tango, no matter how long we've been doing it, is a never-ending, lifelong undertaking. We should never stop learning. It is rare to have an "aha!" moment in any class. Much less three of them in one class. It was a gift, and a total joy both to study with my idols, and to know I can keep up with them.
Every now and then I am inspired to take a private class from a visiting teacher (group classes ceased to be beneficial for me about 6 years ago). And who, you may ask, would possibly draw me out of my bah-humbug-ness and pay through the nose for the privilege?
"Los Hermanos Macana" - the phenom brothers act turning the tango world on its ear. THAT's who. I have referred to them previously on this blog, and for me they are - if not the absolute best - very near the top of the heap of professional tango dancers. I did not know if they were equally excellent teachers, but I was about to find out.
I will not ramble on about why I believe they are the best, but it has to do with how they combine an extraordinary level of technicality, musicality, musical expression, and humor - the latter sorely lacking in most tango expression.
I grant you the brothers do NOT represent the more "sensual" or "romantic" aspect of Tango (although I personally find laughter VERY sexy). Last night they performed at a local milonga to a thunderous reception. The attendance record was broken by a landslide. I have seen many luminaries dance through our town, and none have received the screaming accolades and demands for encores the way they did. These are substantive dancers who just happen to be adorable and charmingly funny.
But back to the lesson.
I wanted to take a class with them because I felt that after almost a year of not dancing, this might be a good time to review my technique, and work on any issues I may have developed or that might be developing. And since I think these guys are technique GODS, who else to go to?
I booked the lesson through a local tanguera who is hosting them, and requested the taller of the two brothers, since I'm about 5'10" in heels, and didn't want to tower over the shorter one. So, you can imagine my reaction when I arrived at my lesson, the door opened, and I found myself craning my neck straight up to look at Guillermo. He is 6'5" (and weighs about the same as I do.) Enrique, the "short" brother, is 6'2"...
Although Guillermo compared me (favorably) to his mother... he is absolutely adorable. And a really terrific teacher. I asked him which brother was the better dancer and he unequivocally answered it was Enrique, although he was the better actor. After an initial dance to assess my "level", he identified a couple of things he wanted to work on. But first, he complimented me on my dancing, telling me I had the soul of tango and that my dancing expressed that.
His first correction - surprise! - was to my foot position during ocho pivots. Like so many people who have been dancing Tango a while, I constantly seek to find more "artistic" foot positions for my steps, as well as emulating certain movements or touches I found pleasing in others. Sometimes the result, without my realizing it, is that my artistic foot position becomes a technical problem. In this case, that lovely "v" position during ochos (imported from Ballerina-land) was the culprit for several tiny technical difficulties I have been experiencing since - well, I imagine since I started doing that "v" position! Back to parallel!!!
The second thing we worked on was a direct result of correcting this tiny foot position. Now that my right foot wasn't flared out but parallel to the other during the pivot, I could step directly into my partner on his right without any worries about the tip of my right foot catching on the tip of his right foot. Executing the ocho with my feet in this position allowed me to maintain full body contact throughout the movement without having to keep a tiny distance for my right foot clearance. Outstanding. What a difference!!
And finally, he corrected a detail on my giros. He described a "triangle" my steps create in the giro to my right, and a parallel exit from the giro to my left. It took me a while to figure out what he meant, and then another while to translate the information into my body. But when it all came together, the result was a crisp, perfectly executed giro in either direction without any wobble from overcorrecting.
These corrections, and this class, were more for my own, internal personal journey. Most leads would probably scarcely notice these adjustments. But they make a world of difference to me. I am known for my exceptional smoothness in dancing, which I achieve by making minute adjustments to any of my own technical imperfections as they occur. The less I have to correct myself, the more I can stay in that smooth and luscious "flow". So these tiny corrections make a world of difference in my own enjoyment.
At the end of the class, Enrique arrived (straight from the airport), and Guillermo had me dance with him. I was shocked by how their dancing styles are such polar opposites!! Guillermo has a very playful, very relaxed style, while Enrique is a highly polished "bailarin". Although dancing with them both was a died-and-gone-to-heaven joy, and although Enrique was a much better height for me, I felt much more comfortable with Guillermo. Without know it, Guillermo was the perfect brother for me to have studied with, since our dancing styles - and our humor - were most similar.
Learning and improving our tango, no matter how long we've been doing it, is a never-ending, lifelong undertaking. We should never stop learning. It is rare to have an "aha!" moment in any class. Much less three of them in one class. It was a gift, and a total joy both to study with my idols, and to know I can keep up with them.
From Johanna Siegmann's Tangri-La Blog
FMI on Los Hermanos Macana in Los Angeles: www.casadepractica.com
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