Teaching Liam Neeson

MarkFeltjpg

There will be a special tango scene in the upcoming movie “Mark Felt”. Photo: markfeltmovie.com

 

“You have to teach Liam Neeson!” the caller urged her. It was nobody less than Marcos Questas. “He does not know one step!” he continued. Well, an urgent request by Maestro Questas from LA means you don’t think twice!

On the receiving end of the line was Karina Romero, a veteran teacher among the New York Argentine tango community. She was trying to grasp what she had just heard: she had been asked to coach one of Hollywood’s biggest stars for an upcoming movie!

Questas, a sought-after choreographer for film and television (he worked on the Latin Grammy Awards), had a problem. He had been signed as the choreographer for a prominent tango scene in a high-profile spy thriller about the Watergate scandal by Peter Landsmann — Mark Felt: The Man Who Brought Down the White House. He had already started rehearsing the dance scene with Diane Lane, who plays Liam Neeson’s wife in the movie. But he urgently needed an instructor at the other end of the country in New York, where Neeson lives, to train him for his part. Questas knew about Karina Romero through Carlos Copello, the grand master of tango (Forever Tango, The Tango Lesson, Assassination Tango). Being part of Copello’s circle means being part of an exclusive network of tango professionals who can trust one another.

Karina Romero accepted. And Marcos Questas could for now, and until the shooting began, relax. Then he would see if the teacher in New York had been doing a good job.

But back in New York, Karina Romero could not have anticipated what was about to happen once she agreed. The wheels had already begun to spin and she had taken on a big responsibility. How did she prepare for coaching a film star for a big budget movie, I am curious to know? Karina takes a deep breath. Then she bubbles over with excitement about those few weeks this past summer which were for her ‘a dream come true’.

The business aspect, she explains, was the first ‘wow!’ experience. “Everything happened really fast,” she remembers. Without having time to think it all over, she found herself thrown into the Hollywood business. Within minutes after talking to Questas, her phone began ringing nonstop. She received several calls from the film studio, and was sent a lot of paperwork to sign her up as the leading star’s dance coach for the production of Felt. Once that part of the deal was settled, it took just about another five minutes for Liam Neeson’s agent to call and schedule the lessons for his client. As she was about to give directions to her dance studio, the agent politely interrupted and explained that Mr Neeson was a very private person and that the lessons had to take place at his house.

Quickly rearranging her own schedule, she agreed and then ‘spent the rest of the day watching all of Liam Neeson’s movies to see how he moves’. The very next day at eleven in the morning, she found herself sitting in this ‘very big apartment’ where everybody was ‘so very nice’ to her, waiting for her famous student to arrive, a cup of tea in front of her.

“At that moment it hit me,” she tells me with her delightful accent. “I was going to teach Liam Neeson! Oh my God!” But there was no time to be nervous. She heard him approaching through the living room, and listened intently to the sound of his shoes as he moved across the floor. “I hear how strongly he walks,” she remembers, audibly smiling over the phone, “and what a connection his feet have to the floor!” As she quickly took a mental note of his characteristic steps, the door opened and the star himself appeared and greeted her.

Despite his imposing size – he is said to be six foot four — Liam Neeson turned out to be shy indeed. He thanked her politely for coming to his house and introduced himself humbly:  “Sorry, it’s going to be very hard!” Just as Questas had indicated, he had no dance experience.

So Karina started with some basic walking exercises. After the first round of walking with her new student she could feel how her own nervousness fell away. She says she settled into her role as the teacher and ‘stopped thinking about how famous he was’. Her new student on the other hand turned out to be ‘very respectful to learn’. And indeed he had a lot to learn. Not only did he have to master the basics in tango, but he also had to memorize Marcos Questas’ choreography to the piece he had chosen for the movie: Osvaldo Fresedos’ Vida Mia. “Simple,” states Karina, “but difficult for a beginner.”

Another challenge in teaching him was that the actor, whom she came to realize was a sensitive person, was initially afraid to dance. So she decided to take it slowly — “I did not want him to be in shock!” — and not think about the time pressure — she had to get her famous student ready in only fifteen hours over the stretch of three weeks.

“You need to practice!” she told him decidedly at the end of the first lesson. “We meet again tomorrow!” She also suggested that he wear dress pants and a shirt to get a better feeling for the elegant movement of the dance.

LIAM

Tango talent: Karina Romero teaching Liam Neeson. Photo by Karina Romero

By her return the following day, Mr Neeson had done his homework and practiced a lot. And he continued to be prepared for all the lessons that were to come. “He really wanted to learn,” she explains, impressed by how seriously he took his tango studies. “He was a very smart student and he really wanted to understand.” His sincere interest in learning and his disciplined way of studying were well received by his Argentine teacher. They developed an artistic connection that Karina describes as very special. “This connection on an artistic and human level was the biggest gift for me,” she says.

But she still had to push for fast progress. At some point she provoked the actor in him, inviting him to find his role in tango and act it out on the dance floor: “If you were a singer,” she said, “you’d be Julio Sosa. This is the voice you would be in tango.” That was the magic trick. She had him practice to some Sosa tunes and says she could see how he changed and started to connect more.

gabriel-mise

Gabriel Missé concidently became an inspiration for Liam Neeson. Photo: Boston Tango

The big breakthrough, however, came when she introduced Mr Neeson to Gabriel Missé, one of the hottest stars of recent years in the world of Argentine tango. Mr Missé happened to be in town for a workshop series that Karina arranges every year in August. She told Mr Neeson about Missé, and he became interested and asked her to bring him along. It was obvious that both men, each one a star in his respective artistic field, clicked immediately.

Mr Neeson asked Karina to dance with Missé — a moment which she describes as ‘being in heaven’ — and noticed how he enjoyed watching their little demonstration. Next, the two men danced together. She put a tango hat on Neeson and said: “Now act!” And then in front of her eyes something magical developed: As Liam Neeson danced with Gabriel Missé, he became Julio Sosa, executing all the steps he had learned: the ‘baldosa’, the ‘cunita’, the ‘box’, and the ‘sandwichito’. “It was a dream come true!” she revels. “And I saw two big persons together!”

When their coaching sessions came to an end and Mr Neeson started to prepare for the shooting of the film in Atlanta, he thanked her profoundly, promising to make her proud. She in return threatened jokingly: “I will kill you, Liam Neeson, if you don’t dance well in the film!” She remembers being quite nervous the day when the scene was shot far away in Atlanta. Finally she received a message saying: ‘Thank you, maestra, you helped me a lot!’

Mark Felt is going to come to theaters next Thursday, September 29, and I wonder if her name is going to be in the credits? “I don’t know,” she replies. “I’m relaxed about this. I believe this experience was a gift of God. There was an artistic connection, a magic, and the magic happened in the human part, in the connection of the soul.”

Did she get invited for the opening night? No, she says, but for sure she is going to be among the first ones to watch it — with a group of her girlfriends, somewhere in New York.

 

Advertisements

Le Grand Tango – an updated and expanded biography of Astor Piazzolla

Piazzolla

Cover of the updated and expanded digital edition published by Astor & Lenox

 

When Astor Piazzolla died in 1992, he was not much appreciated in his native Argentina. The tango composer, bandoneon player, and arranger, although well-known the world over, had stirred up a great deal of controversy with his music. The traditional tango world was still predominant in his home country at the time of his death twenty-five years ago, and he was a rebel. “He was hated because he broke a paradigm,” says María Susana Azzi, “and he changed that paradigm.”

Mrs Azzi is the co-author of Le Grand Tango: The Life and Music of Astor Piazzolla, a detailed biography that may represent the most comprehensive work about the composer’s life and work to date. Surprisingly, the book first appeared in the year 2000 in English, published as a hardcover edition (it was a few years before e-books became common) by Oxford University Press. It says a lot about Piazzolla’s reputation in Argentina that a Spanish edition was published only later after many translations into other languages had appeared.

The biography is based on a large number of interviews and other books about Piazzolla. Together with the late Simon Collier, Professor of History at Vanderbilt University, it took Mrs Azzi seven years to collect and meticulously reconstruct details and events of Piazzolla’s complex life. It was Mr Collier who, not long after Piazzolla’s death, approached Mrs Azzi with the proposal for a biography. A British-born historian, Simon Collier’s prime academic focus was on Latin American studies and, in particular, Chilean political history. But it was his passion for tango that had led him to write a well-regarded biography of Carlos Gardel in 1986, in which he uncovered the intertwining of tango and the history of the city of Buenos Aires. His knowledge of tango turned him into a contributor to the tango history collection of Harlequin Records, for which he wrote twenty sleeve notes.

Simon Collier

Simon Collier

By the time Mr Collier came forward with his idea for a Piazzolla biography, Mrs Azzi had already established herself as one of the few academic experts on the subject of Argentine tango. She had published a respectable number of research papers and articles, and she had given numerous lectures on the topic. As a cultural anthropologist her main interest in tango lay in its socio-economic aspects. “Tango can be seen as a huge window into the social economics of Argentina,” she told me when I spoke with her earlier this summer.

Not long after she and Mr Collier began their research work for the Piazzolla biography, it became clear that Mrs Azzi would end up conducting the majority of the interviews. She worked with about a thousand informants and consultants on the subject of tango, and conducted two-hundred and thirty of the two-hundred and forty interviews for the book. In the end, the duo’s extensive research had to be condensed to three hundred and sixty pages, but they revealed an astonishing number of facts and little-known details about Piazzolla’s life, all of which contributed significantly to his groundbreaking work.

For a wonderful foreword Mrs Azzi interviewed Yo-Yo Ma, the world-famous cello player, widely known for his admiration of the grand tango master and who has performed and recorded many of his pieces. The book begins with a detailed chronicle of Piazzolla’s family, infused with anecdotes about his early childhood in Mar del Plata in the midst of a closely knit Italian-Argentine community, followed by his rough upbringing on New York’s Lower East Side after his parents had emigrated to the United States. Then there are descriptions of encounters with some of the most influential tango musicians of the Golden Era of Tango — Carlos Gardel among them — many of whom, intentionally or unintentionally, left an impact on young Astor. As a teenager, Piazzolla developed a strong interest in jazz and classical music, at the same time as slowly discovering the soul of tango. Encouraged by his composition teacher in Paris, Nadia Boulanger, his passion for all three genres ultimately led him to develop his own modern tango style, which was demonstrated by three notable groups: the Octet (1955), the first Quintet (1960), and the Nonet (1971). By the mid-fifties he had taken tango to a whole new level and had begun to compose in a unique style. Now, also established as a sought-after bandoneonist in Argentina, he had played with some of the most important tango orchestras of the time, most notably with Anibal Troílo’s Orquesta Típica.

Azzi-small

María Susana Azzi

“He was,” says María Susana Azzi, “a musician and a genius who combined classical music and tango, which is difficult. But he didn’t think of himself as a genius.” By the time of his death at age seventy-one he had composed a vast body of three-thousand five-hundred pieces of music, including orchestral works (Concierto Para Bandoneon), pieces for solo classical guitar (Cinco Piezas), song-form compositions (Adíos Nonino), and music for film, and was considered one of the most prolific composers of all time. He was not a political person, but ‘an anti-Peronist’ adds María Susana Azzi.

The Argentine anthropologist seems to have become as intimate with Astor Piazzolla as some of his family and friends who knew him personally and closely during his lifetime. Just like Piazzolla, with whom she shares Italian roots, she considers herself a typical result of Argentine society. “Argentine society has always been a melting pot,” she says. “It is an inclusive and open society without ghettos.” Le Grand Tango, even though not an authorized biography, quickly became a recognized resource for Piazzolla fans. Mrs Azzi, who has during the course of her research, become close to the Piazzolla family, mainly his daughter Diana, says the family appreciates it.

Sadly, only three years after the book’s publication, Simon Collier passed away, leaving the rights to the book with Oxford University Press. When Mrs Azzi regained the rights to her book, a friend asked if she would consider publishing an updated version. This friend — Terence Clarke — happened to be a tango afficionado from San Francisco who had been introduced to Mrs Azzi in 2003 by the acclaimed tango singer and composer María Volonté. Mr Clarke is the co-founder and director of a new and small publishing-house, Astor & Lenox, whose mission is to ‘print and publish ebook editions of remarkable out-of-print books.’

Mrs Azzi agreed to a new version only to find out, as she told me, that “more than seventy people interviewed for the first edition have since died.” As a result, she undertook additional research for the new version. Most interesting about the new edition, now expanded by an additional one hundred pages, is that it reflects events that have contributed to the growth of Piazzolla’s influence since his death. “Piazzolla is greater than ever,” adds publisher Terence Clarke. “He is much more accepted than in 1992, and his popularity keeps growing.”

After a complete re-edit of the republication, Astor & Lenox published the anniversary digital edition last February — just in time for the twenty-fifth anniversary of Piazzolla’s death on July 4. Mr Clarke says that he is considering publishing a print edition. An expanded Spanish edition is also expected to come out soon.

The updated and expanded digital version of Le Grand Tango: The Life and Music of Astor Piazzolla by María Susana Azzi, published by Astor & Lenox is available online.

Tango comes to you

An interview with Christy Cote who celebrates her 20th anniversary as a tango teacher

Christy portrait

A most popular tango teacher: Christy Cote (Photo by Shell Jiang)

In January 1996 Christy Cote made a decision that would change her life forever: she quit her daytime job and became a fulltime professional Argentine tango teacher. She had fallen for tango when the legendary “Forever Tango” show arrived in San Francisco in 1995. She was completely captivated and ushered to see every single show for free for 56 performances after that. Twenty years later Christy Cote is now one of the most popular and successful tango instructors in the country. Among her prestigious mentors and partners she can count tango legend Carlos Gavito and stars like Pampa Cortes, Facundo Posadas, Daniel Lapadula and Eduardo Saucedo.

While San Francisco remains her home base, she has taught and performed all across the USA and even in Buenos Aires. She has appeared repeatedly as a teacher and performer at the world’s premier Argentine tango festival, CITA in Buenos Aires. She is one of the founders as well as a performer and choreographer of the all-female tango performance group “Tango Con*Fusion.” She has created her own teaching method, which has been published by Dance Vision, together with instructional videos, and has recently started her own “Associate Teachers Program.” She is also the creator of a highly successful series of Tango Boot Camps.

I was lucky enough to catch her at the “Tango USA Championship” while she was waiting to be called to the judges’ panel, and this is what she revealed about her long and astonishing career:

Question: How do you feel about judging other dancers at the championship tonight?

Christy Cote: When I was asked to be on the judging panel for the first championship back in 2012, I didn’t like it at first. But it got better and now I enjoy it. When people compete, they do it because they want to be judged. It’s different from social dancing and performing. I used to compete in ballroom dancing, so I know what it’s like.

Q: How did you first get into ballroom dancing?

CC: I was actually a jazz dancer, but then in the seventies disco became popular and I got interested in partner dancing. So one day I walked into an Arthur Murray studio on Sutter Street and they gave me a twenty-minute private lesson for free. Then they said they were looking for ballroom teachers, and next thing I knew I enrolled in their teacher training and became a ballroom teacher.

Q: If you liked it that much, why did you drop ballroom and go into Argentine tango?

CC: As they say, tango comes to you! At the time when that happened, everything changed for me: I broke up with my boyfriend, I broke up with my ballroom dance partner, Larry, and I was diagnosed with breast cancer. I had no idea what would happen to me, I thought I was going to die. So I gave everything up – my daytime job, my ballroom dancing – and I took the leap. Then something new started to emerge. I went to Argentina from October 1995 to March 1996, and after I came back from that trip, I met Carlos Gavito. He became my mentor, but I didn’t believe a lot of what he told me.

Q: Like what?

CC: For example, he said: “Train your partner.” I didn’t believe that. Since then I’ve trained about four of my professional partners, including Darren Lees – who I never thought would become my professional partner – and Eugene Theron.

Q: Wasn’t it a scary move to leave your previous life behind?

CC: I was never scared of the future, certainly not at that time when I had breast cancer. I felt I had nothing to lose. I lived in the moment. At the time, I partnered up with Pampa Cortes. New things just emerged. Before, I had always thought that I needed a day-time job and the security. And there I was all of a sudden, no longer driving a company car, no longer going out to high-end restaurants, no more fancy vacations. I don’t need all of that anymore. A vacation from what? I love what I’m doing!

Q: Times have changed since the mid-nineties. Tango has become widespread and there a lot more teachers and milongas everywhere. And the economy has changed, expenses are much higher. What would you tell someone today who wants to get into tango as a professional?

CC: Times have certainly changed and the competition is tough. I was at the right place at the right time. But if you’re passionate and if you believe in yourself, do it. Of course, I wouldn’t start out in a place like the Bay Area where there are so many good teachers. But if you can go to a small town anywhere in the US, then go for it. You can still make it, absolutely.

Q: What was the tango scene in San Francisco like when you first started?

CC: For the first few years there were only about twenty or thirty tango dancers. There was Nora [Dinzelbacher] who had already established part of the tango community in the Bay Area, and there was Victor Menendes, and there was Carlos and Elaine. Then more and more dancers started to show up, and at first I didn’t like it! I liked the small community and I didn’t like seeing it grow, I thought that’s all there is and it stays that way. But I learned to open up to the fact that the community was growing and many more new people started coming in.

Q: So many dancers go through a transition from first excitement to becoming frustrated.

CC: I know that feeling. I think it’s similar with wine lovers. At a lower level you’re all enthusiastic and you try everything. Then you get to the other level and you become picky. You walk into a milonga and you expect your favorite music to be played and to dance with your favorite partners. If it doesn’t happen, you get frustrated. But you can’t blame it on others. You have to be open and change your own attitude, be positive.

Q: What do you like most about your “job”, if one can call it like that?

CC: The teaching part!

Q: Not the flashy performances? Why is that?

CC: Because I understand more and more about the dance and I love sharing that understanding with my students. But then I’m also more than just a tango teacher. Often I find myself in the role of a psychologist or a friend. You wouldn’t believe how many times I’ve asked a student just how his or her day was and they broke into tears and spilled out all of their problems. Then I suggest that we just sit down and have a cup of tea and talk.

Q: Aside from the mentoring part of your teaching, what do you consider most important? Could you name three basic elements every student has to learn?

CC: Yes, I call it the “recipe of success for the dance floor.” First of all, feel it — get the music that is danced. Then it’s the walking and the embrace, the 100% intimacy with your partner. And finally the culture of Argentine tango. It’s not just a dance. That’s why I think every dancer should travel to Buenos Aires, to get that sense of that culture.

Q: You started teaching “Tango Boot Camps” in 2007. It’s a very successful and intense 16-hour tango workshop. You teach the advanced boot camp with George Garcia or Eduardo Saucedo and the beginners’ boot camp on your own. Whose idea was it to teach tango in boot camp style?

CC: My mother’s! She was in the Navy, as a nurse, and I think she liked that drill. But then my teaching partner George Garcia taught tango boot camps in Hawaii. We hooked up and started teaching boot camps in the Bay Area. It became an immediate success.

Christy & Eugene 1

Striking a pose: Christy with partner Eugene Theron (Photo by Tanya Constantine)

Q: Your career is an endless string of highlights. Could you name just a few?

CC: There are certainly two highlights that stand out in my memory. They both involve Gavito. One was when I danced with him at the opening of “Tango Nada Mas” [a tango club] fifteen years ago in Chicago. The other one happened at one of his performances at “Tango by the Bay.” His partner, Marcela, couldn’t make it to the performance that night. I was sitting in the audience, not expecting in the least to dance. I had a knee injury at the time and had told all of my friends that I couldn’t dance for a while. Then Gavito came on stage and said that because Marcela was sick, he would like to invite me to do the performance with him! I was shocked, but couldn’t possibly refuse to dance with him. It was such an honor! After the performance I had to go to the emergency room to get treatment for my knee!

Q: What is your resolution for the future?

CC: To stay healthy and to continue with Jazz dance!

Q: Would you say that Jazz dancing has improved your tango dancing and vice versa?

CC: Absolutely! It has helped me so much with performing — the theatrical and projecting aspects of it. And I would also recommend to every ballroom dancer to take up tango. You learn so much about the music and the feeling.

Q: You sound so completely happy and fulfilled. Isn’t there anything you would really wish you could do?

CC: Sit back, have a cup of coffee, meet friends, read a book. I never have enough time for that!

Q: What is it that you least like about what you’re doing?

CC: Dealing with e-mails and text messages! Again, I just don’t have enough time to keep up with everything! At this point, I have about 300 unanswered e-mails in my inbox, and I hate it! I like being organized and getting things done, but despite all the new and different ways of communication, I’m just less able to stay on top of it!

Q: When do you think you are going to retire?

CC: Retire from what? I’ve got nothing to retire from!

 

 

 

 

 

125 Years of Tango

National Museum of Dance, Saratoga Springs

National Museum of Dance, Saratoga Springs

In the northeastern part of New York State, a three and a half hour drive north of New York City and about halfway to the Canadian border, is Saratoga Springs. Once a popular health resort for the upper class with natural springs and expensive spas, it is nowadays still famous for its world-class horse races which draw a different kind of crowd to this distinguished town every summer, causing the locals to leave their lavish mansions as a playground to the moneyed aristocracy where they can relax after an exciting day at the race track and indulge in the comfort of an old world style atmosphere.

What many people don’t know is that Saratoga Springs is also the home of the National Museum of Dance. It is located in a historic building formerly known as the Washington Bathhouse in Saratoga Spa State Park, just outside town. The neo-classic building houses a substantial archive of photographs, videos, costumes and other artifacts, and in its galleries are three permanent exhibits on display as well as yearly rotating exhibits.

The most recent one is dedicated to Argentine Tango and it is called “125 years of Tango – A Walk through the History of the Dance”. The show is unique and the first of its kind in the world. It includes beautifully displayed memorabilia of famous Tango dancers: their shoes, costumes and various hats worn during performances, together with historic film clips and music recordings. It is arranged in a comprehensive and chronological order, guiding the visitor through more than a century of Tango with lots of inside knowledge and an interesting narration. It starts with early black and white photographs from the end of the 19th century in Argentina when men were practicing the then new dance on the streets and in the fields. It goes on to explain how Tango swept over to Europe and Paris where it became a sensation and then returned to Buenos Aires to finally establish itself as the embodiment of Argentinian dance. The evolution of Tango music is well documented from its early days, through what is now known as the “Golden Age” of the 1930s and 1940s, up to the so-called “Nuevo Tango”, high-lighted by clips of the composer and bandeón player, Astor Piazzolla, who was active during the second part of the 20th century.

Some of the most influential composers and Tango orchestras can be seen and heard in rare video clips where visitors also get the opportunity to watch some of the greatest Tango dancers of all time. One of these is a performance by Maria Nieves and Juan Carlos Copes from the 1960s; another is taken from a formerly popular Argentine TV show, a third depicts dancer Anton Gazenbeek practicing Tango with a stick.

The exhibition explains nicely how Tango started as a dance born on the streets of Buenos Aires with working class men often dancing with men for lack of women, and then how after conquering the salons of the upper class it became a national phenomenon, only to fall into a Dark Age after the ousting of General Péron in the 1950s before achieving a renaissance and conquering the world again in the 1980s — largely through the world-wide success of the hugely popular show “Forever Tango”.

It goes into further detail by emphasizing the relevance of fashion in Tango. At the turn of the last century, when women generally wore long dresses and as a result had to take small steps, the so-called milonguero style was the way to dance Tango. When the hemline rose and women started to reveal first ankles and then knees, eventually wearing mini dresses in the 1960s, it became possible for women to take longer steps which soon led to the style known as “Tango de Salon”. Another example is the so-called “Harem” outfit of the 1920s which became a milestone in Tango fashion and is still dominant in today’s Tango fashion. A number of beautiful costumes from that era are on display.

The exhibition at the Museum of Dance was put together by the owner of this special collection himself: Anton Gazenbeek, a renowned dancer and celebrated performer in the world of Tango. Anton started collecting Tango memorabilia more than twenty years ago when he first became interested in Tango and fell in love with it.

“Most of the items I collected during the time when I lived and studied Tango in Buenos Aires,” he says. “I was looking for the really old stars of Tango: the ones who didn’t perform or teach anymore or didn’t even dance anymore. I wanted to learn to dance from them, and so I tried to find them.” What began as an innocent search by an aspiring young Tango dancer from the United States developed into unexpected connections and friendships. “When I managed to get hold of some of these people, they at first would only agree to talk to me for one hour,” Anton remembers. “Then we started to talk. Eight hours later I would leave their apartments having learned a few steps from them which they all of a sudden remembered.” Along with having learned a new step or two, Anton would also leave with countless stories of the past and usually an unexpected piece of memorabilia. “They would say, ‘Wait a minute, I think I still have this piece that I was wearing for that show, let me find it!’ And they would start digging in their closets, which hadn’t been opened in years, and bring out a hat or a pair of shoes and give it to me.” Anton gratefully took each piece and so started a sizeable collection. “I thought it would be better to show these pieces to the world instead of them ending up in a pile of garbage one day,” he says.

Not only has he assembled many of these items into a neat and respectable exhibition, he also has so much more film and audio material at his home that he is planning to create an interactive website where these clips could be played. “It’s another major project,” he says, “but I’m determined to make all this material accessible and to show it to the world.”

Until this next major project becomes reality, Tango aficionados who happen to be in the area of New York should check out “125 Years of Tango”. The exhibit is on display at the Museum of Dance in Saratoga Springs until spring 2016. It’s worth a trip from the Big Apple.

For information about the exhibit see http://www.antontango.net/#!tango-exhibit

For museum information see http://www.dancemuseum.org/exhibits/