Fort Bragg — Buenos Aires del Norte

Beach by Fort Bragg

For some quiet time after tango: the beaches by Fort Bragg.

On a recent flight from the East Coast to California I was sitting next to a top commander of the Coast Guard West Coast. He engaged me in a long and lively conversation about assignments that have taken him around the world, and how he and his wife — a modern and tap dancer — enjoy traveling and exploring. When I told him how my tango dancing has taken me to various places, a surprised look came over his face and he told me how they had just stumbled upon a ‘tango house’ in the middle of nowhere, on a trip up the Pacific coast to Fort — he couldn’t remember the rest of the name, so I finished it for him — Fort Bragg, the Weller House Inn.

He looked even more surprised. Most of my tango friends in the Bay Area have been to the Weller House, I explained. Indeed, I might be the only member of the entire tango community between Portland and Los Angeles who has not been to a tango event at this historic mansion. The tango world is small, I went on coolly, news spreads quickly and tango people travel far to explore exotic and fun places.

But inwardly I cringed, scolding myself for still not having been there. The Weller House Inn and its special tango events had long been on my list of destinations to visit. Somehow it had been easier for me to travel cross-country, and even beyond, than to take a three-hour drive from my Bay Area home up the coast. And now a stranger, completely unfamiliar with tango, had told me, almost in passing, that he had been there!

A few days later I repacked my bags and set out on the scenic drive north on the Pacific Coast Highway. The stately, multi-storied Victorian mansion stands out like a monument in the otherwise unremarkable little town of Fort Bragg, and is hard to miss. I arrived in time for the Tuesday night tango lesson and practica which takes place in the house’s big ballroom. Vivien LaMothe, the owner, happened to be in the kitchen and welcomed me, immediately offering to take me on a tour. My lucky day, I thought!

But less than half an hour into our private tour, Vivien broke some unexpected and sad news. We had barely covered the mansion’s ground floor, and I was still admiring the original woodwork and Victorian-style furniture of the guest rooms and the library, when she stopped in front of some historic photographs in the hall and looked me straight in the eye. “You know, it’s for sale,” she said gravely. I was flabbergasted. For sale? How could that be? A unique place like this? A most romantic inn with an historic ballroom? How can you let go of that? For a moment I thought she was pulling my leg.

As we climbed the stairs to the impressive Virgin Redwood Ballroom on the top floor, she explained. But I had already begun to suspect the reasons for her decision to step away from this place — and my guess was right. The huge task of managing a nine-guestroom inn with another three guestrooms in the adjacent Water Tower, maintaining a historic building, and at the same time running a busy ballroom with different dance events six nights of the week had simply become too overwhelming for her alone. “Ideally,” she summarized, “there should be two couples running this place.” Meaning two couples who would split the responsibilities of the hospitality business downstairs and the dance studio upstairs.

Virgin Redwood Ballroom

Felipe Martinez and Ayano Yoneda dancing in the famous Virgin Redwood Ballroom.

Vivien has been successfully juggling all this ever since she took over ownership in 2011. During this time she also unexpectedly become the caregiver of her 93-year old mother, who had stepped in as her business partner until passing away in 2015. Understandably, she feels a bit burned out.

Things looked a lot easier when she first became acquainted with the Weller House Inn and became its manager. She was bursting with ideas on how to tie the ballroom into the inn’s hospitality business.

When she was hired, she proposed bringing back the glory of the unique Virgin Redwood Ballroom. It takes up the entire top floor, and was originally intended by its first owner, H. A. Weller in 1886, as a meeting hall for the local Baptist community before there was a church in town. It is built entirely of local redwood, with acoustics that are so superb that, to quote Vivien, ‘it has recording-studio qualities’. It has a dance floor that sweeps every dancer away. Vivien’s idea to host tango and other social dance events met the immediate approval of the previous managers, a couple of musicians who were open enough to let her try out new ideas. As Vivien says: “When I became the manager of the Weller House Inn, I had a short leash — and a big opportunity.”

“On my first day at work,” she remembers proudly, “I already started a practica!” Hosting tango events at the Weller House Inn became a priority of her managing duties. Soon she established the regular Tuesday night tango lesson, taught by local teachers from the Mendocino tango community, followed by a practica. Then she went for bigger events, holding special tango weekends once a month with visiting teachers from all over the country and abroad. “I brought world-class dance teachers almost every month for a few years,” she recalls. The year 2011 was the peak when she printed and distributed 10,000 postcards.

Looking at some of these postcards and flyers from the past eight years, I recognize many familiar names: Eduardo Saucedo, Melinda Sedo and Detlef Engel, Ney Melo and Jennifer Bratt, Murat Edemsel and Michelle Lamb, Facundo Posada and Christy Cote, and Chris Peake and Michelle Laughlin. Many of the nearby Bay Area instructors such as Felipe Martinez and Ayano Yoneda, David Orly-Thompson and Mariana Ancarola, Lisette Perelle, Glenn Corteza, and Nora Dinzelbacher have also been here to teach and perform, some of them several times.

“Then Seth [Asarnow] came,” she recalls. He discovered Fort Bragg while playing with his group, Sexteto Tipico, at the nearby Mendocino Music Festival, and was impressed by the local tango community. “And after he started coming, everybody started coming.” She would often find him sitting on the porch by himself, playing his bandoneon. One year, Seth brought along Pablo Motta, the famous tango double-bass player. Vivien is particularly proud of having hosted both these acclaimed musician. (Note: Seth and Guillermo Garcia are scheduled to perform again at this year’s Dancing Fools TangoFest 8 which runs from March 30 through April 2.)

What else has made this remote location so attractive for teachers? She smiles, “The lure for the teachers is a nice double-room with a jacuzzi — and that it’s close to the ballroom!” Having just admired the guestrooms with their adjacent private bathrooms — some of them with hand-painted tiles and claw-foot bathtubs — I completely understand.

When the opportunity came to buy the mansion in 2011, Vivien went for it. But then her focus shifted, and a major part of her time went into the maintenance and improvement of the house, the occupancy of the inn, and caring for her mother. And all this not to mention that she still has a teenage son. Her mother’s death at the age of 97 was a turning point. But even though she is now ready to let go and move on, she is still attached to various projects related to the house such as an extension of the dining room and finishing a guest suite in the Water Tower that has sweeping views. At the same time she wants to make sure to keep the Weller House’s role for tango and a broader social dance community alive.

Weller House

The Weller House Inn and Water Tower.

The events and ongoing activities at the Weller House Inn (affectionately called ‘Buenos Aires del Norte’ on its former website) have certainly contributed to the strengthening of the local Mendocino tango community. Vivien points to people’s active support in promoting and helping all sorts of events. As a result, Fort Bragg, commonly regarded as the ugly little sister of Mendocino, has turned into a surprising hot spot for tangueros. “We recently had new dancers coming from Chico,” she says proudly. “They got set up with local instructors and liked it so much that they come back in May.” And the number of regular dancers from the local community has grown. “We have more dancers per capita than Buenos Aires!” she laughs.

Why, apart from the flashy events with big names, does she think the tango program has been so successful? “Because I was striving for quality, with the focus on technique,” she answers. “The social tango was more important than flashy steps.”

She would still like to continue being a tango host, but at a different place and under different terms. Meanwhile, her focus is on finding a suitable buyer who is ‘dancer-friendly’ and willing to continue this new tradition.

“I have tried to be a good steward of the house,” she says, “and I would like the house to be in the hands of someone who can also be a good steward.”

Photos courtesy of Weller House Inn

Like an avalanche

Orquesta Típica rehearsal

Ramiro Gallo directing students of an Orquesta Típica

When, a few weeks from now in the heat of the South American summer, the lights go up in the Centro Cultural Kirchner in Buenos Aires, one of the most unique music competitions will begin: the first ever International Contest for New Tango Ensembles. Ten out of an initial fifty-five orchestras from nine different countries will enter the stage of the CCK — the biggest cultural center in Latin America — to compete as finalists in a musical genre which, until not too long ago, has been seen as a thing of the past. It will be the grand finale of a week-long gathering of tango musicians who will have participated in a study program called Tango Para Músicos.

Musicians from all over the world are expected to attend six days packed with learning and playing tango. Tango Para Músicos will offer these aficionados a broad variety of classes where they will have a chance to study with some of the masters of modern tango, such as bandoneon instructor Eva Wolff, tango singing-instructor Noelia Moncada, and Exequiel Mantega who teaches orchestration. Participants can choose from eighty modules of instrument classes and fifty modular classes for arrangement, composition, production, musical training, and more. The classes are open to basically all instruments, including vibraphone, clarinet, saxophone, and, of course, all string instruments. In past years even two ukuleles have participated. Drums, on the other hand, have not been part of the course (yet). The public is invited to attend free nightly concerts, milongas, and practicas.

The ‘icing on the cake’, however, is certainly going to be the above-mentioned and much-anticipated International Contest for New Tango Ensembles. The response to this first-ever international contest has been far greater than the organizers’ expectations. Fifty-five orchestras from countries in Asia, Australia, the United States, and Europe had initially applied, from which only ten were chosen. The candidates were asked to present their own arrangements with at least one by a modern composer. The submissions had to be sent in by video so that the judges could not only listen to the musical presentation, but also receive an impression of each band’s stage presence. When the finalists compete live on the stage of the CCK, they are going to play in front of a jury consisting of some the most accomplished artists of the contemporary tango world: Ramiro Gallo, Diego Schissi, Julián Peralta, Juan Carlos Cuacci, and Gustavo Margulies.

What will take place at the Centro Cultural Kirchner in the heart of Buenos Aires between February 12th and 19th marks a newly-found widespread appreciation of a musical genre which, until twenty years ago in most parts of the world, was hardly noticeable. For decades tango had played only a marginal role in the multifaceted international world of music. And even before, during the first half of the twentieth century, when tango was hugely popular and danced everywhere in the United States and Europe, only a few tango orchestras existed in countries outside Argentina. Instead, most Argentine tango musicians were classically trained musicians from Europe who would travel and perform with their orchestras in the United States and Europe.

Over the past twenty years, as Argentine tango has seen a revival, especially among younger people, it has attracted more and more musicians from different parts of the world, inspiring them to form their own bands. They are eager to master this musical style and to take it back to their own countries and communities. The best place for them to learn is still right here where it all began: in Buenos Aires.

A new generation of independent artists and musicians in the capital of Argentina has picked up that trend and begun to develop Tango Para Músicos as a specific and condensed program for musicians. The program takes place once a year. It offers a packed schedule during its six-day duration. Musicians are divided into intermediate and advanced levels based on their skills. For the intermediate level, a musician needs to know how to play and read music, and demonstrate a certain mastery of their instrument. To qualify for the advanced level, a candidate needs to be a highly accomplished, classically trained musician who wants to know how to play tango. Candidates have to apply by video, and are then put into the appropriate ensemble.

The teaching method of Tango Para Músicos is based on the Método de tango. This is a collection of course books which could be best explained to people unfamiliar with the subject as the ‘bible for tango musicians’. Método de tango is the first fundamental method for playing tango music. The collection includes six separate issues for flute, violin, contrabass, bandoneon, guitar, and piano. It was first published in 2010 by Ricordi in Munich, but since 2014 it has been published by Tango Sin Fin in Argentina. Método de tango is considered the essential source for tango musicians.

tfm-at-rc-2016-orquesta-tipica

Orquesta Típica ensemble performing at Elliot Hall Chapel

One of the authors is Paulina Fain. She wrote the issue on tango for flute. Based on her experience gained writing the book, she went on to put the method of teaching tango into practice, and created the Tango Para Músicos program with her husband Exequiel Mantega. “Our mission is to teach musicians what was not written on paper,” Paulina explains. “It’s sort of the ‘decodification’ of tango. We want to teach them how to make it happen.”

To make it happen from a practical point of view, the couple founded Tango Sin Fin, a non-profit organization dedicated mainly to promoting and developing Argentine tango music world-wide. ‘Tango Sin Fin’ translates to ‘Endless Tango’. Unlike in the United States, cultural programs in Argentina can receive governmental subsidies, and so, to no surprise, Tango Sin Fin is also supported by the Argentine government and the Ministry of Culture. Tango Para Músicos runs as an independent program within Tango Sin Fin.

Paulina talks at a speed of hundred miles per minute. She is bubbling with information. I have to interrupt her passionate flow of words several times to make sure that I don’t miss anything. Her own relationship with tango began long before she started the music program or even before she wrote the book on tango for flute. It was back in the mid-nineties, when there were only about ten tango musicians in Buenos Aires, she recalls. That’s when she and other musicians of her generation started to become aware of this genre which up until then had been closely connected in their memories with the so-called ‘dark times’ of their country. Until then, they played rock-and-roll and other music imported from the United States. “But when we started to play tango, something resonated in us and it felt deeper than everything else,” she says. This young Argentine generation, after having been disconnected from its own culture by military dictatorship, had discovered its roots.

Artistic Faculty

Members of the artistic faculty of the 2016 edition after a concert at Reed College’s Eliot Hall Chapel: Paulina Fain, Eva Wolff, Hernán Possetti, Adam Tully, Sofía Tosello, Ramiro Gallo and Exequiel Mantega.

What Paulina, her husband Exequiel, and everybody around them started only a short while ago resembles an avalanche. Only four years have passed since the first Tango Para Músicos program took place in Buenos Aires, and it has met with world-wide interest and recognition. How big an interest there is among musicians outside Argentina is shown, for example, by the fact that Reed College in Portland has adopted the program. Thanks to Morgan Luker, Associate Professor of Music at Reed College, whose special interest is in contemporary tango music in Buenos Aires, musicians closer to the United States can now take advantage of the same program on the American West Coast. Not only has Luker brought Tango For Musicians to Reed College in Portland every summer for the past five years, but he’s also been able to expand the program significantly. This coming June, for the first time, a program specifically designed for composers and arrangers will be offered: Tango For Composers including none other than award-winning pianist, composer, and arranger Diego Schissi.

Just as in Buenos Aires, the public is invited to attend certain concerts for free. Dancers and others who are not playing an instrument, but who are still interested in participating, can sign up for another newly created course called Auditors Track. It teaches basic knowledge about tango and its history, and offers participants access to rehearsals.

After the successful export of Tango Para Músicos to Portland, Paulina and Exequiel will be traveling to Japan, Australia, the United States, and Europe this year, where they have been invited to bring their program to certain schools. Paulina says that they would very much like to see it established on campuses around the world. But for the next few weeks their focus will be on Buenos Aires — and on that Sunday when the lights go up on some of the best tango ensembles in the world.

Tango Para Músicos takes place from February 12 through 19 in Buenos Aires. More information can be found on https://tangoparamusicos.org/

More on the Tango Sin Fin Awards can be found here: https://tangosinfin.wordpress.com/tangosinfinawards/

Tango for Musicians at Reed College takes place from June 25 – July 2, 2017. For more information go to http://www.reed.edu/tango/

Post it on TangoMango

If you live in the San Francisco Bay Area, you’re probably quite familiar with TangoMango, an extensive online community calendar that lists Argentine tango events. The site has grown to become the number one resource for tango dancers in California since it was launched over ten years ago. It’s also well known in a few other metropolitan areas, such as Los Angeles, Chicago, and Miami. But tango dancers in most other areas of the country are less likely to visit the site and may not even have heard about it. If, for example, you were to find yourself in Hamilton County, Nebraska, and wanted to discover local milongas, you’d probably end up browsing the web for the individual websites of local organizers and venues instead of searching on TangoMango, as you might have done in the Bay Area or the Los Angeles area.

Don’t worry, most likely you wouldn’t have much success anyway in finding an event in Hamilton County, Nebraska (or in most other states all over the country) on TangoMango, even though the county itself appears on the website’s complete list of every state’s counties. Most organizers who are not close to one of the major metropolitan areas mentioned on TangoMango’s home page are unaware of the fact that they could easily post their event for free on this user-friendly nation-wide calendar, regardless of where they’re based. Instead, most tango teachers or hosts are more likely to promote their going-ons in the traditional and time-consuming ways of either sending out E-mail newsletters to a limited number of addressees on their own mailing lists, or by going through the process of creating separate web-listings, which, for people unfamiliar with the local tango scene, are hard to find.

TangoMango is a lot easier to use and reaches a much bigger audience. It’s the most comprehensive, and at the same time the most under-utilized, web service in Argentine tango. I’m curious to find out why. According to Stuart Schmukler of the Bay Area Argentine Tango Association (which maintains the site), TangoMango receives already as many as 10,000 hits a month from all over the country — even though most people search only a limited number of locations and only a relatively small number of locations have event listings.

tangomangohome

I’m trying to guess how many more visitors would click on the site if more organizers were to post their events on this free listing-service. Stuart assumes that the fact that the site remains unknown to most tangueros in the country could be because of the limited and somewhat misleading layout of the homepage. This might lead users to believe that only the highlighted metropolitan areas shown on the homepage are covered, namely ‘San Francisco & Northern California’, ‘Los Angeles & Southern California’, ‘Chicago Area’, and ‘Miami & Southern Florida’. The link ‘Other Cities’, at the bottom of the right-hand navigation column, seems to be too small for users to start a search for possible Argentine tango events in other communities, and as a result organizers don’t bother using the site for areas other than those highlighted on the homepage.

Once you dig down into the menu that starts with the link ‘Other Cities’, however, you’ll find an amazing wealth of possibilities. The menu allows you to post and to search for events in any specific location, however small or remote your community might be. You start the search for tango events by state, then in alphabetical order of counties in that state. The number of events in any particular county appears after its name and is clearly highlighted before you even click on it to get to the details. New locations can be added by organizers posting for the first time. Stuart explains that as webmaster he continues to add new places whenever he learns about an unlisted tango community.

TangoMango is thus a continually growing search-engine for Argentine tango. What sounds a bit pedestrian in comparison to major search-engines has actually been a labor of love, created in countless hours over many years with minimal funding by volunteers of the San Francisco tango community. It originally started as a community calendar created by David Hudsness in 2006 when he was a member of the Bay Area Argentine Tango Association. When Hudsness moved away, the Tango Association took it over, moved the system to another hosting server and stabilized it.

The unique web service fit right into The Bay Area Argentine Tango Association’s mission, which is to promote Argentine Tango. The association was founded in 1995 as a non-profit educational and cultural organization with the goal of holding public Argentine tango events, which up till then had only been held in private places. It started with just ten members when the cast of ‘Forever Tango’ took up residence in San Francisco, and Argentine tango suddenly became hugely popular. The Bay Area Argentine Tango Association then began not only to organize public tango events, but also to create newsletters and a tango lexicon with etiquette and codes, becoming more or less the main resource for everything tango. At its peak the association counted as many as 500 members who paid an annual fee of $35, but membership declined as information became widely available for free over the internet. Today, the association still holds approximately five to six public milongas at Union Square in San Francisco (known as ‘Tango in the Square’), and continues to support public dance events and other outreach programs. Its main flagship is TangoMango, but few people are aware of that.

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Tango in the Square is one of the public events organized by the Bay Area Argentine Tango Association. Photo by Stan-the-Rocker.

Stuart Schmukler, who is also the association’s president, has been the site’s webmaster ever since David Hudsness’ departure, maintaining it for the last couple of years. He works on it whenever his time allows, meaning when he’s not occupied with his job as a high-tech consultant in Silicon Valley or fulfilling his various other duties as head of the association. He keeps improving the site not just by continuously adding new locations, but by also adding links for resources such as tango literature and movies. He has even built a donation page to help keep the site running.

tangomangodonation

Users can donate on TangoMango 

It’s extremely easy to use. “It’s a self-listing site,” Stuart explains, “and anybody can post. All you need is a user ID.” The site doesn’t even require a password. “We’ve done away with that,” he smiles. “Since most users are artists and can’t be bothered to remember such things as passwords.” By signing up for the website, you can post your own tango event in the clearly structured format that has been provided, including location, date, time and a short description. And then bingo! — once your event has been posted and goes live, it can easily be found by anybody from anywhere.

Even though the site is unique and easy to use, there have been many attempts to compete with it. Several people have tried to come up with other, supposedly better, tango calendar services, none of which have become reality. When I ask Stuart about this, he says: “I know! But surprisingly, none of these people have ever contacted us. We would have been open to new ideas, but all these people have tried to come up with something new by themselves.”

One last question: I’m curious to know where the name TangoMango came from? For the first time during our conversation, Stuart looks a bit embarrassed and admits that he doesn’t know. But then, who exactly knows where the name “Google” came from? In the end, what counts is that the name is easy to remember and that hopefully the site will continue to grow.

The site can be found at http://www.tangomango.org

Tango for girls only

Tango moves

The first time I attended a local milonga in Albany I noticed a small group of young girls sharing a table. They stood out because they were so much younger than most of the other dancers at the event that night. They also appeared very well-behaved for people their age and were presumably well educated. With keen eyes and obvious know-how they assessed what was happening on the dance floor and seemed very eager to get a chance to show off their skills. However, nobody asked them to dance, and their interest in what was going on around them grew visibly less. Finally one of them got up and approached the host, hands on hips: “Mister Magee, what did you tell them?” she asked briskly. A bit taken aback he replied: “I told them to ask you to dance before they had a drink and not after!” That didn’t go down well with the young ladies — nor had it with the gentlemen. They didn’t want to be told when and how they could ask the women to dance, any more than the girls appreciated the well-intended suggestion, since they ended up not dancing all night.

As it turned out, the girls were students at a prestigious private all-girls school in nearby Troy. In addition to their regular curriculum they had taken classes in Argentine tango. It had been added as one of the optional ‘practicoms’: additional classes such as horseback riding or gun shooting from which the girls could choose. The idea of instructing teenage girls in tango was quite a novelty, and initially not received with great enthusiasm by the school’s directorate. It took the school’s dance instructor, Kevin Magee, about a year and half to get his proposal approved.

“My initial proposal was to teach the girls tango with boys the same age,” he explains. “I wanted the girls to develop a positive contact with boys.” Since most of his young female students had been exclusively educated at same-sex schools, their social contact with boys was principally limited to annual high school dances at area schools.

“Do you know what happens at these high school dances these days?” Magee asks. “It’s not dancing, it’s despicable!”

He remarked how the girls would return from these so-called dance events appalled and frightened. He felt certain that through a structured couple-dance and with strict tango etiquette these boys and girls could develop a more positive attitude towards each other.

While he had no problems getting his own girl students excited about the new Argentine tango program, getting boys involved turned out to be impossible. He was puzzled when he received an explanation from the counselor of a nearby private boys’ school: “Tango is too intense for them,” she said. “The boys are too scared!” Not believing what he heard and being encouraged by the girls’ enthusiasm, Magee continued to try various approaches to get boys interested in tango.

But it was all to no avail. “The boys wouldn’t leave their environment,” he says. His last hope, a young fellow who was popular with the girls, often entertaining them with great success during lunch breaks, turned out to be a failure. When it came to the first joint tango lesson, he sat with his back to the girls, remaining frantically focused on his mobile phone, unable to face them. When finally his mother came to his rescue and escorted him out of the room, the girls simply shrugged and claimed that they had known all along that he was just a big mouth, and would not have the guts to learn how to tango.

With no options left, Magee decided to teach the girls on their own. They would have to learn to both lead and follow. To his amazement he discovered unexpected talents. During the very first lesson one of the students demonstrated outstanding abilities as a leader.

“It was a miracle to watch that girl!” He remembers, still excited. “She immediately got that stride, that cat-like walk, and she picked it up just by watching!” The shape of her embrace was extraordinary. Not only was she about to become an outstanding tango dancer, but she also went on to write her final — and very well-received — thesis about her tango experience at the school. Later on during her college studies she joined another tango class only to discover that there was no proper instruction for the leaders. “She immediately got the guys organized behind her and started teaching them herself,” Magee says proudly.

To make up for the lack of interaction with the boys and to provide them with the ‘real’ social dance experience, Magee invited the girls to the milongas that he regularly organizes for the Albany Tango Society. He needed both the school’s and the parents’ approval for these outings; furthermore, the girls had to be back at the dorms by 10 pm — rather early for a real tango night. No fewer than four adults would escort five girls at a time. The girls didn’t particularly appreciate this kind of attention, thinking it unfair that they could go out to restaurants by themselves, but were not allowed to attend a milonga without teachers and parents shepherding them. But once again they proved to be resourceful and bold. Some of them organized their own trips to New York City on weekends to get the ‘real’ experience. Following their teacher’s advice, they quickly learned which places were best for their own dance experience and how to choose the right leaders for themselves.

In the city they were exposed to dancing in close-embrace. When I hear this I’m puzzled, but then I get it. Physical contact between teacher and students is, of course, not permitted at school, not even in dance class. So Magee had focused exclusively on salon style open-embrace. That changed when he brought professional Argentine teachers Diego Blanco and Orlando Farias to the classroom. Unaware of the school’s policy and thinking nothing of it Blanco and Farias began teaching close-embrace. How did the girls react? “They were so excited!” Kevin Magee remembers, smiling. “They were not afraid at all, but rather bold.” From then on there was no turning them back to open-embrace.

“The girls matured during tango,” Magee recalls. “It was definitely a lesson for life, and they did so well, being bold and outgoing, and began to understand that boys basically function the same way as they do, being afraid of each other and insecure.” The girls managed to overcome these fears and their biased opinions. A small group of them even got together after graduation and traveled around Europe for a month, going to places like Berlin and Paris — to dance tango.

The school’s Argentine tango program has ceased for the time being, but Magee is hoping to bring it back to life sometime in the future. After all, tango can be a useful lesson for life, one that never expires.

Image by Graham Blackburn, PLATE LXXXI  Tango Moves