ARGENTINE TANGO WITH ECTOR GUTIERREZ

For Private Lessons
Contact Ector at 504-301-7246
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ECTOR & KERRI'S TUESDAY NIGHT CLASSES
IN NEW ORLEANS

5401 S CLAIBORNE AVE AT JEFFERSON
First Presbyterian Church Hall
enter through back door on S. Prieur
MAP
All Levels Class 7:00 PM, $10 each
Practica 8:00 to 10:00, $5 (free with class)
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When I first saw Argentine Tango, I was, like all beginners, mesmerized by the beauty and flare of boleos, paradas, leaps, and all those impressive steps, but from previous experience, I knew the importance of a good foundation. I wanted to learn everything about the music, the movement of the dance, its origin and its historic progression.

Today, although I enjoy learning and teaching moves that challenge our minds and bodies, I feel that I benefit from returning to the fundamentals again and again.

Sometimes it is important to spend less time on specific patterns and more time exploring feeling, emotion, and what tango means to you.

Posture and embrace are the essential elements of good tango dancing, and in those elements emotions are expressed and feeling begins. The man approaches the woman as if no one else exists, holding her like he has found his lost love. The embrace brings out in him feelings of tenderness and heroic emotions as if saying without words, "I will take care of you." He stands tall as if saying, "Let's start a journey, you and me." He offers his left hand as an invitation for closeness. His right arm comes around her back, bringing their two bodies together.

In a good embrace, I have a feeling that if the world should end right now, this is the way I would want to be. We both listen to the music as if this song was written for us. When we start to move, I express my intention to her before every step, as if asking her opinion about our next step. She accepts my invitation because she trusts me, because in one instant, we have come to a level of trust that, in real life, could take a lifetime.

As an instructor I teach a new set of steps every week, but the goal is not to memorize a sequence. The steps are a tool to better understand the connection between two dancers. I teach students to develop social dance skills, and most importantly, to relate the steps to the music.

The most common question I am asked is this, "I have been dancing for many years, attended many workshops, and have learned a lot of moves, but when I dance I can't do any moves." The answer from me is always the same. "It's in the music." Boleos, paradas, sacadas, and all moves have a musical place in the song you are dancing. If, for example, you perform a boleo without regard to the music, it is the same awkward sensation as when the song ends, but you are still dancing.

Over many years of teaching both large and small groups, I have maintained a determination to take into consideration each individual's ability and adjust my methods of teaching to suit each individual's way of learning. I learned to follow in order to be a better teacher of both leaders and followers. I help students with no previous dance background find, for the first time, the confidence and skill to get on the dance floor. And I use my understanding of many dances to help those with other dance backgrounds relate their training to the concepts of tango.

I don't care to differentiate between the many ways of dancing tango--apilado, salon, nuevo, etc. I encourage students to keep an open mind and to explore every possibility in the dance. Understanding the relationship of the two bodies is what is important. With that focus, we can do what ever we want on the dance floor. We can adapt to dancers of any level or any background and, of course, find enjoyment in the rich variety of music, from Carlos Disarli to Narcotango, feeling the passion that inspired these composers and finding our place in the dance.