Last update: 26 dec 2004 / Scroll for movieclips
" The secret of tango is in this moment of improvisation that happens between step and step. It is to make the impossible thing possible: to dance silence ", says Carlos Gavito, recognized milonguero and Zen philosopher of the dance, who spent half of his life looking for this moment of illumination in the dance, his choreographies astonished people of the contemporary dance like Oscar Araiz.
- First, to dance it is to know how to listen to music. "Nocturnal" is like listening to the street at night, it is incredible, all dance.
In the music are all the steps. The low one, for example, marks the walk of the man with all the problems of existence. There is the violin, which sounds as the woman.. That's why, when one is dancing and comes a very pretty part of violin has to say to the woman: ' Dance me, dance me, bailame, bailame´. Later the piano, that is the moment at which both are walking together. Then there is a comunión of movements. And El Bandoneón, in which lives the spirit of tango Argentino. It is like a pomp of soap and I get there in, inside. The pomp moves inside with me, but I do not move.
This is essential to learn in tangodance, the real dance, that of the silence, of following the melody.
Carlos Gavito: " The important thing is to know why we want to dance. We dance a solitude that we have inside us and cannot occupy with anything. This gap, that emptiness to which we put movement is the tango. "
Till not long ago time, the milongueros were destined to die in the anonymity of the dance. But the phenomenon of the tango in the whole world transformed them into last decade into the figures looked by prestigious artists as Pina Bauch, Carlos Saura, Sally Porter and for ballet dancers dedicated as Miguel Angel Zotto, who inspired by this dance de salón with style and elegance for his spectacles.
The milongueros personify, incarnate that hidden treasure of the dance tanguera, the representation of a Buenosairean- porteño imaginary which belongs to another time, the conservation of codes in extinction, a source of inexhaustible knowledge, wisdom and the delicacy, subtility of an unique dance. Carlos Gavito y Puppy Castello they belong to this race of dancers.
Popular in the milonguero world, Gavito and Castello they were summoned to overturn their lessons in the project Ballet School of Argentine Tango, that it will try to teach to the new generations the secrets and the identity of that dance, next to other milongueros outstanding like the "Pibe" Avellaneda, the "Gitano-Gypsy" Domínguez, the "Turco-Turk" Jose, Gerald Portalea or "Chino-Chinese" the Perico, among others.
Puppy Castello is the counterface of Gavito. His dance and his comments are so sharp and definitive as the sheet of a razor. The milonguero of Boulogne comes of an epoch in the one that was practised between men and the important thing was to extract an own style. " Now the pibes dance all the equal ones. Notice that one: Pará pibe that you are not traversing the group! ", says Puppy Castello to a young beginner who stands firm, frozen by the comment of the teacher.
And wherefrom does his style come?
Of people like Gerardo Portalea, who does not have a great change of steps, but it has an impressive cadenza. Better or worsened, my style comes from these old men of Urquiza. Well paradito, armed good, taking the compass. Not running, because now they dance you a Pugliese and seem that they dance you a D'Arienzo. Earlier, in the contests, at which they were looking for you was the compass and the elegance, more than the steps. To walk is everything.
They are the last milongueros. Those that were hardened in the clubs of Urquiza, Pompeya, Slaughter houses and Avellaneda; those that know to walk the track and conserve the dance to the floor, and those that were received in the academy of the street. Now they are rescued of the negligence, for the Ballet School and for a documentary that Bebe Kamín is filming.
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The legendary dancer Carlos Gavito (°1942), passed away on the 1st of July 2005. He started his career as a tango dancer in 1965 in Buenos Aires. He joined the cast Forever Tango on December 1995, dancing and choreographing two classics of the show "S.V.P" and "A EVARISTO CARRIEGO", with Marcela Duran. He was a true representative of the so-called milonguero style, very close up and passionate dance.
Today, former actress Eva Norvind is making a movie about the tango in Argentina, the picture is called: Gavito, su vida y su tango - Carlos Gavito, his life and his tango. The project was born by her taste to the famous Argentine dance: "I have danced the tango for a long time . The main subject of the film is on my teacher who finishes dying". She started it in may 2005 and hopes to finish it next year.
Regarding tangodancing and the so-called submissiveness of women in tango, Eva Norvind's background problably will give it a special touch. She is an independent film and video producer as well as a psychosexual counselor in NYC. She was born Eva Johanne Chegodayeva Sakonskaya in Trondheim, Norway, on May 7th, 1944, the daughter of Russian refugee Prince Paulovic Chegodayef Sakonsky and a Norwegian sculptress. Besides the name Eva Norvind, she has also worked under the pseudonyms Ava Taurel and Eva Hultgreen.
Eva Norvind, the Norwegian who came to learn to dance the tango, spent long time without the world to knew about her fascinating life. In 1997 however, feminist filmmaker Monika Treut made Didn't Do It for Love (1997), a documentary about Eva's life, which premiered at the Toronto Film Festival, followed by the Berlin International Film Festival, among others.The German director Monika Treut's docu put Eva's life in the eye of the storm. "Eva, la mujer del látigo, is an unconventional sexual pioneer", says Treut. Eva Norvind is a respected sexóloga, and her work on the power and the consensus in the relations is very serious and professional. In 1999, Eva trained the actress René Russo so that could be obtained convincing sexual scenes in the film The Thomas Crown Affair, next to Pierce Brosnan; René undressed for the first time in front of the cameras, and needed an expert professor. It is as having one double life. Eva Norvind: the fatal blonde that arrived at Mexico with ten dollars and transformed into a star, personage of fiction, daughter of the royalty in exile, psicosexual, dominatriz consultant. A woman who, to the sixty years, confesses a fantasy like to piss next to Madonna, and receives calls of the studies to train actresses. A pioneer who does not need nothing else to sustain his condition of legend.
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Tangoclip Carlos Gavito and Maria Plazaola
website source: Porte y Bailarin)
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Carlos Gavito y Puppy Castello, los últimos milongueros. Los que se foguearon en los clubes de Urquiza, Pompeya, Mataderos y Avellaneda; los que saben caminar la pista y conservan el baile al piso, y los que se recibieron en la academia de la calle. Ahora son rescatados del olvido, por el Ballet Escuela y por un documental que está filmando Bebe Kamín.
Gavito es un reconocido milonguero y una especie de filósofo zen del baile, que se pasó más de la mitad de su vida buscando ese momento de iluminación en la danza.
" El secreto del baile está en ese instante de improvisación que se da entre paso y paso. Es hacer posible lo imposible: bailar el silencio ", Lo primero que hay que hacer para aprender a bailar es saber escuchar la música. Escuchar "Nocturna", de Julián Plaza, es como escuchar la calle Corrientes de noche. Es increíble cómo escuchás los ruidos y los bocinazos. Todo eso tiene que estar cuando bailás.
"Lo importante es saber para qué queremos bailar. Bailamos una soledad que tenemos dentro de nosotros y no la podemos ocupar con nada. Ese vacío al que le ponemos movimiento es el tango."
Puppy Castello: Caminar es todo.
French:
Le secret de tango est à ce moment d'improvisation qui arrive entre le pas et le pas. Il doit rendre la chose impossible possible : danser le silence, dit Carlos Gavito.
- D'abord, le danser est savoir comment écouter la musique. "Nocturne" ressemble à l'écoutant de la rue la nuit, toute la danse.
Dans la musique sont tous les pas. Le bas, par exemple, marque la promenade de l'homme avec tous les problèmes d'existence. Il y a le violon, qui semble comme la femme.. C'est pour cela, quand on danse et vient une très jolie partie de violon doit dire à la femme : Dansez-moi, dansez-moi. Plus tard le piano, qui est le moment auquel tous les deux marchent ensemble. Et le bandone ó n, dans lequel est l'esprit du tango. Il ressemble à une pompe de savon et j'arrive là dans, à l'intérieur. La pompe bouge à l'intérieur avec moi, mais je ne bouge pas.
C'est essentiel pour apprendre dans tangodance, la danse réelle, ce du silence, de suivants de la mélodie.
La chose importante est de savoir pourquoi nous voulons danser. Nous dansons une solitude que nous avons à l'intérieur de nous et ne pouvons occuper avec rien. Ce trou, ce vide auquel nous mettons le mouvement est le tango. Marcher est tout.
Auf deutsch:
Das Geheimnis des Tangos ist in diesem Moment der Improvisation, die zwischen dem Schritt und Schritt geschieht. Es soll das unmögliche Ding möglich machen: Schweigen zu tanzen, sagt Carlos Gavito.
- Zuerst, um zu tanzen, soll es wissen, wie man Musik zuhört. "Nächtlich" ist dem Zuhören der Straße nachts, dem ganzen Tanz ähnlich.
In der Musik sind alle Schritte. Der niedrige kennzeichnet, zum Beispiel, den Spaziergang des Mannes mit allen Problemen der Existenz. Es gibt die Geige, welche als die Frau klingt.. Deshalb, wenn man tanzt und kommt, muss ein sehr hübscher Teil der Geige der Frau sagen: Tanzen Sie mich, tanzen Sie mich. Später das Klavier, das der Moment ist, in dem beide zusammen spazieren gehen. Und der bandoneón, in dem der Geist des Tangos ist. Es ist einem Prunk der Seife ähnlich, und ich komme in innen hierher. Der Prunk bewegt sich innen mit mir, aber ich bewege mich nicht.
Das ist wesentlich, in tangotanz, dem echten Tanz, dass des Schweigens, folgend der Melodie zu lernen.
Das wichtige Ding ist zu wissen, warum wir tanzen wollen. Wir tanzen eine Einsamkeit, die wir in uns haben und mit nichts besitzen können. Diese Lücke, diese Leere, zu der wir Bewegung stellen, ist der Tango. Spazieren zu gehen ist alles.
Em português:
O segredo do tango está neste momento da improvisação que acontece entre pegada e pegada. Deve permitir a coisa impossível: dançar silêncio, diz Carlos Gavito.
- Pela primeira vez, dançá-lo é saber como escutar a música. "Noturno" parece-se com escutar a rua à noite, toda a dança.
Na música são todos os passos. O baixo, por exemplo, marca o passeio do homem com todos os problemas da existência. Há violino, que toca como a mulher.. Por isso, quando cada um está dançando e vem uma parte muito bonita do violino tem de dizer à mulher: Dança comigo. Depois o piano, que é o momento no qual ambos estão andando em conjunto. E o bandoneón, no qual é o espírito do tango. Ele parece-se com uma pompa do sabão e torno-me lá em, no interior. A pompa move-se no interior comigo, mas não me movo.
Isto é essencial para aprender em tangodance, a verdadeira dança, aquele do silêncio, de seguinte da melodia.
A coisa importante é saber por que queremos dançar. Dançamos uma solidão que temos dentro de nós e não podemos ocupar com nada. Esta fenda, aquela vacuidade à qual pomos o movimento é o tango. Andar é tudo.
In italiano:
Il segreto del tango ha luogo in questo momento di improvvisazione che accade fra il passo ed il passo. Deve permettere la cosa impossibile: per ballare il silenzio, ad esempio Carlos Gavito. - in primo luogo, ballarlo è di sapere ascoltare musica. "Nocturnal" è come ascoltare la via alla notte, tutta ballano. Nella musica sono tutti i punti. Quello basso, per esempio, contrassegna la camminata dell'uomo con tutti i problemi dell'esistenza. Ci è il violino, che suona come la donna. That's perchè, quando uno sta ballando e viene una parte molto graziosa del violino deve dire alla donna: Ballo con me. Successivamente il piano, quello è il momento a où entrambi stanno camminando insieme. Ed il bandoneón, in cui è lo spirito del tango. È come un pomp di sapone ed ottengo là dentro, all'interno. Il pomp si muove all'interno con me, ma non mi muovo. Ciò è essenziale per imparare in tangodance, il ballo reale, che del silenzio, di quanto segue la melodia. La cosa importante è di sapere perchè desideriamo ballare. Balliamo un solitude che abbiamo all'interno di noi e non possiamo occupare con qualche cosa. Questo spacco a cui mettiamo il movimento è il tango. Camminare è tutto.
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