Not Letting Go

This is not a complaint, in fact, it is just an observation about an infrequent experience I have had with women who are new to tango. In my tango travels across America, I have danced with some ladies who do not disengage from the embrace entirely when the song has ended. She simply stands there, gripping my left hand with her right, her left hand still on my shoulder. I suspect this is not a conscious act. I can remember when I first started dancing tango, I couldn't breathe. I was oblivious to the fact that I wasn't taking in breaths but it was quite noticeable to my partners. Such are the mysteries of human behavior when two people join together to move to the music.

My initial reaction was to forcibly disconnect; not in a rude way, or so I thought when I was just a novice tanguero, maybe they did find it upsetting. Then I spent a year and a half studying the close embrace. Through frequent discussions with my girlfriend, I learned that the concept of ‘touch’ has an entirely different meaning to women than it does for men. Though I cannot quite say what that meaning for women is exactly, it is enough for me to know that it is different from mine. I must treat the act of embracing her with great care and not to come to any unfounded conclusions as to what she is experiencing.

I think this approach could apply to all people as a way we should all treat each other in all our social interactions. We should act as if we don’t really know what the other person’s experience of our encounter is and not to make any assumptions based on whatever biases we may have. This kind of behavior could do a lot to restore civility in America today.

After five years dancing tango, I learned that final impressions were just as important as first impressions. For the next three years I worked on finding the right moment to disengage from the close embrace. It is possible to ruin the memory of an entire tanda, regardless of how well you performed, by breaking contact abruptly.

I think the reason women find it so enjoyable to dance with other women is because they know exactly how, when and where to touch each other.  

I realized that my concept of the meaning of ‘touch’ had to change. I am not ‘touching’ her anywhere; she is merely settling into my embrace. Even though there is contact between our bodies, I am not taking notes on the specifics of which body part I am feeling, but rather, I am using that point of contact to find out where her balance is. My hand beneath her shoulder blade is where I see how she is connects to the ground.

The tango embrace is more than just two bodies coming together; it is a physical connection, yes, but it is also a mental, emotional and maybe even a spiritual communion as well. To find her balance I must establish a mood, I must make her feel respected. My frame is not so much a place for me to hold her as it is a room where she feels safe and free to enjoy what? Me? The music? The crowd? Who knows? I don’t. I can only hope that she is comfortable being with me and that I must work to make sure she stays that way.

I firmly believe that, as much as men have no clue as to what is going on inside a woman, women have no clue as to why men do what they do: they can only guess. My advice to any tangueros who may be looking for answers as to how they can become better partners, is this: don’t keep her guessing. Let her know that you enjoy the touch of her hands on your body, not through words but by your demeanor, smile honestly if you can and make eye contact. Above all, try to create a feeling of respect. For the next ten minutes, you will not be a man directing her backwards through a crowded room, you will be a place for her to go and to enjoy an experience that will reverberate back into you. If she chooses to stay connected to you through that awkward silence between songs, consider yourself lucky and enjoy the moment for what it is: a blessing.

For more thoughts on tango and life by the Kayak Hombre, check out my books available on Amazon.com. Special thanks to Lutin Wu for helping me redesign the cover of my second book 'Fear of Intimacy and the Tango Cure'.

Love Is The 5th Dimension

I think my computer is in love with me. I’m not sure how I know this but I’ve
noticed that it does not work well in the hands of others. Recently, I asked a
coworker to open the lid, it powers up upon doing this except in this case,
it stayed off. I told him to try again: same results. I took the laptop from him and
opened the lid and…..voila!

Love is a fantastical thing. It is my theory, as professed in my books on tango,
wiccans and other things, that it is a dimension unto itself. It is not simply a
strong emotion, but rather, it is a phenomenon that exists outside of the constraints
of time and space. It joins all things together and has an influence on the course
of events, be it a particle being repelled by another or the rejection of a lover by
his mate.

We are taught that Love is a strong feeling but it is much more than that: Love
exists where humans do not. It inhabits places and things as well as people. It is
in my computer and I am okay with that.

For more writings by the Kayak Hombre, check out his books available on Amazon and Kindle:

The Tango Touch

Touch. It is such an inconspicuous word for a sensation that has such an enormous impact on our emotions and on our lives. Touch is the feeling that remains with me long after the milonga has ended. So it was after some incredible dances with a delightful tanguera last Sunday. I was headed to the Baltimore area for work when I stopped to attend a practilonga in Media, PA, about two hours from my destination. I was on such a high when I left there that I could not listen to the radio for the rest of the ride. I drove the next hundred miles in silence, savoring the feeling of her in my embrace that was so clear it felt real.

Monday morning, I awoke in my hotel room to the thought of her in my arms. I could still remember quite vividly how she felt, my right hand on her shoulder blade, her back filling the nook of my elbow and bicep. Tuesday: same feeling but the memory is fading; I struggle to keep the impression of her in my mind fresh but it is fleeting. It is Wednesday morning and the recollection is almost gone. I am compelled to write or else the memory will be gone forever.

Touch is the sensation that keeps us coming back to tango like a drug addict to the needle. There is more to this sense than its mere definition suggests; it is an emotion that makes a memory; it is a digital readout of the person or object being touched; it is a sensation that records in our brains more than just texture and tone, it records possibilities.

Possibilities? Let me try to clarify that statement. If I pick up a million baseballs, one at a time, I probably will not remember touching any one of them. If I pick up a baseball my Dad gave to me, I will probably remember how the ball felt quite vividly as well as what I might do with it: throw it back to him, put it in my glove, toss it up in the air a few times, etc.

I did not remember how this particular tanguera smelled until I started writing about her: she smelled good, I remember the odor of her perfume made me think of a western forest and pinon pines, a desert aroma that is also sweet.

Her fragrance, however, was not the sensation that accompanied me on the rest of my drive, nor did it invade my thoughts in the early hours of the morning. It was the memory of the touch of her body that did this. There was a feeling of satisfaction when I touched her, maybe something more, I think she was happy. Whatever she was feeling I could sense that it was a good feeling through the contact of our bodies within the tango embrace.

This is my digital readout of her but what of the possibilities? Well, that should be obvious: we will dance again and the dancing will be good.


For more thoughts of the Kayak Hombre and Tango, check out his books available on Amazon and Kindle:

The Happy Ending

On my tango journeys out West I met a woman and fell in love. Love is a college filled with incredible avenues of learning unavailable in other courses of instruction. We shared many things but mostly we shared insights into our perceptions of tango. From our discussions I discovered a simple trick to make many of my tango engagements remembered favorably by my partners. The trick is to end the dance on a positive note and the way to do that is in the execution of the final release.

I had been dancing tango for five years when I met her and thought I knew everything but really I was just beginning to learn what is truly important to a tango encounter. Instructors of milonguero-style had swept through the western cities of Denver, Albuquerque and Tucson yet I had never heard of it. I was a New-York-City-style dancer, educated in all the fancy moves: lifts, volcadas, colgadas, etc. Tango to me at that time was more of an acrobatic feat than a true connection with my partner whom I barely understood, though, in my naivete, I assumed I knew all I needed to know.

My lover was a total beginner. I took it upon myself to educate her properly in the art and she blossomed like a flower, revealing to me a beauty of the dance I never knew existed. Because we were lovers, I was able to ask her questions about the men she danced with and felt certain I had gotten honest answers.

It takes three years to learn how to hold a woman in the tango embrace. It is not just an act of understanding the physical mechanics of where to place your arm and how to arrange your spine. It is the composition of many things, of mind, body and emotions. Holding a woman, a strange woman whom you’ve never met, has to be done from an attitude of respect, your mind must be clear of primal thoughts but those thoughts must not be hidden. Tango is full of paradoxes. You must project confidence and be calm. Above all, you must endeavor never to push her off her balance. If she is off-balance she will panic and that is no way to conduct a relationship, for that is what a tango dance is: a relationship if only for the length of the song or the group of songs that comprise a tanda.

We attended a tango festival in Tucson, then another in Albuquerque. In the spring of the year following the time when we first met we attended a close-embrace workshop in Salida, Colorado, taught by instructors well-versed in the milonguero-style of tango. This method of dancing focuses primarily on the emotional connection between a man and a woman and very little on movements beyond ocho cortado and caminar. Looking back, I probably gave the instructors less credit than they deserved because this workshop was the doorway to an invaluable insight for me into the tango connection. It was not so much what they were teaching that illuminated my experience, rather, it was what my partner was learning and what she was telling me about her experience that I found so valuable.

Here is what I learned from our late night and early morning conversations: if a close embrace connection is established then the disruption of that connection can be disconcerting to the woman. Every time your bodies disengage surface temperatures on the skin begin to drop and panic sets in for the woman; when contact is restored, calmness returns.

This was an epiphany for me and I was able to take this thought all the way to the conclusion of the dance encounter. If you are a follower of my blog you will know that I am a whitewater river guide at heart. A river runs through my life….literally. Of the many rivers I have worked on, the ones with great rides through the rapids at the end are the most loved by the rafting patrons. It is the final memory of the day and so it is with tango that the final memory of the dance should be the most pleasurable.

For the next four years after that workshop I worked on improving my performance of the release of the tango embrace after the dance. My lover and I had agreed that 2.5 seconds was the target duration of time that it would take to complete a proper disengagement of bodies though I have found, in practice, that it varies from woman to woman and from encounter to encounter: not all engagements are the same.

When the song has ended and everyone has stopped dancing, this is no time to disconnect abruptly. Doing so creates an unfavorable emotion and the entire experience may be counted as a failure. I have found that waiting for my partner to begin the release, either by her exhalation or a relaxation of her frame, eliminates the infusion of negative energy at the completion of the dance and, therefore, I believe, the registration of the dance in her memory as a positive experience.

Memories are a funny thing. We only remember things that we can associate with an emotion, be it positive or negative. The key, therefore, is to make that final moment of the dance a positive one by taking the time to allow her to disembark from your frame at her own leisure.

I began my tango education as a study of movement but I found this dance is about so much more than that. It is a dance about a woman and her experience of you, a man; an experience that is profound, unique and only available to those who venture to discover the universe that exists within another individual.

For more thoughts from the Kayak Hombre, check out his books available on Amazon and Kindle:

https://www.amazon.com/dp/1976586577/ref=sr_1_1?s=books&ie=UTF8&qid=1506046303&sr=1-1&keywords=the+tango+doctor

https://www.amazon.com/Fear-Intimacy-Tango-perri-iezzoni/dp/1492357790/ref=sr_1_1?s=books&ie=UTF8&qid=1414080444&sr=1-1&keywords=fear+of+intimacy+and+the+tango+cure