A blend between knowing what to do and knowing how to be.
A blend between control and release.
A blend between « How do I do this? » and « Why do I do this? »
How can we combine the CONCEPTS that make up the STRUCTURE of the discourse with the EMOTION that makes up the CONTENT of the dance?
How can we pair an OBJECTIVE approach, or the mechanical aspect of coordinating the body that is part of any physical technique and the core of tango’s « grammar », with the SUBJECTIVE and unique nature of each individual’s perception?
I believe that dancing means adjusting your state of consciousness.
What fascinates me the most is how emotion intersects with consciousness and clear-cut knowledge.
The challenge for the teacher during the learning process consists of not separating the integration of abstract (and potentially organic but complex) concepts from the knowledge that our perceptions will inevitably change on the dance floor. After all, emotion can change our perceptions to such an extent that it makes these concepts ineffective if they’ve been learned separately.
The result is either a pointless and egotistical dance that lacks any personal expression, or a dance that is completely governed by emotion because the student is not able to access their technique on the actual dance floor.
For me, a person who becomes a “dancing body” when whole, balanced, and consistent — someone who is equal parts organized and lucid as well as sensitive and instinctual.
Only then poetry can appear.