Oh, how we can learn from the milongueros….
We learned this past Friday that traditionally, when dancing tango or milonga, men have a special way of asking women to dance. Our professor informed us that when the man spots a woman who he wishes to dance with he looks at her until he gets eye contact. Once eye contact is achieved, he gives a cabeceo, a slight nod of the head, and the woman returns a similar gesture if she accepts or simply looks away if she refuses. This style of asking for a dance has its advantages. For one the man can be rejected without anyone noticing, retaining his pride and it also does not hinder his ability to ask another woman who if he had asked the normal way would feel like a second choice and might also have said no. I thought this was a tradition that was no longer followed so I was surprised when I went to tango lessons that night and before they began the normal lesson we were told of this.
I began practicing my nodding/asking on an elderly lady and I guess I must have nodded at too much of an angle for she approached me and said, “Sorry, I’m already married, but I will dance with you if you’d like.” So after adjusting the angle of my nod so that I would ask women if they’d like dance instead of proposing I began to like the system. That night I danced the night away and met some pretty fantastic people and I felt I had this tango etiquette to thank. The next morning I woke up wondering why we didn’t have a similar system up in the north. I always felt that when you got rejected by one girl and others saw you were automatically done in their eyes and they became unapproachable also. This system would be a great idea to infuse into our system so I have decided to take on the task of introducing and popularizing it once I get back home.
This thought brings me to the next
thing I found interesting. Our professor
told us about how the men dance to impress the other men here. As I looked around at the Tango club I realized
that the men were in fact checking out the other men more than they were the
women. After observing a man dancing
another man would go and compliment him and not the women he danced with. So I wasn’t surprised when one of the
teachers came up to me after a salsa tanda and told me “eres una bestia
Where are you from?
Over the past two weeks I’ve had
two conversations that paired together have made me come to some interesting
ideas. The first conversation took place
in
The second conversation occurred last
night at dinner with four other friends.
The topic was about how we feel we are getting treated here in
These conversations and a few
smaller ones led me to ask myself how I feel here. What do I say when people
ask me where I’m from? Does my answer change depending on where I am? The
answers were particularly interesting.
Ironically the only place where I really ever felt “American” is
The one place I feel most
comfortable in is by far
First Impressions
The time was 6:35 am on May 12 when
the captain of flight 4M4521 came over the loud speaker and announced we would soon
be landing on the runway at Ezeiza. As
he continued his usual spiel about expected sunrise time and current weather conditions
I peered out my window overlooking the still well lit
Once we landed I was once again
shocked a bit by the airport. It was not
the grand airport I had pictured before touching down but one so similar to
that of
As I sat and waited for the rest
group to arrive I began to wonder if my ideas of grandeur I held for this city
were just misdirected interpretations of friends’ and family’s stories. Sure enough I found that my expectations were
off by quite a bit. As we drove towards
the Residencia I kept asking myself when were going to get to the nicer part of
town. I had heard from a friend and read
in a guide book that Palermo Viejo was one of the nicer, newly renovated areas
of the city so it surprised me when we pulled to the side of the street in
front of an old looking building with all too familiar characteristics shared
with
Another thing that surprised me was
the people here. Living in








