Gavito and Duran: Beauty and Simplicity

Part II of Un Tal Gavito Vol 3 Review
Remarks on Waiting, Beauty and Simplicity

Gavito and Duran's comments continue, as they describe the beauty of simplified, slowed down movements and how emotion is expressed in the absence of a movement, rather than in a multitude of movements. After Gavito's remarks about intention and moving from the heart in the dance, Marcela added her own comments about the intimate conversation going on at all times, with all parts of the body, between the two dancers.

One example she takes issue with is the woman looking like she is "shining her shoes" on the man's pant leg, before the step over after the man's "sandwich". Marcela stresses almost more the caress of her own leg, "the sensuality is in the closing of the legs, with the ankle and knees touching."

In the video, embedded in the previous post, you can see the beginning of the sandwich ("el sanguchito") and Gavito's movements, in which he very lightly caresses Marcela's leg, then almost appears as though he'd caught himself doing something too intimate, and quickly pulls his foot away crossing it behind his other leg, leading her to the step over (which unfortunately isn't visible in that sequence). Later, when it's shown more fully, Marcela answers his caress with an almost tentative brush over his leg, then caressing and closing her own leg and ankle as she steps over him. The feeling is more of a denial of an impulse to do something more intimate. So the sensuality of the step comes from what is not done rather than what is done.

Marcela goes on to say, " ... a lot of women who dance, experienced or not, tend to overload the tango, overload the movement. Putting in a lot more things than the tango needs. In reality, the beauty is in the simplicity."

Finally they discuss the dialogue of glances, of facial expressions. The way "not" looking at each other can speak more than look directly at each other. The experience, the effect, the emotion, is different every time - even with the same partner and the same music, the moment can never be duplicated.
Gavito states simply, "You can't teach it. You can't lead it."


Mark Word said...

Mari... Thanks for the "Cliff Notes" on Gavito and DurĂ¡n. In frustration, a teacher will say "you cannot teach it" but this in itself "instruction" about art. Better said, I think, would be to say that art is not by-the-numbers (the "steps A through Z" he mentioned in your last post). Isn't he talking about the latent beauty and talent expressed out of one's own soul? One cannot teach one's own soul to others, but you can help others to find their own soul and passion. Then each person must find their own expression. The great Maestro did indeed teach mostly by example but also by his words ... and even the futility of parroting another person's expression at the expense of one's own soul's desire to express itself.

Karin Norgard (Joy in Motion) said...

Nice post, Mari. This is definitely uncommon, which makes it even more special and juicy when someone brings such subtlety into the dance. It's the same principle as with pauses. The movement may slow or even "stop," but the energy doesn't go away. If anything it intensifies because now it's being contained in a smaller area. I think it's the same when it comes to withholding or making it smaller like what this post expressed. Especially when your partner is expecting something bigger or grander like what they normally get, doing it like this really surprises in the nicest way. Sometimes in conversation with another person you actually lower your voice instead of raising it to elicit more attentiveness and sensitivity. The truth is in the intersection/resolution of opposites. Just love it. Thanks again!