April 12, 2018
Women In Tango
Carla Marano & Rebecca Shulman,
8 - 10pm
For this inaugural salon, we shall converse about the unique role, and experience of women in tango, and we will address the keynote of a recent article (see full text below) published by a feminist tango movement in Argentina. Being, "the key to change lies in SOLIDARITY as a fundamental tool to break the system from within, united. This solidarity or sisterhood among women is called SORORIDAD, implies that each women respects and protects the others."
Carla Marano ~ Rebecca Shulman
If you have any questions for our guests in relation to the topic or the article, please send us an email. Deadline for submission is April 8th.
- 9:30 to 10pm : Social Time
- Snacks and beverages will be provided
- We welcome everyone and we welcome donations!
. . . . .
Link to original text
Below is the full translated text from Spanish.
The “Movimiento Feminista en el Tango” emerges out of concerned group of women who belong to the tango community. On the dances floor and on the stage, we have seen how the inequalities that affect women in all societies are reproduced and manifested. As many collectives have been denouncing and making visible for many years, such as #NiUnaMenos, we believe that these injustices are the product of a patriarchal social order, inherited, perpetuated and perfected over thousands of years. That social order is reproduced by everyone: every person who inhabits this society has its gram of responsibility in sustaining the macho culture. We believe that, like any social construction, it is possible to modify it with the commitment and work from everyone. For us, the key to change lies in SOLIDARITY as a fundamental tool to break the system from within, united. This solidarity or sisterhood among women is called SORORIDAD , implies that each women respects and protects the others.
Our feminism, then, assumes that:
1. The women of the tango are in a situation of inequality with respect to men in all aspects (economic, labor, social, etc.)
2. This inequality is injustice.
3. By modifying attitudes and discourses in one's daily life, we can avoid reproducing that inequality, and even reversing it.
Patriarchy and machismo violence are also reproduced through the rewards and punishments that the system contemplates (and we all reproduce) for those who accept or rebel respectively. The fear of being labeled as "crazy", "hysterical" or "resentful" leads many women to be silent in the face of injustice and violence.
The tango, born in a macho society, is also crossed by these dynamics. It’s very origin is linked to spaces of exploitation of women, that imprint is still present today and sometimes even celebrated. As tango women, and as this is the area we inhabit, we want to invite you to think about the ways in which machismo manifests here specifically, so that we can modify and eradicate it.
Some of the most obvious inequalities are:
-Devaluation of the professional role of women: fewer job offers and lower pay, emphasis on physical appearance and not on artistic talent. Harassment and sexual blackmail.
-Physical and psychological violence towards many dancers and artists by their colleagues.
- Sexual harassment on the dance floor during the tandas.
- Continuity, and even exaltation, of milongueros codes that stigmatize and subordinate women (as the "passivity" of the follower role, the obligatory association of that role with the female gender, the invitation to dance as a male prerogative / an
exclusive action of the man ...) under the excuse of "tradition".
We propose, then, equal relationships in this area that we can achieve if:
- We reject and denounce any
exercise of violence or sexual harassment, and we sympathize with women who raise their voice.
- Avoid the "competition" between women: the other is my equal, not my enemy.
- We take care (those who organize and who attend) that the milongas and any work space (tango houses, classes, schools, etc.) are respectful spaces, where harassment or violence is not admitted and the violated women
- We assume that anyone can invite to dance, with a cabeceo (nod) or approach, and we respect the "no", always: before, during and after the tandas. Without gender distinction, No means No.
- We understand and celebrate that tango is a dance between people, regardless of gender, age or
WE CONSTRUCT TANGO WITHOUT MACHISMO.
Carla belongs to a generation of dancers that helped transform tango from a popular dance form with virtually no pedagogy, into a highly-sophisticated, deeply-understood art form. This was accomplished through many years of penetrating investigation into its movement technique, technical language and musical interpretation. Carla was an essential part of this investigative process, which has fueled the evolution of the dance, and its explosive popularity worldwide.
Over the years, Carla has devised her own didactic method based on her unique approach to the dance, a system which she has been able to share with colleagues from different generations and styles. She gave courses in different academic institutions, organizations and special events in Buenos Aires, such as La Viruta, CITA, and Festivals of the City Government of Buenos Aires, among others. Since 2013 she runs the popular investigation space ‘La Propuesta' with Octavio Fernandez in La Viruta and El Juvenil.
Rebecca Shulman has been dancing tango full-time for over 20 years and is regarded by the international community as an expert with an encyclopedic knowledge of the dance and a gift for conveying it to her students.
Rebecca was born in New York, studied classical ballet all her childhood, and later, Contact Improvisation and yoga. She started to study tango in NYC in 1991 from Daniel Trenner, with whom she began to perform and to visit Buenos Aires. Daniel emphasized improvisation and lead-and-follow skills that are the foundation of social tango. Rebecca's teachers in Buenos Aires, from 1992-6, include Juan Bruno, Mingo and Esther Pugliese, Gustavo Naveira and Olga Besio, Tete Rusconi and Maria Villalobos, Antonio Todaro, Pupy Castello, and Graciela Gonzalez. At home Daniel and Rebecca were pioneers, bringing the first notion of tango to city after city. They also produced a popular series of instructional videos. Since then Rebecca has taught many workshops across the U.S., and all over the world, with brilliant partners and also on her own. She is a guest teacher at big tango festivals. Students everywhere seek Rebecca's clear instruction on improvisation, technique, adornments, and musicality.
She's also a co-founder and artistic director of TangoMujer, an all-women dance company. From 1996-2006, TangoMujer performed a host of different choreographies telling various stories inspired in tango. TangoMujer performed at Symphony Space and Town Hall in New York, and at the Podewil Theatre in Berlin in 1998. In 1999, TangoMujer received a National Dance Production grant from New England Foundation for the Arts, which sent the company on tour to seven cities in the 2000-2001 season. In 2003 TangoMujer performed at Jacob's Pillow, Denver Tango Festival, Queens Theater in the Park, and University of Maryland. In May 2005 they took their show to the Tanzhaus in Dusseldorf, and in 2006 they were part of Leading Ladies of Tango. (tangomujer.org)