[Tango-L] Germans teaching Argentine tango in the USA

[Nina Pesochinsky]

Now a more seriious reply.

First, tango is not lucrative for the organizers. It is a mistake to 
think that people do it for the money.  I can come up with at least 
2-3 ways, without thinking about it too hard, how to make more money 
faster and with less headache.

People have to love tango to try to organize anything.

Over the last decade, in the U.S., certain cities have developed 
communities that are large enough to support the costs of bringing 
well-known Argentine dancers/teachers.  As the schedules of these 
teachers became quite full, the number of the cities on one continent 
that they could fit into their schedule often shrunk dramatically 
because their tours became global - they often teach in the US, 
Europe and Asia - all on one tour.  In addition to that, many have 
standing annual commitments, such as established festivals.

There are little budding tango communities in the US with the numbers 
of dancers whose attendance would not be able to support big 
events.  These communities need teachers and would host those who 
would be willing to travel there because these cities are often not 
on the established circuit of the well-known teachers (who tend to 
return to their established locations).

A big factor is how far in advance you have to book the teachers when 
you are organizing their event.  If they are booking a year and a 
half in advance, then you have to be in a position to make that 
commitment.  Teachers who are willing to travel on a shorter notice 
often become more accessible.

I think it is a mistake to look at the origin of teachers instead of 
looking at them first as dancers, and, second, as people who may 
actually have something to offer.

Milton Myers of the Ailey company once said in a master class that he 
was teaching that every teacher has some gem to offer.  Some teachers 
have many gems, while others have only one or two.  And they all 
spill those gems in front of the students in class.  Those students 
who grab all the gems that they see, become richer (and can make 
better jewelry from their gems) than those who stand around waiting 
for the teachers with lots of gems, while ignoring those who only 
have one or two.

So the question is not who is teaching.  The question is - who is learning?

Warmest regards,

NIna








At 11:40 AM 9/3/2007, Janis Kenyon wrote:
>Date: Mon, 3 Sep 2007 11:08:57 +0200
>From: Melina Sedo & Detlef Engel <tango at tangodesalon.de>
>Subject: [Tango-A] Dtelef & Melina: US-Tour February/March 08
><>We would like to inform you about our upcoming tour to the USA <>
>14 - 17 February: Valentango Festival Portland
>23/24 February:  Workshops in Pittsburgh (PATangoS )
>29 February - 2 March: Milonguero Festival in Champain Urbana
>3 - 14 March: Classes in New York (Empire Dance Studio)
>15/16 March: Workshops in Philadelphia (Tango Hug)
>There are still some free slots in our schedule, especially during
>the weeks and after our stay in Philadelphia. <>
>
>
>Am I the only person who thinks this is crazy?
>There are dozens of Argentines teaching in the USA in addition to hundreds
>of Americans who teach.
>Why are they organizing classes for Germans?
>Is it because these Germans travel at their own expense on tourist visas?
>Or because there is so much money to be made from weekend workshop and
>festivals?
>What can you get from a German couple in two days that you haven't already
>learned from Argentines or Americans?
>
>Most Argentine professionals who teach regularly in the US are smart enough
>to know they need a work permit and P-3 visa to be working legally.  There
>are some there now, however, who are working on tourist visas.  But then,
>the organizers never ask to see their passports.  Instead, they look the
>other way and laugh all the way to the bank.
>
>I know that Ray Barbosa, a lawyer, went through the visa process this year
>when he invited Tete and Sylvia and others to teach at his festival in
>Chicago.  They wouldn't have been able to enter the country without the
>proper work visa after a nine-year absence.  Lydia Henson applies annually
>for visas for all those teaching at her Miami festival, otherwise El Flaco
>Dany would never have entered the USA.  The visa process takes about six
>months.  Any citizen in the US can petition for the work permit after
>gathering all the required documentation.
>
>Twelve years ago I learned that any foreigner working in the US is required
>to have the appropriate visa in their passport before entering the country.
>I had to obtain visas for those teaching at my festival in a short time
>frame.
>All visas were issued and everyone worked legally for one week.
>
>Tours have been cancelled because organizers thought that teachers would be
>able to obtain a tourist visa.  Then the US Consulate denied the request.
>Once a tourist visa is denied, it is in the records and never can be
>obtained.
>
>
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