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Making Ornaments

In tango, for women at any rate, there is a lot of waiting. You wait for a man to ask you to dance and, once dancing, you must wait for him to give you signals. If there are no signals, you do nothing. The way tango music is syncopated means there are many pauses, many instances where you are left hanging, mid-embrace, waiting for the next phrase and the next signal. An impatient person by nature (if I have to wait for a bus or a taxi I usually start to walk) I find these wide open spaces difficult to contend with. I usually start moving ahead of time, which puts me out of sync with my partner and the music. For me these spaces lay open the fact that, in tango, you are always dependent on someone else, on your partner, on a man. I find it discomforting.The challenge for me is to look at these spaces differently.

In fact the idea is that in these moments where nothing is happening you are, in a way, autonomous. It is these moments in which the woman has licence, free reign, to make 'ornaments' with her feet.And so, in these six weeks or so, between travelling and returning to real life, while I am waiting for my future to become clear, I'm going to try and be patient, both on the dancefloor and in life. And fill the spaces with ornaments – both with my words and with my feet.

And I always wanted to be Carrie Bradshaw – albeit a dark-haired, taller version with less expensive shoes.



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