VALERIA EGUIA: An Informal Interview.              June 20, 2004
Interviewed by Lourdes, Translated by Manu

Q: How did you come about deciding to do Tango as a career choice?

A: I was studying classical ballet in the conservatory of dance in BsAs, and one
of the visiting teachers came to teach tango. Since I wanted to try anything new, I tried it. I went on to enroll at the University of Tango in BsAs, and I am currently a 3rd year student.

Q. Would there be a problem for you going back to school, having missed 2 months for coming to teach in the US?

A. No, the teachers there understand that as dancers, we travel a lot and I would have to just make up 2 months of school work to graduate with a degree.

Q. Is there a set curriculum that is required of students in the school to graduate?

A. Yes, this is new and a lot of the curriculum is in the process of being worked out, but students are expected to learn the history of Tango and Folkloric dances of Europe and Argentina, learn the music and its meaning, and perform and be proficient in at least 4 different instruments to a high or professional level. There is also a curriculum for the stage and production of Tango musical scores.

Q. Which instruments?

A. Guitar, a small guitar, drums like Caja for us. But there is also a separate core for musicians who want to learn the Bandoneon, piano, violin specifically for Tango, etc.

Q. How did you pick a dance partner to dance with and perform?

A. At the School of Tango, my ex-partner was taking classes with Roberto. I first met Roberto through him, and Roberto and I became a couple first before we started dancing together as partners. He's been dancing Tango for years, and we've only been dancing together for 6 months before coming to the US.

Q. Do you work in Buenos Aires?

A. Yes, Roberto has a studio and we teach all day in the studio, located close to Esquina Carlos Gardel.

Q. What is the name of the studio? Do you have a website?

A. Not currently.

Q. What do you hope to do in 5-10 years from now?

A. I don't know, I haven't actually thought about it. But being a part of a major production that would travel is something I would like to do.

Q. What would you consider a good dancer or good lead (this question came directly from Manu)?

A. Someone who is focused and committed to the embrace—someone who tries to find the emotion in the music.

Q. What about fancy foot steps (again, directly from Manu)?

A. No fancy footwork to break the embrace. Although I understand that as a beginner you have to learn to dance with open arms first to find a comfortable embrace. But once you have the mechanics of it, you should try and commit yourself to the embrace and the music with your partner in doing each step. The older milongueros only have the music to guide them. They never learned "the steps." You have to learn the music and the feelings that inspired them to be able to say you are dancing tango like they do.

(Moment of silence there...... So profound.......)

Q. What is your favorite milonga in BsAs?

A. Favorite? Oh, they are all so different. I can't say I have a favorite.

Q. Which is the most elegant milonga to dance in BsAs?

A. I would have to say, Sunderland.

Q. Is that the one in a recreational sports complex?

A. Yes, the milonga is held in the middle of an indoor soccer field.

Q. That's elegant? Dancing in a soccer field?

A. (Laughter) I mean, elegant in that the ones who are anybody in Tango go there to dance and be seen. The cream of the crop, the dancing elite go there.

Q. Is it only for the dancing the elite? How about tourists?

A. (Laughter) Oh yes, milongas are open to everyone.