Jorge Dispari: Bien Villurca, Bien Bailarin

BT: Up to what degree should one be musically educated to dance tango? JD: It depends upon the way you want to dance. There are people whose only wish is to integrate into the dance floor and to move without killing anyone… Others want to dance cool without bothering anyone. And there are people who want to be professionals… It depends upon people’s desire and/or consumer’s qualities. But if you want to dance really well, you have to educate your ear as seriously as your body.

BT: How good ear should one have to dance the Villa Urquiza style?
JD: First, you need to dance tango de salon to be able to understand the subtleties added to Villa Urquiza style by Luis “Milonguita” Lemos and genial Jose “Turco” Brahemcha. If you fail, you are out of it. You need to dominate very well tango de salon, to know what to do at milongas. And after this comes the next one…

BT: Do you play any instrument?
JD: When I was a kid I was watching my elder brother working hard to master guitar. He had been learning it for several years, and then quit. I only scraped it a little. But, no, I never played any instrument.

BT: How would you define Villa Urquiza in terms of tango?
JD: This is something personal. And by no means it exists in tango, the absolute truth. But I would define this style of dancing as tango de salon danced with maximum elegance. With the signs of geniality tremendously impossible to repeat. Given that the geniuses of the past have already ended, none of the today’s talents interprets tango (the music) as before. Those are the major differences… The delicacy of stepping in caminatas, the details of giros around the common axis, slow ones, instead of the velocity without feeling… Only the velocity with music.

BT: What is the difference between the climates of Sunderland, Sin Rumbo and the clubs of other districts of Buenos Aires?