Archive for July, 2009

Argentimes review of Tango, an Argentine Love Story

The best English-language newspaper in Argentina, The Argentimes has published a review of Tango an Argentine Love Story (link here). Or read it below:

by: Stephanie E. Santana | 23 July 2009
section: The Consumer

Early on in Camille Cusumano’s ‘Tango: An Argentine Love Story’, the author mentions the Zen saying: “To relegate it to words is to defile it” as she discusses her perception of tango. Reading about someone’s experiences on tango made me skeptical. While it is one thing to personally experience this intensely stimulating visual and physical art, it seems as if it would lose its essence in book form. Nonetheless, Cusumano manages to recount a fluid moving memoir, holding her audience captive as if we were watching her sway across the dance floor.

“I flow with him like quicksilver on an incline. I am the passive element, shifting with his center until we share one sweet spot, wordlessly agreed upon” reads a phrase in the opening chapter. Written in the present tense, Cusumano’s memoir reads as if she is recounting a long, strange dream. It begins with her departure from a disastrous break-up in the US. She decides to turn her tango vacation into an indefinite stay in a foreign land, leaving behind her past while trying to unpack that baggage in Argentina. Through her Zen practices, she connects her love for tango while attempting to find peace with the life she left behind.

At first glance, this memoir may put off some readers because it appears to be another I-discovered-myself-in-a-foreign-country book. ‘Tango’ is part of a successful series of books edited by Cusumano and distributed by Seal Press about womens’ overseas adventures and their spiritual transformations. Although these recurring themes of self-realization and tango saving her life were at times mentioned excessively in my view, the author also breaks away from her encounters with dance partners to provide insightful and often humorous anecdotes about learning to live the Argentine life. Through these richly detailed accounts, Cusumano also creates a thought-provoking and often informative outlook on Argentine society. In one instance for example, she explains how a glance across the room can mean an invitation to dance while an invitation for coffee equals an invitation for sex. Her balancing act between lovers, friends and dance partners also lets the reader appreciate the varied Argentine landscape from the colourful neighbourhood of La Boca to the rustic territory of the gauchos.

In an interview, Cusumano described learning tango as “an antidote to obsession”. In her memoir, the author’s accounts of passionate, sweaty tango dances are reinterpreted through her explanation of Zen. In this sense the reader comes to understand how tango, as Cusumano puts it, is not a “vice” but a “virtue”, as it becomes a way to fall in love with Argentina. By the end of the memoir, I came away with not only learning tango terms, but also understanding many Zen practices. Although a reader may not have yet experienced tango, Cusumano’s spiritual layer makes her memoir relatable to many readers. Additionally, in spite of Cusumano’s emotional pitfalls with tango I closed the book feeling more energised to start my own adventurous world into the Argentine art.

‘Tango: An Argentine Love Story’ by Camille Cusumano, 2008, Memoir, distributed by Seal Press. www.camillecusumano.com

Recommended for: Foreigners before they arrive to Argentina.

Purchase the book online at: Amazon.com for US$10.95 or El Pipa Tango Store located inside Salon Canning at Av. Scalabrini Ortiz 1331. Call 15 5633 7895.

Tango sideways

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For tango followers who want to soar




Please read related post for tango leaders who want to soar.

Since writing the post for leaders about “airborne tango” (not an infectious disease, maybe an infectious “at-ease”), I’ve thought about this state of weightlessness while dancing with various partners, how I soar when the points of contact, even with negative space, feel equally weight-bearing. Obviously this state is dynamic. You don’t affix yourself to your partner (kind of as they do in ballroom tango) and then stay there. You must be completely and perpetually aware, ever shifting, ever present, to find the balance. Like skiing, skateboarding.

And, yet, not think too much about it.

There is a qualitative touching, nothing quantifiable about it, in this contact sport we call tango. It’s one of the many things that make tango experiential.

In this dynamic connection, followers, you have the lead. This may be the key to why experienced dancers feel there is no leader or follower, just a dance. The skillful leader doesn’t bumble into the dance partnership, grabbing you, deciding where and how to hold you. It’s a constant mutual decision. He or she waits and listens for subtle messages from you and your embrace, your posture, your distance or proximity to him/her, the way you place your head, the way your palms meet his/hers. The way you breathe.

A good leader recently described to me how all throughout a tanda, he didn’t know what to do about the woman’s head pressing so hard into him. It was distracting and there was no escaping it. I wondered how aware she was—it could have been a passive aggressive behavior and she might not even have been aware of it. It might have been that she was so accustomed to a skewed type of communication. But maybe it was something else more innocent. I have had the similar problem with men pressing my head so hard, I couldn’t relax into the flow of the dance, which in all other aspects might have been golden.

The awareness required for this smooth, pressure-free, equal-distribution connection is as easy as it is tricky. It requires not getting too hyper aware—not seeing the trees, not seeing the forest. A certain concentration is required and then paradoxically, you must also “de-concentrate” yourself—spread yourself and awareness around equally. Low-grade animal instinct? Maybe. I wouldn’t get too scientific about it. Already I’ve said way too much.

Years ago, a good dancer, a leader, told me how he didn’t like dancing with women who had just come from a certain teacher’s “women’s technique” class. I was not surprised. No doubt, the women were bringing the “fixed teaching” that they had just internalized by rote. But they failed to recognize that the class exercises are not the dance. The dance is born anew each time you step into the dance circle. It’s not memorized and had forever. It is like everyday life, a dance of constant instantaneous improvisation, constant reassessing where we’re at. You must meet your partner where you find him/her, not where the technique teacher told you he/she should be.

Consequently, adornos, the little extra decorations we do on our own are best when they happen without too much thought. You can watch dancers and tell whose adornos are naturally occurring and whose are premeditated. There is a disconnect in the picture of the latter. The partner feels it. The Princess and her pea has nothing on us tangueros with our acutely tuned senses.

How unveiled we are to each other in this dance! It’s only frightening if you’re afraid of your Self. No need to be. I’m awed by this seeming contradiction of how tango attracts macho men who must at the same time develop this deep full-body sensitivity. Something to ponder.

The most startling thing to read in my partner is fear. I’m never sure where his fear comes from—only he knows—but it affects the body almost identically to the way cold does. When threatened with hypothermia the body’s blood rushes to your core trying to offset the lowering temperature and preserve organs, so hands get stiff and claw-like, extremities clam up. You feel lightheaded because even the brain is getting deprived of nourishment. Fear seems to shape the body similarly so it’s hard to dance with a man experiencing this. I try to send messages of warmth, solace, and comfort, fun. Sometimes it works and when it does, it’s a gift to both of us.

Occasionally in older men (and women, I’m sure, too) fear has been such a constant companion that the body is so at home with clamming up, it has hardened with a hard shell of armor, curved posture. What a challenge to connect weightlessly with this person. But it can be an exercise in sharpening your own sensitivity and ability to meet the moment(um), meet the person. Like that old Shaker song, lyrics by Elder Joseph, which I bet you could tango to:

Tis the gift to be simple, ’tis the gift to be free,

‘Tis the gift to come down where we ought to be,

And when we find ourselves in the place just right,

‘Twill be in the valley of love and delight.

When true simplicity is gain’d,

To bow and to bend we shan’t be asham’d,

To turn, turn will be our delight,

Till by turning, turning we come out right.

Surely this man experienced tango. . .

Coming – a post on “Meeting.”

Buenos Aires Bares Notables

The place is a museum

Cafe Garcia is a museum

Here is the complete list of bares notables shown at www.bue.gov.ar, a mysterious Web site that is often very out of sight, literally:

12 de Octubre
Dirección: Bulnes 331
Barrio: Almagro
(54 11) 6327 4594
E-mail info@barderoberto.com.ar
Web www.barderoberto.com.ar

36 Billares
Dirección: Av de Mayo 1265/71
Barrio: Monserrat
(54 11) 4381 5696
E-mail info@los36billares.com.ar
Web www.los36billares.com.ar

El Preferido - fabada asturiana - muy rico

American Bar
Dirección: Av Roque Saenz Peña 632
Barrio: Monserrat
(54 11) 4331 4825

Bar Aragón
Dirección: Av. Alberdi 4899
Barrio: Villa Luro

Bar de Cao
Dirección: Av. Independencia 2400
Barrio: San Cristóbal
(54 11) 4943 3694
E-mail bardecao@gmail.com

Bar del Hotel Alvear
Dirección: Av. Alvear 1891
Barrio: Recoleta
(54 11) 4808 2949
E-mail info@alvearpalace.com
Web www.alvearpalace.com

Bar El Estaño 1880
Dirección: Aristobulo del Valle 1100
Barrio: La Boca
(54 11) 4302 8880
E-mail elestano1880@hotmail.com

Bar El Federal
Dirección: Carlos Calvo 595 / 99
Barrio: San Telmo
(54 11) 4300 4313

Bar O Bar
Dirección: Tres Sargentos 415
Barrio: Retiro
(54 11) 4311 6856
E-mail info@barbarobar.com.ar

El Banderin was my Spanish teacher, Demian's fave place - but they didn't serve food to write about.

El Banderin has a basic menu locals love.

Web www.barbarobar.com.ar

Bar Oviedo
Dirección: Av Lisandro de la Torre 2407
Barrio: Mataderos
(54 11) 4687 8690

Bar Plaza Dorrego
Dirección: Defensa 1096 / 98
Barrio: San Telmo
(54 11) 4361 0141
E-mail cyufera@hotmail.com

Bar Seddon
Dirección: Defensa 695
Barrio: San Telmo
(54 11) 4342 3700

Bar Sur
Dirección: Estados Unidos 299
Barrio: San Telmo
(54 11) 4362 6086
E-mail info@bar-sur.com.ar
Web www.bar-sur.com.ar

Británico
Dirección: Brasil 399
Barrio: San Telmo
4361 7902
Web www.barbritanico.com.ar

Café de García
Dirección: Sanabria 3302
Barrio: Villa Devoto
(54 11) 4501 5912
E-mail garcia@cafedegarcia.com.ar
Web www.cafedegarcia.com.ar

Café Don Juan
Dirección: Camarones 2702
Barrio: Villa Devoto
(54 11) 4586 0679

Café El Banderín
Dirección: Guardia Vieja 3601
Barrio: Almagro
(54 11) 4862 7757
E-mail info@elbanderin.com.ar
Web www.elbanderin.com.ar

Café El Coleccionista
Dirección: Av. Rivadavia 4929
Barrio: Caballito
(54 11) 4902 7954

Café Esquina Homero Manzi
Dirección: Av. San Juan 3601
Barrio: Boedo
(54 11) 4957 8488
E-mail info@esquinahomeromanzi.com.ar
Web www.esquinahomeromanzi.com.ar

Café Los Galgos
Dirección: Av. Callao 501
Barrio: San Nicolás
(54 11) 4371 3561

Café Mar Azul
Dirección: Tucumán 1700
Barrio: San Nicolás
(54 11) 4374 0307

Café Margot
Dirección: Boedo 857
Barrio: Boedo
(54 11) 4957 0001
E-mail cafemargot@hotmail.com

Café Nostalgia
Dirección: Soler 3599
Barrio: Palermo
(54 11) 4963 0903
E-mail debetty44@hotmail.com

Café Tortoni
Dirección: Av. De Mayo 825/29
Barrio: Monserrat
(54 11) 4342 4328
E-mail tortoni@cafetortoni.com.ar
Web www.cafetortoni.com.ar

Claridge
Dirección: Tucumán 535
Barrio: San Nicolás
(54 11) 4314 7700 int. 335
E-mail inforeservas@claridge.com.ar
Web www.claridge-hotel.com.ar

Clásica y Moderna
Dirección: Av Callao 892
Barrio: Recoleta
(54 11) 4812 8707
E-mail clasica@clasicaymoderna.com.ar
Web www.clasicaymoderna.com

Confitería del Hotel Castelar
Dirección: Av de Mayo 1048
Barrio: Monserrat
(54 11) 4383 5000 / 9
E-mail info@castelarhotel.com.ar
Web www.castelarhotel.com.ar

Confitería Ideal
Dirección: Suipacha 384
Barrio: San Nicolás
(54 11) 5265 8069
E-mail confiteriaideal@confiteriaideal.com
Web www.confiteriaideal.com

El Gato Negro
Dirección: Av Corrientes 1669
Barrio: San Nicolás
(54 11) 4374 1730
E-mail gatone@elgatonegronet.com.ar

El Hipopótamo
Dirección: Brasil 401
Barrio: San Telmo
(54 11) 4300 8450

El Preferido de Palermo
Dirección: Jorge Luis Borges 2108
Barrio: Palermo
(54 11) 4774 6585

El Progreso
Dirección: Av. Montes de Oca 1700
Barrio: Constitución
(54 11) 4301 0671

El Querandí
Dirección: Peru 302
Barrio: Monserrat
(54 11) 5199 1770
E-mail reservas@querandi.com.ar
Web www.elquerandi.com.ar

Florida Garden
Dirección: Florida 899
Barrio: Retiro
(54 11) 4312 7902

Iberia
Dirección: Av. de Mayo 1196
Barrio: Monserrat
(54 11) 4381 6300

La Biela
Dirección: Av Quintana 600
Barrio: Recoleta
(54 11) 4804 4135
E-mail info@labiela.com
Web www.labiela.com

La Buena Medida
Dirección: Suarez 101
Barrio: La Boca
(54 11) 4302 0038

La Coruña
Dirección: Bolivar 982/94
Barrio: San Telmo
(54 11) 4362 7637

La Embajada
Dirección: Santiago del Estero 88
Barrio: Monserrat
(54 11) 4381 1520

La Giralda
Dirección: Av Corrientes 1453
Barrio: San Nicolás
(54 11) 4371 3846

La Perla
Dirección: Don Pedro de Mendoza 1899
Barrio: La Boca
(54 11) 4301 2985 / 87

La Puerto Rico
Dirección: Adolfo Alsina 420
Barrio: Monserrat
(54 11) 4331 2215

Las Violetas
Dirección: Av. Rivadavia 3899
Barrio: Almagro
(54 11) 4958 7387/ 88
Web www.lasvioletas-café.com.ar

London City
Dirección: Av de Mayo 599
Barrio: Monserrat
(54 11) 4342 9057
E-mail londoncitybarsrl@ciudad.com.ar

Miramar
Dirección: Sarandi 1190
Barrio: San Cristóbal
(54 11) 4304 4261

Olimpo
Dirección: Irigoyen 1491
Barrio: Villa Luro

Petit Colón
Dirección: Libertad 505
Barrio: San Nicolás
(54 11) 4382 7306

Plaza Bar
Dirección: Florida 1005
Barrio: Retiro
(54 11) 4318 3000
E-mail restorants@marriot.com.ar
Web www.marriotplaza.com.ar

Richmond
Dirección: Florida 468
Barrio: San Nicolás
(54 11) 4322 1341
E-mail richmond@uolsinectis.com.ar
Web www.restaurant.com.ar/richmond/

Saint Moritz
Dirección: Esmeralda 894
Barrio: Retiro
(54 11) 4311 7311

The Brighton
Dirección: Sarmiento 645
Barrio: San Nicolás
4325 9126
Web www.thenewbrightonsrl.com.ar

Tokio
Dirección: Alvarez Jonte 3550
Barrio: Villa Santa Rita

Balvanera
Cafe de los Angelitos
Rivadavia 2100
4952 2320

Buenos Aires notable cafes and bars, New York Times

Check out my July 12, 2009 New York Times piece on Buenos Aires’s bares notables. Be sure to look at photographer Kevin Moloney’s slide show of some of the bares notables. The city’s list of notable bars and cafes is up to 53. It seems the city’s Web site is not only slow but disfunctional at the moment, so I am posting the list of bares notables here. I visited more than 40 of them before choosing the six that made the cut for the story. Some of my research documented in images:

El Gato Negro on Corrientes

The place is a museum
Francis loved his submarino (hot chocolate); the budin was too dry

Francis loved his submarino (hot chocolate); the budin was too dry

Brass door handle like an over-sized tilde - lovely interior

The Brighton - brass door handle like an over-sized tilde - lovely interior

Cafe Garcia - part of the gargantuan picada

Cafe Margot - hanging out over the bar

El Banderin was my Spanish teacher, Demian's fave place - but they didn't serve food to write about.

El Banderin - great hangout; food's survival good.

With Raquel (right), "research assistant" - after 36 Billares, Av. de Mayo

Borges, Gardel, and poet Nadia . . .Tortoni

Research assistants Carmen, Ed, at Pan y Arte

Linda Maxwell, research assistant, El Querandi

Research assistant, Oscar, Preferido, Palermo

Preferido, fabada asturiana - muy rico

Britanico, pizza matambre with papas fritas

La Coruna's crooked bar

Brighton, Robert, research assistant

Los Angelitos, waiter snapped this one.

Steam bar special

For tango leaders who want to soar




[See related post, after reading this one, for tango followers who want to soar.]

Hola from Buenos Aires. The dancing here is beyond words. But I must try.

Leaders: How many points of connection do you have with your partner? This is not a trick question, just a thought one. Lately, I’ve been aware more than ever of how the best tango dancing is qualified by a feeling that all points of contact with my partner, with the floor, with the air on my back, and the air in my lungs, bear perfectly equal pressure.

I believe in airborne tango – and that exactly describes what it feels like. It feels as if the pull of gravity is no more or less than the press of the man’s palm against my own; no more or less than his torso against my torso; no more or less than his right arm’s weight against my left side or than the push of my breath on my lungs; and equal, if opposite, to our horizontal momentum. In other words, it feels as if you could turn us sideways or upside-down and we’d still feel the dance same way.

I don’t know how you teach this. But I can tell you it seems more likely to occur with Argentines who dance what I call “organic tango.” They never learned to quantify the dance. They haven’t learned it from the feet up, maybe not even from the heart down. They learned it full body and mind—through watching, internalizing, knowing the music from the womb on. And what all else, I can’t say.

This is not to discourage non-Argentines. Only to direct awareness to the connection (and all points of body contact) and how vitally important it is. It can’t be overstressed. Indeed, I dance with Argentines who are “pile drivers” pushing me down into the ground until I feel like my body wants to collapse like an accordion or bandoneon. My hip joints scream. The balls of my feet start to burn. My core “chi” does double duty – saying, “just hang in there, this too shall pass.”

It’s interesting to note that if even one point of contact applies more or less pressure than the others, there is an off-balance feel and airborne tango cannot occur. My partner can be adept in many ways, but if he is squeezing the heck out of my hand, my awareness is pulled there. I let my hand go limp hoping he’ll notice. Or, there is the guy who will dig his fingertips into my back and it’s so distracting—like he’s trying to give me a shiatsu treatment as we dance. An old friend, Silvio, who is hard of hearing will not loosen his grip on my middle, for nada. When I wriggle, he says, stop wriggling. I yell in his hearing aid, I can’t breathe, you’re cutting off the circulation between my upper and lower body. Silvio is extreme and I only tolerate him because we go back to my first days here. Aside from my turning blue, we have a good time.

This equal application of pressure at all points changes from partner to partner, naturally, because of varying height, weight, and body mechanics. Dancing last night at El Beso, I noticed this with Hector, a friend and regular partner. Hector doesn’t do a lot of steps or patterns, but I could tango with him forever and never be bored, only energized. His lead is not just from the heart, it’s full body. We roll off each other as much as off the floor, as much as off the ceiling. There is a quiet contact of our palms, although occasionally, he’ll lower our hands down close to our bodies, as in canyengue. He knows how to do this. Our feet are at times incidental to the whole dance. Or so it seems. It is exquisite.

And then there was Roberto, an excellent tanguero. By contrast to Hector, Roberto knows a lot of steps and figures. He’s always fun. But he doesn’t yet have this “all-points-of-contact-must-be-equal” talent yet. He likes to do the rhythmic tandas and milonga with me. But when we did the milonga last night, his right arm pressed slightly too hard into my left armpit and it wasn’t possible because of our heights for me to lessen this. So, I had to pay close attention, at times guessing when his feet were traspie-ing because this one little extra pressure jumbled his signals to my “not-think message center.”

I am lucky to have found here three fabulous practice partners, all different styles of tango, all allowing  my dance to soar. There is Oscar, who is purely organic, dancing for more than fifty years. Juan (whose real name is Manuco Firmani) teaches at Mora Godoy studio. He is young, a beautiful fantasía performer. We dance mostly open embrace and do a lot of colgadas, volcadas, sacadas, boleos, etc. You can see him teaching me in the video on my Home Page. (Contact him for lessons at manucofirmani@hotmail.com). And there is Joaquin Amenabar, a bandoneonista who teaches at two conservatories in Buenos Aires. As a musician, he understands the music deeply and in an extraordinarily articulate way. We practice once a week and it’s airborne quality. (See his book, Tango! Let’s Dance to the Music – he’s visiting the SF Bay Area in October and will offer a workshop on tango music. I highly recommend it.)

One more thing: A couple of weeks ago, at Club Fulgor, on Tuesday night, I danced with Andrew, a young American, who is blind, from San Francisco. Not only could he navigate the floor without bumping anyone, he had this equally-applied connection thing down. The women constantly invited him to dance. Obviously, he doesn’t cabaceo. If you come upon a tall blond, blue-eyed man sitting in a milonga reading the St. James Bible in braille (he’s a theology student), do invite him to dance. I guess what Andrew’s dancing demonstrates is that this ineffable connection is internal.

The quality of the dancing lately here has been so good. Thursdays at El Beso are my new favorite milonga. But that can change without notice. Between the winter cold and the misplaced fear of swine flu, the milongas are not crowded—but the good dancers still come.

I hope this has been helpful. I look forward to your thoughts and comments.

Mass hysteria in Argentina, swine flu


July 8, 2009

Tomorrow is Argentina’s Independence Day, a national holiday, but the country has already been shutting down due to hyper panic over the swine flu (or gripe A).

Friends Day, July 20, is coming, but I’m really worried. The Argentine hug is in danger of disappearing. Que tragedia!

Each year, two million children worldwide die from diarrhea that could have been cured with an oral serum costing about fifteen cents, writes Carlos Alberto Morales Paitán, pediatric doctor at Children’s Hospital in Lima, Perú. But his email, which reached me via Argentine friends, was not about that too common tragedy.

It was about the epidemic of mass hysteria here in Argentina over the swine flu. People are walking around in surgical masks, schools have been closed, events canceled (including the International Conference on Tango Therapy, around which I planned my year), and the government and many people are acting as if the bubonic plague has returned. They either don’t know they are dupes or don’t care—some quarters like an alibi for closing up shop.

Roche and Relenze who silently rubbed their palms together when the bird flu (avian flu) caused similar panic, are waiting in the wings (bad pun, sorry). Or the pig sty, I should say. Their Tamiflu vaccine, despite not having had remarkable efficacy, raked in the bucks, making a killing (there I go again) in Asia.

The bird flu killed 250 people in the entire world. Yes, 250 people in a 10-year period, 25 victims per year. La gripe A’s casualties are so far at about that rate, maybe a little higher. The common flu, on the other hand kills half a million people each year throughout the world. Pneumonia, a curable illness with cheap vaccines, causes the death of 10 million people in the world each year. And the media does not inform you of those. You do the rest of the dot connecting.

So, with these faux precautions thrust upon us, I’m getting fewer hugs and here I boasted about Why Argentines are not so hot on Valentine’s Day—because July 20, Dia Del Amigo is their big day for celebrating love. I’m sure there are enough lucid people around to celebrate without this silly charade of macro-microbia-phobia.

Hugs and kisses to all.

Travel Writing Workshop, Mendoza, Argentina

SEE “EVENTS” ON MY HOME PAGE FOR  DETAILS ON THE LATEST AND GREATEST WORKSHOP IN BUENOS AIRES—AND COMING TO SAN FRANCISCO

There’s no more inspiring way to practice travel writing than to immerse yourself in a foreign culture. You find yourself crafting image-rich journal entries or lyrical postcards and emails. But how do you fashion prose with style and substance — that give your words broader appeal, longer shelf life, and publishing opportunities?

Learn how in a workshop, “Substance and Style in Travel Writing” from July 25 to August 1, 2009 while immersing yourself in the vibrant Argentine culture of Mendoza, the lovely wine country, located at the base of the Andes Mountains. Camille Cusumano, author of “Tango, an Argentine Love Story,” will lead the workshop, which is sponsored by the Mendoza Intercultural Association (MIA), a non-profit association whose purpose is to promote intercultural exchange between Argentina, the U.S. and other world cultures.

VIEW THE WEEK’S SCHEDULE HERE

Your lodging and the workshop is at Posada de Rosas, a boutique inn in Mendoza, perfectly situated for exploring the lively city that is sure to inspire many story ideas. Your lodging hosts are American writer Ellen Hoffman and her artist partner, Riccardo Accurso. (Scroll down for more details on lodging, costs, instructor, workshop.)

HERE’S WHAT YOU GET

The workshop with an award-winning writer and editor promises a winning combination of intense instruction with practical exercises in the class and in the field, as well as exposure to quintessential Argentine culture—tasting world class wines (lookout Napa and Sonoma!), savoring the country’s cuisine, including the unparalleled Argentine barbecue (think grass-fed beef and other meats as well as small-farm produce) and, of course, tango, tango, tango—a demonstration and a few lessons (now, that’s something to write the home paper about).

In the first group session, participants will set a personal goal to accomplish during the workshop. In subsequent sessions, Camille will guide participants through topics including: the art of reporting and researching, how to pitch your article or book to an editor, how to find your own voice as a writer, self-editing, and more.

Class sessions will alternate with a series of activities including visits to local wineries, a full-day excursion into the Andes mountains, and an opportunity to meet with local Mendoza writers. Camille will be available for individual consultations. Here’s your chance to go deeper into your own work and the art and craft of writing.

We hope you’ll join us for a week—and if you like, an additional three days that includes private consultations with Camille. The classes and the beautiful setting are sure to push your creativity and writing to new heights. With a small group of fellow writers, you’ll learn the six key topics that lead to successful writing, while you enjoy wonderful food, wine landscapes, and heady exchanges with local writers.

ABOUT THE INSTRUCTOR
Camille Cusumano is an American writer and editor who divides her time between San Francisco and Buenos Aires. In addition to her book, “Tango,” her published works include cookbooks, travel anthologies, essays and travel and food articles for publications including The New York Times, The Washington Post, Yoga Journal, and Islands magazine. She was an editor at VIA Magazine for 17 years. Her short story, “Plot Theory,” won third prize in the annual Kurt Vonnegut short fiction contest in 2007.