Hasta La Gadget!

“Just pray about it.” This is the phrase we throw around in Christian culture when someone needs to make a decision.

“I prayed about it and God said to…” What we say after we’ve made the decision.

The idea is that one must carefully discern each step of life to stay on a divinely ordained path. Derailing from the path means veering away from the bountiful blessings God had prepared for those who stayed faithfully on it. We were to heed the wisdom of God in discerning life decisions from big decisions of who to marry down to which party invitation to accept.

Over the years I have seen so many of my Christian friends suffer severe spiritual anxiety over seeking the elusive will of God that I feel I must speak out and put an end to further unnecessary angst.

A note: please know that I understand the theology behind praying about our life decisions. I know it comes from a desire to cultivate an intimate relationship with a God who is concerned about the smallest details of our lives. We want to be seen, heard, and cherished by a God of love. I know it is a deep reverence to involve and honor God in our everyday lives–a profound mark of humility. I appreciate the gift of evangelicalism in giving us access to casual conversations with the divine.

However, I also cannot deny some problematic aspects in our practice to seek the will of God. Here are seven reasons why:

1. Superstitiously scrambling for signs. (Wow, I love when I can alliterate like that) Some people testify to an audible voice of God, but most people don’t have such direct access to God’s instructions, so we must rely on other methods of discernment. While I am a big fan of the Wesleyan Quadrilateral, to lean on the balanced wisdom between tradition, scripture, reason, and experience, others insist upon more glamorous ways of deciphering God’s calling. For example, I have often heard Christians say they flipped open the Bible and found the exact verse which spoke exactly to their situation and solved their dilemma of that moment. I’m sorry but I do not think the Bible works like a magic 8 ball, to do so cheapens a careful reading of Scripture’s overarching narrative.

2. Blueprint worldview. I recently learned this term in my friend Jessica Kelley’s new book, Lord Willing, in which she tells the story of losing her 4 year old son. She says she grew up with a perspective where the will of God was pre-designed like a blueprint for our lives. Some people believe God’ is the Grand Architect whose will is laid out meticulously like a blueprint. For those who do, they must contend with the logical conclusion that God had intended for sweet little Henry to die at the tender age of four.

For an alternative perspective, what are you waiting for, go buy Jess’s book!

3. Bad guilt. The spiritual anxiety I alluded to earlier often comes when my friends and I would pour sweat trying to grasp accurately at the will of God because the consequences of missing the mark was high. It was frightening to feel the threat of veering outside of God’s blessings. And when we inevitably made bad choices by nature of being human, the guilt is eagerly waiting as our familiar companion. Shaking its head at me, Guilt seems to say, “sorry, you messed up…yet again. Have you met my friend, Shame?”

4. The God card. I see this one played out in unfortunate ways especially in the mission field and other Christian organizations. There is this prevalent thought that if a ministry is in accordance with the will of God, then it will be blessed…magically. This is a correlation of the prosperity gospel. If a project gets funding, or attracts large amounts of attention, then it must be God’s will and that is why God has “opened doors.” And vice versa, if a project dwindles or encounters challenges, it must not be God’s will. I consider this using the God card to justify laziness in doing critical evaluation of our own ministries. Seeking the will of God smells suspiciously like chasing success, and that doesn’t lead to faithful outcomes.

5. Dismisses intuition. Seeking the will of God could be a good reminder that we need perspectives outside of ourselves, that God is God and we are not. This is wise. However, it can potentially erode our sense of intuition, and cause us to not trust ourselves when something feels “off.” This has caused great suffering to vulnerable people who stayed in abusive situations because they couldn’t trust the voice inside of themselves telling them to run.

6. Misuse intuition. On the other hand, when we do use our intuitive sense to make decisions and claim that we’ve heard from the voice of God, this can lead to a dangerous lording of power over marginalized people. What is intuitive to the powerful is often a vantage point from a social location shaped by forces that have benefited them, and is not an accurate view of reality. The most poignant and painful example is that slaveowners held their Bibles in one hand and the whip in the other. Atrocities have been committed in the name of the will of God.

7. Minimizes the presence of God. Probably the biggest reason I stopped striving to seek the will of God was because I realized I didn’t have to. The biggest lie I rejected is that God is only present to those who walk according to God’s will. There’s no adventure I can take where I could possibly be outside of God’s scope of expansive love. There’s no suffering so deep, no sin so unpardonable, no mistake so grand where God won’t walk right alongside me and all my imperfections. The only striving I do these days is to be, as Mallory Ortberg says, the best 30% of myself. I make my decisions allowing for a wide margin of error, and handle the consequences, be they rewards or disappointment.

The only thing I need to know about the will of God is God’s will to be with me. The rest, I can handle.

Cindy blogs at cindywords.com. You can subscribe to her newsletter and receive her FREE e-book, Outside In: Ten Christian Voices We Can’t Ignore.

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The Bias and the Reality

When fairly comparing total “well-to-wheels” greenhouse gas emissions (GHGs) and well-to-wheels fuel efficiencies of fuel cell electric vehicles (FCEVs) and battery electric vehicles (BEVs), FCEVs come out “greener” than BEVs, in most scenarios.

Specifically, FCEVs emit fewer GHGs, and consume less energy, than BEVs do when compared over the same 300-mile range on a well-to-wheels basis, most of the time.

But you wouldn’t know that from reading the press coverage of the two technologies; in fact, you would think just the opposite.

The problem involves editors allowing verbatim repetition of summarized conclusions of industry-sponsored research – which seems to contain unfair, apples-to-oranges judgments – without analyzing the data used, or the assumptions made.

The most flagrant of these unfair comparisons has involved using different ranges (miles driven) when comparing the well-to-wheels emissions of each type of vehicle.

Specifically, some studies have used a 100-mile range for BEVs while using a 300-mile range for FCEVs, when comparing the amount of GHGs the cars produce. Unsurprisingly, driving 200 more miles produces higher emissions for FCEVs, and thus garners “greener” results in favor of BEVs.

But comparing GHGs and energy consumption fairly requires 1.), using the same competitive maximum ranges, and 2.), demands inputting the actual or real-world energy sources these vehicles use to roll their wheels down the road. When one does so using the latest Argonne National Laboratory “GREET” data – the scientific authority on emissions and energy impacts of new transport fuels – FCEVs come out greener and more energy efficient, most of the time.

The chart below compares emissions of FCEVs and BEVs over the same 300-mile range, based on real-world energy consumption. The FCEV energy input is steam methane reforming of natural gas, which is how nearly all gaseous hydrogen is produced today. The sources for BEVs include the overall U.S grid mix (coal, natural gas, nuclear, etc.) as well as the regional mixes of electricity production that power the grid wherever BEVs plug in.

Note: The U.S. grid is parsed by regional councils, roughly equating geographically with Alaska (ASCC); Florida (FRCC); Hawaii (HICC); western Midwest (MRO); Northeast (NPCC); eastern Midwest and southern Mid-Atlantic (RFC); the South (SERC); Southern Great Plains (SPP); Texas (TRE); and the West (WECC).

Current data shows FCEVs emit less GHGs than BEVs, across most of the country.

BEV GHGs depend on the specific grid mix the cars plug into, and those levels change according to what energy sources power the grids in towns with charging stations. For instance, BEVs tend to be the greener ZEV option currently versus FCEVs in some parts of the Northeast, because a cleaner energy mix – natural gas and nuclear power – generate significant portions of electricity in Connecticut, New York, New Jersey and New Hampshire. Maine is mostly powered by renewables, natural gas and hydroelectric sources; while Vermont is hydro- and renewables-powered.

But as soon as wheels roll into Maryland, Pennsylvania or Delaware – or almost anywhere else besides the West Coast, Alaska, Idaho or Nevada – BEVs plug into coal country, making FCEVs the greener ZEV option. That can also be the case along Connecticut’s Gold Coast; near Cape Cod, Mass.; Jersey City, N.J.; Western New York; or Portsmouth, N.H., where recharging stations are still partially coal-powered.

Grids do not significantly impact FCEV GHGs (which is why above, they’re all 260) because hydrogen is now made almost exclusively from natural gas.

But as both electricity and hydrogen sourcing shifts to renewable production, such as from wind and solar, or via other methods like nuclear, hydroelectric or geothermal, FCEVs and BEVs should show very low, nearly matching GHGs.

ZEVs will then be competing more on traditional characteristics like range, power, maintenance, style and handling.

They’re already virtually tied in GHGs when their fuels are fed solely from natural gas. So places like Rhode Island, which is nearly all natural gas-powered, could be a uniquely competitive ZEV market.

Note the numbers shown are not static: They’re meant to give a sense of energy possibilities for both types of ZEV.

Sourcing Shenanigans

Some reports have compared BEVs that plug into only the California grid – which leads the nation in renewable energy production but is of course not the only place where electric cars recharge – against a source of hydrogen like water electrolysis: Although renewably powered, electrolysis has yet to be fully commercialized because scientists are still working on how to make “splitting water” – separating the hydrogen from the oxygen in H2O – more efficient. Electrolyzing currently requires a lot of energy. But scientists are halfway toward a breakthrough that would change that.

Studies sourcing liquid hydrogen have also skewed FCEV GHGs higher, even though the vast majority of hydrogen produced is gaseous, and nearly all FCEVs use H2 gas to fill their tanks.

The chart below compares total well-to-wheels energy consumption, which scientists consider the truest, most complete fuel efficiency gauge: U.S. miles per gallon, and mpg-equivalents, only measure tank-to-wheels efficiencies.

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diplomacy – Diplomacy – DIPLOMACY: the three different ways of writing this word illustrate three different ways in which diplomacy is perceived today.

diplomacy – written in lower-case letters – reflects our daily experience. At home, at work, and on the street, we deal with conflicts through negotiations, engagement, and ultimately, compromise. In addition, we represent our family, our communities, and our companies. We often speak on behalf of others. This is what diplomacy is about. Most people would not use the term ‘diplomacy’ to describe these activities. Yet, these activities are at the core of diplomacy.

Diplomacy – with a capital ‘D’ – is a profession and a system of representation for states. This is how diplomacy is seen in the news. It is about negotiations and international treaties, among other elements. Traditionally, Diplomacy is performed by diplomats and international officials working in embassies, ministries of foreign affairs, and international organizations. A lot has been written about Diplomacy; and you can read more about it on Diplo’s website.

DIPLOMACY – fully written in upper-case letters – is how diplomacy is often perceived by the general public. This is the diplomacy of flags, receptions, black limousines, and protocol. DIPLOMACY looks glamorous and aristocratic. This perception can be traced back to the history of diplomacy, when it was a profession reserved for aristocrats.

The practice of Diplomacy has changed significantly since the times of aristocracy. It has become just another, though highly important, profession; yet, the perception of Diplomacy has been changing more slowly than its reality. DIPLOMACY, seen mainly as an elitist profession, is still deeply ingrained in the public perception.

For example, in an attempt to increase standing, hundreds of hotels worldwide are named ‘Diplomat’ or ‘Ambassador’. Most likely, you have one of them in your city. The title ‘Ambassador’ is used by representatives of companies, charities, and other organisations and still carries a certain prestige. But, paradoxically, it is difficult to find streets named after prominent national diplomats in capitals worldwide.

While DIPLOMACY as an abstract concept is attractive and luring, the applied diplomacy of reaching peace through compromise usually falls short in the historical competition with military victory and national bravery.

An awareness of these three perceptions of diplomacy is important now, at a time when we need to use diplomacy more than ever before. In the digitally-driven world, interdependence requires diplomatic solutions. They lie more in persuasion and engagement than in military might, as we can see from the latest diplomatic breakthroughs (Iran Nuke, Cuba, and Kosovo, to name a few). We need to negotiate more than ever before – be it in the family or in global politics. Local communities and companies are starting to develop their diplomatic capacities.

Traditional diplomacy (with a capital ‘D’) has to adjust to profound changes in the modern world. Diplomats no longer have a monopoly in managing relations with foreign entities. Many more actors are now involved in the conduct of diplomacy. Diplomats have to engage with ‘diplomats’ representing cities and local municipalities, civil society, and the business sector.

Finally, the public has to learn to perceive diplomacy as its own tool. Diplomacy should no longer be a distant realm reserved for the few. As a way of solving conflicts while respecting others, diplomacy is becoming a vital element of modern society.

Follow Dr. Jovan Kurbalija on Twitter: www.twitter.com/jovankurbalija

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EPISODE 1: THE MANSION

So some recent video displaying this intringuing setting caught my attention.

Photo credit: National Park Service, Vanderbilt Mansion National Historic Site

After I had spent some time researching on it, I was able to get in touch with Anne Jordan, one of the curators of the place who responded positively to my request for an interview about this superb manor. Actually, a mansion. Here is a guided tour of Vanderbilt Mansion National Historic Site, Hyde Park, New York.

Anne Jordan, could you please tell us what are the roles of a curator in Vanderbilt Mansion?

A.J.: Curators are responsible primarily for the preservation of the furnishings in the house.

What place does Vanderbilt Mansion National Historic Site hold in the US art history and simply in the US history?

A.J.: It was preserved because it represents a period of US economic and cultural history. Today, we recognize it also as a masterpiece of architecture. The surrounding landscape is thought very important too.

Why is it called a Mansion?

A.J.: Mansion is mostly a term used today, but not so widely used during the time the Vanderbilts lived in the house.

Could you please, in a few words, tell us about the history of Vanderbilt Mansion and when it became a National Historic Site?

A.J.: The house was built between 1895 and 1898 for Frederick and Louise Vanderbilt. This was one of about five residences they owned (others were in New York City, Bar Harbor, Maine, Newport, RI, and the Adirondack Park). The house was designed by a prominent American architectural firm, McKim, Mead and White. The style is rather typical of houses designed for the wealthy during this time. This house became part of the National Park Service in 1940, shortly after Frederick Vanderbilt died. His wife predeceased him by a decade. They had no children.

How long have you been working as a curator and what are your interests in art and architecture?

A.J.: We have two curators, responsible for the Vanderbilt house, the Home of Franklin Roosevelt, and the Eleanor Roosevelt National Historic Sites. One has been at the sites for 25 years, and one for 16 years. The houses differ widely in style and the history of the Roosevelt and Vanderbilt families here in Hyde Park are so rich, they continue to be of interest for very long periods!

Many visitors mentioned the fact that Vanderbilt Mansion offers a stunning view on the Hudson River. It recalls those films showcasing the New York Bay. Always fantastic images! How can you describe, the geography of the location?

Photo credit: National Park Service, Vanderbilt Mansion National Historic Site

A.J.: The mansion sits on a natural ridge overlooking the Hudson River–about a few hundred feet, affording excellent vistas across the river to the mountains beyond. Manhattan, where the Hudson River ends at New York harbor, is roughly at sea level.

What is the link beteween the name Hudson and the river?

A.J.: The river was named for one of the earliest European explorers who navigated the river in the 17th century–Henry Hudson.

What are the other attractive locations in the Vanderbilt Mansion surrounding area?

A.J.: The Hudson Valley has many historic and scenic attractions. In addition to the nearby Roosevelt homes, area sites include the homes of the eigth US President Martin Van Buren, Hudson River painters Thomas Cole and Frederic Church, the artist and inventor Samuel Morse, the longest pedestrian bridge in the world over the Hudson at Poughkeepsie, the United States Military Academy, West Point, and the home of Hudson Valley writer Washington Irving.

Anne Jordan added that approximately 430,000 people visit the Vanderbilt grounds annually, and about 80,000 of these tour the mansion. The house totals 54,000 square feet, and the grounds are approximately 200 acres in size. This interview could have been some travel and tourism magazine’s article suggesting ideas for your next holidays in New York. It could be a nice choice place to visit! However, the point of my conversation with Anne Jordan is not travel and tourism. Alright! In the present case, let’s say I am mixing business with pleasure. Or… rather… pleasure with pleasure 🙂

Because the purpose of my exchange with Anne Jordan initially lay else where. Remember, right from the begining, I mentioned a certain video…

THE EVENT

What else happens at Vanderbilt house apart from taking a tour? What if some other specific events take place in there? Anne Jordan replied to my questioning by heralding that, at Vanderbilt Mansion National Historic Site, once or twice a year, they have musical performances by local musicians, often associated with nearby universities. There remained my interest in the mansion, since, a year ago, it was the setting of some other entertaining event: Last Tango.

EPISODE 2: PERFORMING THE DANCE

Last Tango is a dance & music film that portrays a love story. Performed by Julia Juliati & Ronny Dutra, it was filmed at Vanderbilt Mansion National Historic Site. The dance duet danced to Gente Que Si, a contemporary Tango sound called New Tango, Neo Tango or Tango Nuevo created by Carlos Libedinsky, the leader of the group Narcotango.

After their first dance video, Julia Juliati & Ronny Dutra, once more, decided on a brand new collaboration together, thus the Last Tango project.

– To be colloquial – I have had a crush on Julia Juliati & Ronny Dutra’s passion for Tango Nuevo and Narcotango. So, after I had interviewed them five months ago, I decided to share their Last Tango journey again with you.

From their fantastic jobs, Last Tango Movie and Last Tango movie – Documentary, both videos issued by Juliati Production, I decided to give an update to Last Tango by making this 24 seconds trailer.

THE INTEREST: CREATING A DRAMA

I would like to emphasize on my interest in Julia Juliati & Ronny Dutra’s works. Fact is their dance does not simply look like a choreography they execute. They upgrade it with a little touch that transforms everything.

We have this mutual trust in each other’s abilities.

I totally trust him with choreography and creating the dance and

he totally trust me with creating the story and filming and directing all of that

(Last Tango movie – Documentary, Julia Juliati on the creative process)

Indeed, music, choreography, acting, decor, wardrobe, chemistry combine into a touch of drama that gives life to the whole creation and THAT the magic of Julia Juliati & Ronny Dutra’s work!

Here, Julia Juliati is giving her insight in her creative process

What about Julia Juliati, the story teller?

Julia Juliati (J.J.): The beginning of the creation is different every time. The inspiration can come from all sorts of feelings, images, dreams, events…For the Last Tango it came from the imaginary location. I wanted to create a story in a very special place, like castle, or old mansion. From those I started to daydream about the place and ask myself «what could happen in that place between two people…who are they…what’s their relationship like…what’s the drama?» And then the story started to evolve.

On this second project with Ronny Dutra, there is a voice over. For your next one will you include a dialogue in your scenario?

J.J.: Yes, we will be starting our next project in July. There will be no dialogue, well not in a traditional sense…with words…but a very intense dialogue of the minds of the characters. The mind game between the characters that might lead to a reality 🙂

Have you ever had any special request to create a dance that will be featured in a movie? Or maybe you intend to work with a movie production?

J.J.: Because of my dance projects I have a lot of interest from other dancers. So I’ve created several films for others. As far as working with a big movie production, yes I will be interested to do that.

What about passion & emotion? Your role is to find the right story with the right tone to fit in the music & the dance. And that special element is emotion. All the more in Last Tango movie – Documentary, you said: «all the logic comes after the emotions».

J.J.: I thought about our (me and Ronny) personalities, about our feelings when we dance together, about our relashionship…and I applied that to the characters, and from that I went further, deeper, creating the final story. And once the base of the story is created I share it with Ronny and we discuss all the details, all the logistics. Ronny will «adjust» the character to what he feels of the story/relationship/drama, so in the end, it’s always a team effort.

THE SECRET TO TEAMWORK: A GIVE-AND-TAKE PARTNERSHIP

Knowing Ronny, knowing his personality and knowing that chemistry

that we have when we are dancing, I knew how in-depth we can go…

We have a very good connection when we dance…

And I know some of those movements will suit her perfectly

I just used her body for the creative process

(From Last Tango movie – Documentary, Julia Juliati & Ronny Dutra on their professional and artistic connection)

In this display, one can’t possibly miss sensuality. It just belongs in the canvas. And it obviously takes mutual understanding and trust to let it shine in the dance film. That’s why the wording “chemistry” and “connection” are so important in Julia Juliati and Ronny Dutra’s explanations. In a general working context, this also means it is a blessing to find the right partner to team up with.

Let’s check out the dance film

Isn’t it eye-catching? Fantastic dance moves! Intringuing filming location! And a treat for the ears. It’s all with panache!

MORE ABOUT FILMING LOCATION

Anne Jordan agreed to add further information on some particular aspectss during the filming of Last Tango.

While watching Last Tango movie – Documentary, I learned that there are extremely precious furnitures in there and there’s that carpet one can only walk on either bare feet or socks. What is special about that carpet?

A.J.: The Vanderbilt house is a unit of the National Park Service, and so is considered to be of significance in the history of the United States. The majority of the furnishings in the house are original to the Vanderbilt family, including the 1913 Savonnerie carpet in Mrs. Vanderbilt’s bedroom, where a portion of the video was filmed. We make an effort to protect this carpet from wear as much as possible.

Julia explained that it was not easy to have authorization from you to film at the Vanderbilt Mansion. How did she finally convinced you to be part of the Last Tango project?

A.J.: We make an effort to permit filming or photography when we have the resources to do so, because the house is in public ownership. Due to our very limited resources, however, we are able to accept very few projects of this nature.

The dance scene fits very well in this place. Now it’s also a Landmark and visitors can take a tour all over. Do you regularly host any other events in the Mansion and is it possible to book a place exclusively so that to secure tety of the event?

A.J.: Our primary focus is to provide tours within the house for the general public. Once or twice a year, we have musical performances by local musicians, often associated with nearby universities. We are unable to promote use of the house widely for filming of performances, due to our limited staff and resources. We also must ensure preservation of the house and its decor.

Initially is this a ballroom herein? What can you tell us about the architecture in the picture? There is a majesty in that place, a theatrical dimension I very much a

A.J.: There is no ballroom in the house. This was a house used primarily in the spring and summer for enjoyment of the country life. So outdoor activities were the primary entertainment. Most country houses of the wealthy do not have ballrooms, but houses in Newport, Rhode Island or in New York City might have a ballroom.

This picture right above with its decor is a fascinating one! What is the style of the architecture and what is the dominant style of the furnitures in the whole Man

A.J.: This is known as the Beaux Arts style. Dominant style of the furniture is French, a range of historic style, but primarily Louis XV. These were the popular styles among American millionaires from 1890 to 1920.

EPISODE 3: NARCOTANGO & TANGO NUEVO

Let’s take a closer look at the music and the group. In Last Tango movie – Documentary, Julia Juliati stated this:

We decided to go and choose Narcotango again,

since we did our first project together

we enjoyed that music so much

Indeed,” Gente Que Si” was the sound Julia Juliati & Ronny Dutra danced to. Undeniably, Tango Nuevo is gaining influence on the contemporary tango scene. What so special about it was the last issue I decided to deal with in this article.

It all started when I went to a Narcotango concert in Brazil with my tango partner at that time. The show was great. Beautiful music, great atmosphere, great to see them all playing live and, at the end of the concert, Carlos got on the microphone and asked if anyone would like to dance tango to their last song of the night. Obviously I raised my hand, and there was I having Narcotango playing live for me to dance on the stage. Was absolutely mind blowing! A phenomenal experience, the kind of feeling that really touched me and I felt very connected with all that.

This little yet unforgettable flashback is Ronny Dutra‘s very first connection with Narcotango. I’m pleased to invite him & Julia Juliati to share more about the music & the dance with us.

As contemporary Tango, when did Tango Nuevo music started to gain the public area?

Ronny Dutra (R.D.): Well, that I can’t answer precisely. But I wanna say in the beginning of the century. In my life, definitely almost 10 years ago

As we learned it from the Behind the Scenes interview, Carlos Libedinsky is a bandoneon player and Narcotango went viral. It’s a stimulating state because Tango Nuevo has been featured on many movies’ soundratcks. I just think of Gotan Project’s Santa Maria in Shall We Dance; you dancing with Candace Caplin to Gotan Project’s Mi Confesion; plus you and Julia Juliati dancing to Carlos Libedinsky’s El Aire En Mis Manos and Gente Que Si; also heard in the film Wygrany. Is contemporary Tango easily adaptable compared to traditional Tango?

R.D.: Those are great references. Neotango or Tango Nuevo is how it is commonly called. Groups like Gotan Project, Tanghetto, Bajofondo, Narcotango, among others have a huge influence on the tango scene nowadays. More and more people like it and feel connected with Tango Nuevo. There are even Congresses dedicated to Tango Nuevo. It’s definitely a branch of traditional Argentine Tango, but with a nice contemporary twist.

Plus one interesting point is Carlos Libedinsky himself, is a traditional Tango dancer. Now, how does traditional Tango generation see Neotango? Is it Tango vs Tango Nuevo? Or they both exist in harmony?

R.D.: Haha, tricky question. Look, I’m all about the expression of the art and the connection between the partners and with the music. Some say that Tango Nuevo is not Tango, some are indifferent, some simply identify with it a lot, so basically you’ll find all sorts of arguments for this question. At the end of the day, dance to whatever fulfills you and makes you happy.

Did Narcotango started to reach the rest of the world from Argentina or was it the other way round? From outside of the country to inside?

R.D.: The group Narcotango specifically was born in Argentina.

You talked about «having some mate juntos» with Carlos Libedinsky. It sounds very cheerful! Is it a special expression from Brasilia? How did you and Carlos Libedinsky spend your time together?

R.D.: Meeting Carlos was amazing! I was thrilled to share with him the experience I had in Brasilia almost 10 years ago and to tell him how much it transformed and influenced my dancing and my passion for tango. Back in time, I would never thought that I would get to meet him in person and just have some afternoon tea. Lol. Was great to get to know more about formation and origin of the group and their future aspirations.

How can one distinguish traditional Tango from Tango Nuevo?

R.D.: Traditional tango was basically the tango born in the beginning of the 20th century when many immigrants came from Europe to work on the construction of Buenos Aires. Every single form of tango until the “Golden Era” in the 1940s. Tango Nuevo was created in the end of the 20th century and more strongly in the beginning of the 21st century and it’s a beautiful mix of the Traditional elements of tango like the Bandoneon, violin, piano, with a nice modern twist of electronic contemporary music.

What sorts of influences in Tango Nuevo dance compared to traditional Tango? I know it’s very technical but can you pick one particular move and describe it a little bit?

R.D.: Just like the music, the dance was also influenced by the creation of a new tango style. Some of the New Tango moves that are very remarkable, are moves where there’s a counterbalance of both partner’s bodies while one goes around the other in a concentrical fashion creating beautiful shapes and forms. Just a different approach to some Traditional tango moves.

Is it me or are there some Spanish guitar influences in Carlos Libedinsky’s Tango Nuevo sound?

R.D.: You’re absolutely correct. There’s definitely some influence to it.

First time I heard «Narco», I thought of some sort of «addictive matter». Which language is this prefix «Narco»

R.D.: That’s funny. I thought the same when I first heard it. Lol well, I think I can tell that I definitely got addicted to it Lol

Ronny Dutra, I know you speak Spanish. Carlos Libedinsky’s sound Gente Que Si. What does it mean? How many languages do you speak, by the way? And what about Julia Juliati?

R.D.: I speak Spanish, Portuguese and English fluently and I can get along with a bit of French. Please don’t test me LOL. Julia speaks English and Russian for sure. Maybe some crazy ancient lost language as well, who knows lol. As per the title of the song, it can mean two different things, I wish I had asked Carlos. “People that ‘yes'” or “people that ‘if'”.

J.J.: I speak Russian and English. I would love to learn French and Spanish as well, already purchased the language softwear 🙂

Your second choice of music for your work with Julia Juliati is once again, Carlos Libedinsky’s. Do you have some specific term of agreement with him for your projects? Or you just pick the music and he agrees with that?

R.D.: We pick songs that move us, that tell a story and that we connect with. No agreement. No contract. Just art circulating around the globe.

J.J.: Carlos is very happy that his music inspires such projects. We are friends now due to this kind of collaboration.

For your next project with Julia Juliati, are you planning on dancing to Carlos Libedinsky’s music live? It would be great! And I will cover the event (LAUGHS)

R.D.: WOW, that would certainly be amazing!!!!! I told him that when the group comes to US, I’ll be the first in line!! And you better come as well to cover every second of it! LAUGHS Thank you so much!

J.J. : That would be great! Once he is in NY, I’m sure we will arrange something. And yes, Essi, you’re already part of our team 🙂

And I have already started to daydream about that future interview, live. Maybe in French 😉

Thank you so much Julia Juliati & Ronny Dutra for bringing your lights and sharing your Tango Nuevo journey and simply, your art.

I’m sure there are so many other captivating things that are still left to be said about Last Tango.

Watch Last Tango movie – Documentary here

You enjoyed this article? You will also like the behind the scenes interview with Julia Juliati & Ronny Dutra on dejourtoujours.com

Note: the photos of the dance film are the property of Juliati Production and www.dejourtoujours.com

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To my clients on the first day of counseling:

Coming in to counseling is a difficult thing to do for many people. You are trusting another person with your troubles, with your personal opinions and your private relationships. There are a lot of questions that may be lingering in your mind when you walk through my door, and some of them I may be able to answer.

I speak for myself, and not necessarily all therapists. As a licensed mental health counselor, here is what I want you to know when you come into counseling for the first time.

1. I’m not here to judge you.
The judgments, or fears about judgments, that you bring into this room are your own. It’s not my job to judge you – in fact, my job is to do the exact opposite. You tell me your deepest darkest secrets, and look at my face for judgment. My job is to accept you as a human being, and to show you that in my office, you are enough. You may have struggles, you may have been told you’re not enough, you may not like parts of yourself. My job is to sit with you, with all of it. And to hope that you can take a piece of that enough-ness with you when you leave.

2. You may not be showing me your best side. I know that.
Usually when we meet people for the first time, we want to show our best side. In counseling, we do the opposite. I know that the side of yourself that you are showing me may not be your favorite side, or the way that you normally present yourself to new people.

3. It’s okay if you can’t tell me everything about your life in the first session.
There may be a lot going on in your life, and there are certainly a lot of events that got you to where you are now. I know that. I’ll guide you through questions to find out what I think is important for the first session, and encourage you to share with me what you think I need to know. We will get to know each other as we go. In fact, you’ll get to know yourself better as we go.

4. I haven’t had your exact life experience.
And that’s a good thing. Sometimes we feel more connected to those who have gone through similar experiences, and sometimes we wish our therapists could know what those experiences feel like. Connecting with someone who has shared an experience can be powerful – and that’s what group therapy is for. I’d argue that it can also be very powerful to have someone reflectively listen to your understanding of an experience, someone who has not lived through a similar one. In individual counseling, I may not have had your experience, and that’s okay. I’d rather explore your understanding of an event without having my own assumptions about the experience.

5. Pretty much everything I do in our conversation is purposeful.
I say “pretty much” because I’m not perfect, and I sometimes have reactions too. And sometimes I need to sneeze, and that is not a part of therapy. But generally, if I’m asking you a certain question, telling you something, or responding in a certain way, it’s intended to further facilitate your exploration and your healing. If nothing else, I’m constantly working to be present with you and to respond in a genuine manner.

6. I’m on your side.
From the moment you become my client, I’m on your side. I’m not on your mother’s side, your boyfriend’s side, or your boss’s side. I’m not in your day-to-day life, and that’s the beauty of seeking a counseling professional’s perspective. If I ask tough questions, it’s because I think it may be helpful for you.

7. I believe things can get better.
Regardless of what problems you carry with you when you walk through my door, I believe they can get better. I’m a little biased, because I’m a counselor and I’m trained to see things through a positive lens. If you don’t have hope, I can hold it for you and share it when you’re ready.
Of course, my belief that things can get better is not a naïve and foolish one. I don’t believe I can cure cancer or change circumstances outside your control. I do believe, though, that I can help you to become unstuck, to explore a problem, to take a new perspective, to improve a quality of life, to sit with you and to help you feel less alone.

8. I believe there is good in every person.
Again, I don’t think I could do this work if I thought differently. Through my counseling work I’ve discovered that every person I work with – even those who live very different lives than I do – is worthy of respect and has goodness inside of them. When you walk through my door, I believe there is good in you, too.

I invite you to respond to these thoughts in the comments, or to ask your own questions that have come up as a client, as a therapist, or as an individual curious about the healing process of counseling.

I look forward to hearing your stories when you walk through my door.

With all my best,

Johanna

*NOTE: This letter is not written to any one individual in particular, or with any person in mind, but rather to “the client” as a more general idea. This is not intended to replace therapy; please contact your doctor or mental health professional with concerns.

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.