Talks with tango people: Damián Márquez

Today we interviewed Damián Márquez, leonino, dancer and Charo's father. We invited him to talk about his life in these times of pandemic, virtual milongas and his wishes for the future. Our interviewee defines himself as a visceral guy, with a tremendous character that sometimes even he himself suffers. He adds that he is curious and that is why he gets bored easily. Damián shares with us that, besides his family, music is his great inspiration.

Rediscovering sounds

Belén: How are you dealing with this pandemic?

Damián: With a lot of work outside the tango world. I didn't get to know the technology and I had quite a lot of rejection to the whole virtual part. Thanks to Soledad, my partner who encouraged me and to a participation in El encuentro Federal de Tango, where there was a nice response from the people, I started to give virtual workshops on musicality since October and quite a lot of people gathered. It was very nice. (laughs) I am preparing the next classes well in advance because I like to listen to other genres as a comparative analysis and that takes time to research. During these months of quarantine, we were invited to participate in some virtual milongas, where we danced or were interviewed. I like the format because, at least, we keep in touch with people. But I miss the real contact. The hugs, the chats.

B: What do you miss about the milonga or your contact with the pre-Covid tango universe?

Damián: That's right, I miss the milonga! I'm not one of those who goes and doesn't stop dancing all night long. I like the ritual, I take my time. I dress up with some nice clothes, shoes and then I go out. Arrive, have a drink. Watching. I miss, above all, meeting people.

Belén: Are you listening to tango and is there any poet, singer or orchestra that you have listened to again with new ears?

Damián: I listen to a lot of tango, especially on the bus rides when I go to work. I like to look for different orchestras. Even though I consider myself a Darienzista, and although I have a lot of respect for him, Troilo is not one of my orchestras, the truth is that I have been listening to him a lot. What I can tell you is that in Troilo I have been finding works that I like very much, beyond the common tangos. I always listened to Pichuco in association with my idol singer, El Polaco (Goyeneche). Now I've started to work with other singers and a lot of instrumental tango. I insist, Pichuco's orchestra was never one of my favorites but I always liked him and now I listen to him differently.

Openness to the world and new links

Belén: How did you adapt to the work challenge imposed by the pandemic?

Damián: I feel that I didn't adapt. In my case, I have a lot of work outside tango. Sole (wife and dance partner) adapted very easily because she has more capacity. In my case it was not so easy. I'm a bit of a brute and it's hard for me to express myself if I don't have people there, where I can see them. Where I can approach them, put a hand on their shoulder and give a return on the spot. It's all so unnatural! We are talking about tango, a dance where one of the main issues is contact... We are watching it through a screen! I have colleagues who were involved in a terrible dilemma because of the lack of work. I am glad they have been able to reinvent themselves. But I hope that all this stays here. That when everything comes back, we can see each other again. In my case, in this course that I am starting now, 6 months after the Pandemic began, I have people signed up from other countries. It would be very difficult for that to happen in normal contexts. That is why it makes me happy and I do it with joy. But I don't think I will continue with "virtuality" when they reopen everything. I would like to teach in a place and see people there.

Belén: How can each one of us contribute (from our own place and work) to the milonguera community?

Damián: Being true to ourselves. I think there was a big misunderstanding and confusion around the word "reinvent". One thing is to reinvent through the PC. It's another thing to start throwing out sledgehammers and doing whatever. Since it started, we could see every single thing!
And to the community, properly speaking, you are contributing. Everything is little when your economy revolves around something you can't do. And that, on top of that, sometimes does not allow you to save money. Because we know how it is. If you don't go abroad to earn in a strong currency, it costs more. I don't know. I, from the place I am in, I chose to see what is going on and if I can, to help those who ask for it.

Belén: During your fortieth year, have you observed new ways of bonding between colleagues, between artists, between the different protagonists of the tango universe?

Damián: Yes, it is evident that this pandemic did not bring good things, in general. And to the tango world, even less. But it is also true that you start talking to more people. I made friends with people I met at the milonga and there was no more than a greeting. Now we talk, we send messages. I love that this is happening... I hope it continues.

Belonging and solidarity

Belén: What do you think the milongas will be like after this experience?

Damián: I don't know, honestly, I don't want to think because it makes me desperate. I feel like going to a milonga. I miss it and I feel I need it. I was never a waltz lover, for example. Talking these days with Soledad (wife and dancing partner), I even told her that I would dance even waltz (laughs). I guess it will be the same as always. I hope we find ourselves more human. Less individualistic.

Belén: What information do you have at hand on how other countries are managing it?

Damián: No official information. I know what you see on the internet. That they put the disinfectant arches, they dance with a mask and there is a maximum number of attendees allowed.

Belén: What do you think we have learned as a community so far in this quarantine challenge?

Damián: I liked to feel that there were moments during the year when we could all belong. I mean that, due to the rejection generated by the virtual tango world championship, many "normal" dancers (me a little more from the outside) got together, so to speak, with the elite dancers. Some did not. But I think there was a union in terms of helping those who were having a hard time and most of them collaborated.
There were others who did not. And that's not a condemnation. There's a novel by S. King called Animal Cemetery and at one point he says "You sow what you can and take care of it." I think they took it seriously.