Tango Salón Adelaide

Practicas make perfect ... well almost!

2008-05-17T19:50:00.000-07:00

There's nothing like really focussed practice time to iron out those niggling little problems. So seize the chance to do just that, this Friday evening.

Bob and I will be on hand to assist, so don't hesitate to ask for advice from us, or from the other helpful dancers in attendance. Then wander across the road to the Daniel O'Connell to compare notes over a well-deserved drink.

Friday 23 May 8 - 10pm at the Baptist Hall, North Adelaide.
All tango dancers welcome. Cost $3

Pat

Carel's surprise visit

2008-05-06T23:35:00.000-07:00

What a treat it was for us on Monday evening! Carel Kraayenhof (bandoneonist from Holland with an Argentine heart) was in town for concerts with the Adelaide Symphony Orchestra and fortunately for us, was interested in making a contribution to the Adelaide tango community before heading off to Perth, then Sydney.

Passionate about tango, especially those of Pugliese, Carel delighted us and accompanied our dancing with various tangos, Romance de Barrio (vals) and even Milonga de mis Amores. But his interpretations of Gallo Ciego and Piazzolla's Adios Nonino were utterly sublime. All this, while seated on a stool in our humble Baptist Hall (which we discovered has great acoustics) with his sheet music spread out on the floor! Check out the photo gallery.

Next time he's in town remember to buy him a Guinness. He enjoyed his pint at the Daniel O'Connell.

Thanks so much, Michelle and Greg, for arranging it all. It was truly a night to remember.

Pat.

PS. Check the gallery for more photos.

Sharing the real estate ... aka floorcraft

2008-04-25T23:35:00.000-07:00

Energy levels were high at the recent Comme il faut with 50 people in attendance. It was a great night! But it also led to several experienced dancers tentatively, and ever so politely, suggesting that a reminder about floorcraft might be timely.

Tango is, after all, primarily a social dance. In general, the flashy, cool moves which dazzled us all in our early days of learning tango, tend to be more suited to performance and are inappropriate at a busy milonga. You know the sort I mean: where a section of the dance-floor, disproportionate to the dimensions of the couple, is effectively unavailable to others for fear of lethal stilettos, or simply because they "need" the space. Dancing in control, in la ronda (ie. in one lane, following the line of dance) with awareness of those couples around, rather than zig-zagging, will mean that everyone can enjoy the dance. It's one thing being transported into the tango zone, but as someone's mother somewhere, sometime said, "It's not all about you! You have to learn to share."

Depending on the size of la pista (dance-floor) there may be two, even three, parallel lanes. "What about changing lanes, when there's a gap in the traffic?" I hear you ask. Well, the convention is that you don't ... at least not during a piece of music. The couple in that lane, or at least the leader, will know how much space he has to play with and you're courting disaster, in the form of a collision, if you cut them off. If there's plenty of room and you wish to change lanes, all you have to do is wait for the window of opportunity between tracks.
"Patience!", I hear mother say.

With all those parallel lanes, there's going to be a section in the middle which can also be used. In my experience, that tends to be used by dancers requiring more space. Navigation is less predictable, but the same principle applies, ie. ensure that your dancing doesn't interfere with others' enjoyment. How that works depends on the amount of space available.

Granted, these conventions are strong in BsAs where sheer numbers at milongas absolutely require them, and we're only in little ol' Adelaide. But as our tango community grows, we need them more and more. These codes have been refined over the decades and are still going strong ... because they work.

Interested in knowing more? Take a look at the piece by Tom Stermitz in ToTango from North America.

Happy dancing,
Pat.

Some tango quotations

2008-04-19T02:19:00.000-07:00

I thought I'd share some quotes which ring true for me. Some from tango celebs, others not. Let me know if you have other favourites you'd like to share. Pat.

"A good dancer you recognise by the way he walks, not by acrobatic figures" Pablo Verón

"Don't dance 100 different steps in one way, dance 1 step in 100 different ways" Jean-Michel

"It took several years to get past being fascinated with the steps, which were my first draw to the dance. The dancers who were doing less footwork were uninteresting to me and I just didn't see them. Then, years of advice from the milongueros to feel the dance, not just learn steps, began to take effect. I started to notice the dancers for how they stood, embraced and felt the music. It isn't like I didn't know these things before, I just didn't see them ... even though they were right in front of me."
Daniel Trenner

"Tango ... a sad thought which is danced"
Enrique Santos Discépolo

"El tango te espera" (Tango waits for you)
Anibal Troilo

"When you dance tango, you must give everything. If you can't do that, don't dance."
Ricardo Vidort

Entrega ... or what could be likened to "The Tango Zone"

2008-04-19T01:45:00.000-07:00

Many say dancing tango - as danced in the salon, not on the stage - is about the man, the woman and the music. But that doesn't quite get to the heart of it for me, and it certainly won't help the uninitiated "get it".

For quite a while I have thinking about this notion of la entrega in tango. More and more, I believe that is what dancing tango is all about. It's something like surrendering to the emotion of the music together; and the stronger you both feel about the music, the more powerful that fleeting experience may be. Rick McGarrey in Tango and Chaos writes about a shared informed passion. But better see for yourself what he has to say about that.

The rest of his website is also a must for any tangoholic.

Happy reading,
Pat.

Music for Milongas - workshop

2008-04-18T20:10:00.000-07:00

Ever wondered why you are transported by the music at a milonga? Or why the music just isn’t working for you? Interested in learning a little about the art of DJing for milongas?

The Tango Adelaide Club is offering a 2 hour workshop on Sunday 18 May, 3 - 5pm.
Venue: St Cyprian's Hall (opposite the Lord Melbourne Hotel), Melbourne Street, North Adelaide

Cost: $10 per member ($12.50 for non members). Registrations essential. Glass of wine included. I will conduct the workshop - be prepared to get your hands dirty!

Pat

A Friday night milonga at the Golf Club

2008-04-10T02:48:00.000-07:00

Comme il faut

Elegant Mt Osmond Golf Club overlooks the lights of Adelaide

Friday 18 April, 8pm - midnight
Entry $10
Drinks available at the bar

Take the Mount Osmond Road exit, a little past the Tollgate on the SE Freeway, proceed until the T-junction.

International Tango Festival 2008

2008-03-19T01:05:00.000-07:00

Have you been waiting for the details of the Tango Festival coming up in Sydney? Well, the website is now up with the full programme. There's even a partner search function.

When trying to decide which workshops to select, you may find it helpful to refer to the Tango Terminology on Stephen Brown's Tejastango.

Happy browsing,
Pat.

Another tango movie, with a difference ...

2008-03-17T00:15:00.000-07:00

Ever wanted to work with Pablo Veron? Fancy an all-expenses-paid trip to Buenos Aires? Like to tell your tango story? Well here's your opportunity.

Just go to the Seduced by Tango website for more details. You know the old saying: You've got to be in it to win it!

Pat

Australian International Tango Festival – one that shouldn’t be missed

2008-02-18T00:44:00.000-08:00

Wednesday 4^th – Sunday 8^th June (followed by the Monday public holiday)

The teachers have just been formally announced:

Cecilia Gonzalez and Donato Juarez are returning, Cecilia for the third time; she is a highly respected tango teacher worldwide.

The Macana Brothers, Enrique and Guillermo, are great entertainers, as well as outstanding dancers.

We are very excited that Aurora Lubiz and Hugo Daniel are coming to Australia for the first time, because this is the couple that we spent so much time with in Buenos Aires last October. They are passionate teachers, meticulous about technique, great people and they come with our highest recommendation.

Bob & Pat.

Another tango movie coming to a screen near you ...

2008-02-09T03:26:00.000-08:00

Looks like Hollywood will be giving our favourite dance some coverage soon, with Sandra Bullock as both director and leading lady. It may be comforting to read that she finds tango challenging, too, when you read: "Go take a tango class and you’ll want to go home and kill yourself ...... It is just frustrating, but beautiful when it all comes together."
You can read more at 10tango.com Just click on English for the translation.

Pat.

Tango, tourism and the economy

2008-02-07T17:21:00.000-08:00

Tango tourism in Buenos Aires is big and making a significant contribution to the Argentine economy, according to a recent travel item in the Sydney Morning Herald. Carnivores get a good run for their money, too!
Pat.

Two angles on the tanda

2008-02-02T17:51:00.000-08:00

… a dancer’s perspective

Before I even consider dancing a tanda, the music needs to ‘grab’ me, because if I can’t connect with it emotionally, I certainly won’t connect with it on the dance-floor with my partner. The nature of the tanda will also govern how I dance – the figures I lead, how much I dance to the down-beat as opposed to other lyrical aspects of the music (usually the violin or the singer), how I employ pauses, etc.

For my partner, the first tango will be her time to discover how I dance to this style of music – how I lead & vary figures that she’s familiar with (anticipation is the ‘killer’ of improvisation), how much time I tend to give to pauses (hence if & how she’ll decorate), the level of energy going into my leads (hence the speed of her pivots, etc). It’s also my time to determine her responses to my leads, rhythms, & energy. It’s therefore not surprising if the first tango lacks some fluidity, but there’s every reason why the remaining tangos can reach a high level of connection such that we are moving together in response to the music we are hearing, and to each other.

The cortina signals that we should go our separate ways (after I have escorted her back to her table, of course) because the music in the next tanda will be different and the whole process can start again. After all, my responses to tangos from Di Sarli, D’Arienzo, Rodriguez, and Pugliese will all be different, and the same will apply to valses from Caló as opposed to Biagi, and milongas from Canaro as opposed to D’Agostino. But that’s part of what makes tango the seductive challenge that it is.

Bob.

… a DJ’s perspective

There is a range of views on the best way to compose a danceable and satisfying tanda. Well, one thing’s for sure: a haphazard collection of tangos, even from the same orquesta, does not a tanda make! At the other extreme, some DJs go to the extent of considering the beats per minute of each song when making their selections. For me, the selections are based on the feel of the music (eg. predominantly lyrical, rhythmic) and the emotional response that each piece of music evokes.

The first song of the tanda should, in my opinion, generally be a call to the dance. With the subsequent 2 - 3 songs somewhat consistent in their flavour, but not so similar that boredom sets in. On the other hand, a degree of coherence means that having liked the sound of the first piece and therefore got up to dance, dancers will not be disappointed with the rest of the tanda. I love concluding a tanda with something really memorable – a mini finale, of sorts.

Next tanda?
A different emotional response will be created. Does the energy of the dance-floor need to be raised or lowered? Are the dancers sufficiently primed for music of greater intensity and complexity? What does my DJ’s intuition tell me?

If you’re interested in the role which music plays in the brain, you will find Musicophilia, by Oliver Sacks, riveting. He was recently interviewed on ABC radio

Pat

Tanda — A set of dance music, usually three to five songs, of the same dance in similar style, if not by the same orquesta. The tandas are separated by a brief interlude of non-tango music called a "cortina" (or curtain) during which couples select each other. It is customary to dance the entire tanda with the same partner unless the man is rude or very disappointing as a dance partner, in which case the lady may say gracias (thank you) and leave.

Australia Day milonga

2008-01-20T23:06:00.000-08:00

Tango Salón Adelaide invites you to its first milonga for 2008 in the elegant Mount Osmond Golf Club - on Australia Day!

"Comme il faut"

Saturday 26 January, 8pm - midnight
Entry $10
Drinks available at the bar
(No BYO food or drinks)
Dress to impress

Take the Mount Osmond Road exit, a little past the Tollgate on the SE Freeway, proceed 2kms.

What do women want? What do men want?

2008-01-18T00:52:00.000-08:00

I've lost count of the number of times I have heard the following sentiment expressed by men learning to dance tango: "I feel I should dance lots of complex figures at the milonga so that my partner doesn't get bored".

But as a woman in tango, I wish to feel transported by the music and the intimate communication with my partner - whoever that might be at the time. Here's Milena Plebs' take on this topic in Tango íntimo. Just scroll down a little for the English translation.

Happy dancing,
Pat.

Chaperones and the milonga

2008-01-02T00:31:00.000-08:00

I recently came across an interesting historical perspective (alas, only in Spanish) on the development of some strongly held milonga codes, and it all makes absolute sense. The fact that those codes still serve very useful, but somewhat different functions today has ensured their longevity in the world of tango.

Consider the era - maybe the 30s. A young (unmarried) woman wanted to go dancing. Nice girls could only do so in Buenos Aires when chaperoned by a trusted relative. This naturally implied that any interested, young man would certainly not be permitted to join her at her table. That would have compromised her reputation. So the invitation to dance was made by the clever game of eye contact, or the cabeceo. Today, of course, it remains an unbeatable strategy for selecting dance partners, while avoiding the embarrassment of public rejection.

Ever wondered why couples don't just start dancing as soon as the music begins, and instead spend chunks of valuable dance time chatting before taking up the embrace? I guess if a young man wanted to chat up a tasty, but chaperoned chica, those brief opportunities were all he had to make a lasting impression on her. Nowadays, the social function is still served, but the chat-time also provides the opportunity to feel the music, not to mention waiting for a space to clear in the line of dance.

Why on earth have a cortina, that snippet of non-dance music separating the tandas, when the dance-floor should be cleared? Well, just imagine the gossip resulting from dancing more than one tanda consecutively with the same partner, or a single woman not returning to her own table during the cortina. That señorita's reputation would have been somewhat tarnished, to say the least. In today's traditional milongas in BsAs, this would still signify an existing or budding relationship, but dancing with a range of people is a more social activity anyway, don't you think?

See you on the dance floor,
Pat.

Alert: beginners and lapsed tango dancers in Adelaide!

2007-12-18T01:15:00.000-08:00

In 2008 we'll be offering a second class, this time catering for newcomers to Tango Argentino, as well as to those who might have previously tried tango, let it slide and would like to give it another try.

When & where?
Tuesday evenings at the Baptist Hall, Tynte Street, North Adelaide - starting about late Jan/early Feb.

Let us know if you're interested.
Pat.

Comme il faut - 2008

2007-12-13T21:40:00.000-08:00

Our elegant milonga at the Mt Osmond Golf Club will continue through 2008!

Your feedback has told us that a Saturday night milonga would be a welcome option, so where possible, that's what we've booked - mostly on the 3rd weekend of the month. There are just a few exceptions, eg. with the occasional Friday night when Saturday was unavailable. Should there be any unavoidable changes, we'll let you know well in advance.

So now's the time to pen the dates into your social diary.

The year begins with Comme il faut on Saturday 26 January, then ...

February 23rd
March 14th (Friday)
April 18th (Friday)
May 17th
June 21st
July 19th
August 16th
September 19th (Friday)
November 22nd
December 20th

See you on the dance-floor,
Pat & Bob.

What is tango?

2007-12-06T00:21:00.000-08:00

This is a question guaranteed to generate animated debate. In his blog Miguel Angel Pla quotes the great tango poet Discépolo when he says “it’s a feeling that you can dance”..... there is more thought-provoking stuff in Miguel’s musings.

The subtlety and musicality in the dancing of the older milongueros is being appreciated by many more people, helping them to define their meaning of ‘tango’. Take a look at the links to Pocho & Nellie, & the late Ricardo Vidort y Liz Haight, to see examples of how “less is more”. However, it’s not just the old guard, as Ney Melo & Jennifer Bratt’s Poema illustrates.

Some of the words that come to mind when people talk about tango include, “connection”, “the embrace”, “elegance”, “musicality”, “passion”. Marcela Durán personifies the latter in a stage performance of A Evaristo Carriego with Carlos Gavito.

Feel free to give your opinions by writing a comment to this posting, but just one more thing … consider what Carmencita Calderón might mean to the culture of tango. Firstly, watch her in a 1933 movie with "El Cachafaz", then sit back and absorb the significance of her dancing at her 100 years birthday celebration!

Bob.

BsAs milongas from the woman´s perspective

2007-11-12T08:51:00.000-08:00

Well here´s my view on how to make the most of the milonga - at least at the milongas where Bob and I choose to go in separately. Some milongas lend themselves to this, whereas others are more suited to couples.

If we were to enter and be seated together at any milonga, there would be a few implications and consequences: we would be seen as a couple, dancing only with each other and therefore usually seated in the area for couples. Eye contact across the dancefloor for the ¨cabeceo¨ is not required here, for obvious reasons, so the location in the milonga does not lend itself to meeting other potential dance partners. In fact to try to use the cabeceo from a couples table would send quite confusing messages to a local milonguero!

So when we choose to attend a milonga separately:

We enter, pay and are seated separately in the women´s and men´s areas respectively
Soon after, I visit the ladies loo and change into my dance shoes, as it´s considered bad form to change them in the milonga itself. Although I´ve seen people do it, your awareness and respect for the codes of the milonga will be noted by others if you prepare yourself for the milonga in the bathroom. Some women undergo a complete tranformation from their day-to-day persona by the time they enter the milonga
I find it´s important to watch the dancers for a while, to take in the mood of the place and importantly, to identify potential dance partners. Contrary to common belief, it´s not just up to the man to select dance partners in the traditional milonga.
Yes, that´s right, I am an active participant in choosing a dance partner, but I never approach a man directly and ask him to dance, or vice versa. That would be asking for a public refusal and embarassment for both parties. No, it´s all in the eyes.
My cabeceo process starts with appraising potential dance partners in action, showing discreet approval as they dance past, perhaps with a smile. My body language when seated is open and shows I´m interested in dancing. Even if I´m chatting to the lady next to me, it will not be an in-depth conversation, which would close me off from eye contact with the men, unless of course, I´m not interested in dancing that tanda.
Bob, will ask me to dance early in the piece (via the cabeceo, of course) to show that we are both capable dancers who also respect the milonga conventions, and won´t cause embarassment to other potential partners. This includes using appropriate floorcraft, which does not interfere with other dancers: no ganchos, high boleos, long steps on a crowded floor, etc. At the end of the tanda, he accompanies me back to my table before returning to his.
When a new tanda starts and I like the music, I will discreetly scan the room to see if a dance partner of my choosing is available. If our eyes meet and and the nod is exchanged, he will approach my table. At this point, I wait until he is close enough to me to be sure I wasn´t mistaken and the woman next to me was actually the one he wanted to dance with. So I don´t stand up until I´m sure, thus avoiding embarassment all round. I´ve seen some women point to themselves at this point, as if to say¨Did you mean me?¨ But I prefer the wait-and-see approach, so no one is the wiser if there was a misunderstanding.
This discreet selection give all parties a chance to select partners according to their comfort levels without the embarassment of overt refusals.
On the other hand, if I don´t feel like dancing and/or no suitable partners are available, I ensure that my body language indicates I´m not dancing at this stage, eg. by watching the couples on the dance floor, listening to the music, and definitely not seeking out eye-contact with the men seated in their area.
Occasionally someone may try to ask for a dance directly, but I tend to politely refuse. Unless I am sure I will be comfortable dancing with him, I would be putting myself in a potentially embarrassing position in front of the milonga, and I would have no-one to blame but myself. And it´s true, everyone sees everything at the milonga.
Oh, and I should add that presenting myself well for the milonga is important. It´s no secret that it helps to take time to dress appropriately, etc.
On the other hand, when sharing a table with friends, some of these codes are relaxed, for obvious reasons.

Pat.

Making the most of BsAs milongas

2007-10-31T12:42:00.000-07:00

It´s every foreigner´s desire to "dance with the locals", but if you´re a couple, there are some adjustments to make. Here are some tips that worked for me (& therefore, for Pat):

we enter the milonga separately, which means that I´ll be seated at a table with other men; I also make a quick trip to the toilet to change my shoes
I watch the dancers for a while - maybe 2 tandas - to get the feel of the milonga and to identify potential dance partners
it´s been a good idea to dance with Pat early in the milonga, so that others can assess our ability, style, and musicality - important if my use of the cabeceo is to be successful
the cabeceo is my only means of inviting women to dance - a direct approach can mean an embarassing refusal! In the larger milongas, I´m able to walk around a bit in order to catch the eye of a woman I wanted to dance with
at each milonga, it takes a while to become known, and I simply have to be patient and build up my reputation in order for women to, in reality, invite me to dance via the cabeceo
once my invitation had been accepted, it´s time to put into action some more of the codes that Gustavo Benzecry Saba wrote about in his book "La pista del abrazo". I walk around the perimeter of the dance space until I reached my partner - and only then will she stand up. This also means it´s clear to the woman that it is her that I´m approaching, and not someone near her
after a brief "hola", my next move is crucial in givng my partner confidence in my ability to dance well with her. The embrace is a complete story in itself - and it´s a defining moment in this tanda for us
I´ll take time to absorb the music before my first step; from here, my navigation around the floor is of immense importance. I´m dancing with the other couples around me, and it´s important to protect my partner & my space in the milonga, as well as respect the space of others
at the first cortina, my Spanish is barely adequate for a conversation, but it´s good enough to continue the connection begun with the dance .... and at the end of the tanda, accompanying the lady back to her table is an appropriate final touch

Bob

Comme il faut

2007-10-10T02:31:00.000-07:00

We had a great time. In fact, the night was all
over far too soon - finishing with Di Sarli's rendition of the classic tango Comme il faut. It was heartening to see so many dancers from all four Adelaide tango organisations joining forces to do what they all love.

Go to the photo gallery for more

Don't miss Adelaide's new milonga

2007-09-27T02:50:00.000-07:00

Tango Salón Adelaide invites you to its first milonga in the elegant Mount Osmond Golf Club.

"Comme il faut"

Friday 5th Oct, 8pm - midnight
Entry $10
Drinks available at the bar
(No BYO food or drinks)
Dress to impress

Take the Mount Osmond Road exit, a little past the Tollgate on the SE Freeway, proceed 2kms.

The man's left hand

2007-09-20T02:40:00.000-07:00

Everything is connected to everything else. And the position of the man's left hand can make a big difference, as you will see in this article from Tango and Chaos.

So guys, compare your style to the pictures in this article, and see how the left hand's position can affect your dance. The Tray of Martinis tip sounds fun, too!

Pat

Improvisation ... that's what it's all about

2007-09-15T23:54:00.000-07:00

Feeling the music, connecting with your partner in the embrace, sensing the possibilities which open up from moment to moment on a floor full of dancing couples - all these present creative moments, which become more intuitive the more you dance. I've even heard some say that those so-called "mistakes" which their partner makes are, in fact, openings for improvisation.

So, do you want to develop your improvisational skills further? Then take a look a this article and practise ... a lot.

And here are Melina and Detlef improvising to Biagi's Belgica at Porteño y Bailarin in BsAs.

Enjoy!

Pat