Tango Salón Adelaide

I like the way you walk

2012-01-28T20:00:00.000+10:30

Is this the highest praise that a tango dancer can receive from an old tanguero? I believe so; what do you think? Of course, the embrace and the dancer’s posture are all part of this judgment.

You would think that since walking is something that we do every day, that this would be the easiest part of tango, yet I am convinced that achieving a good ‘tango walk’ is the hardest. However, if you get this right, then everything else flows easily …. because so much goes with it – balance, strong axis, good embrace, clear lead-follow from the body, close stepping to your partner, effective contra-body rotation.

So why do people have so much trouble with the walk in the embrace? For a start, they are in an unfamiliar position physically and mentally – in front of and chest-to-chest with a partner. This in itself creates some anxiety, including the leader’s fear of stepping on his partner’s toes. Bodies become tense – shoulders, back, arms – defeating any chance of walking normally. On the other hand, with a relaxed body and a forward advance of the leader’s torso before he steps, there is little chance of him getting near her toes. A leader who leans back, or dances totally vertical, has more chance of clashing with his partner’s legs or feet, because he is keeping her in his space.

Walking in an embrace requires trust - trust that the follower will move with her partner’s lead, and trust that the leader will follow her. The embrace is something that shouldn’t be broken – whether it’s during a simple walk or a complex turn.

Musicality is the next level that needs to be built into walking; confident musicality and confident walking are mutually dependent. Apart from walking on the beat (but not necessarily every beat), musical walking means an injection of energy corresponding to the phrase of the music. It needs commas & periods, acceleration & deceleration, suspension & relaxation. If the movements correspond to the music, then you get good, confident walking. It will simply feel right!

There’s another quality that can be added to the dance - resisting the urge to step on every beat. This doesn’t imply that the dance stops at various moments, but rather that the ‘pause’ has value. It’s a response to the music, which can include small decorations or a gentle body movement into the next step. Think of a conversation – the silences can be powerful, just as the pause in tango can be.

In some ways it’s no different to a respectful conversation: I say something – she listens - then gives me her response - I pay attention and wait until she finishes talking - before I have something more to say, etc. Such are the essentials of a satisfying conversation, or a deeply satisfying tango.

A controlled and elegant tango walk, combined with a strong sense of where the music is taking you, contains the essential elements of a beautiful tango. Jorge & Samantha Dispari illustrate this in a post-class demonstration; the film quality could be better, but the impression that it made on me is indelible.

Bob

Ladies in waiting

2012-01-02T17:16:00.000+10:30

No, this isn’t a reference to serving the royals, but rather a key element of the dance. Anticipation by followers is a hazard for their leaders and can destroy the timing & interpretation of the music that defines each tango; it also affects the leaders’ balance & posture as well as making them tense & watchful – not great for improvisation. I’m talking about guessing at what’s coming next & stepping into it, rather than intuitiveness with regard to timing & rhythms that comes with long experience.

So what can help women wait for the lead (a proposal) instead of moving ahead of her partner? Maybe looking at some possible causes will provide some clues. I’d suggest that it begins in the woman’s head – does she have confidence in her own skills and trust in her partner? From the beginner, who can do no more than walk well with good posture, to the dancer who has a broad range of well-developed skills, she needs to have a sense of self-belief – a belief that she can do what she does well - regardless of the partner (provided, of course, he can lead effectively). This confidence will translate to her being prepared to wait for a clear, well-timed lead – after all, rushing ahead can mean the moment is lost, whereas if she takes her time, the man has no alternative but to wait for her.

Clearly, this assumes that the man leads in a manner that will generate trust in his partner. He needs to quickly assess what his partner can do well, and dance within that range in order to make it an enjoyable tango for them both. He also needs to subscribe to the principle that he leads (proposes), the woman follows (listens and then responds in her own time), and he follows her (when the music invites). Which sounds very much like the leader needs to listen to and wait for the follower!

In fact, it’s that constant & well-timed two-way communication between the two bodies which can result in a truly satisfying tango.

So what can you (leader or follower) do if you find yourself dancing with a partner who doesn’t wait?

Bob

Some holiday viewing

2011-12-24T14:44:00.000+10:30

Got a few days off for the festive season? Like to indulge yourself in some videos?

Thanks to Irene & Man Yung, I've just found the Tangotradicional Youtube channel. If you've never seen social tango at its best, this is a must. As for those of us who've experienced some of these great milongas, you'll want to book your next flight to Buenos Aires asap.

PP

PractiMilonguero on the road

2011-12-07T18:06:00.001+10:30

It almost feels like some of the European interviewees in the latest post of PractiMilonguero have taken words out of our mouths. How reassuring to know that we are not alone in our views about the culture of tango.

Cabeceo - making it work for you

2011-11-26T13:32:00.001+10:30

So you've tried this cabeceo thingy a few times but it somehow didn't really work for you.

Did you look in his direction and he didn't return your gaze?

Was she was too busy talking to someone to notice that you were trying to get her attention?

Did you stare at him/her without success?

Well, here are some tips.

First and foremost: it's about choice - for both parties - not about imposing your will.
If you want to dance, show it, but in a way that allows the other person some choice. (See earlier post Cabeceo: the subtle game of pursuit)
If possible, sit where eye contact with potential dance partners is easy. (Unfortunately, the physical conditions of some milongas can make this challenging eg. lighting, seating layout, etc.)
Gentlemen, if you need to wander around to achieve that eye contact, just make sure you do it from afar thus allowing ladies real choice. (Contrary to popular opinion, nodding vigorously at a potential partner after coming within a metre or so, does not constitute a cabeceo!)
Ladies, if you think this is all unfair and that you have little say in the process, think again. Women can have as much power in this situation. (See earlier post Buenos Aires milongas from a woman's perspective for more details.
Accept that there will be ups and downs. People choose not to dance at any one time for a multitude of reasons. Be patient and stay positive - nobody would want to dance with a disgruntled-looking person.
Remember that it's about real choice for both parties.
Do you want to dance with someone who is simply going through the motions because they didn't want to hurt your feelings? Or do you want to dance with someone who really wants to dance with you?? Think quality rather than quantity.

It's a man's world - fact or fiction?

2011-11-19T09:25:00.001+10:30

We’ve been scratching our heads over a behaviour that we’ve observed with some frequency. There’s been no number-crunching but we’ll stick our necks out and call it a trend. What is of concern is that this behaviour has the potential to upset the equilibrium and halt the progress of a tango community. As to its causes, we can only speculate, and we won’t bore you too much with amateur psychology. No doubt, you’ll have your theories.

Anyway, here goes:

When we notice the disrespectful practice of a dancer giving their partner advice or doing a spot of teaching at a milonga, the perpetrator is normally not the lady. Although, to be fair, it could be argued that the lady is partly to blame for putting up with this inappropriate behaviour, rather than abandoning her partner on the dance-floor.

Have the men in question conscientiously striven to improve their own dancing, taking lots of private classes and doing countless hours of focussed practice so they can lead perfectly?

Are they experts in the woman's role, too?

If the culprits of this behaviour think they are so accomplished and their dance partners so inept, why do they invite them to dance?

Even more to the point, why do their dance partners repeatedly accept their invitations and willingly subject themselves to this?

We just don’t get it!

Tango your life - the doco

2011-10-19T18:28:00.001+10:30

The trailer of Chan Park's film Tango your life shows tantalising clips of our favourite Buenos Aires milongas with lots of familiar faces.

It's now an entry in the ArcLight Documentary Film Festival where the 10 entries with the most "likes" will be accepted into the festival. So visit this Youtube link, enjoy and vote.

Asi se baile el tango!

Too much musicality?

2011-10-07T13:22:00.000+10:30

Does that sound sacrilegious? Is it hard to imagine? Can you conceive of situations where too much focus on the music might ruin the social dance?

Finding this concept difficult? That's not at all surprising.

For some years, we and others who love social tango, have been critical of the emphasis which some dancers and teachers place on "doing steps", even mini-choreographies, at the expense of the music and the other dancers at a milonga. We are not alone in the belief that the social dance-floor of the milonga is not the place for dancers to act out their aspirations for the stage - their flamboyant and erratic movements interfering with the flow of the dance-floor. Besides, any experienced dancer will tell you that dancing with someone who is struggling with fancy steps is no fun at all. Connection and musicality are far more enjoyable.

Yet some recent experiences in Europe illustrated to us that the social dance experience may also be compromised by dancers trying excessively to interpret the music. Dare we say that some try to play - perhaps a touch too cleverly - with the minutiae of the music.

So, what could be wrong with trying to do justice to the music? Nothing at all. Dancing is a physical and emotional response to music. But it seems that when the intellect gets too involved in this process, the social dance suffers.

A joy in tango is dancing with a partner and being carried away with the phrasing, rhythms, melodies and interplay of instruments in that great treasure-trove of music. However, like most things in life, this can be taken to an extreme. Trying to represent each and every nuance, syncopation and off-beat contained in a piece brings with it the danger of a stilted dance experience - for the couple and for those around them on the dance-floor. The dance is then in danger of becoming an intellectual, interpretive exercise. One can simply try too hard to be musical.

Milongueros such as Osvaldo Centena and the late, great Ricardo Vidort are just two examples of playful and fluid musicality on the social dance-floor. It's pretty safe to say that they danced what their bodies felt in the music. As a result, their dance is a fluid and comfortable experience. (Pat speaks from personal experience of dancing with El Oso).

So, returning to the initial question. Sadly, in some respects, too much musicality in the dance is indeed possible. The intellect should not dominate the dance, whether it's by over-analysis of the music, or attempts to reproduce certain "steps". Anything resulting in a stilted and contrived dance, will be in conflict with social tango.

What’s in a name? Comme il faut

2011-08-10T20:04:00.004+09:30

What is comme il faut? No, it’s not the shoes!

The literal translation from the French (according to our French-English dictionary) is "How Things Are Done," but that doesn't begin to describe it.
It's about manners, and behaving properly in polite society, and keeping your cool under provocation (both verbal and physical).
It's behaving like a lady, or acting like a gentleman.
It's that very rare quality in today's self-promoting, blame-shifting, tell-all society known as class.

When we named our new milonga Comme il faut just 4 years ago, it was very much a case of our belief in “how a milonga should be”. From spending a month in Buenos Aires every year since 1999, we have come to embrace the style of milonga that we believe to be typical of the ‘Mecca of tango’.

We wanted to cultivate some of the important elements that we value at the more traditional milongas in BsAs. Many hours spent in Maipu 444 watching and dancing, while absorbing the music of master DJ Carlos Rey, have provided a thorough education in what makes a successful milonga.

Consequently, we chose a venue which has character – a 1920s golf club – with a relatively small salon, accommodating around 55 people. With the tables arranged tightly around the dance floor, those who watching are always in close contact with those who are dancing. It also makes possible and encourages the use of the cabeceo. The size of the dance floor requires dancers to have good navigation skills, respect the line of dance, and dance appropriately. So it follows that elaborate performance figures and activities that disturb other dancers (eg. high boleos) are not welcome …… and we haven’t been shy in asking ladies to keep their heels close to the floor. We are delighted that there seems to be an understanding that good floor-craft and care for other dancers are the norms at Comme il faut.

The other guiding influence is has been the DJ culture of Buenos Aires. Pat’s music is largely the best of the Golden Age, with playlists influenced by the likes of Carlos Rey, Mario Orlando, and Dany Borelli. Persistence with this wonderful music at Comme il faut, has meant that local dancers are now saying that they have come to love the music of that period.

So why do we, in Australia, want to promote a milonga modeled on our favourites in Buenos Aires? For a start, it’s what we love, and we want to share what we believe is a genuine tango experience with local dancers. There’s also the reality that many dancers of all abilities are holidaying in Buenos Aires, with the intention of dancing tango there. What we offer is a snapshot of what to expect. As a result, dancers may recognize the changes they may need to make to their current style of dancing in order to fit in. After all, many milongas in BsAs are much more crowded than here. Good navigation skills are essential. Sacadas, volcadas, & colgadas are rarities in the traditional milongas. Better to learn this before arriving in BsAs than experiencing a rude shock.

Should all milongas be modeled on the traditional BsAs ones? Well, if they were, we would love every minute of them. However, other people insist that home-grown milongas should not try to copy BsAs, but have their own local style. What do you think?

Bob.

What IS that smell???

2011-07-20T19:26:00.005+09:30

Before attending a social function such as a milonga, there are certain things many of us take for granted in our society: taking a shower, brushing our teeth, wearing clean clothes, taking along some breath mints. Some men who perspire heavily have been known to thoughtfully bring along a spare shirt to change into. Tangueras really do appreciate men who make an effort.

However, as in all matters, there are people attending milongas who just don’t understand the Less is more concept. And I’m not referring to their dancing! I’m thinking about the ladies and gentlemen who feel the need to douse themselves with their favourite, expensive perfume and then share it around each time they embrace someone. Surely just a hint of scent should be enough – elegant sufficiency, n’est ce pas? Instead, we sometimes leave milongas wearing a sundry mélange of designer eau de parfum. OK, I’m lucky enough not to suffer from allergies and I can wash it off when I get home. So what’s the fuss all about?

A few weeks ago, we discovered an odour emanating from my significant other’s clothes. It was rather feminine, floral and quite pervasive. (He’s got another woman! I thought.) The smell had spread through four jackets & six shirts like an out-of-control virus. Finally, we managed to track down the source to one of the jackets he’d worn to a milonga. No amount of airing could get rid of it. Now, he’s patiently & forensically working towards identifying the culprit!

On another note, Tango Goddess shares an amusing anecdote about a totally different type of assault on the olfactory system.

PP

Who's afraid of close embrace?

2011-06-29T18:42:00.010+09:30

We all need it! We all love it! But are you afraid of a hug?

The close embrace is a defining feature of traditional tango. Within that comfortable, safe hug, we can relax, and allow our bodies to respond naturally to the music and communicate non-verbally.

Movement invites Movement compares the "frame" of Ballroom Dancing with the tango embrace in one of their blogs. Take a look. I know which option I prefer.

I love how Osvaldo Centena and Ana Maria Schapira are totally connected within their wonderful embrace as they dance to this D'Arienzo classic.

PP

Getting the music

2011-06-17T17:31:00.007+09:30

Most milongueros would say that “getting” the music is the first priority when dancing tango. After all, tango is a feeling that is danced. So for most of us, who weren’t listening to tango while still in the womb, we have a little catching up to do!

It’s not only about the rhythm, the phrases are also very important. And of course, we can dance to the melody. For some of us, individual instruments may seize our attention ....... they may be playful or intense, etc. In the end, it’s all about how the music speaks to us at the time. And because the music has several layers, our response to it is likely to be different each time we dance. Isn’t that part of the fun?

Interestingly, I find myself “re-discovering” tangos which I’d previously neglected. Without a doubt, listening to the music a lot allows the brain and the body to respond better, to tune in more effectively to the nuances and opportunities which the music offers. So my advice is to listen to tango music frequently. For anyone wanting to start or improve their music collection, Stephen & Susan Brown’s recommendations are a great start. For lovingly restored recordings, Keith Elshaw is your man.

Teachers of tango have a major responsibility here, too. We all need to be nurturing our students with danceable tango music, and it should be appropriate to their skill level. There should be an obvious connection between the music and the skills being taught. No, it’s not “rocket science”. Yet, too often one hears of complex figures more suited to the stage being pursued relentlessly by teachers, even though their students may lack fundamental skills. What could be the point of this, when the pre-requisites for tango bliss are good connection with the music & one’s partner, and a nice embrace?

PP

Attitude

2011-05-12T23:04:00.001+09:30

Immersion in the milonga scene here in Buenos Aires has provided me the luxury of reflecting on lots of tango-related issues. Musicality, technique and the codes are familiar topic , although not necessarily mastered by all the dancers on the floor. However, another seldom-mentioned aspect of dancing successfully in the milonga is attitude. Dancing tango requires a certain mind-set.

Self-belief is essential
Both men and women need to be confident that they will be able to respond to the demands of the music, the dance-floor and their partner. A tense or inhibited partner will not be able to respond as effectively to their partner or the music, so the partner will in turn, not be able to relax and make the most of the dance. A confident (and capable) man's embrace & lead will allow his partner to feel safe. Any tentativeness will lead to uncertainty on her part. She should surrender herself to her partner and to the music for the tanda.

However, we cannot fully give of ourselves if we're not sure that we have something worthwhile to give.

Attitude to one's partner
Firstly, we should really want to dance with that person. For that reason, I'm a great fan of the cabeceo. Agreeing to dance with that person means that we'll do our best to make the most of that tanda together. We should be prepared to respect and commit to our partner for that time, regardless of their dance experience (see Dancing as equals). If we can't do that, then I believe that it's better not to dance with them. In a recent interview for Practimilonguero, milonguero "El Oso" said that his job as a dancer was to make his partner "vibrate with the music".

Dancing with everyone on the pista
We share the dance-floor. There needs to be a balance between our self-belief & enjoyment, and that of other couples. However, each couple should command their space confidently within the ronda. Just the other day in a downtown milonga, I witnessed a foreign couple whose dance skills were quite reasonable, but they looked daunted by the other dancers around them. Their faces revealed fear and discomfort, his embrace seemed weak and apologetic. Rather than dancing confidently between the couple behind and in from of them, they often appeared to lose their nerve and would escape into other lanes.

We should respect other couples and their rights on the pista, but not be afraid. We need to collaborate with other couples around us and not feel intimidated by them.

Perhaps it goes without saying, but I'll spell it out anyway. Underpinning attitude, is confidence in your mastery of a small repertoire of simple figures that are appropriate to the milonga; good posture and stability; an understanding of the cadences in the music & how to respond. Finally, there's no escaping the fact that confidence comes from hours of listening to the music and practice!

PP

Dodgems on the dance-floor

2011-04-17T18:01:00.009+09:30

Ever been dancing at a milonga and felt like you have suddenly been transported to a fairground? Instead of being in a comfortable embrace with your partner, flowing magically with the music, you feel you have both been teleported into the seats of a dodgem car. All your efforts are being directed towards avoiding the next crash.

Sometimes things change dramatically at milongas, even milongas where the line of dance is normally respected and dancers are considerate to one another. For any number of reasons, the dynamics on a night can be suddenly different and the floor-craft unpredictable. When driving on a busy road, you need to assume that the other motorists will abide by the road-rules and will drive in a predictable fashion. If not, you would be constantly on high alert, trying to avoid collisions. Social dancers also require predictability from their peers in order to relax and connect with their partner and the music. Gentlemen, you need to “dance with” the couple ahead of, behind and beside you.

We are all responsible, to a greater or lesser extent, for what happens on the dance-floor. So, what can you do, if you find yourself dancing with a partner (male or female) whose behaviour is erratic? Well, for a start, you might be a little more discerning in your choice of dance partner. But, perhaps their behaviour has taken you by surprise. You are dancing the first of four tangos together and you’re getting worried. You have already collided with another couple, and to make things worse, no apology was made. What are your options?

Go with their flow and not worry about the people dancing around you.
Tighten your embrace, try to slow things down and hope that your partner becomes aware of your discomfort.
Say that you are feeling uncomfortable.
Say that you are feeling uncomfortable and return to your seat.
Any other ideas?

As I have mentioned before, the etiquette of the milongas is based on respect for others. The codes evolved over some time, hence can be considered “tried and true”. Their purpose is to reduce tensions and discomfort, thereby maximising harmony during this social event.
When someone’s behaviour had been inappropriate, I have witnessed the organiser of a milonga in Buenos Aires taking the person aside and explaining what is expected. Some organisers refund the person’s money and simply ask them to leave. Better that than have everyone else’s fun spoiled, as well as the reputation of their milonga. Offenders whose response is “But we didn’t actually collide with anyone!” fail to understand that their erratic behavior means that because of them, no-one else can relax and enjoy themselves.
In extreme cases, I have seen ladies use their prerogative and desert their partner on the floor mid-tanda. What else should she do if he just won’t take a hint and continues to make her look incompetent in front of everyone? And of course gentlemen, you too can escort your partner off the floor if she fails to curb her exhibitionist streak and insists on behaviour that endangers others.
On the other hand, some people are just too nice. They feel uncomfortable and do nothing. They are afraid of offending. Ladies have confessed to being afraid that that person won’t invite them to dance again. And the result? In the long-term they actually do the offender a disservice. The anti-social behavior is reinforced. Sadly, that person won’t realise that their behaviour is inappropriate. They miss an opportunity to reflect on whether their skills need development so they can be more in control of their navigation.
Now, see if you can identify the code which wasn’t followed in this video which was taken in a BsAs milonga (hint: 4.20mins). Unfortunately, it led to a dancer being injured and having to leave the floor.
PP

How would you like your piropo?

2011-03-28T17:33:00.005+10:30

Adios ángel con alas en los pies. (Farewell angel, with winged feet). Ladies, how might you feel if after dancing together, a tanguero whispered this to you? Or, De qué estrella te caíste? (Which star did you fall from?) Would you feel outrage for being objectified by a man? Or pleasure at the chivalrous attention?

A year or so ago, when the award-winning Argentine feature film El secreto de sus ojos (The secret in their eyes) was released here, an ex-patriot porteño expressed delight with several piropos (flirtatious compliments), peppered through the early part of the movie. I think that he felt a twinge of nostalgia for his home-town and the local practice of a man expressing appreciation for a woman, traditionally done in clever, poetic form. This has been described as the habit of delivering a verbal flower to the ladies that pass by … (Sergio). A crude wolf-whistle hardly has the same effect!

Call me old-fashioned, but IMHO the piropo belongs perfectly in traditional tango culture, where the woman is respected and treasured. Men are macho, but not in the sense often used by gringos. Totango’s article about male & female roles, and tango gender equality provides a revealing insight into this side of tango.

Some say that the piropo is dying out, losing its poetry and becoming more mundane. Certainly Qué ojos! (What eyes!) is less likely to enchant, than Dame de tus ojos la alegría y de tu boca dame la vida (From your eyes give me joy and from your lips give me life) Luis Alberto. Perhaps Argentine men are becoming a little too busy and too stressed nowadays to come up with witty metaphors.

On the other hand, for Valentine’s Day this year, the organisers of La Milonguita ran a competition for the best piropo. The many clever entries show that this tradition is alive and well after all, at least in Argentina!

PP

What makes a good milonga?

2011-03-17T20:03:00.009+10:30

There are many elements that contribute to you saying as you travel home, “that was a good milonga”. Four stand out in my opinion:

Welcoming organisers
They make you feel that you belong and therefore influence the mood of the dancers. Visitors are especially made to feel welcome; shown to where they can sit, and maybe introduced to local dancers.

The codes
This concerns the milonga behaviour that the organisers promote, and the respect which the dancers, in return, have for the codes of the particular milonga. The codes will influence the dancers’ floor-craft and can enhance the harmony, trust, relaxation, sense of community, and cooperation during the milonga.

The venue
Ideally, it is visually appealing, has good ambience and suitable floor. The furniture can be arranged around the dance space to bring the dancers and the ‘watchers’ close…. as well as providing good visual contact for the cabeceo. The venue needs to ‘retain’ the energy of the dancers, rather than allowing it to dissipate. It needs a good sound system which is loud enough to ‘carry’ the dancers, without being harsh on the ears - the music needs to envelope the dancers.

The music
Even if the other elements don’t quite measure up, you simply can’t get past this one. If the music doesn’t work, then it’s unrealistic to think it can be a good milonga. The music is crucial in determining and charting the mood of dancers from the beginning of the milonga to its end. It needs to be the result of knowledgeable and extensive preparation – there are no short-cuts. Near enough is not good enough, and is in fact a long way from ‘satisfactory’, let alone ‘exhilarating’, when it comes to the music.

You can read more on this topic on Tango Australia in Music maketh the milonga

…. and to see all of this coming together, take a look at the recent opening of Cachirulo at Villa Malcolm, where you’ll see organizers Héctor & Norma, DJ Carlos Rey, the codes printed in several languages, great floor-craft and a beautiful venue.

Bob.

Códigos de la milonga #9 - La pista

2011-02-23T19:46:00.006+10:30

Scenario 26
Imagine the scene at a milonga. The music has started, couples have begun to dance. You’ve just made eye contact with your next partner, with whom you haven’t danced for a while. Choose the most suitable behavior:

The man rushes across the dance-floor to embrace his partner, narrowly missing a couple already dancing.
You’re both on the dance-floor. Before taking up the embrace, you greet your partner and ask how they are, what they’ve been up to, etc.
You meet your partner and make your way straight onto the dance-floor. The other dancers will accommodate you both.
You meet your partner, find a safe gap in the lane of dancers, perhaps making eye contact with the couple approaching and then you merge quickly into the flow.

The correct answer isn’t rocket-science, particularly for most of us who have driver’s licences. (Option 4, in case you were unsure) Yet, it’s surprising how often people forget to consider their fellow dancers. Jan, of Tango Chamuyo provides some useful insights in La pista sagrada (the sacred dancefloor).
And while I’m on the topic of respect for other dancers, in Tango & Chaos in BsAs, Rick McGarrey shares excellent practical advice (replete with graphics) on the challenging skill of navigation. If you are a pusher, a dawdler, or simply see yourself as a free spirit on the pista, this is essential reading!
PP

Esta noche de luna

2011-02-11T13:00:00.007+10:30

What affects the way you dance a tango at any one time? Probably, there are countless influences, some may be conscious (your dance partner, the physical environment, the preceding music, the energy of the milonga, etc.). I suspect that there are yet more influences lurking in the subconscious.

What of the tango music itself? Different parts may speak to you. At times, you may find the singer is demanding your attention, whereas previously you were responding to the piano. A knowledge of the lyrics, or at least the theme, of the tango will also play its part and enrich your response. Each time you dance to that same piece it will be a different experience . Isn’t that one of the joys of tango?

I was delighted to find the beautiful translation of one of my favourite romantic tangos Esta noche de luna on Derrick del Pilar’s website. Read, listen and be transported!

Now how might you dance to this gorgeous music? The following clips show very different interpretations of the very same tango played by Carlos Di Sarli’s orchestra with the superb voice of Roberto Rufino . These dancers are all performing for an audience, some may have choreographed their dance and include very impressive manoeuvres, others are improvising and dancing in an understated manner, suited for the salon, with a focus on dancing to the feeling. What I found especially interesting was their musicality, their choices of how to respond and what to respond to in the music.

PP

Tango lives of milongueros

2011-01-26T11:27:00.011+10:30

For anyone interested in the traditions of tango, the interviews with milongueros on Mónica Paz and Chan Park's blog PractiMilonguero are gold. The recently recorded videos (sub-titled in English) not only convey the unveiled passion each milonguero has for tango, but also shows us glimpses of their personal history. Chan and Mónica are to be congratulated for this valuable initiative which captures some of the story of tango.

Definitely unmissable viewing! The final treat at the end of each clip: we get to see each milonguero dancing.

Here's the latest, quite moving, video of Ricardo "Tito" Franquelo. I hope you enjoy it as much as I did.

PP

Respect

2011-01-07T19:30:00.004+10:30

Perhaps there ought to be a sign at the entrance of milongas which reminds patrons that teaching on the dance-floor is inappropriate.

Here’s another idea: suggest to the would-be tutors of tango that they hire their own teaching venue for instructional purposes rather than exploiting a milonga.

OK, let me totally frank about this: I believe that providing unsolicited advice to one’s partner at a milonga is disrespectful and offensive behaviour.

Regardless of the intention (e.g. “helping” a less experienced partner, wanting to execute one’s favourite moves, etc.) it’s just not on! And to those who reluctantly put up with it, or even feel grateful for it, let me repeat: It’s just not on! And you shouldn’t put up with it. In fact by tolerating it, you are encouraging the behaviour, and therefore are a part of the problem.

When an invitation to dance is accepted at a milonga, it should be on the premise that the two parties would like the pleasure of dancing together to that particular tanda of music (Dancing as equals). Besides, to be in the moment and really dance tango together, you have to focus on the music and your partner, not be distracted by an explanation of the technicalities of a figure. That’s what lessons and practicas are for.

Not only is this behaviour offensive to the recipient, it also disrupts the flow of the dancers at the milonga. A well-functioning ronda relies upon all the dancers (especially the men) cooperating with each other, some would say dancing with each other, hence enabling the couples to proceed in the line of dance without interference. Stopping to teach your partner on the pista would hardly endear you to your fellow dancers who are banking up behind you or are attempting to avoid you. In fact, it’s a recipe for chaos on the dance-floor.

Finally, I find the instructions which are audible to all those around the would-be tutor & partner so distracting, that I lose focus even when my favourite pieces of music are playing.

So what could be your options if this happens to you:
· Accept the advice with gratitude or in silence – Definitely not recommended
· Say: I simply can’t dance and talk.
· Say: Could we discuss this later, off the floor?
· Say: Thank-you and return to your seat.
· Say: Do you want to dance with me or teach me?
· If you’re a woman say: If you can lead it, I’ll try to follow.
· Never dance with this partner again.
· Look around and discover that it’s often the poorer dancers who are the advice-givers.

Perhaps rehearsing a suitable response would be helpful to some. A consistent approach to this issue could well lead to some noticeable changes in behaviour.

Am I alone in these sentiments?
PP

Dancing as equals

2010-12-22T15:30:00.002+10:30

While chatting with a local lady in El Arranque (a milonga in BsAs) about the nature of ‘connection’ in tango, she said that “the man and woman need to dance as equals if they are to truly achieve connection in tango.”

This made me examine my mentality when I dance with ladies whose skills and experience vary greatly. For example, many of the women with whom I dance at milongas in my home city, are those that I have taught or currently teach - including beginners. Elsewhere, including in BsAs, I have danced with some women who force me to work hard to simply maintain my axis, and with others who are acclaimed ‘maestras’.

The question I had to ask myself was: "How can we dance as equals?" For me, it's about how I approach the relationship with the woman I'm going to dance with. If there's any thought, for example, of superiority on my part or inferiority on hers, then the relationship we are seeking is doomed from the start, and there’ll be no chance of that elusive connection in our tango. If I have any feeling of anxiety or intimidation when I dance with women who are clearly more experienced and skilled than me, then I won’t experience connection with them in the embrace.

And this is what I found in BsAs - the women I danced with love tango. Some sang in my ear. We danced for each other - there was nothing in our brief relationships that suggested anything but equality. We used all of our skills to bring the music into our dance, and we brought ourselves confidently into a collaborative relationship. I felt we were dancing as equals – and that’s the only way tango can be danced, in my opinion.

There is no reason why this mentality can’t prevail wherever I dance tango – but it needs to be shared – the women need to feel this way too: they need to feel self-confident and they need to trust.

Bob

Less is more

2010-12-20T19:28:00.010+10:30

Just found this superb video of María Inés Bogado y Sebastian Jiménez, the current Tango Salón champions performing in Valencia (Spain). There is so much that can be learned from this recording of just 3 minutes! Their musicality is brilliant, with clever changes of dynamic executed with total control and excellent technique. The connection is utterly palpable. A brilliant performance where colgadas, volcadas, ganchos etc., fashionable in some tango circles, would have been totally superfluous.

So what can be learned by ‘mere tango mortals’ which could be of any use to dancing socially in the milonga from this outstanding performance? Many things, I think.

But let me focus on only her footwork. Why? Because it’s perfect for dancing in a crowded milonga, and it is simply beautiful! So many ladies in tango frantically try to execute adornos (decorations) as a way to express themselves, often to the detriment of their partner, the music, the dancers around them, let alone their own elegance. I’ve expressed my views on this topic in the past.

Interestingly, María Inés dances with few explicit adornos, and they are done with understatement and sensuality. Yet who could say that her footwork is not exquisite and utterly mesmerising? I simply wish that ladies wanting to add a little spice to their social dancing, would focus more on walking elegantly and using their feet beautifully.

PP

What a difference a singer can make

2010-12-10T18:29:00.003+10:30

Whenever anyone asks me which tango orchestra a prefer, all I can ever say is "It depends on my mood". Moods are governed by emotions, and music reflects, affects, or should I say, manipulates our emotions. In his Tango & Chaos website, Rick McGarrey illustrates this beautifully using Una emocion as an example. He also adds an interesting, perhaps controversial, observation about Pablo Veron's interpretation when he dances this tango with Geraldine Rojas during the credits of the film Assassination Tango.

Enrique Campos, who sings this piece with the orchestra of Ricardo Tanturi, seemed to change the mood of Tanturi's tangos when he joined the orchestra in 1943. Despite the strong rhythmic elements, there is an overwhelming romantic, softer, more introspective feel about them.

Whereas his predecessor, Alberto Castillo, with his extrovert style, appeared to bring out the more energetic side of the musicians. I love dancing to his Pocas palabras.

Perhaps the musicians affected the singer rather than vice versa. Or perhaps it was simply a popular style at the time. I'm not sure. I'd love to know the answer. Of one thing I am certain, and that is that they create different moods and demand a different response from the dancer.

Jennifer and Ney performing to another punchy Castillo favourite La vida es corta provide a stark contrast to Regina and Martin's romantic interpretation of the nostalgic En el salon , with Campos.

PP

Making every moment count

2010-11-17T18:29:00.006+10:30

I know it sounds clichéd, but the most memorable dances I’ve had were when both my partner and I felt completely in tune with the music and with each other. The selection of music was just right. We trusted each other enough to mutually surrender to its moods and cadences. The figures we danced were of no consequence - often quite simple. It felt like the music was channeling through our close embrace and directing us. Each step we took counted. We danced in the moment. Sounds sort of Zen, doesn’t it!

My plea to tango dancers: Listen to the music, trust it and allow it to transport you! Only then will it be possible to dance in the moment.

Here are some inspirational dancers making every step count:

Melina & Detlef

Juan Esquivel & Thomasina

Osvaldo & Coca

Tete & Silvia

Adela & Santiago (thanks to Tango commuter)

There are many more, of course.

PP

Buenos Aires milongas – life as a single.

2010-10-31T12:18:00.002+10:30

Our recent stay in Buenos Aires led me to reflect much more on the milonga experience, particularly to compare the “singles” and “couples/groups” milongas.

When a couple enters a predominantly ‘singles’ milonga in Buenos Aires, they are usually placed in a back corner and become invisible. Tango in BsAs for me is, despite visiting with my partner, largely about dancing as a single – then the full essence of tango has a chance of being experienced.

It’s not about the figures and the display on the dance-floor; it’s about people and about tango music, and how they can achieve a connection. It’s about social communion and an expression of the temporary relationship with our partner through the music & dance.

The milonga is a unique socio-cultural experience that begins with entering the salon. As a foreigner, it’s more difficult to be accepted, but you need to enter believing that you belong there, and it needs so show – it’s confidence, not presumptuousness or arrogance. I always accept that I am a guest in their milongas and I am going to respect that by adhering strictly to their codes.

It helps to get to know the organizers – more easily done by regularly attending the same milongas each week (rather than a trying to sample too many) and expressing thanks for the efforts which the organisers put into staging each milonga – and it is a huge effort & increasingly expensive to stage. Developing a relationship with the organisers does help in being seated favourably in the milonga – which means having good visual access to potential partners.

The use of the cabeceo is non-negotiable in reputable milongas. For someone new to a milonga, it can be hard work – particularly getting that first dance. However, once others have seen the quality of your dancing & musicality - and your observation of the codes - it becomes a little easier (for leaders, good line-of-dance is essential; for both leaders & followers, dancing in the considerate and understated style of the locals is admired). Getting a dance with the best & most popular dancers in the milonga takes persistence, and may require several visits to that milonga to achieve. But that’s part of the challenge of dancing as a single – the unknown.

A defining moment always comes when taking up the embrace. It tells your partner a lot about your technique, your confidence, your physical connection …. and that creates a mentality that can underpin the whole tanda; the very first step is also significant in communicating who you are and how you will relate to your partner– it needs to exude certainty ….. and for a leader, masculinity, …… for the follower, responsiveness.

During the dance, the music permeates the body and the bodies communicate constantly. We are dancing for each other, not putting on a show for those watching. This suggests that while we should make an effort to be well groomed for our partners, the concept of beautiful/handsome is irrelevant.

It follows that we become different dancers with different partners – different interpretations of the music (by both leader & follower), different emotions expressed to our partners through the dance, quite apart from the variations in embrace, timing, and technique that we feel.

The attraction of returning to the same milonga includes the anticipation of dancing with some of the same partners, knowing what to expect on the next encounter, knowing what to build on to further enhance the connection …. with that person and with the music. It’s a creative and personal pursuit.

The greatest compliment for a foreigner at a milonga is for an old milonguero or milonguera to say, “you dance like one of us”. The glow lasts well past that evening!

Have you experienced “singles” milongas in Buenos Aires? What was it like for you?

Bob

Men making an effort

2010-10-16T08:59:00.004+10:30

We women often enjoy the opportunity to dress up a little, take a bit more care with the hair and make-up. The milonga is just the sort of occasion where we like to look and feel more elegant. Making that effort can do wonders for a lady's confidence.

Could the same apply to men? Does taking trouble with one's appearance and personal hygiene matter? Is it my imagination that the men at milongas wearing a nice shirt and trousers, a jacket, or even a suit, look ... shall I say, more manly? Do they, perhaps, conduct themselves more confidently? I am curious to know how men feel about this?

Of course, ladies appreciate considerate dance partners. I think I am speaking not only for myself, when I say that we also value gentlemen who respect the initimacy of the tango embrace by making an effort to present themselves well for the occasion.

Ladies, here's a word of warning based on research in male washrooms by a male colleague in BsAs. Regardless of the appearance of your dance partner, washing your hands (especially your right hand!) before eating is strongly advised.

PP

Sebastian y María Ines en La Baldosa

2010-09-26T09:23:00.008+09:30

At La Baldosa, one of our favourite "couples" milongas, we were fortunate to see the newly crowned champions of Tango Salón dance four pieces for the crowd. Suffice to say that the 18 year old Sebastian and 29 year old María Ines are deserving title-holders.

The romantic Di Sarli tango was followed by an energetic tango by D'Arienzo, a Caló vals and after rousing applause, a Canaro milonga.

What a treat!

PP

Milongueando en Buenos Aires

2010-09-22T05:47:00.004+09:30

Four weeks in the Mecca of tango are drawing to a rapid close and the farewells to friends (old and new) are almost complete.

Attending milongas almost each evening, mostly as singles, caused me to reflect on the milonga experience. One thing that stands out is that it´s not only about the dance. For me, the milonga package is much more. Certainly most of us are there to dance, but those who make the most of it also use the milonga as an opportunity to socialise, be transported by great music, relax and observe.

After dancing an especially satisfying tanda, I find myself preferring to come back down to Earth gently, rather than looking out for an invitation to dance again right away. So, watching the dancers on the floor is a good way to signal that I want to sit out the tanda.

If my attention is drawn to any particular dancers, it´s usually because their movement is an expression of the emotion contained in the music. Their connection seems both physical and intuitive. At the same time there is an utmost consideration for the dancers around them. From all this flows a spontaneous creativity and satisfaction which only the couple themselves can fully appreciate.

Finally, how wonderful it is to experience the harmony of movement and energy when all the dancers on the floor are on the same wave-length!

PP (in BsAs)

Decorations - a contradiction in terms

2010-07-26T19:13:00.003+09:30

Recently it dawned on me that decorations, adornos, embellishments (call them what you will) could well be considered a contradiction in terms - unless executed for a tango performance.

Under most circumstances in life, a decoration is an external embellishment. Yet an adorno in social tango comes from within and remains within the embrace. It's not primarily for the viewing public. It is a spontaneous expression of the emotion of the music. It does not disturb our partner. It isn't calculated or premeditated. However, sound technique and control underpin any elegant adornment.

What is a decoration in social tango? To me it begins with the way in which dancers (male or female) use their feet when taking a step.

For anyone interested in this topic, I recommend very highly the articles by Olga Besio and Milena Plebs (in Spanish & English).

PP

Milongueros in action

2010-07-09T19:11:00.007+09:30

I’m delighted! At last, I’ve found a series of Youtube videos featuring milongueros of Buenos Aires doing what they love – not performing, but dancing socially in the milonga.

That’s when they’re at their best: feeling the music, dancing with real connection to their partner; dancing with and for her, and at the same time, showing the utmost consideration for dancers around them.

They keep their partner safe in their embrace, allowing her to relax and respond calmly & intuitively. You can see the look of serenity, almost meditation, on the faces of the women in these videos. Tangopilgrim hit the nail on the head, when quoting his teacher: The most important dance is the one that happens inside us.

Don’t do anything, unless you feel you have to. And do anything that you feel you have to do. (Tangopilgrim)
These milongueros and their partners are dancing in the moment. They are both being carried by the demands of the music and all its rhythmic variations, and savouring each second.

Thanks, Irene and Man Yung (video above) and Jantango , for recording and posting these gems on your sites.

PP

El abrazo

2010-06-29T18:01:00.002+09:30

“I want to dance tango” is heard often from newcomers, and “I want to dance tango well” from those already dancing. My (no-nonsense) response: “you’ll need to work hard on your axis, posture, embrace, and tango walk before anything else can happen."

So why the constant reminders about the embrace in class? - in fact, some will say tango IS the embrace. Well, the embrace is the physical point of connection between the man and the woman. It is the channel of communication as the man suggests (leads), the woman responds (follows) and the man follows the woman. Hence, they dance together, rather than two separate entities; communication - some might say energy – flows back & forth between the two.

So what can interrupt the flow? From a physical point of view, one of the main sources of trouble is the man’s left and the woman’s right arms. If the man pushes & pulls, his partner is taken off her axis and the lead becomes confused. If her right arm flexes, she’ll be ‘absorbing’ the lead rather than her body moving with it. After all, the lead comes from the man’s upper torso, to be responded to by the woman’s body. Nothing should get in the way of that – including cognitive pursuits like trying to remember learned patterns, studying the man’s chest for movement, or peeking at each other’s feet for cues. We need to be fully present for our partner and the music.

The upper torso – the ‘frame’ – needs to be strong and yet relaxed: tense muscles won’t give & receive subtle signals. The man’s embrace needs to be able to communicate clearly where he would like his partner to go; the woman’s embrace needs to be confident – a presence that the man can feel. Yet it’s light and doesn’t fight back or lean on him.

Getting the embrace right can be frustrating at first. But finding the right balance between strength and relaxation, assertiveness and responsiveness enables us to be equal contributors in our different roles. It allows us to give rather than impose. That’s when it feels like we’re dancing as one, rather than struggling with the other.

For an amusing and informative look at a range of embraces, take a look at a wonderful series of photographs and captions on tangocherie’s website. There’s also an interesting series of comments about the effects of some of the embraces on the writers.

Bob

Mi Buenos Aires

2010-06-19T13:44:00.002+09:30

I just couldn't resist recommending this video of Aurora Lúbiz and Luciano Bastos having fun to Canaro's Mi Buenos Aires, a truly joyful milonga. How easy they make it appear!
PP

Que tangazo!

2010-05-28T14:27:00.009+09:30

Ever wondered what makes a great tango?

A local ex-porteño ( … mm, I’m not sure if you can ever stop being a porteño) was recently commenting on some tango music. Like many natives of Buenos Aires, he grew up listening to tangos, but he never learned to dance it. Anyway, I digress.

On hearing D’Arienzo’s interpretation of Pensaló bien, he commented, “My mother would have said: Que tangazo!” I got his drift, but didn’t know exactly what he meant by tangazo. So he dutifully emailed me a grammatical explanation of augmentative suffixes in Spanish. Still, a question remained for me: What makes a good tango a tangazo? Does it simply come down to individual preference?

Later I pressed him further. He thought there would be some common denominators of tangazos. But what were they? He consulted a Uruguayan tangophile who lives interstate, and after some lengthy discussion, this is what they came up with:

Lyrics which scratch below the skin because they 'say something'
Music which is good to dance or listen to
Longevity - people listen to those tangos over the years, the 'guardia vieja' and the new generation alike enjoy them. They never die.
A fan of Troilo (bandoneon as the lead instrument) as compared to a fan of D'Arienzo (piano as the lead instrument) would have different lists of tangazos

So that made me wonder whether some instrumental tangos make the grade?

What about great valses and milongas? I’ve only heard the diminuitive term: valsecito, rather than an augmented version. Could there be a reason for this?

Anyway, here are a few pieces (links to lyrics, music and translations) which I consider tangazos. Of course, you may have a different view altogether about whether these could be considered tangazos. Indeed, there may well be other definitions of tangazos. If so, I’d love to hear from you.

PP

Gloria (De Angelis/Dante)

Adiós Arrabal (D’Agostino/Vargas)

El Adiós (Donato/Lagos)

Mandria (D’Arienzo/Echagüe)

Tristezas de la Calle Corrientes (Troilo/Fiorentino)

Poema (Canaro/Maida)

Dancing in Buenos Aires

2010-05-12T21:09:00.005+09:30

If ever I’m asked about what it’s like dancing in the milongas in Buenos Aires, my first response is, "It depends". For a start, it depends on which milongas, and we choose our milongas carefully. But the more important response is, “It depends on whether we go in as a couple or as singles”. The milonga experience is quite different in the two scenarios.

When we go to neighbourhood milongas like Sin Rumbo, La Baldosa, Sunderland, Circulo Trovador, we tend to go as a couple because they are traditional, largely ‘couples’ milongas. That means we dance just with each other, unless we’re attending with friends. Here we can relax, knowing how each other dances, take a few risks, but always respecting the local codes and the local dancers. It’s a nice feeling to be accepted, and to be part of the local tango community at these milongas.

However, Cachirulo, El Beso, Lujos, Canning (Saturdays) are very different – largely for singles, with a high standard of dancing. Immediately, there are elements of tension and uncertainty to deal with. Using the cabeceo to gain dances with partners who we’ve identified we’d like to dance with – that can take time & patience, and can be a bit nerve-wracking. Others need to be aware that we can dance well before they’re going to look in our respective directions – so whenever we dance, it needs to be neat with good connection with partner and music …. and, of course, always respecting the codes!

The first embrace with a new partner is a defining moment – it tells our partner a lot about us as dancers. As a leader, I need to instill confidence in my partner immediately, so that she can relax into the expectation that she’ll have a good dance experience and that she’ll be safe. My dancing needs to be very focussed – on my partner’s ability, her responses, and my musicality …… the range of ‘figures’ is almost irrelevant. She wants to dance tango and I need to accommodate her idiosyncrasies. Within these parameters, the tanda needs to be an enjoyable experience for both of us accompanied by a necessary level of tension to keep us sharp.

Which experience is better? They are simply different …… and it’s gratifying to be able to choose and reap the rewards of both.

Bob.

What a night ... para los niños!

2010-05-06T18:15:00.012+09:30

On behalf of Milonga Para Los Niños, we'd like to extend our thanks to many people for making this fundraiser in Adelaide so successful.

Initially, we had modest expectations when we agreed to donate the proceeds from one of our milongas to the charity. However, then we also decided to conduct a silent auction. Many people came on board with offers of goods and services - right up until an hour after the milonga started! We are very pleased to announce that $1500 will be forwarded to the charity by the end of the week. Thank you to everyone who attended and created the energy for a great milonga and successful fund-raiser.

Now for a long list of acknowledgements of donors to the silent auction:

Gerda for making a tango dress with the recipient's fabric, and to Cris who was the generous successful bidder with $200

Lucy for a beautiful Igora scarf, and also to Andrew who generously bid $180 for it

Colonel Light Hotel for their $100 voucher for meals & drinks

Eduardo for his delightful "Symbol of Tango" motif

Glen for his own ink-pen drawing

Natalie for a Donna Hay cookbook

Judi for two hand-made tango shoe bags

Junko for her glass platter

Bruno for two of his bottles of liqueur tawny port

Rae for her three pieces of Cabeadle jewellery

Terri for her last-minute (!), hand-made chocolates

Janice for her 'Glamour kit for Tango'

and Tango Salon Adelaide donated a private lesson and a Bocca Tango DVD

Thank you to all who bid for these items, and particularly to those who ended up buying: Cris, Andrew, Stephen, Susanna, Eduardo, Kylie, Nicole, Anna, Karlis, Terri, Annie & Barbara.

Then there was a raffle that Mariangela decided was a way to raise a tidy sum - and it made: $203. Mariangela donated a wonderful hamper of wines, glasses and chocolates, which she teamed up with further prizes of port & chocolates from Karlis and a magnum of red wine from Nicole, and then spent a couple of hours at the milonga going around to sell tickets. Many thanks to everyone who bought raffle tickets.

We also wish to thank Southern Cross Tango, Siempre Tango, and Tango Adelaide Club for strongly promoting the function, which resulted in a busy milonga despite a long list of apologies. A special thanks to Siempre Tango for allocating part of the proceeds of their super-practica last week and donating $150 to make up the final sum of $1500.

Milonga para los niños

2010-04-22T18:05:00.005+09:30

Join us at the next La Baldosa in May
upstairs in the Colonel Light Hotel, Light Square, City

Sunday 2 May, 4 - 8pm

Entry: $10

Happy hour drinks 4 - 7pm
Meal orders taken until 9pm

Dance, have fun, silent auction.
All proceeds to the Sociedad Para Los Niños

The singer - just another instrument in D’Arienzo’s orchestra?

2010-04-05T18:55:00.006+09:30

Juan D’Arienzo, the King of Rhythm apparently once said that the human voice should be no more than an instrument in the tango orchestra. He blamed the declining popularity of tango in the late forties on the starring role of the singers. However, thanks to D’Arienzo’s high energy tangos, valses and milongas, dancers continued to be drawn irresistibly to the dance-floor.

He recorded with a large number of singers, yet I find myself returning to just two of them: Alberto Echagüe and Hector Mauré. Despite his views on the singer’s role, these fellows certainly left their very distinctive imprints on their recordings with D’Arienzo, perhaps despite him! The hard voice of Echagüe reminds us that the stories of these pieces – in this case Pensalo bien - are usually set in uncompromising, working-class neighbourhoods. Here's a treat - a historic video clip of Alberto Echagüe singing Paciencia with D'Arienzo's orchestra.

Contrast that with Hector Mauré singing Amarras whose more refined voice lends everything a more romantic feel. Which is better? Just depends on the mood. I love dancing to them both.

Finally, Geraldine and Javier perform to Humillación sung by Mauré

Do you prefer to dance just to instrumentals, or do you like the singers, too?

PP

Tango as a journey

2010-03-20T13:59:00.004+10:30

Like many gringos, we were first attracted to tango many years ago by stage tango (tango escenario). The powerful music of Piazzolla also played a large role at the time. Much later we discovered that the flamboyant, exhibition-oriented dancing was the flip-side of the tango coin to social tango.

Both are part of tango culture. One is quite rightly aimed at entertaining the audience with highly skilled and impressive figures and combinations. On the other hand, social tango (tango salón) is more subtle and internal. Each dancer has to tune in to their partner’s non-verbal communication in this improvised dance. And for me, that’s much more engaging. Each person’s communication style and response to the music will be different. So every tanda is potentially a private voyage of discovery for each person.

We dance tango salón for our partner in a milonga, alongside many other couples, who are engaging in their own private journeys for the duration of the tanda. Because we are sharing the dance-floor, the códigos of the milonga (milonga etiquette) evolved to meet the needs of all these folk, of course.

Some travel to Buenos Aires to immerse themselves in tango culture, including the códigos, which can be challenging, at least initially. Tangocherie’s blog and comments to - Why do some people bother to come to Buenos Aires to dance? – are a must to read, especially if you plan to make the journey.

PP

Sensitive Golden Age Guys

2010-03-01T18:01:00.004+10:30

Some say that tango is a man's world. And it may indeed appear so.

At the milonga - men traditionally invite and lead. Now let's look at the musicians, singers, composers and lyricists - mostly men. South America is traditionally known for its machismo. Men are powerful. They call the shots. Or do they?

Taking a close look at the lyrics of many tangos will reveal another perspective altogether. Rather than self-aggrandisement, a great many tangos lament men's mistakes, weaknesses, losses, regrets, betrayal, etc. Far from trumpeting macho achievement and strength, we hear them admitting to their failures - usually in matters of the heart. Trasnochando, Gloria and Idilio trunco are just a few of the many examples which we can listen to, while reading the translations.

Perhaps we see a different side of the Argentine man through these tangos.

Finally, here's Di Sarli's version of the irresistible Patotero sentimental (sentimental gangster) danced by Cristina Sosa and Daniel Nacucchio:

Talk & tango? I just can’t do it!

2010-02-10T19:47:00.005+10:30

Have you ever started dancing with someone who wanted to have a chat while accompanying you around the pista? What was the outcome? How was the tango?

Many of us can multi-task quite successfully. But this combination does not work for me at all, and I suspect that I’m not alone. Today, while listening to my ipod, mercifully distracted from a dental procedure, I pondered why this might be so.

Music generates emotional & physical responses. Its influence can be energetic, calming, soporific, romantic, melancholic, joyful, etc. Understanding the lyrics isn’t a pre-requisite, at all, although it enhances the experience. Our brains are hard-wired to get the musical message (Daniel Levitin). Dancing is a physical expression of that. So whether or not we’re aware of it, my partner and I, together, are physically responding to the emotions evoked when a piece of music calls us to the floor. I like to make the most of the tanda with my partner, and if we’re lucky, we may experience that addictive tango-zone.

While dancing, chatting about a recent good film or a mutual friend, will simply interfere with that strong, but fleeting connection. It reminds me of those annoying TV commercials which pop up inappropriately at critical moments during a movie. No chance there of being transported by the dance!

Then there’s the complexity of much tango music, with so many delicious improvisational possibilities. Choreographed patterns of dance learned by rote can allow for talk. After all, the body already knows what it’s going to do. But to improvise, in other words to dance “in the moment”, your attention needs to be dedicated to the music and your partner. The concept of entrega is about abandoning yourself to your partner and the music … just for that tanda, of course. Little wonder that milongueros don’t get up to dance to just any music. They’re choosy about their music and partners. When they dance, they put ‘all the meat on the fire’ todo la carne en la parilla.

So what do you do if your partner wants to tango and talk?

Go with the flow and chat for the remainder of the tanda
Say “Thank-you” and return to your table
Ignore the talk. If you don’t respond, it may stop eventually.
Simply admit: “I’m not able to dance tango and talk at the same time”. Hopefully the message will be clear.
Never dance with that person again

What do you think?
Pat.

In need of a pick-me-up? Try a vals or two!

2010-01-30T19:03:00.009+10:30

What makes the tango vals unique? Are there elements in vals music that distinguishes it from Viennese waltz, or are they the same but we simply dance them differently?

Joaquin Amenabar, in his book ‘Tango. Let’s dance to the music!’ says: “The tango waltz is not different, from a rhythmic point of view, from the Viennese waltz. They both have a three-beat rhythm".

"The only difference is the speed: the music of tango waltz is faster than the Viennese waltz. It is only for this reason that, whilst in the Viennese waltz one steps on every beat, in the tango waltz we normally step on only the first of three beats – if not we would be dancing too fast.”

He goes on to say that in addition to the simple-time step, we can also make double-time steps. However, we step on two of the three beats – either as 1st & 2nd beat, or 1st & 3rd beat. These can also be interspersed with simple-time beats.

If we are going to dance vals, then we are obliged to step on the strong 1st beat …… then we can choose to introduce double- time steps and pauses in response to the music.

But quite apart from these technical details, we only need to look at the following three clips to see that personal style & personality adds another layer that makes each person’s tango vals unique. The second clip is evidence that, despite Joaquin’s statement, there are also some beautiful slow valses.

The first from Tete and Silvia “Claro de luna” illustrates the sense of freedom and joy that Tete brought to his vals.

The second from Osvaldo & Coca “Con tu mirar” is a lesson on understatement, and it’s worth looking for those elements of rhythm Joaquin talked about.

Thirdly, Roxana Suarez & Sebastián Achaval’s “Pabellon de las rosas” shows a very skilful young couple with wonderful timing & musicality.

Finally, for the classical music buffs, the lyrics of El viejo vals start with the following line: Al lánguido compás de un vals de Chopin, mi amor te confesé ... (Orchestra: Francisco Rotundo, singers: Campos & Ruiz).

Bob

Poetry sung out loud

2010-01-25T18:28:00.005+10:30

Maybe I've been listening to too much tango for far too long. But lately, I find myself quietly singing along to parts of my favourite tangos that have gradually embedded themselves in my brain. (Too bad, if you happen to be close by!)

Dancing to a tango, vals or milonga, when you know the story, adds an interesting dimension to the dance experience. Hence, the addition to our weblinks of two more tango websites with very good translations of many lyrics. So if you want another perspective to your tango experience, you couldn't go wrong with indulging in a spot of poetry reading while listening to the music.

Pat.

Tete Rusconi and Osvaldo Zotto

2010-01-11T19:12:00.006+10:30

How can we make up for the recent loss of these two great dancers? In short, we can't. They take with them to their graves the essential elements that made Tete's valses unique for their vigour and sense of joy, and the beauty that Osvaldo's precision gave to his dance.

Tete was no doubt dancing as a young man during the Golden Age of tango - think of the great musicians and dancers that contributed to what became Tete's dancing. We saw him often at Maipu 444 and El Beso dancing with the energy of a young man; there was absolutely no doubt that the milonga was a second home to him and that he simply loved to dance.

Our first memories of Osvaldo were from his instructional tapes with Mora Godoy in the late 90s, teaching his viewers precisely where to step & how to lead. Later, we would regularly see him at the Club Sunderland restaurant with his partner Lorena and friend Carlos Gavito; it was very obvious how much he cared for Gavito and no doubt took part of him into his teaching and dancing.

Perhaps there is something we can all attempt to do to make up for this loss in a small way. We can strive to pass on to the next generation of dancers what we have gleaned from these two masters: the joy of tango and its simplicity when danced from the heart.

Here is a glimpse of the irrepressible Tete , Osvaldo with Lorena part 1 and part 2 (unfortunately, the recording of their dance to Indio Manso was divided), and finally Osvaldo in a remarkable solo.

Bob

Embrace me like you really want to dance tango

2009-12-30T21:16:00.002+10:30

Tango is music and we can dance to it, but without an embrace, I’m not dancing tango – I’m doing something else. I make my connection with the music, with my partner, with the floor through the embrace. It’s my medium of communication – I propose a movement to my partner, she responds, I follow – our bodies communicate this through the embrace. Of course, I’m talking close embrace, and when I’m in Buenos Aires in particular, that means chest to belly contact – then we dance as one.

Taking up the embrace with a new partner is a defining moment. I take up the embrace with very clear intent. I want my partner to know that I feel confident with her, to reassure her that I know how to dance well, that I will keep her safe as she is led into the unknown, to create a feeling of trust. At the same time, my partner will communicate a lot to me when she takes up my embrace: I will be able to sense her love of tango, the strength of her frame (if she presents a weak right arm, then the dance may be compromised immediately), her willingness to surrender (entregarse). We are exchanging knowledge about each other - a lot of information flows back and forth at that moment, and almost immediately we create expectations and sense how we are going to approach the dance.

With a good embrace, I can lead one step then pause - we are able to wait-feel-listen while being transported by the music. With a good embrace, I feel confident that we can improvise and navigate regardless of the crowd. With a good embrace there is an intimacy, with energy flowing continuously between my partner, me and the music. Only with a good embrace can I dance tango.

Much has been written about the embrace and the following quotes encapsulate its essence for me:

Mari in her tango diaries says: “Hold me like it’s personal”. She also writes about the ‘entrega’ mentioned above.
Stephanie in her blog writes: “the embrace is about who you are and your ability to communicate that to another”
Finally, Johanna in her blog ‘I’m so easy to please’ gets to the heart of the matter with a piece of fundamental advice: “Just embrace me like you mean it.”

And for those searching for the perfect embrace, a starting point could be the advice (at 2m30s) from one of our favourite couples, Melina & Detlef - men, give your partner a genuine hug, then take up her right hand.

Just do it.

So what do you want from the embrace?

Bob

Advice to tangueras

2009-12-22T17:55:00.022+10:30

In a previous post I praised the tangueras who are patient and taking a long-term view of tango, as a way of cultivating a strong pool of male dancers in their community. Remembering, of course, that the ladies also have to work hard on their own skills, too, so that the dance will be mutually enjoyable.

As well as those all important techniques to develop, tangueras have so many other things things on their minds, such as How to get more dances at a milonga; What is their role in a dance which appears to be male-dominated; and dare I say it, What to wear?

Tangocherie and Maleva share their thoughts, often quite humorously, on these and other tango topics. So why should I reinvent the wheel, when their advice is gold? Thanks Keith Elshaw, for your thoughts, too!

The lady's role is a significant one in what appears to be a male-dominated dance:

Really listening to the music is just as important for the lady
Back-leading vs follower's voice - it can be a 50/50 partnership
More milonga etiquette
The cabeceo allows the lady to decline an invitation before it even happens. And no, it's not the man's God-given right to dance with you, if you don't feel like it, & vice versa.
Boundaries and the dreaded flip-up - amusing, but true

There are certainly some effective ways to present yourself at a milonga, and there are some others which I would not recommend. Take a look:

No te lo pongas or What not to wear
How to present yourself at a milonga
Learning by looking - applies to men, too!
How can I get more dances at a milonga?

What do you think?
Feel free to share any favourite links on these topics.

Pat

Tangueras investing in the long term

2009-12-01T15:31:00.004+10:30

Let's face it, men take a lead role in this improvised partner dance. As a consequence, they have to master a lot of skills before they can begin to dance with confidence and improvise effectively. In broad terms, they must develop a high level of body awareness & control, navigational skills and musicality - not something you pick up in just a few lessons. The men who achieve this are focussed and determined.

Despite this, there are women in the tango scene who are heard to complain that they ....

want to dance more often at milongas, and preferably with the more experienced dancers, or
expect their partners to employ a variety of showy figures to make their dance more enjoyable, or
only enjoy dancing with men who lead well and respond sensitively to the music.

Men, on the other hand, are known to lament that they ....

fear that their dance partners will become bored with their limited repertoire of figures, or
lack the confidence to dance in the milonga, because of the challenges of navigation and being watched by others, or
need their partners to be more balanced, controlled and patient, rather than anticipating.

Sound familiar? Does this apply to your tango community?

Speaking from a woman's perspective, I'd like to think that wise tangueras are patient - they are, after all, mostly in it for the long haul. They know that a leader needs a lot of time and practice to develop funfamental skills, as well as the confidence to dance well with them in the milonga. They also realise that their own road is a long one too. For a woman in tango, responding with sensitivity, good musicality, skill and confidence requires hours of focussed practice as well.

Basically, these ladies understand that it's vital to learn to walk before trying to run. So they don't expect to be entertained with elaborate performance figures. They have long since realised that trying get them to jump through these hoops will only lead men to throwing in the towel altogether (and where would that leave the ladies?), or see them wrestling with those figures (and their partners) because they lack the necessary foundations.

On closer inspection, those patient and wise tangueras need not be the selfless creatures they seem. They're strategic & far-sighted, and are working towards developing the local pool of competent and confident male dancers, who will bring them hours of pleasure on the dance-floor for years to come.

Pat

Stories from the barrio

2009-11-24T18:01:00.003+10:30

A while ago, some rousing music by Anibal Troilo was playing at a milonga, when an argentine fellow asked if I knew what the tango was about. He'd grown up with tangos playing at home, so he knew all the words. This piece was called Una Carta (a letter). At that stage my Spanish was not good enough to understand the lyrics, so he enlightened me: A man is writing to his mother from prison, asking if it's true that his wife has found another man. Only then did I understand the energy in the music. It reflected his frustration, pain and anger. Since then, dancing to this tango has been a totally different experience for me.

And so it is with other tangos, valses and milongas. Fundamentally, most are stories set in a working class background. Often the poetry of the letras (lyrics) is exquisite and multi-layered. On top of that, the emotional impact of their universal themes is amplified by superb singers and the music played by great tango orchestras. So nowadays I make a point of finding out the meaning of my favourites. To help with this, there are even a few websites with some translations in English.

Here are a few gems to read, listen to and view:

In Al Compas de un tango the singer wisely advises us to go dancing in the milonga in order to forget the painful demise of a relationship (Note how the two singers evoke somewhat different feelings), while El encopao seeks solace in the bottle. Some pitfalls of machismo feature in Gloria and Patotero sentimenta l (I found a stunning video of this one, too). Suerte loca deals with gambling, while Volver and Adios arrabal remind us of the powerful influence of one's past.

Do you listen to the lyrics? What are your favourites?

Pat.

Short tango films

2009-11-03T18:08:00.005+10:30

Tango music and dance have featured in many movies – sometimes as the major focus, e.g The Tango Lesson, Tango (Saura), Tango Bar, or as a strong thread, e.g. Assassination Tango, or incidentally as in Scent of a Woman, Volver, Frida.

Short tango movies, however, tend to make the dance the core of their stories; they’re made by professional groups, film students, animators, and many others with an interest in tango & with a camera in hand. There’s certainly a range of quality to be found on the internet, but there are some gems, covering a range of genres – documentary, drama, comedy.

La Apertura (22.11m) is a drama with Miguel Angel Zotto playing a cameo role as the boss of the tango show.

Lonely Woman Dances Tango (5.31m) – a woman’s fantasy through tango.

Perdizione Tango - La Historia De Un Ciruja (4.23m). You may remember ‘Perdizione’ which came out a few years ago, sometimes referred to as ‘supermarket’ tango. Only the trailer is now left on Youtube, but this is a spoof on the original – but with better tango technique.

En Tus Brazos (In Your Arms) (5.20m) also came out a few years ago, and is an excellent piece of animation; it carries with it a beautiful tale of love, fantasy, and tango.

New York Tango Film (8.55m) In documentary style, it shows a broad variety of every day "milongas" throughout Manhattan in unusual locations.

… and finally, a bit of comedy as well-known BsAs dancer & teacher Eduardo Saucedo hams it up in Milonga de mis amores (1.53m)

There are many more, but the quality starts to fall away, but if you add a comment to this blog and ask for more, I’ll email a list through to you.

Bob

Códigos de la milonga (milonga etiquette) - Have your say #8!

2009-10-26T17:49:00.008+10:30

We thought we had exhausted the possible topics for this quiz, but now there are more! As in other aspects of life, tango continues to present us all with challenges. We're sure you'll recognise these situations.

Scenario 25
A fairly experienced male dancer invites quite an inexperienced lady to dance at a milonga. On the dance-floor he should:

while dancing, lead her through the full range of tango figures he knows, thus giving her a sample of things to come in her tango life.
start with walking and very simple figures, always remaining within a range which is comfortable and enjoyable for her.
explain to her how to execute the movements he is leading as they dance, so she understands what to do.

Scenario 26
It's fairly indisputable that a DJ's role at the milonga is to provide music so that people can dance tango. A milonga convention is that the music is usually presented in brackets of 3 - 5 pieces of tango, vals or milonga (tandas) separated by a short segment of non-tango music (cortina). Should the DJ:

present a range of non-tango, but danceable music to cater for the diverse tastes of the people attending the milonga?
present pieces from his/her extensive library of music which aren't very popular or the most danceable, but are interesting and different?
play only music which really summons dancers to the floor and is accessible for most levels of tango experience?
play a somewhat educative role in his/her tango community by gradually exposing dancers to the common body of great tango music played internationally at milongas?
at a milonga accept without notice, requests to play certain music without a chance to pre-listen?

What do you think?

Musicality of The Last Compadrito

2009-10-17T16:40:00.012+10:30

Maybe it's the Buenos Aires withdrawal symptoms, but today I found myself dipping back into Rick McGarrey & Alejandra Todaro's fabulous Tango & Chaos in BsAs website. There's a feast of anecdotes, advice and general musing. Being a visual person, I was drawn to the videos again - just to re-visit some of those traditional milongas where the music is consistently excellent and the dancing ..... well you know what I mean ...

Despite the lure of the visual, it was the affectionately told stories framing the video clips of the late Ricardo Vidort which especially stayed with me. Those tantalising glimpses of the fast-disappearing milonguero sub-culture are the stuff of tango social history ..... and the videos of him dancing socially, including one clip showing him with his old chum Osvaldo Cartery, are an absolute delight. Milongueros dancing together at a milonga is an extremely rare sight indeed, but as young men, Osvaldo learned to dance tango with Ricardo leading, being the older male.

Vidort was a master of playful musicality. According to McGarrey, the milongueros used to play a game where the first one who danced outside the compas (the music) would have to buy his mates champagne. Apparently Vidort never had to open his wallet!

"When you dance tango, you must give everything.
If you cannot do that, do not dance." Ricardo Vidort

PP

Why do we dance tango?

2009-10-02T14:30:00.008+09:30

Yesterday, UNESCO declared tango - the music and dance from Buenos Aires and Montevideo - a world cultural treasure. (The fact that this declaration took place in Abu Dhabi seems to me somewhat incongruous considering the nature of the dance - but that's another story.) Such recognition would appear to be good for tango in its countries of origin, as well as strengthening it internationally.

Interestingly, according to the Guardian, fears about unintended detrimental consequences of tango's international popularity had spurred Argentina and Uruguay to lodge a joint application to UNESCO: As it swells into a global phenomenon, Argentina and Uruguay want to keep its roots intact.

I have often reflected upon why so many of us dance tango, even though we have no previous link to the region or culture. (By the way, if in any doubt about the global spread of tango, just take a quick look at websites such as Torito.) In the current edition of El Tanguata, Milena Plebs gives her view:

The answer is the same everywhere I go: the embrace, the contact, the encounter. Being able to return to the feminine and masculine roles, which have been so blurred these last decades due to women's liberation, technological and industrial advances, and isolation. Tango, on the other hand, is a connection to the crude reality, it's a body-to-body encounter, it's feeling the other person's energy.

What do you think? Why do you dance tango?

Plebs also makes some interesting observations about the importance of rescuing the tradition.

Pat

BsAs milonga observations

2009-09-26T02:32:00.006+09:30

For any tanguero planning to travel to BsAs or simply interested in tango culture, we thought the following might be of interest:

We were told that attendances at milongas were down, but that only seems to be the case at milongas relying on tourists to bolster their numbers, where the world economic crisis, swine flu and winter seem to have taken their toll. As a result some milongas have been suspended. One might also speculate whether too many tourists lacking necessary navigation skills have driven locals away from some venues. Having said that, a local said recently how impressed he was with the dancing skills of many foreigners in the last few years.
Milongas requiring a high standard of skills such as Cachirulo, Lujos (Maipù 444), La Baldosa and Sin Rumbo are as busy as ever, despite the increase in entrance fees.
If attending a milonga as a single, being seated in a good location (making the cabeceo easy) by the organiser, will largely depend on how frequently you go to the milonga. Regulars get seats automatically reserved in prime locations. So persistence is required to work your way up the pecking order.
Another benefit of frequent attendance is becoming known by the other regulars. This means that more eyes will be looking your way for a dance.
Generally it helps to attend milongas early, if you are not a regular. This gives you the chance to get a reasonable seat, the dance-floor is not yet so congested, so others can actually see that you are competent dancer and therefore worth dancing with.
Lighting is generally much brighter than in Australian milongas. But at El Beso (Riobamba 416), the dim lighting and crowded seating add further dimensions to the cabeceo challenge. Even those of us with keen eyesight experience uncertainty. Was it me he was looking at? Can she see me looking her way?
Waiting staff at these milongas deserve recognition, too. They are an important part of the scene. Once they get to know you, they treat you like royalty.
El Arranque (especially on Tuesday) is a well-attended matinee milonga for locals attending as singles.
Some traditional milongas are largely for couples and groups, such as La Baldosa, Circulo Trovador and Sin Rumbo, have a more relaxed and uncompetitive feel.
A couple of years ago we were delighted that smoking had been banned from BsAs milongas, as well as restaurants, cafes, etc. But we were in for a rude shock, last Friday at Circulo Trovador, a very popular milonga just outside the city limits. It appears that the law only applies to the City of Bs As and not the provincia.

Anecdotes from Buenos Aires #1

2009-09-09T04:42:00.003+09:30

Buenos Aires feels like a home away from home after 10 years of coming here, and each year brings new impressions:

the most striking difference has been the state of the footpaths - their comparative cleanliness leaps out immediately. Less litter, and more importantly, many dog owners are cleaning up after their pets; this hasn´t followed some regulation or advertising campaign, but rather remarkably, decisions made by individuals. It´s quite a treat to walk without having eyes glued to the footpath!
we chose this earlier time in the year to avoid the hot, humid weather that can come in by late October, and apart from a first day of 34C, it´s been mid-teens with the occasional rain; much better for getting around, and dancing, of course.
prices are generally up, some significantly, but not all. For example, the subway has increased from 70 centavos to 90 & now 1.10 over the past 2 years; clothes & shoes are still cheap for us - even though shoes are 50% dearer than 2 years ago, our dollar is stronger by 50%; taxis are cheap; CDs the same price (around $8 -$10); food approaching Adelaide prices in some cases, with coffee between 7 and 12 pesos ($1 = 3pesos); tango lessons up by about 50% in one year.
money: we´ve had no trouble getting 800 pesos out of ATMs now, in contrast to previous years when the limit was usually 300! And people don´t blink anymore if you hand over 100 peso to cafes & shops notes now.
politics in Argentina changes little with regular scandals & rallies in the streets, while the government is trying to give an impression of more transparancy by opening the Casa Rosada for tours all weekend, and dedicating one room to prominent Argentine women.
some milongas change, others remain their successful selves, but the DJs at all we have attended have been great. Entry is now 15 pesos. The afternoon milongas like El Arranque & Confiteria Ideal, which have catered for the more mature locals for a long time, are now much quieter, while Maipu 444 is full almost every night of the week with good dancers of all ages, both local & foreign. However, there was an interesting touch at Cachirulo last Saturday when Argentina played football against arch-rival Brazil. The TV was on at one end of the room, with a small group of men crowded around while the milonga carried on; even some of the dancers had their eyes on the screen as they danced past. (By the way, Brazil won 3:1, much to the dismay of the locals.) Canning on Sunday is a largely local affair, and it was shoulder-to-shoulder dancing; not much room for anything significant, but a great test of navigation while moving to the music. Sin Rumbo probably hasn´t changed much in its 40 year history, but it was busier than last year; this is a very traditional milonga that draws dancers from its local suburb - where friends meet to talk, listen, watch, and dance. Aurora Lubiz learned to dance tango here, so she was a good person to have as our companion last Friday.
speaking of Aurora, she is now with a handsome Brazilian, Luciano, and they dance beautifully together; they also teach together both in BsAs & in Rio, so it was great to pick up lots from them during private lessons & the women´s technique classes at the Escuela Argentina del Tango.

Tale of Two Cities & the Cabeceo

2009-08-21T15:27:00.003+09:30

There’s been a lot of discussion generated by our milonga codes quiz, particularly the place of the cabeceo. As an exclusive interaction, the question has been rightly asked, “what about couples?” The way we attend milongas in Buenos Aires illustrates one part of the story.

Some Buenos Aires milongas are primarily for couples – Sunderland & Sin Rumbo, for example – so we enter together, sit together, dance together, and we don’t expect to encounter the cabeceo. Nor do we seek it out. The only exception would be where we already know, or are introduced, to other dancers; in this case, approaching the table, seeking the man’s approval, and inviting the woman to dance is the norm. The cabeceo, in fact, protects the couple, because single men will not approach a couple and will use the cabeceo only with unaccompanied ladies who indicate they are available to dance.

Other milongas are largely for “singles” – eg. Lo de Celia & El Beso - and the cabeceo is used almost exclusively, even between people who know each other (and may even be a couple in other circumstances), but are sitting in separate sections of the milonga. Again, the couples seated together won’t be bothered by the cabeceo. So a couple would need to have a mutual understanding about whether they planned to dance with others at that function before arriving at the milonga, as this would determine how they entered the milonga and whether they sat together or separately.

In all milongas there will also be groups of friends – couples & singles – sitting together, and invitations to dance would normally occur informally within the group. In Buenos Aires, the cabeceo is the communication tool primarily used by available “singles” for connecting from a distance with other available “singles” to dance a tanda.

By encouraging the cabeceo in Adelaide, we have tried to introduce a little more of the Buenos Aires culture to Oz. In our local tango scene, the custom of the cabeceo is less well-developed, but nevertheless used effectively by a number of tangueros and tangueras in order to dance with others. And while the reasons for using the cabeceo are fundamentally no different to those in Buenos Aires, this strategy is seen by many who employ it here in Adelaide, as an additional light-hearted and fun element at the milonga.

However, most of the dancers in the local community know one another and may consider the cabeceo unnecessary, others may feel a bit uncomfortable about seeking dances by eye contact, while others simply have no knowledge of it. An added complication is that, unlike Buenos Aires, we don’t use segregated seating in the milongas ie. no separate areas for single females, single males and couples & groups. Hence, it’s likely that a variety of approaches will be seen as acceptable – including the direct style of personally inviting a lady to dance. Regardless of the strategy, the interaction should of course, be based on sensitivity to others.

A couple can decide to dance just together, but it’s always possible that someone may attempt to intrude on that understanding – so, if used well, the cabeceo can provide a protective zone around the couple. However, despite sitting together, it’s not unusual for couples in Adelaide to have a simple understanding that they will use the cabeceo to seek out other dance partners during the milonga.

Wherever you may dance tango, there’s merit in knowing how to use the cabeceo and feel confident with it. You may not choose to use it all the time, or even at all. But be aware that in other cities, it may be the only way of getting a dance.

Códigos de la milonga (milonga etiquette) - Have your say #7!

2009-08-08T16:50:00.009+09:30

Well, here's the last stage of the códigos quiz - unless of course, some other juicy scenarios are brought to our attention by observers of milonga etiquette! All in all, they are about simple good manners and respect for your partner & other couples. But they also reflect the behaviours that are the norm in the traditional milongas of Buenos Aires. Take care in BsAs, because the dancer who doesn't stick to them closely is simply regarded as a 'beginner' by locals. On the other hand, to be observed respecting the codes can bring accolades such as, 'you're not seen as a gringo in this milonga'.

So here they are:

Scenario #21
There’s a group of friends, not all couples, sharing a table at a milonga. They’ve heard a lot about the cabeceo code. Yes or no to the following:

The only way they are going to dance with each other is if they use silent eye contact
A lady says, “I love this piece of music, let’s dance Dave”.
A man simply asks the lady next to him whether she’d like to dance.
The friends are obliged to only dance with those at their table.
It’s O.K. to seek a dance with someone sitting across the room using the cabeceo.

Scenario #22
A couple is following the line of dance, and occasionally moves into a vacant space closer to the centre to execute a turn, before returning into their ‘lane’. The couple behind should:

Wait for them to move to the vacant space again, and pass them on the outside.
Restrict the amount of room for them to return to the line of dance in order to ‘give them a message’.
Pick up on their dance style & timing and blend in with their movement, while remaining behind.
Speak to them in a break in the music, asking them to dance in one lane or the other.

Scenario #23
A couple agree to dance using the cabeceo. Yes or no that the woman should:

Rush onto the dance floor and meet her partner half-way.
Wait until he comes to her table, stand up, and go onto the dance floor with him.
Once on the dance floor, put her hands out & up to shoulder level, waiting for the embrac.e
Once on the dance floor, wait for the man to invite her into his embrace.

Scenario #24:
A man wants to dance with a particular lady. He should:

Walk straight across the room, put out his hand, and ask her to dance.
Employ the ‘cabeceo’ – actively try to catch her eye, and if she responds, invite her to dance with a small head movement.
Strike up a conversation with her, and after a while, ask her to dance.
Stand up, attract the woman’s attention, and casually call her over to dance with a ‘come here’ move of his finger.

What do you think?
Bob.

Every tanguera's (not so secret) desire

2009-07-29T19:29:00.006+09:30

Once upon a time at a milonga not so far away, began a tanda of intense Pugliese tangos.

She casually looked around, and to her delight he was waiting to catch her eye. As he took her in his arms, she felt that this might become one of those delicious tango experiences. His embrace told her he knew how to dance tango, including how to look after a partner (who would be dancing backwards into the unknown for the next 12 minutes). A wave of complete trust swept over her. After the first few bars, she felt herself surrendering to the emotion of the music. And so, they let themselves be transported by the magic that is tango.

But her bliss was to be short-lived ...

Towards the end of Gallo ciego, he took swift evasive action to prevent a collision when the couple in front of them abruptly starting moving backwards against the line of dance. "Never mind" she thought, "there's more good music to come."

Resuming the embrace, their smiles expressed an unspoken understanding that the rest of the tanda would be better. Yet having travelled just half-way around the floor, an elbow jabbed her in the ribs, as the couple alongside them unexpectedly executed a large dramatic figure, somewhat akin to an aggressive martial art move. He held her closer and checked she was OK, feeling guilty he had been powerless to protect her from such thoughtless behaviour.

Dismissing the disturbance, they continued to dance, and gradually re-immersed themselves in the beauty and challenge of Pugliese. Dancing as one, they lost sight of their day-to-day concerns, gradually making their way along the perimeter of the pista (dance-floor) in the line of dance - he, ever vigilant for "loose cannons". She felt herself entering that elusive tango trance.

That night, the DJ had been playing tandas consisting of 4 tangos. And too soon, they realised they had only one tango left to enjoy together. So for that very special piece which the DJ had reserved till last, as they danced, they bared their souls.

Thud! Completely shaken, they recovered and realised what had happened. Another couple had been sitting out the tanda, but had made a last minute decision to take advantage of that final Pugliese tango. Hastily making their way onto the pista, they had caused that ugly collision.

Apologies were profferred and accepted, but it was all too late. The spell was well and truly broken. As he escorted her back to her table, disappointed and deflated, they both silently reflected on what could have been.

Postscript: "Nothing can be done about these problems of the dance-floor. It comes with the territory. We just have to live with it." you may be thinking.
But just a minute - there is another way. Interested? Take a look at some of the strategies suggested by Tom Stermitz and published on ToTango.

Postpostscript: Click here for a few of videos of normal people navigating around the pistas in Buenos Aires: Porteno y bailarin, El Beso & Nino bien
Enjoy your dancing,
Pat.

Los cantores de Carlos Di Sarli

2009-07-22T21:35:00.008+09:30

Occasionally a strange story does the rounds that traditionally, singers should not feature in the music played at a milonga, ie. that the DJ should play only instrumentals. It probably originated from, and was confused with, the reluctance of porteños to dance to recordings of the legendary singer Carlos Gardel, out of respect for him and his untimely death. Certainly the great tango orchestras who used to play nightly for the dancers in the milongas of Buenos Aires had no problem including singers – Famá (Canaro), Campos & Castillo (Tanturi), Vargas (D’Agostino), Maure (D’Arienzo), to name just a few.

At this year’s Sydney International Tango Festival, Pat realised, after DJ-ing the Saturday milonga, that most of her selection involved singers – not deliberate, but just the way she had charted the moods & energies of the evening. Yet, the music received rave reviews, including from BsAs choreographer, Mario Morales. Could it have been that it was the frequent use of singers that enhanced the tango experience for the dancers?

I’m particularly taken with the singers that accompanied Carlos Di Sarli in the 1940s & 50s – somehow he managed to assemble a stable of consistently high quality male singers. When they sing, they often tug at the heart-strings, bringing out the romantic in me – something that allows the music to take over the dance.

Make your own judgment by listening to these five singers:
Alberto Podestá singing Nada in 1942 (he’s still performing in Buenos Aires), Roberto Rufino - Anselmo Acuña el Resero (1943), Jorge Duran - Tu Intimo Secreto ( 1945), Mario Pomar - Bailemos (1955), Roberto Florio - Porque regresas tú (1956)
Unfortunately, I couldn’t find a recording by Horacio Casares on the internet, so at your next milonga, you might want to put in a request for ‘Hasta siempre amor’ (1958, among the last of Di Sarli’s recordings).

Music with these singers is also popular in dance performance, and in my opinion, the following interpretations capture the essence of dancing to Di Sarli:
Ney Melo & Jennifer Bratt - Nido Gaucho (Podestá)
Milena Plebs y José Almar - Un tango y nada mas. (Duran)
Marcela Guevara Y Stefano Giudice - Y todavia te quiero (Florio)
And those masters of control - Melina Sedo & Detlef Engel dance to Tormenta (Pomar)
Finally, because I couldn’t find a tango performance to my liking with Rufino, here are those wonderful world champions Daniel Nacucchio & Cristina Sosa dancing one of his milongas – Pena Mulata

Bob

Códigos de la milonga (milonga etiquette) - Have your say #6!

2009-07-07T12:35:00.008+09:30

The material for these quizzes has come from our observation & experience both locally & elswhere, and from people talking to us about their own experiences. Sometimes the after-class pub-talk has turned to questions about the codes in the milongas of Buenos Aires, and at other times complaints about some behaviours in our local milongas.

It was out of one of these discussions that someone suggested some sort of quiz as a light-hearted way of educating dancers. We already had a ready reference in Gustavo Benzecry-Saba's book La pista del abrazo (English version: Embracing tango)which we got from him a couple of years ago.

And the result? Some people have been amused by some of the scenarios & responses, a few have engaged in the on-line debate, while others struggle with how the codes fit with our local cultural norms. We have certainly noticed a distinct change in the observance of the codes at local milongas - due also, no doubt, to the emphasis local teachers are placing on them.

So here are a few more real situations. As always, feel free to add your opinions:

Scenario #18:

Two people are in earnest conversation, and a man approaches, wanting to dance with the woman. She should:

Ignore him until he goes away.
After a short time, acknowledge that he’s there, and continue the conversation.
Stop the conversation and get up immediately to dance.
In a break in the conversation, give him some attention, but refuse the invitation because she’s tied up at the moment.

Scenario #19
The leader stops dancing, twists his follower backwards, waits, then says, Gancho, gancho! She should:

Ignore him and wait for him to continue dancing.
Ask him to lead it properly next time.
Tell him that a gancho is inappropriate for a woman like herself in her middle years.
Execute a gancho as best she can under the circumstances, regardless of how she looks.

Scenario #20:

A beginner male leader is unsure whether to limit his dancing to beginner females or to invite experienced followers to dance. He should:

Stick to the beginners until he’s put in the hard work to improve his dancing to merit dancing with experienced women.
Ask experienced women anyway – it’ll be good to challenge his dancing, and he might pick up a few tips.
Any women can be available partners at a practica, but at a milonga, he should leave the experienced women to the leaders who can dance well.
Use the cabeceo – if the experienced women want to make themselves available to him, they’ll make it obvious.

Well, what do you think?

Dancing to the music - Poema: a case in point

2009-06-27T10:07:00.019+09:30

A Youtube search for Poema will reveal countless dance interpretations of this much-loved, romantic tango by Francisco Canaro & Roberto Maida. A nice story I once heard, was that other orchestras didn't try to record Poema after Canaro nailed it, simply because of its perfection. But I'm sure the following more mundane explanation for the absence of other versions is closer to the truth. Carlos Puente of the Buenos Aires Tango Club set me straight one day when he explained it was all to do with commercial imperatives. Put simply, the recording companies determined what was to be put on disc and what wasn't. However, I reckon perfection still figures in there somewhere, because tangueros of all ages love to dance to it!

Watching the popular couple Coca & Osvaldo Cartery dance to it a few years ago in the milonga La Nacional genuinely brought tears to my eyes. For me it's a tango begging to be danced with love, even if it is for an audience. Alongside the typical strong Canaro rhythms, at various points Maida's voice and the violin demand a "gentle" approach - advance & suspension, light & shade.

Performances for an audience, although a form of entertainment, need to do justice to the music and its moods, too. This principle shouldn't just apply to social dancing. For my tastes, some performers stretch the idea of entertainment a little too far, where their skillful moves begin to look somewhat gratuitous and incongruous, some might even say gimmicky. But instead of focussing on what I don't like, here are a few favourites of mine:

Just came across another blog comparing 11 "Poemas". What are your favourites?

Pat.

Dancing to the Music @ Tangofest

2009-06-21T09:45:00.015+09:30

Too often I hear complaints from dancers who have taken classes with visiting teachers, that soon after the classes, they have forgotten how to execute the impressive new figures which were taught.

Call me a tango fundamentalist, but a most refreshing aspect of the recent Aus International Tangofest in Sydney was the focus on the music and practical strategies for interpreting it. Workshops with Cristina Sosa & Daniel Nacucchio, and bandoneonista Joaquin Amenabar were scheduled to promote an indepth understanding of their material. Joaquin's sequence of classes built upon each other (Tango rhythm, Melodic rhythm, Syncopation and offbeat in tango music, etc.) and participants left feeling not only enlightened, but visibly excited by the insights and the possibilities opened to them in the dance. Sadly, I was only able to buy his book and DVD Tango. Let's dance to the music , because many of his classes ran concurrently with those of Cristina & Daniel.

However, Cristina and Daniel did not disappoint. Wisely, they structured most of their classes in blocks, so that the musicality class entitled "Composition & improvisation" lasted 4.5 hours + hour break. This immersion allowed us to examine closely a few different tangos from orchestras such as D'Arienzo, Di Sarli and Troilo. Focus was on the influence of various instruments (bandoneon, piano, violin) at different points of the tango. So we worked on how those segments could be danced in a way that was in harmony with the music - thus allowing the body to join the orchestra.

Cristina Sosa and Daniel Nacucchio are a couple to watch - inspiring, knowledgable, methodical & approachable teachers and stunning performers. No wonder they have collected a number of significant awards: World Tango Championship (Tango Salon), Metropolitan Tango Championship (Tango Salon), Metropolitan Tango Championship (Milonga) and the Japan Open (Tango Salon). Here they are performing at Sin Rumbo one of our favourite traditional milongas. They are also a delight to watch dancing socially - understated and elegant.

What a treat it was to have five nights of milongas with a selection of great traditional music, as well as memorable performances by Joaquin Amenabar and Sydney's Fuego Lento. The photo below was taken on Saturday night at Marrickville.

Pat.

Códigos de la milonga (milonga etiquette) - Have your say #5!

2009-06-11T18:50:00.009+09:30

The debate continues worldwide over milonga codes, particularly the use of the cabeceo. In some countries, and some cities in Australia, the cabeceo is almost non-existent, making it harder for out-of-towners to get dances. Some would argue that it is an anachronism - with no part to play in modern societies, while others talk about it protecting dancers from unwelcome partners or from music they don't want to dance to.
However, we don't hear much dispute about the importance of codes like keeping the line-of-dance, leading & executing figures which are safe in the circumstances, and treating partners with respect. These are all about ensuring that everyone at the milonga has a chance to enjoy the dance.
Scenario #15:
A woman approaches a man to ask him to dance. He should:

Accept, even if he doesn’t want to, and dance the tanda with little connection.
Politely decline, because, in truth, the music isn’t the type he can connect with.
Accept, make the best of the music & partner, and strike up a light discussion about the fun & value of the ‘cabeceo’ at the end of the tanda.
As soon as he spots her coming, dash into the toilet.

Scenario #16:
A man is leading large open figures which take up a lot of space, intruding into the line of dance, and encouraging his partner to execute moves which are dangerous to other couples. Another couple should:

Put up with it and keep well out of their way
Approach the couple in a break in the music and suggest they dance in the middle, not in the dance lanes
Speak to the milonga organiser and point out that their dancing is affecting other couples negatively
Try doing the same, since the other couple seems to be having fun dancing this way.

Scenario #17:
A woman is being taught on the dance floor during a milonga because she’s apparently not following what her partner wants her to do, and she doesn’t appreciate it. She should:

At the next break in the music, suggest to the leader that he find someone who already knows what he wants, thank him, and return to her seat.
Tell the leader that she’s simply following what he appears to be leading.
Put up with it for the tanda, but make a mental note not to dance with him again.
Tell him that she isn’t able to concentrate on following while he insists on talking.

What would you do?

What can we learn from performances?

2009-05-26T09:31:00.006+09:30

Obviously it depends on who's performing, but it also depends on what we're looking for.

Geraldine Rojas and the late Carlos Gavito gave one of those unique and "I wish I'd been there" performances a few years ago. Carlos illustrated his mantra "less is more" - that passion, timing, and giving time for his partner to improvise was far more important than what he once referred to as 'dancing like a bunch of washing machines". Geraldine shows her clear joy at dancing with one of tango's greats, but it didn't get in the way of her demonstrating her exquisite skills that complemented her partner's intensity. What can I learn from this piece? Aim to evoke sensuality from the dance and focus on musicality - but that'll mean keeping it simple.

And two dancers who do keep it relatively simple are Sebastian Achaval & Roxanna Suarez while performing this great De Angelis piece; note the word relatively. Mind you, their turns are brilliant - no chance of emulating that - but they otherwise dance small figures that would be familiar to many intermediate dancers. So what puts them on quite a different plane? Their execution is precise, balanced, and grounded for a start. Now add a generous layer of timing while they expertly link their figures seamlessly. And finally, as with the other couple, their musicality - the dance reflecting the moods & changing rhythms of the music. Again, I learned more about timing & musicality, but there's no short cut to the hours of constant practice that needs to go into it.

Bob

Códigos de la milonga (milonga etiquette) - Have your say #4!

2009-05-18T11:17:00.015+09:30

While watching dancers at Comme il faut on Sunday, we noticed how well the milonga codes were being observed - great line of dance, invitations across the room largely using the cabeceo ... while still appreciating the appropriateness of directly asking friends to dance. One male dancer commented about the overall calmness of the evening and respect for other dancers. The codes, after all, are intended to enhance the comfort and enjoyment of everyone at the milonga

Here are a few more scenarios that are encountered now and again at milongas. How would you recommend navigating around these tricky situations?

Scenario #12

You arrive at a milonga/practica, and sit on your own. After a while, with no offers, you notice one of your regular lesson partners is free. Do you:

1. Try to catch his eye, then move toward him if he acknowledges.
2. Immediately approach him, and ask for a dance before he shoots off again.
3. Though you do wish to dance with him, simply wait for him to manage the whole thing
4. Wait for him to approach you, and if he doesn’t, give him a hard time at the end of the milonga for not dancing with you.

Scenario #13

A woman is executing flamboyant and dangerous figures and decorations which her partner has not led. Despite his attempts to contain her movements, she manages to injure another dancer with her stiletto. What’s appropriate?

1. He should apologise profusely to the injured dancer.
2. She should save her showy moves for performances rather than the milonga.
3. They should simply carry on dancing, since this is one of the hazards of the dance-floor.
4. The injured dancer should have been more observant and avoided her, so is partly to blame.
5. The man will be more judicious in his choice of dance partners in future.

Scenario #14

Despite wanting to dance with a range of partners at a milonga, a woman is being invited to dance repeatedly by one man, resulting in her being unavailable to dance with others. When he begins approaching to ask again she should:

1. Politely accept the man’s invitation, believing it would be rude to refuse.
2. Use her body language to indicate discreetly to him that she is unavailable to dance with him and employ the cabeceo to encourage invitations from other dancers.
3. Politely decline the invitation using an excuse, such as tiredness.
4. Tell him, in no uncertain terms, to leave her in peace.

You can say you think by adding a comment.

Sunday milonga matinee at the Golf Club

2009-05-10T22:01:00.007+09:30

Comme il faut

Sunday 17 May, 3 - 7pm
Entry $10
Drinks available at the bar
Mt Osmond Golf Club

Log fire included!

Cracking the code of the music

2009-05-07T17:30:00.009+09:30

Some people like to start dancing each tango (vals or milonga) as soon as possible. "We're here to dance, so let's make the most of it." But I 'm rather fond of the old tradition of not dancing the moment the music starts. And I'm finding that the more I get to know the music, the more I like to tune in to the opening phrases - somewhat like savouring an appetiser before the main course.

Certainly the music of the Golden Age of tango isn't anywhere near as complex as that of the genius Astor Piazzolla. The rhythms and patterns are more predictable, so social dancers can easily connect and respond to them. Yet the great musicians of that era were no slouches. The large number of dancers at that time had very high expectations. So in the first 10 - 20 seconds of a piece, the artistry of the arrangement and brilliance of the musicians were able to create the mood for the dance. This is the time for the body to absorb the music, indeed surrender to it. And later, when the singer comes in, especially if you understand some of the lyrics, that's another treat! (Sometimes I get goose-bumps.)

Those interested in music could easily spend an hour or two on Rick McGarrey's brilliant website where he looks at some fabulous pieces of tango music in Cracking the code. It will feel like peeling away the many layers of an onion - tears and all! After this, Golden Age tango music will never seem the same.

Pat

Códigos de la milonga (milonga etiquette) – Have your say! #3

2009-04-26T13:39:00.007+09:30

It's fair to say that if rules, regulations, codes no longer have a practical purpose, then perhaps they should be allowed to die. The milonga codes developed gradually over a significant period of time, in response to local conditions in Buenos Aires, in order to help make the milonga experience enjoyable for everyone. How relevant are they to our local setting, in this day and age, one might ask?

Interestingly, much of the material for this series of postings on codes has come from talking to Adelaide tango dancers over a drink, listening to their stories, and sharing our experiences as they seek answers to dilemmas on the local dance-floor. You are invited to forward a comment to any of these (see the bottom of the post) and to send in other milonga scenarios that you'd like raised.
Scenario #6
A woman likes the concept of the cabeceo, but is not sure how to use it without feeling uncomfortable. Music is playing which she wants to dance to.

She should simply stare at the man she wants to dance with.
She should chat with the person next to her and hope he will ask her to dance.
She should chat casually with her neighbour, but also look around from time to time to indicate her interest in dancing.
She should scan the milonga in the direction of the man/men she is interested in dancing with. If he wants to dance with her, he’ll be doing the same. He catches her eye, tilts his head in invitation, she indicates agreement, he approaches her.

Scenario #7
A couple has danced the first track of a tanda and the second track has just started:

The woman should raise her hands, ready to take the embrace.
The couple should continue chatting, and get the "feeling" of the music, developing a mood and attitude towards the particular melody that’s just started to play.
The man should immediately take up the embrace and start dancing.
The couple should continue chatting, engaging in quite an interesting, in-depth topic, while other dancers begin to dance around them.

Scenario #8
A beginner female dancer isn’t getting much time on the dance-floor. A leader should:

Ask her to dance and show her lots of his tricks – despite her clearly struggling.
Ignore her – we all had to start at the bottom; leave her to the other beginners.
Ask her to dance, gradually work out what she is able to do, and use this to make the dance enjoyable by connecting with the music.
Ask her to dance, and teach her new things by talking her through some figures.

Give me a packed milonga!

2009-04-25T13:27:00.003+09:30

Give me a choice of a milonga with wide open spaces or a comfortably packed dance floor, and I'll choose the latter. There's something about dancing with the other dancers - picking up on their movement, feeding off their energy, feeling like the milonga is an organism which is slowly moving around the floor.

Then there are the navigational challenges - leading my partner, responding to the rhythms of the instruments, capturing the emotion & timing of the melodies (of the orchestra or vocalist), advancing & turning with adjacent dancers, utilising tight spaces - and making it all work.

The wide open spaces in a sparsely filled milonga? - great for practising complex figures or the fun of racing around to a vals, but there's something about the essence of the milonga that's missing here.

However, there are a couple of conditions to my preferred packed floor: it should be comfortably, not tightly packed (when it can be simply difficult to dance at all), and other dancers need to respect the codes of use of the dance space. Here's an interesting and amusing article on Tango & Chaos that's worth reading on use of the dance floor.

Bob

Códigos de la milonga (milonga etiquette) – Have your say! #2

2009-04-17T17:43:00.007+09:30

There are so many situations at the milonga where the codes not only protect one's fragile ego, but also help avoid nasty exhibitions of territoriality. You don't have to examine the códigos de la milonga too closely to see that they acknowledge and guard against all manner of human frailties. This issue has not only provoked discussion, but some dancers have contributed their own scenarios. Here are a few more familiar situations:

Scenario #3
A couple bumps into another couple on the dance-floor. The man should:

Ignore it and keep on dancing - he does it all the time, and doesn't notice it anymore.
Make a signal of apology to the couple and keep dancing.
Stop dancing, approach the couple, and apologise on the dance-floor.
Make a signal of apology to the couple, continue dancing, and approach the couple at the end of the tanda to offer apologies.
Leave it to his partner to do the apologising, because it was she who made contact.

Scenario #4
You are sitting wondering who to ask to dance. You see someone you know, although she's engaged in animated conversation with another man. Do you

Try to catch her eye and if you can't, then refrain?
Walk up to her and ask her if she wishes to dance?
Walk up to them both and engage in conversation, then at a suitable time ask her if she wishes to dance?
Walk up to them both and wait patiently until they give you some attention, then ask her to dance?

Scenario#5
A man is leading large open figures which take up a lot of space on a busy dance-floor. They are interfering with the line of dance and he's encouraging his partner to execute moves which are dangerous to couples around them. His partner should

Go along with it and enjoy the ride.
Tell him she feels uncomfortable because she doesn't want to collide with anyone.
At the end of the song, say "Thankyou" and return to her table.
Resist his leads for any dangerous moves.
Dance the whole tanda, but avoid dancing with him again.

What would you do?

Bob & Pat.

Códigos de la milonga (milonga etiquette) – Have your say!

2009-04-10T11:19:00.004+09:30

Lately, a number of dancers have been reflecting on some etiquette-related experiences at milongas. Maybe they’ve chosen to share their thoughts because we’ve written about the códigos in the past, or because maybe it’s because we seem just a tad fanatical about them. But basically, the codes are about facilitating the enjoyment of everyone at the milonga …. and often, plain good manners. Oops, here we go again!!

So following a lively discussion in the pub after class the other night, we thought it would be fun to do a somewhat provocative & progressive quiz. Just two questions this time, more to come every few days. Comments, sharing experiences, etc. are encouraged! (By the way, if you’re a little shy, comments can be posted anonymously.)

Scenario #1

A woman is invited to dance, but has already turned another man down, saying she needed a break from constant dancing. She should:

Jump at the chance to dance with a man she sees as a better dancer
Politely refuse, saying that she’s already turned someone down
Politely refuse, saying she’d be happy to dance a tanda later.
Before the man approaches, make it clear from body language, intense conversation with her neighbour, and avoidance of eye contact, that she’s not interested in dancing this tanda.

Scenario #2

A woman "misses" a lead during a figure. The man should:

Continue dancing while telling her the name of the figure that she had missed.
Stop dancing, and take her through the steps in the figure; rehearse them a few times on the dance floor while explaining the details to her.
Ignore the ‘mistake’ and see it as an opportunity to improvise so that the dance continues without disruption.
Continue dancing and at the end of the tanda, take her aside and give her tips on how she can improve her tango.

Over to you - what do you think?

Bob & Pat

It's April, so it must be milonga!

2009-03-31T13:40:00.007+10:30

It must have been around the year 2000 that we gained an affection for milonga, and that affection has grown to it being our favourite tango form. Maybe it's the relentless beat, or the playfulness that the music invites, or the opportunity to be creative with relatively simple figures. As soon as those great Canaro & Donato milongas come on, we have no choice but to dance ... and have fun.

We always look forward to the time each year when we can teach some milonga, and April (& maybe later in the year too) is it. Both classes will have this topic for the month - the Tuesday class will start at the beginning and concentrate on milonga simple, the Monday class will build on what has been learnt in previous years and focus on milonga simple & traspie. There is the opportunity in both groups for new people to attend for this topic - simply contact us.

The hardest thing about milonga isn't that it's fast - many milongas are not - but that it's essential to land on every beat ..... that means leading each single step fractionally ahead of the beat so both leader & follow hit the floor with the step on the beat. After that, it can be as simple as you wish - think of walking with your partner in close embrace, with lots of personal style, matching the milonga rhythm exactly ... now you're dancing milonga. Add a few simple movements, pick up some of the moods & melodies of the music, and now your milonga is taking more shape. Both classes will work on musicality exercises, a range of relatively simple figures and lots of practice to develop this.

Still not too sure what milonga is? Then take a look at Osvaldo & Coca - these are champion dancers (literally) whose whole focus is on the music. If you want to see some quite extraordinary milonga (yes, totally unattainable by we mere mortals), then look again at Javier & Geraldine's performance ... seamless!

Aus International Tango Festival

2009-03-23T18:08:00.004+10:30

This year's event in Sydney looks like having a bigger focus than past festivals on tango suitable for dancing socially in the milonga. Since most of us dance tango as a social activity, rather performing to an audience, this makes the festival even more relevant, and most of the workshops applicable to the majority of us. The teachers come with a diverse range of strengths and interests, so choosing will be difficult. Here's the link, if you haven't yet taken a look. There will be a milonga each night, too.

By the way, bookings for workshops open tomorrow.

See you there,
Pat.

Favourite three male dancers

2009-03-14T18:12:00.003+10:30

When I thought of my three favourite male dancers, I had little trouble - but it took some analysis to work out why those three were so prominent in my mind.

Hugo Daniel kept repeating "intention" when I spent a number of hours working with him in 2007, and when I watch him dance, I see it, and I see the intensity of feeling that he puts into every moment.

Javier Rodriguez was a great favourite of mine back in the days when he was dancing with one of Pat's favourites, Geraldine Rojas, and what impressed me about him was his speed, his turns, his creativity, and I loved his milongas.

Finally, who could go past the late, great master of tango, Ricardo Vidort, who would lead his partner with subtle, almost imperceptible movements of his body, while his feet played out the changing rhythms of the orchestra - watch his body as he dances to Chique, then play it again and just watch his feet.

So should we try to copy our favourite dancer's or teacher's style? Not at all - even if we were remotely capable of getting close. Besides, performance and social dancing are different. Our mentors can, nevertheless, give us clues on technique and tango style, but in the end, we have to develop our own style - how we can best reflect what the music says to us, within our partner's embrace.

From Hugo I take 'intention', from Javier the creative potential in milonga, and from Ricardo subtlety & musicality. But that's just the start - tango is a never-ending road, isn't it?

Bob

Sunday night at the Czech House

2009-03-11T19:16:00.012+10:30

If you're in Melbourne on the second Sunday of the month, head across to the Czech House in North Melbourne where Melbourne Tango hold their monthly milonga. We had a fabulous time last Sunday, and being a long weekend it finished later than usual at 1am.

The traditional Buenos Aires style milonga is organised by a passionate group of volunteers, who really look after their guests. A free lesson with guest teachers and music by guest DJs (yours truly last Sunday) make the $10 entry a steal!

Happy dancing,
Pat.

Piazzolla and Gardel: an unexpected collaboration

2009-02-22T12:53:00.005+10:30

Just came across this interesting gem showing an unlikely and historic connection between these two giants of tango. Piazzolla also briefly demonstrates and explains the diabolically difficult instrument of tango, the bandoneon. Those who were at one of our classes in May last year when we were joined by famous bandeonista Carel Kraayenhof will particularly appreciate this videoclip.

Pat.

Favourite five

2009-02-14T17:35:00.005+10:30

When Bob asked me to name my favourite five tangueras, I thought ... "Easy" and started rattling them off.

But very soon, it simply got too hard, too complicated. So I returned to my initial, instinctive responses - just three names. When I tried to analyse what those women have in common, it came down to technique, musicality and personal surrender to the moment (entrega). Watch them performing - their styles are very different. Seeing them dancing socially is a particular treat. Each one dances in the considerate, rather understated manner expected in the milonga setting, yet at the same time, their sheer class and elegance draw your attention straight to them. (Sadly, video footage of their social dancing is rare.) Of course, as teachers they are also much sought after.

Who are they? Click on the links and take a look at these videos of Aurora Lubiz, Lorena Ermocida and last but certainly not least, Geraldine Rojas to see what I mean.

And here's another:

I imagine they started training in some form of dance as soon as they were old enough to walk, so I shouldn't lose heart altogether!

Pat.

Improvisation - it doesn't just happen.

2009-01-30T16:21:00.011+10:30

Ever stepped onto a milonga dance-floor, only to find that all creativity has deserted you?

Here's some advice for a start: keep it simple, focus on the music, and choose the right partner.

Let me expand on that. I recently came across a couple of references that reinforced my views on improvisation in tango, and encouraged me to keep delving into that zone where the music takes over the body.

Improvisation is not random and chaotic, says Michael Gladwell in his best-selling book, Blink. When talking about how elite basketballers train in order to play intuitively (e.g. the instant, magic pass after no more than a glance), he could be talking equally about tango dancers when he says that spontaneity is only possible after engaging in hours of highly repetitive and structured practice.

Swedish professor of psychology Anders Ericsson said that deliberate practice begins in the brain: focused, repetitive training in which the person is always monitoring their performance, correcting, experimenting, listening to immediate & constant feedback, investing a significant amount of time. For the tango dancer, that means continuing to practise tango's fundamental skills - the walk, pivots, ochos, etc., no matter how experienced the dancer is, just like concert pianists practise their scales.

Improvisation in tango appears to be under-pinned by a couple of essential elements:

1) a repertoire of well-practised movements, which could amount to no more than a good tango walk, simple ochos, changing direction, and a variety of timing to go with them, ........ or the repertoire may be more extensive.

2) an ability to really hear the music - its rhythms, melodies, moods, timing changes.

Of course, you then need to move to the next level - an ability to actually connect with the music: responding to it in a manner that reflects its rhythms & emotions, and using movements (figures or segments of figures) & timing that allow this to happen.

On the dance-floor, however, at the moment you start becoming reflective about your dance, your ability to improvise is undermined - you lose the flow. The dance then starts to take place in your head (leader's & follower's), and all creativity & the possibility of quick responses to changes in rhythm or melody are lost. For the dancer who improvises well, the responses & figures come from the body; to suddenly introduce a newly-learned, but not sufficiently practised sequence on the dance-floor, is courting failure, because introspection is bad for improvisation. Planning, calculating assessing, remembering (sequences, for example) kill improvisation. While response to music is a right-brain activity, introspection on the other hand is left-brain, and will quickly over-ride creativity. This means that thinking about or trying to remember sequences is more than just a simple distraction from the music - it actually subverts improvisation.

In other words, keep the dance simple, using well-practised movements (as opposed to 12-16 step rigid sequences), responding to the music in connection with your partner. One of the most important rules that makes improvisation possible is the idea of agreement, writes Martin Gladwell. So in tango, we probably look for partners who follow the same "rules" as us, for example in relation to embrace, lead-follow, musicality, emotional response. Is it any wonder that we may look for particular partners when a vals tanda begins, or Pugliese? Or maybe bypass a tanda that we have no feeling for?

For me, genuine improvisation will only occur when I connect with the music and I connect with my partner. From here, I'm transported into the dance by the music, with my body drawing from a relatively small bag of movements that have been embedded after several thousand uses - and only then can the experience be heightened by playing with the timing. For me, there is no other tango!

It's worth looking at videos of Buenos Aires milongueros improvising in this Tango and Chaos chapter.

Bob.

The recipe for a successful milonga?

2009-01-18T14:39:00.010+10:30

Not sure I can put my finger on it. The people? Music? Venue? Time of the month??

Anyhow, a number of folk said that there was something special about last Friday's Comme il faut. A little magic in the air, perhaps.

If you were there, you may find your photo in our gallery.

By the way, February's milonga will be a "matinee" commencing at 3pm on Sunday 22nd.

Pat.

Extension, suspension & relaxation? Parallel & cross systems?

2009-01-08T18:39:00.006+10:30

What does it mean to dance with extension, suspension & relaxation?
How can you capture those special moments in the music?
That's what we'll be focussing on in the Monday class in January.

What's the use of parallel and cross systems?
On Tuesdays this month, we'll be looking at how to exploit both systems.

As always, Melina and Detlef are a treat in this video. I love how they use those skills to express the romantic intensity of the Di Sarli tango, then the playful Donato vals.

Pat.

New approach to classes in 2009

2009-01-04T13:20:00.019+10:30

Well, it's planning time. The past year has been reviewed. Feedback, new thoughts and alternative approaches considered. An excellent time for making decisions ... and acting on them!

We decided that our classes in 2009 would benefit from a somewhat different approach - offering dancers greater flexibility and choice. Although the basis of our teaching will remain musicality, technique and connection, the monthly modules will allow people either to opt in for particular topics of interest, or attend classes on a continuing basis. We believe that the focus on a topic, approaching it in a range of ways, will develop stronger skills and greater confidence in the dance. So what might those topics include?

Monday (starting 19 January):
Dancing with extension, relaxation & suspension; Variations to & linking ochos & boleos; Playing with milonga rhythms; Improvisation & creativity; Exploiting the available space - dancing in the milonga; Vals: changing the dynamics in vals rhythm; Dancing to the melody or the rhythm; and much more.

Tuesday (starting 20 January):
The tango walk; Posture & balance; Effective leading & following; Parallel & cross systems; Changing dynamics with quick-quick rhythms; Ochos; Simple turns; etc.

Certainly the topics on Monday will generally better suit dancers with effective fundamental skills (see Tuesday topics for some guidance). However, we are all different. There will be topics on Monday which could be quite appropriate for some dancers who would normally attend the Tuesday class. Conversely, more experienced dancers may wish to opt in to some Tuesday modules to improve essential elements of their tango skills. Just consult us for advice.

Beginners:
When there is sufficient demand from complete beginners, Friday evenings will be set aside for covering some basic skills, before joining the Tuesday class.

Women's technique classes - in the style of Aurora Lúbiz
will be held on a monthly basis. Most likely on the last Sunday afternoon of the month, starting February. By the way, these are ideal for men, too.

Cost for all classes: $10

NB. Apart from the monthly technique sessions, all classes will be gender-balanced. Consult us on the availability of singles.

Want to know more? Keen to secure your place in a class?
Just email us.

Happy dancing in 2009!
Pat & Bob.

Were you at Comme il faut?

2008-12-22T19:40:00.007+10:30

Many thanks to all of you (and there were LOTS of you) for making our last Comme il faut for the year such a successful one.

With close to 60 dancers present, the floor was busy but never seemed too crowded - thanks to the good floorcraft (Pat has a theory that the traditional music brings out the best behaviour on the dance-floor!). Yet, there were times when there was a crowd of people at the back of the salon, simply chatting over a drink. We firmly believe that a milonga is a place to go to dance, catch up with friends, and listen to good tango music - all three are important, and all were on display on Saturday night. To prove the point, head over to the photo album on our website.

Bob

Cabeceo ….. the subtle game of pursuit

2008-12-14T15:21:00.002+10:30

Having been immersed in the tradition of Buenos Aires milongas, I still feel compelled to use the ‘cabeceo’. Cruising around the milongas with hand outstretched is not for me, nor creeping up on unsuspecting women with a tap on the shoulder. Such a public display of authority will quickly change to one of abject humiliation if the object of my desire replies with a sharp, “No thanks”!

What now? Slink back to my chair and become as small a target of sniggers as possible, or repeat the clumsy request with another woman … who now knows full well that she’s ‘second best’?

After all, she had every right to slam the door in my face – she mightn’t know how well ……. or badly, I dance. Or perhaps she does, and is looking after HER reputation in the milonga. Who’s going to give her a second look if she’s subjected to 10 or 12 minutes of stumbling around, avoiding mis-directed back sacadas and stepping to a beat that barely resembles what the orchestra is pumping out?

But wait a minute - I know I’m better than that. I also know that women have music they love to dance to and other pieces that they hate – just like I do. All the more reason for them not to look my way when some music is playing, but if it’s Canaro, Di Sarli, Donato, Malerba, D’Arienzo, Rodriguez, etc., then I’d expect any woman who wants to dance with me to at least give me a glance.

Often, if I’m sitting with a lady I’ll invite her to dance, but how would I know when other potential partners are available and want to dance with me? The glance – that’s it; then a nod - no more. Of course, I know better than to interrupt a woman when she’s deep in conversation! But if the music lights her fire, then she’ll chat AND scan ….. She wants to dance!

So, when does my cabeceo start? In a sense, it starts as soon as I see dancers on the floor at a milonga. I watch and work out which women I’d like to dance with – their technique, embrace, musicality, poise: some or all of those. Then I wait … for the right music. I take a long hard look at a woman I’d like to dance with. If our eyes connect, then it’s onto the dance-floor to connect with each other and the music.

Bob

Some recent BsAs milonga photos

2008-11-28T18:23:00.018+10:30

Just loaded up some snaps taken at Buenos Aires milongas a few weeks ago.

Our very talented and renowned teacher, Aurora L ú biz, introduced us to Sin Rumbo, a historic milonga in Villa Urquiza. Driving home in the wee hours, Aurora explained the significance of the place. This unassuming neighbourhood milonga, full of classy dancers - young and old, is where some of the great names of tango learned about the dance. At that time, there were no tango teachers as we know them. As very young dancers of other disciplines (ballet, folkloric, etc.) they would take the bus for over one hour across the BsAs metropolis to learn from locals like Julio Duplaa - an elegant dancer who has been running the Friday night milonga for around 40 years. At these informal practicas, young dancers like Aurora, Jorge Firpo, Pablo Verón, Lorena Ermocida, etc. first learned to dance tango. After the practicas they would journey home again by bus, where they would practise till the early hours and make sense of the dance which would later take over their lives & careers, and become a worldwide obsession.

It was also great to catch up our friends, Gustavo Benzecry Sabá, author of Embracing tango and María Olivera at their haunt, Salon Canning. Despite having returned that day from teaching in the USA for a couple of months, there they were at the milonga, exhausted but still dancing! They are great believers in totally improvised tango, including for their performances. This video shot at the Portland Tangofest is a perfect example. The unfortunate DJ experienced major technical problems: their selected music would not load up properly , and when it started playing, the speed was variable, so in the end, he just threw on something else. Their milonga performance brought the house down.

Dru and Roger from Adelaide experienced Club Sunderland for the first time. Yes, it is held in a brightly lit basketball stadium, but the organisers always arrange a high quality couple to perform for the crowd. But to be honest, I reckon the regulars are more interested in just dancing. Still if you are lucky, you might see the likes of Javier Rodriguez and Andrea Missé.

We were treated to a less traditional performance at La Baldosa, with Miguel and Augusto, organisers of La Marshall, the gay milonga at Maipu 444. The crowd at La Baldosa, which I would have thought was quite conservative, loved them.

Finally, a couple of shots of the gorgeous Teatro Maipó, taken after the brilliant show with the orchestra Sexteto Mayor celebrating their 35 years!

It's good to be home, but a few more weeks there would have been better.
Pat.

More on Buenos Aires milongas

2008-11-07T06:38:00.009+10:30

Attending milongas as a single opens one to new experiences with unfamiliar partners: adjustment to the new body, style, musicality - not unlike getting to know someone in conversation, actually.

As a follower, I find that allowing myself to be at one with my partner and the music for a tanda, means I feel like a different dancer each time, expressing myself differently with every new leader. Such is the experience of the entrega. Bob's experience is not dissimilar. His partner's embrace will tell him whether certain movements are likely to be feasible, eg. an unchanging embrace will limit possibilities for turns - without diminishing the dance. After all, the enjoyment of the tanda comes primarily through the connection with one's partner and the music.

As a single, your seating at a milonga makes a difference to how easy eye contact is for the cabeceo - singles who are regulars at a milonga get prime positions, of course. At the start of a tanda if your desired partner is across the dance-floor in a busy milonga, you have to establish eye contact as early as possible, otherwise it will be near to impossible to use the cabeceo due to the crowd of dancing bodies which rapidly gathers. The exception seems to be tandas of milonga music, in which somewhat fewer dancers seem confident in the dance, or might be uncertain whether a prospective partner would handle the challenge - yes, this happens in BsAs, too!

Each milonga has its own personality, even if the venue remains the same. The venue of Maipu 444 is an excellent example, where milongas are held most nights of the week. On Tuesday evening, the milonga Sentimental y Coqueta is a traditonal, largely singles milonga, with great music and very open to visitors who can dance well. Wednesday night sees the venue hosting a gay-friendly milonga: La Marshall. Whereas Saturday night, Cachirulo, seems to be a somewhat more exclusive milonga. For more details on milongas and other tango topics, you can subscribe to the free online version of BA Tango by emailing abatango@yahoo.com with the subject line Subscribe. El Tangauta, another free monthly tango publication can be read online at www.eltangauta.com

Music may be purely Golden Age tango, or some milongas include tandas of swing, rock & roll, chacarera and even cumbia. At a couple of milongas, some tandas of tango/electronica will appear. A few milongas seem to be largely an opportunity to catch up and dance with friends who are regulars, whereas at other milongas, getting a dance as a visitor is much easier. Of course, the more frequently you dance there, the more people get to know you. We're finding that with each visit to BsAs, dancing with familiar faces means knowing which style you can slip into when you take up the embrace. On the other hand, dancing with a new partner can be quite exciting, especially when after a few moments it becomes apparent that it is going to be a memorable tanda together.

Pat & Bob (looking forward to our last week in BsAs.)

Updates on Buenos Aires

2008-10-30T05:01:00.007+10:30

The economy - the word on everyone´s lips at the moment. Not only is our cost of living being affected by the vagaries of the world´s financial situation, but prices in Buenos Aires have also shot up since January. It´s getting expensive for us, and we marvel at how the locals might be coping.

Last night at a stunning show to celebrate the 35th anniversary of Sexteto Mayor, a tango group of international renown, the 50 peso tickets were within our reach, but most of the audience would have been locals! On a more positive note, the group did their original director and lead bandeonista - the late Jose Avellaneda - proud with brilliant renditions of many tangos, but most scintillating were the Piazzolla compositions. The two remaining original members, now elderly but sprightly violinists, brought the house down with their virtuosity. It was clear that the crowd in the intimate Teatro Maipo - a absolute jewel of an old-world theatre - did not want to let them go. Last year we were fortunate enough to catch the historic Mariano Mores show - one of the greats of the Golden Age - despite approaching 90 still playing piano and conducting like a young man!

After a week here, we´re getting the sense that the message about milonga etiquette is being understood amongst our fellow "tango tourists", or maybe it´s got something to do with the milongas we´re attending. Certainly, part of the fun of milongas is meeting up with friends and chatting, as well as watching and learning. Recently at an early milonga in Salon Canning, an older couple were an absolute treat to watch. At first glance, they didn't appear to be doing anything of great note, but then the timing, playfulness and skill quickly became obvious. They were utterly mesmerising.

And now for a word on the music played at milongas: the great DJs here never fail to surprise; not by pulling out obscure versions of tangos or lesser-known and perhaps inferior orchestras, but by their ability to mix & match great pieces into coherent tandas, played at the right time to suit the mood of the crowd and keep them dancing.

Tonight we're off to Sin Rumbo, one of the very traditional milongas in the suburbs with our teacher Aurora, and next week to Glorias Argentinas for a taste of tango of the Golden Age. Well as close as you can get to it in 2008. More to come later, but in the meantime, here's a video of the famous Dispari couple at Sin Rumbo.

Pat

Decisions, decisions ...

2008-10-03T13:05:00.006+09:30

Heading off soon for the annual pilgrimage to Tango-Mecca and already I know that we'll be spoiled for choice with milongas. Some hard decisions will have to be made, especially around weekends. We love milongas where the traditional codes (codigos) are respected.

Should we head over to tried-and-true favourites like Club Sunderland each Saturday night? Mario Orlando, the DJ never disappoints, and the largely porteño crowd means that the floorcraft is good, despite the large number of dancers. It's primarily a milonga for couples and groups, although singles are usually seated in an area where the cabeceo is possible. Inevitably the evening will be punctuated with a couple performing - sometimes well-known hotshots, otherwise lesser-known emerging dancers.

Just a couple of streets from our "home" is Salon Canning which also hosts a nice milonga on Saturday night. The excellent parquet dance-floor is a treat and the couple who host it are delightful.

Niño Bien's lovely setting and great music are certainly attractive, but it has become so popular, it's hard to move on the dance-floor for most of the evening. El Beso on a Thursday evening is intimate - in sharp contrast to Niño Bien. Not only is it small, but it's very popular with good dancers. Ladies are seated separately to the men, unless you arrive as a couple, in which case you get seated at the back and are not considered part of the available pool of dance partners. Music and floorcraft are very good. The nice thing is that this milonga starts in the evening around 7pm. So after we've had our fill of dances for the night, we can head off to a nice restaurant for dinner before the witching hour and still have a good night's sleep!

Then there's Lo de Celia, where Dany Borelli's music is superb. It's an older crowd and the etiquette very traditional.

And the list goes on ....

To decorate or not to decorate ...

2008-09-11T19:40:00.009+09:30

Decorations, embellishments, adornos ... call them what you will.

Inevitably ladies ask for them to be taught. After all they can look pretty, if done well. Most tango videos of performances feature amazing decorations by both men and women. But I reckon this fervent desire to decorate comes about primarily because some ladies seem to feel that only by embellishing, are they able to contribute something to the dance in which their partner has a greater say - well, that's my theory anyway. Perhaps it's a product of liberated women, feeling somewhat awkward in this traditional dance which has fairly clearly defined male and female roles. Although some would argue that this is an attraction of tango. But I digress from my topic...

In my humble opinion, adornos are best done intuitively, organically and genuinely, when the emotion of the music and the moment produce a small, almost unconscious, flourish. A decoration is just that ... not something which disturbs the partner or the dancers around you. Beautiful adornos are a natural expression and response to the music, flowing from what has been led and often a sign of appreciation from the woman to her partner. I love those elegant and understated decorations which add to the enjoyment of the couple dancing, and are scarcely noticeable to observers.

However, as we all know, subtlety of movement requires a high degree of physical control. So there's no getting around the fact that fundamental technique - axis, balance, timing, dissociation, weight transfer, etc. - needs to be mastered first. After all, a decoration is the extra little something for the couple dancing, the delicate extension of the movement, a little icing on the cake, perhaps.

It is important to work on tango technique and practise decorations privately, in class and practicas many, many times. But to be quite honest, I find that repeated and predictable embellishments during a milonga look utterly contrived and overdone - a bit like a woman wearing her entire jewellery collection on the one occasion. Doing adornos in social dancing is definitely a case of less being more.

Jennifer Bratt has developed an excellent website on adornos, including video clips with various types of embellishments, important advice on technique and exercises for the feet. So for ladies bursting to develop tango decorations, go for it ... but elegantly, please!

Pat.

BTW Here's Jennifer performing with her partner Ney Melo.

Aurora and Hugo

2008-08-29T14:18:00.006+09:30

Just found this stunning video of Aurora Lubiz and Hugo Daniel dancing to one of my favourites by Carlos Di Sarli with Alberto Podestá: Junto a tu corazón
Enjoy!
Pat

PS. They're fabulous at milonga, too. I love them dancing to Canaro's Despues de quererla tanto (see video links).

Take a look at the new pics

2008-08-23T11:53:00.005+09:30

Mike Lim and Paige Vickridge-Smith captured dancers and the changing light in their lovely photos of last Sunday's "matinee" milonga. Just wander over to the photo gallery for more ...

Next milonga: Sunday 28 September - same time - same place.

Tete @ Practica X

2008-08-19T18:19:00.006+09:30

Here's Tete Rusconi, a true milonguero who feels the music in every cell of his body, having a great time performing a vals for his birthday at one of the "nuevo" venues in Buenos Aires.
Looks like he and his partner are having a blast.

Enjoy,
Pat.

Tango festival ... in Canberra

2008-08-18T17:48:00.003+09:30

Ever wanted to just keep dancing?
Well, head off to Canberra for an October long weekend of tango. No workshops - just dancing to the music of a number of good DJs from around the country. Sounds fun!
For details visit Tango in the Spring.

Pat

"A feeling that is danced" Discépolo

2008-08-14T18:08:00.011+09:30

I've noticed an interesting phenomenon in our tango community of late - there's an increasing level of interest in and sensitivity for the music played in practicas and milongas - in particular the Golden Age music.

In the space of just a couple of days various comments were made quite independently from each other, and came, it seemed, out of the blue from several dancers. One person was saying that they didn't used to "get" Golden Age music until recently, but now the modern stuff just doesn't interest them much. Another was visibly annoyed when a tanda of tango - all Golden Age - wasn't coherent in their view. They felt that one of the tangos simply jarred when combined with the other three in the tanda.

These comments bring me back to an earlier posting in February: Two angles on the tanda. Let's face it, the music evokes a physical and emotional response. For most of us, that's why we feel like dancing, or for that matter .... sitting out a tanda. Hopefully, the DJ will generally be able to sense what the crowd needs at various stages of a milonga ... and respond to that so that the dancers feel they have engaged in a satisfying emotional experience, rather than a roller-coaster ride. Equally, too much of anything - music that is energetic, romantic, intense, etc. - simply leads to desensitisation and boredom.

Creating a mood at the start of a tanda, only to jolt dancers out of it within the very same tanda can feel like a slap in the face. Try this pair of Di Sarli tangos as an example: Nada followed by Shusheta. Lovely - but not together, please! Singers can make a huge difference, too. The orquesta of Ricardo Tanturi with the romantic voice of Enrique Campos, creates a totally different mood to Tanturi with the voice of the streets, Alberto Castillo.

Want to know more?
Guides to Tango Music developed by Stephen & Susan Brown
Heroes of the Silver Disc by Melina Sedó
ToTango DJ Forum
Tango DJ

Pat.

A fabulous Biagi vals danced by Julio Balmaceda & Corina de la Rosa

2008-08-05T18:07:00.002+09:30

Delightfully playful footwork and damn good turns!

Damn it, what was that all about?

2008-07-20T16:41:00.007+09:30

Ask anyone in the tango scene what got them interested in dancing tango and "the music" will usually feature fairly prominently in the answer. Without doubt, the music of tango, vals and milonga often creates strong emotional responses.

But what of the lyrics? They were often by famous Argentine poets. Without them we're only getting part of the rich experience of tango. And because of Lunfardo, the dialect of the Porteños (residents of Buenos Aires), sometimes the lyrics are not even understood by Spanish speakers. Fortunately, there are some dedicated souls out there, willing to open up this dimension to us all. Alberto Paz of Planet Tango is gradually adding the English translations to his website. In many cases, you can even listen to the music while you read! Fans of Carlos Gardel will notice that swearing never to gamble again at the races in Por una cabeza is merely a metaphor for another game of chance.

A quick word of caution: for the sake of your fellow tangueros, just limit your singing aloud to the shower!

Pat.

Tango therapy

2008-07-02T09:47:00.000+09:30

We all know that tango is a good form of physical exercise. And not long ago, there were articles in the press extolling the merits of learning to dance as a strategy for delaying the onset of dementia. Now, the therapeutic benefits of learning to dance tango are being studied in the fight against depression. Read more in ABC news online.

Who knows, soon you may be able to claim those lessons on Medicare!

Happy dancing,
Pat.

Australian International Tango Festival

2008-06-13T15:01:00.000+09:30

Adelaide Tango made a significant impact on Australia's biggest tango event of the year. 22 tangueros from Adelaide took the opportunity to immerse themselves in the most diverse range of workshops yet, as well as five milongas in five nights!
The strong SA contingent received a special mention at the Opening Milonga, also DJed by yours truly. And at the final milonga on Sunday night, Arthur from Brisbane made the unsolicited comment that the Adelaide folk were not only nice dancers, but the friendliest bunch of people as well!

We were spoilt for choice with the widest array of workshop options, electric performances and seven renowned teachers from Buenos Aires. For the first time in the festival, the structure of the music and how it influences the dance was tackled in a thorough and practical manner in a series of workshops by Joaquin Amenabar, a BsAs professor of bandoneon, and tango dancer.
Joaquin's close work with a trio of talented local musicians meant that their live music at two of the milongas not only pleased the ear, but kept the crowd dancing.

Los Hermanos Macana were true to form and entertained with their comic antics. Cecilia Gonzalez and Donato Juarez, both regular visitors to Sydney, were in demand with their warm teaching style and focus on technique & elegance in figures. While Aurora Lubiz and Hugo Daniel's multi-faceted contribution to the festival included technique & coordination, various tango rhythms & chacarera, and a generous desire to share the culture of tango with us all. Not to mention Saturday night's mesmerising folkloric performance. For many of us, they were the stars of the festival and we sincerely hope to see them back in Oz soon.

Congratulations and thanks to Lilian and her tireless team of volunteers. It was indeed a festival not to be missed!

Pat & Bob.

Music for milongas workshop

2008-05-28T18:55:00.000+09:30

Do you go along to a milonga and dance to anything that's played?
Have you experienced the music transporting you and your partner?
What goes into selecting music for a milonga?

These questions and more were tossed around and debated at the recent Tango Adelaide Club workshop, with lots of perceptive insights. A key thread was the emotional impact of music. Natalie's point about the influence of music in movies was not lost on us, at all. Here's an experiment for you. Just focus on the music accompanying a scene in a film or TV show sometime, with your eyes closed. How does it make you feel? I'll bet you find that the choice is not accidental, nor the impact incidental.

Sometimes the music is sublime to listen to, but does it move you to dance? Is dancing to it within your current capabilities? Especially with a partner in the tango embrace?

Does a piece of danceable music energise or calm the floor? When might a few tandas result in a chaotic dance-floor, put most people to sleep ... or irritate the hell out of you?

Stimulating stuff, but we only had 2 hours for the workshop, and we needed time to put the theory into practice ... by constructing danceable tandas. Walking the talk - that's when the things got really challenging.

Want to know more? Take look at Stephen & Susan Brown's highly regarded website.

Pat

Carel's surprise visit

2008-05-07T16:05:00.000+09:30

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

2008-04-26T16:05:00.001+09:30

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

2008-04-19T18:49:00.000+09:30

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"

2008-04-19T18:15:00.000+09:30

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.