Efficiency

“The quality of being able to do a task successfully, without wasting time or energy” Collins Dictionary 

Sure, it’s a concept we usually associate with manufacturing processes, fuel economy of vehicles, etc.  But what about dance?  

When you dance tango, does it require a lot of energy?  Do you feel your muscles tense up?  Is your breathing affected?  Does the tanda feel a bit like a struggle with your partner?  

If your answer is Yes to any of these questions, you may want to read on …

Observing many elegant, musical dancers of all ages at milongas, the word “Efficiency” popped into my mind.  Their movement together appeared as effortless as it was beautiful.

https://youtu.be/Q5F6OngjMNI?si=4k58kF5dXAESadbM

Sure enough, a quick Google search for “efficient tango” produced the following sound advice:

“Efficient movement in Argentine tango is defined by maximum expression with minimum effort, resulting in a relaxed, elegant, and powerful dance

It involves removing unnecessary muscle tension, allowing the body to flow and communicate clearly with a partner. 

Core Principles of Efficient Tango

• The Power of Walking: As tango is 90% walking, mastering the "tango walk" is essential for efficiency, technique, and elegance.
• Axis and Balance: Maintaining a solid, personal axis between movements ensures stability, prevents losing balance, and allows for quick, controlled changes of direction.
• The "Gap" Between Steps: The pause between steps is where the greatest communication and musicality occur.
• Spiral Dynamics: Movement travels through the entire body in a spiral, connecting weight transfers rather than isolating movements.
• Center-Initiated Movement: Pivots and movements should be initiated from the center of the chest to maintain full-body alignment.

 Techniques for Improving Efficiency

• Relax Unneeded Muscles: Focus energy only on the necessary muscles, allowing the rest of the body to remain relaxed.
• Grounding: Work with gravity to feel grounded, reducing the need for effortful movements.
• Slowing Down: Practicing at a slower speed increases body consciousness, balance, and allows for better weight transfer.
• 4 Fundamental Movements: All tango is built from 3 steps (forward/side/back) and a pivot. 

Key Differences in Efficient Movement

• Mindset: "Being" in the dance is more important than simply "doing" steps.
• Energy Management: Efficient dancers use less energy by optimizing their movement rather than using brute strength.
• Connection: A flexible embrace (switching between close and open) allows for greater creativity and comfort. 

By focusing on these principles, dancers can achieve a more comfortable, expressive, and enjoyable tango experience, both for themselves and their partners. 

PP

To dance or not to dance?

Derrick del Pilar has skillfully translated the nostalgic classic Ninguna. 

Of the five different interpretations linked to the translation, can you tell which ones would have been arranged for dancers at the milonga?

The milonga jungle

 It's quiz time, folks!

Let's face it.  The tango world is full of characters: amusing, a few annoying and some delightful.  Sounds like life, right?

I know it may be painful, but just try thinking about those milonga situations that you would rather forget, with characters who have left you a little powerless or speechless at times.  Remember: Being forewarned is being forearmed.  You can even practise your response.  You CAN take control!

Here are a few real-life scenarios.  What would you do? (More than one response is possible)

1. The Space Invader
   Two people are deep in conversation.  Their body-language shows that they are focussing on each other.  Someone approaches clearly indicating he/she wants to dance with one of them.
   a.  Ignore the person until he/she goes away
   b.  Acknowledge the person, and continue the conversation
   c.  Interrupt the conversation immediately and get up to dance
   d.  Acknowledge the person, point out that you are involved in a conversation and decline the invitation
   
   
2. The Know-all
   While dancing, once dancer persists in telling his/her partner what they are doing wrong and correcting them.
   a.  Ignore him/her and continue dancing
   b.  Say that you can't dance and talk at the same time
   c.  Say "Thank you" and go right back to your seat making a mental note never to dance with that person again
   d.  Do your best to follow the generous advice
   
   
3. The Human Shield
   After a tanda, rather that clearing the dance-floordurin ghte cortina, some people stand around on the floor chatting.  They are blocking the line of sight of seated dancers who will want to look for a new partner for the next tanda.
   a.  You feel frustrated that you can't see the person you'd like to dance with
   b.  If the "Human Shields" are close to you, ask them to move away or sit down
   c.  The DJ should extend the length of the cortina until they get the message and clear the floor
   
   How would you respond to these milonga characters?
   Can you think of others?
   PP
   
   Thanks to Kris Tengo Teng for the image  https://www.facebook.com/groups/147208172635874/user/405922/

Tango covers

 Did you realise that the Golden Age tango orchestras were in fact cover bands?

Yes indeed!  The fabulous orchestras of Di Sarli, Troilo, Pugliese, D’Arienzo, and many more.

Usually they didn’t compose many of the pieces we associate with them eg. the dramatic Pugliese version of the  tango Chiqué, the Di Sarli versions of Champagne Tango. 

Often they also didn’t make the first recording of the piece either.  In other words, they were doing covers!  Look up some versions of your favourite pieces in Paul Bottomer’s YouTube channel https://www.youtube.com/channel/UCpMCDC6_cQ98mHzo-Yk1KUg/videos.  You might be quite surprised. 

An interesting example is the nostalgic classic Recién. It was composed by Osvaldo Pugliese in 1943, but first recorded in that year by the orchestra of Pedro Laurenz, then in 1944 by Ricardo Tanturi.  Pugliese didn’t get around to recording his version until 1980!

Which of these three versions of Recién do you prefer?  https://poesiadegotan.com/2009/05/13/recien-1943/
Which would you like to dance to?
PP

Mirada? Cabeceo? What’s the difference?

In essence they are two very simple signals in the milonga:

MIRADA (the look) = showing interest to dance

CABECEO (the nod) = indicating acceptance

Yet even experienced tango dancers may find this respectful form of invitation challenging.  

For example, I’ve often heard:
“I was nodding at you, so why didn’t you dance with me?”

“He/She stares at me continuously even though I show no interest.”

“He/She is always in deep conversation with friends.  Later he/she complains that we didn’t dance.”

Well, let’s take a look at the basics:

MIRADA
Having selected a person you would like to dance with, you indicate your interest by looking at their eyes.  The look usually needs to be sustained for a few seconds - no more, so they understand that you would be interested in dancing with them.  A glance is not usually enough.  But it’s not a long stare either.

(If they’re not interested at the time, they won’t hold your gaze.  And nobody else will know!)

CABECEO

If the person does hold your gaze, they may accept by nodding their head, or by smiling, or by making some other positive gesture. You can then show your agreement with a similar gesture.  While maintaining eye-contact, the man makes his way to the woman’s table, who remains seated until he arrives in front of her (thus avoiding misunderstandings in a busy milonga).  He then leads her on to the dance floor - yes, he goes first.

Yes, it’s that simple! 
If you’re interested you need to show it through your body language. 
And you need to accept that everyone has a right to choose. In other words, the acceptance must be mutual, otherwise it’s not consent.

Of course, there are lots of finer points. To give yourself the best chance of success, I recommend taking a good look at Tango Mentor’s excellent article.
https://tangomentor.com/cabeceo-beginners-guide/

Milongas in Buenos Aires 2025 & the economy

How does the average Argentine citizen manage in a country where the cost of living appears to have doubled in 12 months?  Wherever you look - public transport, groceries, eating out - prices have skyrocketed.  Heaven knows what their power bills are like!

For a long time, since about 2002, visitors to the country could count on very affordable - dare I say - cheap prices.  No longer!  Think Australian prices for meals and coffee.

We expected milongas to be a lot quieter this year.  With less money to spare now, it would be reasonable to expect attendances to suffer.  Many milonga regulars in Buenos Aires would normally go dancing a few times per week, but we imagined that they would be tightening their belts.  How wrong we were. Milongas are full!

When chatting with a regular local dancer, he pointed out that the milonga remains an affordable night out - cheaper than eating out or going to the theatre.  With a milonga entrada of around 6,000 pesos (US$6) plus a drink 3,000 pesos, public transport (perhaps a shared taxi to go home) going to the milonga was still a relatively affordable way to have a great night out with friends.

PP

Why do we say YES when we mean NO?

Have you been in the situation where you were invited to dance, but for some reason, preferred not to accept that invitation?  Even if this never happens to you, you may still want to keep reading.

Some dancers have described to me situations where they would’ve liked to refuse (or postpone) the invitation, but feared hurting the person’s feelings.  Some have confided feeling pressured to dance, but were unsure how to respond.  Some experienced dancers (often popular male dancers outnumbered by ladies) may be frequently approached directly for a dance - particularly in milongas where the cabeceo is not the norm.  Some of these people have said to me that they feel obliged to spread themselves around throughout the milonga.  Community-spirit is to be applauded - up to a point.  

It almost goes without saying that there are many reasons for not wanting to dance at times.  You may be involved in a conversation; may be feeling too hot after an energetic tanda; the music isn’t to your taste; you don’t feel comfortable with the inviter; just feel like listening to the music and watching the dancers; you had already arranged to dance with someone else; etc, etc.

Of course, “Yes” is always an option, but it may come at a price.  Are you finding yourself denied a chance to dance with many of the partners that you prefer?  When you dance, are you able to give your partner your all for that tanda, or are you just going through the motions?  Are you mostly satisfying the needs and desires of others, while ignoring your own?

Indeed, saying “No” carries the risk of offending the other person.  Perhaps you fear that the risk is just too great. So rather than working out a way of being true to yourself, you may take the path of least resistance and always say “Yes”.

What are some alternatives?  Apart, from a blunt “No”? 
Unfortunately, not everyone in your tango community uses the more subtle cabeceo.  And you don’t want to develop a reputation as unfriendly.

Have you tried …

-  engaging the person in a conversation, rather than getting up to dance?  It shows them that you’re still interested in them as a person.  If they don’t wish to chat, they can move on.
-  indicating non-verbally “maybe later” with a smile?
-  briefly mentioning the reason for not wanting to dance now, perhaps adding that you’ll look across at them later?

Maybe you have other successful strategies which you’d like to share.

On the other hand, if the person won’t accept your response, then you always have the blunt option of “No, thanks”!  After all, if someone asks a question, they cannot assume that the answer will always be the one they want to hear.  Why should the milonga be any different to other aspects of life?  

Tangomentor’s discussion makes further interesting reading on this subject

Turning down an invitation may appear difficult at first.  But when you’ve tried it once or twice, I’m sure you’d get the hang of it.  Better still, adopting the mirada + cabeceo in your community would render this problem redundant!
PP

Milonga Solidaria 2025

A massive "THANK YOU" to all the dancers attending the Milonga Solidaria at the Austrian Club on Friday night.

It was a lovely milonga, with beautiful music, elegant dancing, a great vibe - as well as a successful fund-raiser.  There were many personal donations, including from a number of dancers unable to attend.  At the moment, the sum stands at $2,040!  But we're hoping that other dancers in the Adelaide tango community will offer to make a cash donation or EFT in coming weeks.

The money will be converted to US$, then delivered to Presente Escuelas Rurales organiser Lorena Gomez in Buenos Aires in late April.  This will support the volunteer medical trip to the remote Monte Santiagueno (Santiago del Estero province).

Firstly, thank you to all who attended and paid the $15 entrada - ALL of which will be donated.

Thank you to Vicki, Dee, Steve, Glynn, Robyn & Ray, Sheila, Monica, Joan, Christina W, Larry, David B, Frank & Lucy, Tricia M, Sonia, Su, Lidia, Rushdy, David N, Jarred, Liz R, Cris D, Bruno, Shaddie, Trish N, Lorraine, Liz J, Paul M, Mariangela, Daniel, Mike B, James, Paul C, Carl, Anne R for your personal donations.

Sincere thanks also to Southern Cross Tango and Studio Tango for promoting the event.

Still want to make a contribution?  It's not too late. Contact us for the EFT details.

* More photos

Welcome to our new milonga venue!

The doors had just opened for our first milonga at the beautiful Torrens Rowing Club last month. 
See you again at Comme il faut on the 15 September (3rd Sunday of the month).

Different partners, different journeys

Ladies, we may sometimes lament the gender imbalance at milongas.  Perhaps we dance less than we’d like.  But have you considered some of the advantages of our role in tango? 

After Marta’s milonga Wednesday night (El Rodríguez), I was reminded how lucky we can be … if we are patient.  During that milonga I experienced three truly memorable tandas with men I had never previously danced with.  And each one was so very different!

D took me on a whirling flight through energetic D’Arienzo valses.   His strong dissociation and control meant our turns were so tight, we were like the vortex of a tornado.  Yet our movement was contained and couples around us remained undisturbed.

I caught the eye of S when I heard the introduction of a romantic Di Sarli tango.  His response to the music felt like waves in the ocean.  Carrying us gently, suspending at the crest of the wave and then accelerating downwards. 

Troilo’s tangos get a lot of coverage here, I’m happy to say.  I noticed a man trying to invite me when a Troilo tanda started.  Not having seen him dance, I looked away.  Fortunately, two lovely local ladies at my table, quickly reassured me that I should definitely not pass up that offer.  C took me on a nuanced musical journey, taking time to savour moments in the music and attentively responding to my responses.

To be ready for such diverse, special experiences in the milonga, good technique/body control is needed, allowing me to respond to a variety of movement possibilities.  The woman’s role also requires her to simultaneously follow the music … as well as her partner’s interpretation of it.  She doesn’t “just follow the lead”.

Finally, mindset is critical.  If I had had a preconceived idea of the dance, eg. dancing certain figures; being determined to display decorations; etc., then I would have missed out on the magic.  Being flexible and open to my partner is pivotal.  That’s when it gets interesting.  As in life!

Pat

Every little bit counts

After more than a week of dancing in traditional Buenos Aires milongas, I’m reminded of some of the social niceties which contribute to a harmonious dance floor as well as an enjoyable individual experience.  (Not a word about cabeceo here.  That topic has already had plenty of coverage.)

Each and every dancer makes a positive contribution to the milonga by:

* taking care of personal hygiene beforehand & avoiding strong scents

* changing into dance shoes in the bathrooms or away from the dance floor 

* when not dancing, ensuring that they aren’t blocking others’ line of sight. If standing to catch someone’s eye, then stand behind the tables

* entering the dance floor with care, with the man seeking and getting the nod of approval from the oncoming leader, and then entering before his partner, to protect her. Start to dance immediately, thus avoiding holdups 

* not eating/chewing while dancing

* chatting only in between songs on the dance floor. Need more time? Then sit down to have a conversation. Chatting while dancing spoils the tanda for dancers around you

* dancing small, keeping feet on the floor, especially in a busy milonga 

* dancing in the ronda, in your lane - neither tailgating nor holding up couples behind you 

* avoiding contact with other couples. Any collisions, even minor, warrant an apology or at least an acknowledgement 

* escorting ladies back to their table

* clearing the floor efficiently during the cortina.

I love how these small things - put together - add up to something greater than their sum.  Congratulations to dancers at La Milonguita in Adelaide who do this so well!

Pat

Milonga Solidaria 2024 - Adelaide does it again!

 

Many thanks to all the dancers who attended Milonga Solidaria last week and those who donated cash before, during and afterwards.

Tango Salon donated the $520 taken at the door, and a further $1215 came in the form of donations from Dee, Joy, David N, Larry, Shaun, David B, Lidia, Mike B, Sheila, Monica, Joan, Steve, Alvin, Eva, Mariangela, Brett, Cris, Glynn, Mauricio, Su, Mark, Anne B, Liz, Paul M, Shaddie, Vicki,
Daniel, Robyn & Ray and Valerie.

On top of that, Mariangela organised a raffle with 10 prizes donated by herself, Sheila, Lucy, Trish N, Dee, and Susanna B.  Many thanks to Mariangela – the Queen of Raffles - for raising a further $335.

A grand total of $2070  … US$1314 has been collected so far.

We have committed to deliver US$1500 which means another AUS$292 has been added to get to this total.  If you haven’t donated yet and would like to contribute towards this extra amount, please let us know.

Milonga Solidaria 2023

Many thanks to all the dancers who attended Milonga Solidaria last Friday - all of your $10 entradas will be donated by Tango Salon Adelaide to the milonga's project.

Special thanks to the donors of items/activities for the Silent Auction: Glen, Dee, Mike, Lidia, Adelaide Abrazo Tango, Sheila, Mariangela, Susanna, Cris, Robyn, Ray, Larry, Sonia, Lorraine, Pat & Bob.

Thanks again to the people who made donations in return for the silent auction items: Tricia N, Sheila, Dru, Vita, Sonia, Ellie, Mariangela, Lorraine, Anne B, Dee, Bruno, Vicki, Ray, Cris, Janett, David N, Eva, Alvin, Rebecca, Pat, Bob.

Finally, thank you to those who made cash donations: Ray, Larry, Joy, Hanako, Monica A, Nihada, Vicki, Paul M, Sheila, Eva, Liz, David N, David W, Rebecca, Maria, Cruz, Karlis, Joan and Glen.

Your generosity looks to have raised around $2,300.  This will be received with great thanks by Presente Escuelas Rurales for their volunteer medical services to remote communities in Santiago del Estero province of Argentina.

Soul

Amongst the countless tango performances available on the internet, we may enjoy the musicality, admire the technique and marvel at the spectacle.  Yet, few performances truly move me deeply.  

We all know, of course, that Noelia and Carlitos are wonderful dancers.  Yet, what is it about this particular performance in Bratislava to "Lo vi en tus ojos" which has so much soul?
PP

The hidden codes of the milonga

Do you avoid busy dancefloors?  Are you unsure how to protect your partner?  How do you negotiate a busy dance-floor without disturbing other dancers? 

Navigation is a higher order skill for the male role in tango.  There's no doubt about it.  But get it right and the effect on your milonga experience will be profound.  You'll move with care and confidence, flowing with the dancers around you.  Your partner will place her trust in you and relax in your embrace.  

Here are some "hidden" tips from Royce's Tango Thoughts which can make all the difference.  Take a look at this video which illustrates many of these tips.

PP

Cabeceo - the basics

We've written lots about the cabeceo: how to, pitfalls to avoid, special tips, funny situations, etc.  But if you want a handy summary on this elegant technique for invitation in tango, just take a look at The Beginner's Guide to Cabeceo by Tango Immigrant.

Who was Elvino VARDARO?

"... there was no other violin player like him."

By age 14, Vardaro was playing violin to silent movies and had met Rodolfo Biagi.  At age 17 he was invited to join Juan Maglio's orchestra, followed next year by joining Roberto Firpo.  Then at age 21, in 1922, he joined Pedro Maffia, where he played with Osvaldo Pugliese.

1929 - 1931: The Vardaro-Pugliese Sextet had formed with other prominent musicians, but in 1933 Pugliese left, and Vardaro formed a new sextet that included the 18 year old Aníbal Troilo.  Teh sextet was popular in cafes, cabarets and radio.  In 1938 he briefly payed with Lucio Demare, and in 1942 joined Osvaldo Fresedo's  orchestra where he played for several years.

During 1955- 1961, he alternated playing in the Astor Piazzolla and Carlos Di Sarli orchestras.

Yet, despite a pedigree like this, his sextet made only one test record - Tigre viejo, with the RCA Victor recording company in 1933.  It was deemed of little commercial value (looks like he was ahead of his time), so the disc was given to a member of the sextet.  Eventually his family preserved it in olive oil!  Much later it was cleaned up with Vaseline, and that's what you can listen to below.  Sadly, his sextet did not record any other music.

Michael Lavocah wrote "Tigre viejo is the closest thing to jazz that tango has to offer: six men playing on the edge of their seats, and just about keeping the whole thing on the rails."  See what you think:

The arrangement is quite experimental.  Remember, it was recorded in 1933!  Early in the piece, the sounds of a later Pugliese can be heard (although he was no longer in the sextet for the recording), and later you may pick up elements of Troilo.  Certainly quite jazzy in places.

Bob

For more information on Elvino Vardaro:

Michael Lavocah Tango Stories: Musical Secrets

Todotango

Wikipedia

Rock-solid

When I watch some male dancers, particularly some older ones, the term 'rock-solid' often comes to mind.  They seem to be absolutely grounded, totally in control of their bodies, and always with a strong axis.  As a result, their partners appear secure and in doubt where they are going - the leads are clear, signalled in time to allow an accurate, beautiful response, and the couple dance as one.

Watch José Luis Gonzalez.  What are the skills that make him appear rock-solid?

Now watch Luis Anchava

... and Gabriel Missé

Here are some common features with all three men:

• Posture exudes strength & stability
• Body moves first and advances strongly
• They quickly establish a new axis whenever they step or execute a turn
• They abide by the principle: 'I lead, she responds, I follow her'
• Calmness throughout

Do you agree? 

Perhaps there are other things that you notice.  If so, comment below.

... and that's quite apart from the magnificent women they are dancing with!

Bob

Irresistible Valses

By their nature, valses draw many dancers to the floor - they are rhythm-driven and contain exquisite moments.  But then there are those valses that won't allow red-blooded dancers to remain in their seats.

Here are five valses that I believe are unmissable and unforgettable.  Once you have danced to them, you'll be drawn back to the floor every time they are played.

Rodolfo Biagi Dichas que viví (1939) singer Andrés Falgás dancers Vanessa Villalba & Facundo Piñero.

This couple is sensational!

Juan Maglio Princesa (1931).

Don't you love that teasing introduction .... and the variación at the end?

Francisco Lomuto Idolatr

í

a (1937) singer Jorge Omar.

Carlos Di Sarli Alma mía (1940) singer Roberto Rufino

Osvaldo Pugliese Desde el alma.

Watch this performance. It was the only time that Pugliese was invited to perform at the Teatro Colón .... in 1985, at the end of his career.

Five tangazos

There are some tangos that totally transport me in a milonga - the body is governed by the heart, which is governed by the music.  No thought of  'steps'.  Each movement is my response to the feeling that the music provokes.  Maybe this is 'entrega' (surrender) - an informed passion discussed in Tango and Chaos.

I'm a lover of D'Arienzo's tangos with singer Echagüe - so much fun and room for improvisation coming from the strength of the rhythm.  However, the following selection of music will tell a story about how I also like to dance.  It was a hard choice, limited to one piece from five orchestras.  It doesn't include unmistakable tangazos from the likes of Caló/Podestá, D'Agostino/Vargas, Tanturi/Campos, etc.  You may wish to add your favourite tangazos to this list.

Carlos di Sarli - singer Roberto Rufino: Griseta 1941 (Lyrics: Poesía de gotán)

Juan D'Arienzo - singer Juan Carlos Lamas: Viejo tintero 1943

Enrique Rodríguez - singer Armando Moreno: Este es tu tango 1945

Aníbal Troilo - singer Alberto Marino: La luz de un fosforo 1943

Osvaldo Pugliese - La tupungatina 1952

… and one that wouldn't fit - Carlos Di Sarli - singer Roberto Florio: Cantemos Corazón 1956, beautifully danced by World Champions 2019 Agustina Piaggio and Maxim Gerasimov


It's interesting to look back at an earlier post Que tangazo! (2010), that drew several comments, illustrating just how personal the declaration "Tangazo!" can be.
Bob