Why chatting and dancing tango don't mix

Well, for a start, having a conversation while dancing seems to miss the point of tango.  Unfortunately, it can be rather anti-social, too.


So, let's re-imagine and replay this scene:
You're at a milonga, and the DJ starts playing a tanda of romantic Di Sarli.  You're in luck when your favourite Di Sarli partner looks in your direction.

As you dance, you begin to feel that the 'tango angels' are watching over you.  You are completely in the moment.  The connection with your partner and the music is deep, and at the same time heavenly.  This is the blissful and elusive experience sought after by dancers.  And when it happens, it gives you goose-bumps.

But suddenly, you are brought back to Earth.  A neighbouring couple's continued conversation while dancing has broken your trance.  You can't help but overhear the discussion about a recent movie, which they could easily have conducted elsewhere.  Are they unaware of the wonderful opportunity which they are missing?

You also happen to notice that their navigation on the busy floor has been affected.  Preoccupied with sharing views of the movie, the man is unable to pay enough attention to leading his partner, and experiences some near-misses with surrounding couples.  In fact, you have to take evasive action to protect your partner.

What to do?  Do you say anything at all?  Do you put your index finger to your lips, discreetly suggesting that they be quiet?  Or do you do nothing, but shake your head and grumble to yourself about their lack of awareness?
PP

On another note, imagine that you find yourself dancing with someone who also wants to chat.  What do you do?  For a few options, take a look at Talk and tango? I just can't do it.

Thanks to Los Angeles Tango Academy for the pictures

Every tanguera's (not so secret) desire

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.

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

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.

What do women want? What do men want?

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

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

Happy dancing,
Pat.

Milongas in BsAs

Often I am asked what the milongas in Buenos Aires are really like. Apart from having lots of experienced dancers there, are the milongas so different to those here in Adelaide?
Well, where to start?

Undoubtedly the first thing that springs to mind is the harmony on la pista (the dance-floor), despite the crowds. At the good, traditional milongas you will usually sense a coherence between most of the dancers and music. You are not just dancing with your partner and the music, but also with all the other dancers on the floor. As long as dancers respect the conventions of the milonga, they are all able to dance, albeit within the confines of a square metre at times. At some milongas, popular with tourists who are unaware of these conventions, that harmony is often not so evident, so the much sought-after tango-trance is harder to achieve.

In Adelaide, perhaps we have not felt the need to develop some of these codigos (conventions), but they certainly serve a purpose, even if la pista is not crowded. For example:

• Being able to dance in la ronda (line-of-dance) and not overtaking those in front or holding up those behind, ensures a smooth and predictable flow. So dancers know how much space they have to play with.
• El cabeceo is an effective face-saving way to arrange your next dance in the next tanda. If the person doesn't maintain eye-contact or nod in return, then no harm done. Nobody is offended or put under any pressure to dance.
• Boleos and other extravagant moves which intrude on others are avoided, to avert injuries and disruption of the mood.

Take a look at some well-known examples of Buenos Aires milongas - actually not all of them were so typically crowded when the recordings were made.

By the way, Tango Salón Adelaide's first milonga will be on Friday 5 October at an elegant new venue. More details to follow.
Pat.