Getting the music

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

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

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?

1. Go with their flow and not worry about the people dancing around you.
2. Tighten your embrace, try to slow things down and hope that your partner becomes aware of your discomfort.
3. Say that you are feeling uncomfortable.
4. Say that you are feeling uncomfortable and return to your seat.
5. 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?

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?

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.