What IS that smell???

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?

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

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