Hold Me Tight & Tango Me Home

I almost forgot to let everyone know about this. There is a new tango-centric book out there, about to be released to the whole wide world on February 9th. Congrats to author/tanguera Maria Finn on this...no small task to conceive/nurture/write/publish a book. Much less experiencing the "stuff" of which the book is made. I'm looking forward to reading it.

Here's the "About the Book" from the website ::

Hold Me Tight and Tango Me Home is the tale of surviving a broken heart. Maria Finn’s husband was cheating. First she threw him out. Then she cried. Then she signed up for tango lessons. It turns out that tango has a lot to teach about understanding love and loss, about learning how to follow and how to lead, how to live with style and flair, take risks, and sort out what it is you really want. As Maria’s world begins to revolve around the friendships she makes in dance class and the milongas (social dances) she attends regularly in New York City, we discover with her the fascinating culture, history, music, moves, and beauty of the Argentine tango. With each new dance step she learns the embrace, the walk, the sweep, the exit she is one step closer to returning to the world of the living. Eventually Maria travels to Buenos Aires, the birthplace of tango, and finds the confidence to try romance again.

And this, from the "Recent Reviews" section of the website ::

“A gracefully rendered memoir of a woman seeking post-divorce healing through tango.”
— Kirkus (Read Full Review)

“A lively debut memoir, brimming with tango history and lore.”
— Booklist

“This story of heartbreak and healing unravels the complexities of tango, which gradually becomes a source of addictive joy.”
— Sally Potter, writer and director of the film The Tango Lesson

“Beautifully told. Maria Finn relays her adventures in the world of tango with excitement, wit, and insight.”
— Robert Farris Thompson, author of Tango: The Art History of Love

“Along with her personal story, involving a trip to a wedding in Buenos Aires and documenting there the gay tango scene, she nicely elucidates the evolution of the dance, through the music of Astor Piazzolla and Carlos Gardel, and traces briefly its flashpoints across the globe, from America to Finland and Turkey.”
— Publishers Weekly

Looks like it's gonna be a goodun'...order yours today...I just did.

Here's her official website :: http://tangomehome.com/

Here' a link to the book store finder on IndieBound...buy locally if you can :: http://www.indiebound.org/indie-bookstore-finder

http://alextangofuego.blogspot.com/2010/01/hold-me-tight-tango-me-home.html

Нужно ли женщинам быть мужчинами в танго?

Не утихают дебаты вокруг женщин играющих мужскую роль в танго. То, что началось, как уличный танец мужчин в Буэнос Айресе, теперь продолжается женщинами, которые ведут  в танцевальных залах всего мира.

Традиционно танго социально и его танцуют мужчина и женщина. Танцевальные заведения Вуэнос Айреса следовали этой традиции только с двумя исключениями в последние годы. Это было редкостью увидеть двух женщин, танцующих друг с другом в традиционных салонах Буэнос Айреса. Недавно я была свидетелем такого явления в танго клубе Lo de Celia. Это был вечер среды, когда танцующих немного. Пара, сидящая рядом со мной, рассматривала кого-то танцевальной площадке. Я сразу поняла, что их внимание привлекли две женщины, танцующие милонгу. Я не видела такого за все 9 лет, которые я посещаю это место.  Было похоже, что женщина тут впервые и потеряв надежду быть приглашенной, подошла к столику другой женщины и пригласила ее на милонгу.  Она играла мужскую роль не слишком удачно. Пока они танцевали, все изумлённо смотрели на них. Хозяйка клуба проходила мимо  моего столика и я сказала, что никогда такого не видела. После того, как закончился их второй танец, охранник сказал новой женщине, что танго клуб Lo de Celia это традиционное место, где женщины танцуют с мужчинами. Обе женщины вернулись за свои столики. Я была немного удивлена тому, что мужчины приглашали ее танцевать и после того, как она продемонстрировала такое пренебрежение традициями.

Позднее, переодевая туфли в туалете, я встретила ту женщину, которая была приглашена новенькой. Я спросила ее, как это произошло. Она мне объяснила, что просто на знала, что сказать или сделать, когда та подошла к ее столику. Она знала женщину по другой милонге и просто растерялась. Ей было некомфортно танцевать, потому что до этого она танцевала только с мужчинами.  Освободило её вмешательство охранника.  Ситуация разрешилась быстро и тихо. Но это определенно заметили все.

Сегодня все больше женщин учат других танцевать танго и соответственно учат мужской роли. Рикардо Видорт сказал, что как только женщина научилась танцевать как мужчина, она не может больше танцевать как женщина.

Танго это не танец ведущего и следующего. Это танец между мужчиной и женщиной, смесь мужской и женской энергий.

By jantango

http://jantango.wordpress.com/2010/01/25/do-women-need-to-be-men-in-tango/

Navigation... Where it all comes together

When I first saw a tango floor a few years ago, I thought (as many non-tango people thought) that it was a simple dance as there was not much going on. I was so wrong.Is there anything easy in learning Argentine Tango? It seems that things get progressively harder the more I learn, with milonga navigation being one of the biggest struggles I've had to deal with.

I've found that as a leader (in tango), this is where my brain blows up on the dance floor. Why? You have to lead your partner well (which is a lot to think of), dance well (yourself), keep your partner safe, pay close attention to your environment, anticipate the moves of those around you, dance with (acceptable) musicality—Simultaneously MOVING across the floor in erratic heavy dance traffic!

Practice and perseverance have helped me to cope over the years. The following are what I think (I need) to take into consideration while leading my partner though the controlled chaos of a crowded milonga floor...

Going with the ebbs and surges of flow

When I merge onto a milonga floor, the flow does not stay consistent. Depending on what the dancers on the floor do, the flow may ebb into a barely moving mass. Or, turn into a surge moving away and leaving me behind, which forces me to keep up the pace... only to be stopped by another ebb in flow.

This constant shifting of flow on the floor is something a leader must deal with constantly. It's not so bad when the milonga is sparsely attended, a leader will have floor space and is forgiving of mistakes. The challenge happens when I dance in a pack, much like being caught in a very tight cycling peloton where I have to be able to bring to bear, all skills and be flexible in dealing with this conundrum.

My partner needs to be able to trust me... Implicitly!

I dance for my partner. I try to make her look good and feel good. She needs to trust me without question, otherwise that supernatural "Tango enchantment" will not happen.

In order to achieve this level of trust, I try not get carried away and get lost in my own dance that I lose touch of the environment around me. I keep my partner away from the couple using the flailing tango stiletto heels of death. I try to keep her safe from being slashed, stepped on, kicked, cut, and impaled.

I don't use my partner as a battering ram by NOT running her into chairs, tables, walls, posts, and other people.

Giros, molinetes, check steps, rock steps, etceteras

Remember all of that stuff your teachers taught you in tango class? Notably, figures like giros, molinetes, check steps, ocho cortados, rock steps, and other related "stationary-possible" moves.

I talked about "Ebbs" in traffic flow. When this happens, what do you do? You stall, but, gracefully keep moving in place. You don't want to just stop, rather, you need to keep you and your partner moving in poetic motion. This is a good time to use your "Figures."

Respect space, dance small

I respect my space, and the space of others. Its a common courtesy. I learned to dance in as small a space as possible. That way, when I find myself in a tightly packed floor, I can dance a small yet intensely beautiful tango—At least, I try.

I was taught that one should learn to tango in a space (roughly) 4 ft long by 4 ft wide—The size of 4 large floor tiles. Dancing this small also gives me the ability to keep my partner safe from the following:

Overtakers and speeders
Those who are in such a hurry that they feel compelled to overtake everyone in their way (*Cough* I USED to be a perpetrator... Apologies)
Lane-cutters
Those who suddenly cut in front of people (related to the over-taker)
Tailgaters
Those who follow so closely behind other couples (I'm occasionally guilty of this... Sorry)
Windbags
Those who engage in A LOT of trivial talking BEFORE they start dancing. Thus, (inconsiderately) blocking all dance traffic behind them causing a traffic jam.
BIG move dancers
Those who dance big (which is not a problem on a sparse floor) and insist on doing so when the floor is very crowded

I try to dance as smooth as possible

Its easy to march, stomp, and lumber along like an elephant. It's easy to bounce up and down like a ball. All of which makes for an unpleasant experience for my partner.

Being smooth was very difficult for me as it required me to learn to walk by adjusting my gait and how I landed and rolled my feet. I practiced walking in front of the mirror. I (briefly) did the book atop the head thing. I tried to be elegant and smooth, yet still dance manly. Oh, and I had to do all of that with a partner in close embrace... I'm still trying.

The Lynch pin—bringing it all together

So, after learning a lot of the nuances of tango and (trying) to make it special for my partner, it all comes together in moving across the dance floor in a crowded and packed milonga. It's a lot to think of, plan, and execute. It requires A LOT of concentration and care.

There was no easy way to do it, and required copious amounts of practice. In the end it pays off when you get it right.
http://ampstertango.blogspot.com/2010/01/navigation-where-it-all-comes-together.html

What does it mean to dance with ‘good musicality’?

Tango dancers often discuss the importance of dancing to the music, having ‘good musicality’ etc. But what exactly does it mean to dance musically? I tried noting some possibilities, and since some are very basic, while other are more advanced (and should be used sparingly).

I tried to classify them within the usual trichotomy of beginner/intermediate/advanced, thinking that you have to know the very basics, and you should master basically everything in the intermediate before venturing out into the advanced concepts. Some of the advanced concepts should be used with care, such as stepping on the weak beat.

Very basics
Dancing when there is music and not when there is not (yes, really)
Stepping on the (strong)beat
Make your partner step on the (strong) beat.
(be able to)Dance double time
Make pauses
Dance tango to tango music, milonga to milonga and vals to vals (etc)

Intermediate
Interpretation of the emotional content of the music (e.g. humorous, sad, tragic, romantic etc)
Walk to music with strong walking beat
Dance to the phrasing of the music
Dance smoother to smooth music, more rhythmically to rhythmic music etc.
Leading one rhythm while doing another
Match something in the music with particular step or ornament
Dance the final variation
Predict the end of a song and close in time.
Cadencia

Advanced
Step on the weak beat (and not on the strong)
Moving counter to the music (e.g. slow down when the music is fast)
Play with rhythms
Fit sequences of steps with the phrases of the music
Repeat and make variations when the music repeats with variations
Syncopated steps (e.g. suspension or anticipation) that fits the music
Something extra

http://simbatango.com/2010/01/22/what-does-it-mean-to-dance-with-good-musicality

My intensely silent tango

I wrote about taking breaks during the milongas to watch and appreciate other tango dancers. In doing so, I have made another epiphany—That I don't have to be like/look like anyone else—I can have a method and style of my own.

Really good dancers I've observed

Swooshers
I just call them swooshers because of the way they tango. They have large circular movements that "Swoosh" their way across the milonga floor. They go by in a blur of motion.

I once idolized these dancers because of the admirable agility of their delivery. It was like watching a show. I thought that it would be cool to gain the adulation of the audience. IT was a good ego stroker.

I have since gotten tired of this, as (IMHE) its a lot of motion. There is very good connection between the partners as they are concentrating on their motion. Its fun to watch when one expertly swooshes down the floor. It is however, a bit too much on the "Show" aspect of things.

Walkers
These are the dancers who tango very simply, yet elegantly. They move smoothly as if on rollers. There really is not much to see when they dance, other than the fact that their followers look like they're in a trance. To a beginner, these guys would look "Boring." The big difference here was that magical tango connection.

After watching intensely, I have come to appreciate this form of tango, and decided to make it my own.My intensely silent tango

Everyone needs to dance their own tango. I call mine, an "Intensely silent tango." A tango that to the casual observer, is not much to watch. However, to my partner at the time, the lead is LOUD, clear, and vibrant. This, regardless of how simple the motion being led.

In order to do this, I have had to develop the following:

Control the power and delivery
I had to temper my movements to be confident and resolute with no tentativeness. No excessive/unnecessary motions. Do just enough to make the movement happen. No more no less.

Know where her feet are at all times
I have had to learn to lead her. Land her weight where I need her to be before I continue the next movement.

Wait for her
Wait for her to finish her step, movement, embellishment before continuing. Tango is a two way street, and sometimes my partner embellishes. Let her finish and and enjoy the moment.

Keep the chest consistent
Now more than ever, my lead has come from the chest, as it should be. I am always conscious of my tango posture. If the posture fails, the lead becomes weak.

Assisting the lead with Impulses (Micro leads)
I sometimes use muscular impulses to make my leading clearer for my follow. A muscular twitch here and there as appropriate. I utilize this most especially while dancing to complicated music and/or fast music.

I employ these techniques in the attempt to not only better my tango. But most importantly, to make the experience better for my partner.

http://ampstertango.blogspot.com/2009/07/my-intensely-silent-tango.html

Dancing the silences and pauses

This is a follow-up to my post, "Navigation... Where it all comes together." In one of the comments, tangocherie had mentioned, "You are totally correct. But don't forget the pauses...dancing the silences. You don't have to keep up perpetual motion. Women love to pause."

This caused me to remember one of the things my teacher taught me...Mistaken impressions of "Perpetual motion"
When I was in my early tango days, I was under the (mistaken) impression that when you dance, you dance ALL THE TIME. Meaning, you were constantly stepping, stepping, stepping.

In retrospect, I looked like a hamster (the rodent) in a wheel. I kept going, and going, and going and buzzed around the floor. It must have been a "not so pleasant" tango experience for my partner. I apologize. I had no idea that, not only was it not good for my partner, but, it also did NOT look good. My first tango teacher called my attention...

"Stops are steps"
According to my first tango teacher, one should not barrel through the dance. I just did not get this concept. I REALLY thought that dancing meant constantly moving... like Disco.

I "Got it" when he said two things:
"You need to listen to the music. You move when it does, you stop when it does. Accelerate, and slow down to the flow and nuances of the music."
"Stops are steps." Pauses, hesitations, just not moving if appropriate count as steps
Realizing the significance, I went "Aha!" I've been doing that ever since. Of course, I've refined the technique over time.

Building tension for hesitations, stops, and pauses
First and foremost, I've learned to really listen to tango music. There are distinct silences and pauses interspersed in lots of tango music.

Second, I've learned to build muscular tension smoothly to be in tune with the music. When the music starts to slow, I stiffen myself enough to smoothly interrupt what I was leading a split-second earlier. I do this for hesitations, stops or pauses. This gives my partner clear signals that tell her that we are changing pace. All she has to do is wait, then she knows what to follow. When we do come to a full stop, my tension releases—Like taking your foot off the car's break pedal. Which in turn is the signal for your partner that your about to move again.

Its a very, very subtle thing. Most especially when you dance in close embrace in a packed milonga. However, according to my partners, when I (occasionally) get it right, the lead for these hesitations, stops, and pauses are so clear. I've been told they like it.

An added bonus
Taking a second (or two) to hesitate, stop, and pause allows your partner the perfect opportunity to do adornos (a.k.a. embellishments) without disrupting the rhythm of the dance!

Moving is nice. Dancing the silences and the pauses are just as nice.


http://ampstertango.blogspot.com/2010/01/dancing-silences-and-pauses.html

Добро пожаловать в мир аргентинского танго!

Так что же такое аргентинское танго? Почему оно пленяет танцоров на протяжении более сотни лет. Чем больше людей спрашиваешь, тем больше разнообразие ответов. Если вы видели танго в кинофильмах или на сцене в исполнении профессиональных танцоров, то тогда вы, скорее всего, скажете: "Танго - это страстный танец, эффектные шаги и позы". Конечно, это, прежде всего танец, но также и много больше. И те, кто хотя бы раз в своей жизни ощутил настоящее танго-чувство, скажут иначе: "Танго - это движение, чувство и музыка - все вместе. Танго - это отношения мужчины и женщины. Танго - это маленькая жизнь пока звучит музыка и пока длится объятие. Танго - это мироощущение".
Тангерос (танцоры танго) любят его за то, что могут выразить себя в танце и получить удовольствие от танца посредством тонкой коммуникации, выражая ту музыку, под которую танцуют. Искусство социального танго основывается на владении навыками импровизированного движения, на уважении к партнеру и другим танцующим. Сущность аргентинского танго – это жизнь. И в особенности жизнь пары: мужчины и женщины. 
Сегодня танго в начале нового века представлено в новом более совершенном виде, в отличии как его танцевали и преподавали в конце 19 века. На протяжении сотни лет танго впитывало в себя все лучшее, что было создано предыдущими поколениями танцоров Аргентины и всего мира. На сегодняшний день написано несчитанное количество произведений классической и современной музыки танго. Современная техника танго позволяет танцевать под любую интересную музыку, в которой есть душа и красивый ритмический или мелодический рисунок. Это новая волна тангомании, когда мужчина и женщина заново открывают очарование и удовольствие от танца вдвоем. Танго завораживает каждого, кто к нему прикоснется.

Язык Танго
Танго - это богатый язык, с помощью которого мы стремимся понять друг друга и выразить себя в танце. И если вы решили приобщиться к культуре аргентинского танго, то Вы сделаете для себя настоящее открытие! Вы узнаете новый и выразительный язык общения, его правила и каноны, научитесь пониманию его мелодики и ритма. Музыка танго очень сложна и богата паузами, синкопами, сменами ритма и настроения. Есть танго быстрое и медленное, лиричное и страстное, трагичное и веселое. Конечно, сама мелодика танго дает нам подсказки, как музыкально интерпретировать танец. Умение слушать и понимать мелодику танго и нюансы его ритма приходит с практикой. Но именно в этом вы сможете как нигде лучше выразить себя, свои мысли и чувства. Это о выразительности языка, богатстве интонаций, уместности знаков препинания, то есть пауз, поз и окончаний. На это есть, конечно, масса правил, но вы вольны расставить их на ваше усмотрение, это ваше авторское право. 
Аргентинское танго – это живой танец, так как основан на импровизации. Освоив каноны языка танго и способы сочетания шагов, звеньев в целую цепь музыкальных фраз, вы откроете для себя бесконечное множество их комбинаций. Женщины и мужчины разнообразят танец за счет собственных стилевых решений и украшений, которые придают каждому танго уникальный облик и непредсказуемость. Даже хотя танцоры придерживаются определенных правил построения танца, они никогда не знают наверняка, какое танго получится, какие украшения они будут использовать, как они истолкуют музыку. Именно сюрпризы во время танцевания делают танго таким притягательным. И для танго действительно нужны двое, потому что этот танец не вписывается в простоватую концепцию «мужчина ведет, женщина – следует». Танго, как и любую хорошую беседу, создают оба партнера. Каждое ваше танго будет неповторимым. Вы сможете выразить в танго всевозможные оттенки настроений и чувств, насладиться каждым мгновением танца, общением и взаимопониманием. Важно лишь ощущение партнера и музыки, и тогда ваш диалог будет полон внимания, участия и танго.

Немного истории
Танго - это уникальный сплав традиций, фольклора, чувств и переживаний многих народов, имеющий более чем вековую историю. Точное место происхождения танго – и танца и самого слова – теряется в мифах и неписаной истории. Но есть общепринятая теория. В середине девятнадцатого века в Аргентину завезли африканских рабов, которые начали изменять местную культуру. Слово «танго» может быть чисто африканским в значении «замкнутое пространство», а может быть португальским (или латиноамериканским – произошедшим от слова «tanguere» означающего «прикасаться»), подобранным рабами на корабельных бортах. Так или иначе, слово «танго» в период заселения Аргентины рабами из Африки стало означать место, где чернокожие рабы и свободные негры собирались для танцев. 
В конце 19 – начале 20 века Аргентина переживала массивный приток мигрантов. Так, в 1869 году численность населения Буэнос-Айреса составляла сто восемьдесят тысяч человек, а в 1914 году – полтора миллиона. В Аргентине стали жить все: африканцы, испанцы, итальянцы, британцы, немцы, поляки, русские, сами аргентинцы… В результате произошло слияние культур, и каждая национальность заимствовала танцы у другой. Африканские ритмы тангано и кандомбе, аргентинская милонга, кубинская хабанера, испанское фламенко, ритуальные танцы индейцев, польская мазурка, немецкий вальс и другие танцы народов мира слились воедино в один танец Аргентинское танго. Большинство иммигрантов были мужчинами, надеявшимися разбогатеть в этой новой перспективной стране. Как правило, мужчины эти были бедны и отчаянны и хотели заработать, чтобы вернуться в Европу или перевезти свои семьи в Аргентину. Эволюция танго отражает их глубокое чувство потери, тоску по покинутым родным людям и местам. 
Вероятнее всего, танго появилось на афро-аргентинских танцевальных собраниях, которые посещали компадритос – молодые и бедные уроженцы Аргентины. Они любили надевать на головы шляпы из мягкого фетра с широкими опущенными полями, свободно повязывать шейные платки, носить ботинки на высоких каблуках и засовывать за пояс ножи. Компадритос принесли с собой танго в Corrales Viejos, район скотобойни Буэнос-Айреса, и познакомили с ним местечки для низших классов, где практиковались танцы: бары, танцевальные залы и публичные дома. Именно здесь африканские ритмы встретились с аргентинской музыкой милонга и родились степы нового танца. Хотя элита аргентинского общества относилась к жизни трущоб с презрением, сыновья разбогатевших иммигрантов были не прочь там позабавиться. И со временем о танго узнали все. 



К началу 20 века танго (как танец, так и популярная музыка) заняло прочное положение в Буэнос-Айресе и спустя несколько лет распространилось по провинциям страны и даже пересекло Ла-Плата и попало в Монтевидео, столицу Уругвая, где стало такой же частью городской культуры, как и в столице Аргентины. Шествие танго по миру началось в первой трети двадцатого века, когда сыновья из богатых аргентинских семей проложили путь в Париж и подарили танго обществу, жадному до новаторских идей и терпимому к сомнительной природе танца и связям с молодыми, богатыми молодчиками из Аргентины.
К 1913 году танго танцевали в Париже, Лондоне и Нью-Йорке. Проводились чаепития танго и экскурсии танго на поездах. Существовали даже цвета танго – например, оранжевый. Аргентинская элита, сторонившаяся этого танца, теперь приняла его и гордилась как национальным достоянием. В 20-х и 30-х годах 20 века танго продолжало распространяться по миру. Танец появился в кино. Певцы танго разъезжали с концертами. К тридцатым годам начался Золотой Век аргентинского танго. Аргентина стала одной из десяти богатейших стран мира. Танго превратилось в фундамент, первооснову ее культуры. Золотой Век этого танца длился вплоть до пятидесятых годов. Но расцвет танго был обусловлен экономическими причинами. 
В пятидесятые годы правительство начало проводить политику репрессий. Это, разумеется, отразилось в текстах песен, и постепенно репрессии перекинулись на культуру. Танец и музыка ушли в подполье; по всей стране закрывались танцевальные залы, запрещались большие публичные собрания - но танго выжило в маленьких, малоизвестных местечках и, конечно, в сердцах людей. Однако уход в подполье сопровождался вторжением рок-н-ролла, и из-за него танго пребывало в упадке вплоть до середины восьмидесятых годов, когда в Париже появилось сценическое шоу «Танго Аргентино». И снова Париж стал местом, откуда танго во второй раз понеслось по миру. Шоу вызвало взрыв увлеченности этим стилем в Европе, Северной Америке и Японии. Сегодня танго является одним из самых популярных в мире танцев.

Аргентинское и бальное танго – это одно и то же?
Нет. Происхождение у них одно, но места развития, время и различный характер эволюции стилей сделали их двумя разными танцами. Бальное танго, очень отличается от социального аргентинского танго. Различия заключаются в положении тела, характере объятий, движении, равновесии, степах, музыке… Бальное танго – совершенно иное в нем нет импровизации. Что называется, иное от макушки до подошв туфлей. Если раньше вы занимались бальным танго, думайте об аргентинском танго как о новом танце, а не как о версии того, что вы уже знаете. В Аргентине танго Аргентинским не называют, называют просто Танго, это в Европе его называют аргентинским, что бы отделить его от спортивного бального танго. 
Аргентинское танго – как сценический танец и социальный танец 
Лишь немногие люди начинают интересоваться танго потому, что увидели его на сцене. Танго, каким оно исполняется на сцене, связано с социальным стилем, но вместе с тем очень сильно от него отличается. Сценическое танго называется «фантазия» и гораздо более театрально, гиперболизировано, нежели социальное танго по той простой причине, что зрители должны видеть, что творится на сцене, даже если сидят в последнем ряду. Посещение сценического выступления в стиле танго – прекрасная возможность услышать, как играет живой танго-оркестр. 

Сегодня танго-клубы появились во всех развитых странах мира. В Лондоне вы можете танцевать танго каждый вечер; в маленьких городках Голландии, Германии и в Финляндии вечера танго проводятся ночь за ночью, вечер за вечером... Танго-шоу играют на сценах Бродвея, в Париже, Лондоне, Берлине, Токио, Москве, С. Петербурге и других городах мира.



Социальные танцы появляются от физического желания людей создать язык, на котором они могут говорить друг с другом без слов Аргентинское танго занимает отдельную нишу в парном танце. Здесь тела ближе, намного ближе, чем в любой другой танцевальной форме. Это благородное искусство, которое может выразить самые глубокие чувства, испытываемые людьми к жизни, к друг другу, к природе и к самому существованию.

Etiquette for social occasions

When dancing in social occasions, such as at a Milonga, the following are a few guidelines to keep in mind in order to make the dance a pleasant and fun experience for you, your partner and everyone else on the floor.

Remember that as in Tango we strive to inhabit the body with full awareness, we also have to bring that same quality towards our surroundings: the community we are dancing with and the space we are dancing in.

1. Go to the dance freshly showered. Do not use strong after-shave, perfumes, shampoos, deodorants or oils. Many people are very sensitive - or allergic - to certain smells. If you sweat a lot during the dance, bring an extra shirt, use a towel to dry often. If you are the follower and you wear glasses, consider removing them while dancing. A mint to freshen up your breath is often a good idea.

2. Tango is about intimacy and merging with the partner and the music. Dance mostly in silence and keep the talking to a minimum. Use the dancing time as your meditation. Most people, if they feel inclined, use the time in between dances for a verbal exchange.
3. In your dance, always follow the line-of-dance, counter-clockwise around the dance floor. If there are many people dancing on the floor, there might be more than one lane. Use the outer lanes for faster dancing/walking and the inner lanes if you want to move slower.

4. Never back-step backwards into the line of dance. Rather, rotate and move your back steps with the flow of the floor, counter-clockwise, making sure you know that space is empty.

5. If you have just learned a new step and you would like to show it to your partner, (unless it's a Practica) try to do so in a corner of the room or in a low traffic area.

6. Always be aware of other dancers' presence around you in order to avoid collision. This is mainly the leader's responsibility but not only. In a crowded dance floor the follower can also help the leader to become aware of the presence of another couple (for example dancing in the blind-spot to the right end side of the leader - where the follower's head might be) using a hand squeeze, pressing her hand on the leaders back or pulling closer to her partner. If a collision happens try to soften it by using your arms and slow down momentum, and always acknowledge the other couple even if it was not your fault.

7. During the cortina (the non-dance music interlude between tandas or set of 3 to 4 songs) if you are the man, thank and accompany your partner off the floor - unless you decide to dance one more tanda together.

8. Although the Cortina is a customary partner-changing opportunity, it is OK to leave the floor after one song if you are sufficiently uncomfortable with your partner's dancing or other behavior. Saying "thank you" to your partner is a coded way of saying "I want to stop dancing". Use other expressions of gratitude if you want to keep dancing.

9. Tangueros love the music. Loud or long conversations on the floor are not well received.

10. If the couple in front of you stops you can either dance around them or use a rocking step or any other appropriate step to keep your dance happening until they move.

11. On a crowded dance floor avoid high boleos and other wide leg extensions that might not be safe toward people dancing around you.

12. If you are a more experienced dancer, it is OK to give feedback to your partner if they asked you for it or you have first asked their permission to make an observation. Be sensitive toward your partners, as the nature of Tango often places people in a very open and vulnerable position.
 
http://web.mac.com/mauitango/Mauitango/Etiquette.html

Does a real milonga still exist?

Before my serious interest in tango, I attended ballroom dance classes in Chicago where the studio owners held parties on a Friday or Saturday night for their students. We danced to a variety of recorded music. Everyone got dressed up. The parties had exhibitions by the teachers and their students. When I began teaching, I organized class outings and parties for my dance students as well. The focus was on practicing and socializing. Everyone got to know everyone else by name.

Those who have had social dance experience probably believe that a milonga is a dance party just like all the others they have attended with one difference–most of the music is tango. This is not true.

A venue was a milonga because there were milongueros present. That alone set it apart. It could have been a club de barrio like Premier in Caballito or a confiteria like Domino downtown. As long as there were milongueros, the term milonga was appropriately used. Today there are only a handful of places where the milongueros go. One outdoor venue which has no seating, no tandas, no use for the codes, and no milongueros is included on the list of milongas in Buenos Aires.

A milonga is where milongueros go to listen and dance to tango. A milonguero doesn’t talk while dancing. There is respect for tango. A milonguero doesn’t discuss his personal life in a milonga. Conversation between dances is brief and private. The main agenda is the music and dance; exhibitions, announcements, raffles, birthday celebrations, etc. are no part of a real milonga.

They call them milongas, but a real milonga doesn’t exist in Buenos Aires–they have become tango dance parties for socializing. The milongas as they were known by the milongueros are gone forever.
 
by jantango
http://jantango.wordpress.com/2010/01/20/does-a-real-milonga-still-exist/

In Tango, the body is inhabited with full awareness

"Dancing is an experiment to bring your body, your mind and your soul, in tune. When, through the movement, the body and the mind are flowing and melting into each other, when the two become one, a certain alchemy starts happening. That's why you see a new kind of grace on the face of the dancer, it is alchemical - the body-mind meeting, merging, becoming one rhythm, one harmony. When this harmony has happened then the third, the soul, starts entering into it. The soul can enter into your existence only when your body and mind are no longer in conflict, when your body and mind are deep in love, embracing each other.... that's what happens in dance. Then immediately you will find the third entering also."

Osho
from: Sufis, the People of the Path
http://www.mauitango.com/

Квинтэссенция танго

Во все времена танец налаживал связи в сообществе, служил чем-то вроде духовной практики, предоставлял возможность поупражняться физически, снять стресс и, безусловно, играл важную роль в ритуале выбора партнера. В последние годы мы переживаем возрождение социального танца во всем мире. Это указывает на растущую потребность людей воссоединиться друг с другом, обществом и самими собой. Парный танец мог бы открыть дверь к этому воссоединению, а танго, один из самых его замечательных представителей, могло бы послужить ключом. В Буэнос-Айресе, Аргентине, на родине танго, говорят, что первое "объятие" расскажет вам обо всем еще до того, как вы сделали первый шаг. Вы спросите, ну, а конкретно, что же такое это "всё", что можно узнать за короткое мгновение физического контакта?

Танго отступает от понятия "строго по правилам", но скорее учит нас "импровизировать". Это значит, что "ведущий" использует легкие изменения в давлении и положении своего корпуса, чтобы дать понять "ведомому", куда поставить какую ногу. Затем он изобретает свой собственный шаг, чтобы идти вместе, и так до тех пор, пока не закончится песня. Поэтому танго и кажется таким сложным, поэтому ноги партнеров могут так замысловато переплетаться. Здесь кроется красота и загадка танго. Мы меняем партнеров и каждый танец отличается от предыдущего, принося свои сюрпризы, вызов и острые ощущения. Мягко или резко мы ступаем? Крепко или нежно обнимаем наших партнеров?

Shastro & Maria - Tango Milonguero, Maui Tango Fest 2008

' In this video we danced to "Amurado" by Osvaldo Pugliese.



When we were asked to perform on the same stage and in the same show with show-tango dancers of the caliber of Natalia Hills and Jorge Torres, we asked ourselves what we had to offer. We decided that we wanted to show to the public how social tango is danced - in particular the Milonguero style we usually dance -and give people a more complete understanding of the whole range of this multi-facetted dance that is Tango.

We wanted to represent the way we usually dance at the Milongas, without any choreography, dancing "in the moment", based on improvisation and a deep connection between the partners.

It was very well received; people told us they could sense the depth of our connection in the dance and that made us happy.'

Aloha,
Shastro & Maria

Back to School: A Practical Guide to Social Tango

The White Rabbit put on his spectacles. "Where

shall I begin, your Majesty?" he asked.

"Begin at the beginning," the King said gravely,

"and go on till you come to the end: then stop."

- -Lewis Carroll,

Alice's Adventures in Wonderland

Jazz musicians say there are three stages to playing jazz. First, you must learn all about your instrument. Then, you must learn all about the music. And finally, you must throw it all out, and learn to play.

If you've read this far, you probably know I don't have a lot of respect for the way tango is taught today. Most classes consist of copying the memorized steps of local teachers who have little grounding in the basics or the music. And the workshops put on by traveling tango celebrities are usually just as bad. Very few of them are respected, or even known, in the milongas. They market themselves with choreographed performances, and then they teach what that they perform. Learning tango this way is a recipe for disaster for both for the student, and for the community where he or she dances. It fills local milongas with dancers who are eager to show the acrobatic patterns they've picked up in class, and it drives away serious dancers. And worse, it obscures the power and beauty of Argentine tango by burying it under a layer of mindless, pretentious crap that... oops. Sorry. (Alej warned about having that third Irish coffee.)

The truth is that learning tango takes work. There are no short cuts. Like jazz, you must first learn all about your instrument... and that takes time. It can take years of jostling around the floors of crowded milongas to develop the centered, relaxed way of moving that's necessary to express tango—and it probably takes a lifetime to really absorb and understand the music. But a determined and dedicated student who focuses on the right things can still attain a high degree of competence without moving to Buenos Aires. It takes a genuine love of the Golden Age tangos, and a love for the learning process—but it can be done.

Because I've been lucky enough to spend so much time dancing in Buenos Aires, I think I'm qualified to discuss the first two stages of learning that the jazz musicians talk about. We've already explored the music a little in Chapter 4, and now we'll begin to look more closely at our "instrument". We'll use words, music, pictures, and also video, to get a better understanding of what it takes to turn the body into an efficient tango-dancing instrument.

As far as the final stage that the jazz musicians speak of—the epiphany of finally breaking through and learning to play—I wouldn't presume to give any advice. What we will do in this chapter is explain and demonstrate some of the practical tools of musical expression, and also point out some of the ways the best milongueros use the music. But we won't try to tell anyone how to find the entrega of tango. That’s a journey everyone has to make on his or her own.

"El tango te espera."
-Anibal Troilo

http://www.tangoandchaos.org/chapt_6school/1school_title.htm

The Death of Osvaldo Zotto :: 1963-2010

[Photo by Leone Perugino on Flickr]

Perhaps everyone has already heard. I found out Friday night that Osvaldo Zotto had also died. He was 46. Not to be outdone by Tete I suppose. It makes me think of the friendly competition between dancers, between milongueros. Osvaldo: "Yes, Tete, that was a good death, but I can die just as well, if not better. Watch me." Tete: "Yes, Osvaldo, that was a good one! Come on up, the pistas are very, very smooth up here."

But no death is a good death. Death is inevitable. We are mortal. I speak the obvious. But do we clamp and shutter our impending doom into the dark recesses of our minds? Do we ignore the obvious damage we are doing to our health? It seems that so many things that taste good and feel good are bad for us. The hard work to remain healthy in this world is just that - hard work. Physically, mentally - it takes will power. Will. Power.

And then sometimes, even the most healthy of us get sick and die. I'll say it again - Death is inevitable. Death.

As it turns out I think they both died on Wednesday, and Osvaldo may have preceded Tete. There are no details to be found. Perhaps a reader knows something?

I never met either man, but wish I had. I admired their dancing. Distinctly different, distinctly unique from each other in their expression of the dance, and that is the beauty of tango. Two men with two different interpretations on the art form. The music goes in their ears, filters through their hearts, and comes out via their feet. Their movement becomes a reflection their hearts. Their souls. That's what I love about this dance. It may be one of the only ways (that I can think of right now) that an individual (okay, a couple) can express their hearts and souls through movement, whilst embracing each other. What a beautiful thing to have in your life.

Sad, sad days. The loss of two tango icons within a couple of days.

If I may for all of us, our thoughts, prayers and condolences go out to their families, friends, and loved ones.

Here is an article from Keith Elshaw's ToTango.net:

For many years, it could be said that Osvaldo was in the shadow of his famous older brother, Miguel - who has had a 15 year run of big shows, television exposure and a great body of work.

Both brothers have worked for a long period of time with incredibly good partners with whom they ultimately have split. Miguel and Milena Plebs separated in 1999 and Miguel has not stayed with one partner for any extended time since then.

As today I watch Osvaldo in sheer awe, I also reflect on how impossible it would have been to have said the same thing way back when as he danced (very well, but ...) with Guillermina Quoroga in the old days. You wouldn't think it is the same person - even though he even then had his patented moves. Osvaldo and his then wife Mora Godoy achieved a high profile in part through the series of instructional videos they made in the 90's and in shows with Miguel and Milena. Their break-up occurred. Then in 1997, his partnership with Lorena began. Their dancing now is sublime.

When teaching in English, it is Lorena who explains and shines. She is a gifted dancer and communicator. But just watching Osvaldo is inspiring.

Dancing to Pugliese's Desde El Alma, they begin with tantalizingly slow walking and interplay through the first half of the song. It is the most mature performers who don't feel they must fill up their 3 minutes with flash.

But as the song builds, their energy increases; their performance more dramatic. In the last 30 seconds, after Lorena's sultry display of the sexiest walk in Tango, they display a stunning mastery of Tango at it's most furious and complicated.

You love Tango with so much ever-increasing emotion. It tends to dominate your life. The love goes on and on over time, deepening it's hold on you.

When you see Osvaldo and Lorena, you understand more why. They embody all the physical beauty, the emotional maturity, the artistic sensibilities of Tango's potential in motion.

And another article about Osvaldo I found on CliveJames.com:

With tango partnerships, the man’s name always comes first, not just because of the art-form’s unreconstructed macho heritage but because the man leads and takes the responsibility. His first responsibility, however, is to bring out the lyricism of the woman. Of the two famous brothers, Miguel Angel Zotto is the more vivid but Osvaldo is the more poetic. When I first saw him dance, on one of his teaching visits to London, I thought seriously of tearing up every poem I had ever written and making arrangements to be born again in Buenos Aires. In the first three examples of his mastery that I have chosen here, he dances with his regular partner Lorena Ermocida. Almost every video of serious Argentinian tango that you will ever see was shot by an amateur and the sound is usually as raucous as the visuals are patchy, but if, at a first viewing, you keep your eyes on Osvaldo’s feet you will see the essence of the matter. The remarkable length of his sideways stride is always in evidence, and the default position of his advancing foot is invariably with the toe extended, giving a man of average height the stride of an unusually suave giant.

An expert witness could go on for hours about the intricacies of Osvaldo Zotto’s technique, yet his smoothly linked steps are never more complicated than necessary, even when he uncorks a giro that has chapter after chapter, like a little book. But his chief instrument of expression is his partner. Under his guidance, she is given oceans of time to flourish the free foot and decorate as she pleases. I have chosen the first example with some care, so that the beginning viewer will realise that the woman should know how to get her effects with her feet near the floor before she takes off into the adagio bravura whose crowd-pleasing over-use makes so many tango stage shows tediously repetitive. Lorena Ermocida (that’s her with him in the photograph) is an artist, not a stunt woman.

Perhaps the most expressive partner Osvaldo Zotto ever danced with, however – she was probably the most expressive partner any leading man of Osvaldo’s generation ever danced with – was the great Milena Plebs. My last chosen example shows Osvaldo and Milena demonstrating exactly what the tango ought to be. Notice, in particular, how Milena scarcely even decorates. She gets her effects with a simple-seeming sweep of the free foot, just as Osvaldo gets most of his from merely changing direction. But of course there is nothing simple, or mere, about it. This is a language in which fluency costs a lifetime.

Posted by Alex at 7:18 AM
http://alextangofuego.blogspot.com/2010/01/death-of-osvaldo-zotto.html

The Death of Pedro "Tete" Rusconi :: Un Milonguero

Tete Rusconi y Silvia Ceriana :: Photographer: Carlos Vizzotto

Born: January 9, 1936
Died: January 7, 2010

Two days before his 74th birthday. Young. Too young to die at 73, especially when "80 is the new 50" or whatever they are saying.

Apparently he was dancing as usual at Milonga El Beso on Wednesday night, appeared to everyone to be in perfect/usual health and humor, but then died in his sleep of an apparent heart attack.

There was a wake held for him in Buenos Aires at midnight last night.

I never met Tete Rusconi. I watched countless YouTube videos of him dancing. He was inspiration for many of us. He was a milonguero, known for his vals, with his arms extended out like a kid pretending to be an airplane.

And fly like a kid he did, floating across the dance floor like no other.

Others, who knew him, could say more, could share their stories, share his stories. From the little bit I have gleaned over the past five years, hearing bits and pieces about him, he was a larger-than-life character. A full-of-life kinda guy. And he obviously loved tango and the people of tango.

The milongueros are a dying breed. Literally. Dying off into extinction. I'm sure there are videos and interviews with him, but it seems a shame that these gentlemen are dying and we are losing them, their stories, their personalities, their knowledge of the dance, their love and light and quirks and whatever. But this is a subject for another post.

Here is the background information from the "Tete y Silvia" website:

Pedro "Tete" Alberto Rusconi

January 9, 1936 – January 7, 2010

Это выдержки из письма, которое раздавал Тете на милонге, в свой день рождения, 4 года назад:

Я верю, что многие искажают танго, представляя его тем, чем оно не является. Танго - это музыка, и оно не начинается с шагов. Мы не должны совершать ошибку не обучая тому как танцевать различные музыкальные ритмы узнавая каждый оркестр. Многие, кто учит, должны сначала научиться танцевать танго, а потом сделать все необходимое, чтобы не обманывать своих учеников и не дискредитировать свою репутацию как учителей.

Танго - это не бизнес, однако многие считают именно так. Танго - это часть наших жизней, часть наших дедов и бабушек, отцов, матерей, братьев и друзей. Это наша жизнь. Мы не должны обманывать сами себя, и мы должны вернуться, чтобы вернуть это себе снова. мы теряем танго, когда мы не уважаем его.

Танго сообществу Европы и всего остального мира, я дам совет: Я бы хотел обратить ваше внимание на обучение танго, и на организацию семинаров, со всем моей привязанностью, я хочу, чтобы вы знали, что когда вы организуете что-нибудь, пытайтесь пригласить лучших танцоров и учителей, учить так, как должно учить танго. Без музыки, бита, позы и баланса, шаги не значат ничего и для этого нам нужны настоящие мастера и учителя.

Есть множество видео Тете, где он танцует со своими партнершами преподавателями Rosanna Remon и Silvia Ceriani в последние годы, однако мое любимое вот это видео, с Maria Villalobos в Marisa Galindo продакшн в 1992.

Тете родился в баррио Pompeya и жил последние годы своей жизни в доме на Pringles 84 в баррио Almagro. Он был госпитализирован в декабре на несколько дней и планировал его ежегодное путешествие в Италию в апреле. Это его последнее выступление записанное в Salon Canning, 28 декабря 2009. А это его племянник, танцующий в Cachirulo.

By jantango
http://jantango.wordpress.com/2010/01/09/pedro-alberto-rusconi/

Interview with Mariano "Chicho" Frumboli (March 2008)

Это первое интервью Чичо, вернее сказать предыдущее и наверное его надо было опубликовать перед тем интервью, которое он дал El Tangauta, так как после него особенно становится понятным почему его последнее интервью вызвало такой интерес.


Buenos Aires, March 2008
Translation: Celi Arias

ATDRC: What were the influences in your life, artistic or personal, that helped you in the development of your style of dancing?

CHICHO FRUMBOLI: My father had a artistic side that was significant. He was a fine arts professor, he studied the guitar, and I believe that this had a lot to do with my own artistic development, and creativity. I also remember that when I was a child my father often listened to Piazzola, and that was my first contact with the tango; with the music more than anything. That’s why before I became a dancer, I was a musician. At the age of 13 I had my first drum set. Ten years later I began to study theatre with the great teacher and actress, Cristina Banegas.

Танцевать в небольшом пространстве и сделать это частью вашего стиля... это непросто!

Последний месяц, у меня снова была возможность попробовать мою недавно открытую технику "танцевания в небольшом пространстве". Похоже это здорово работает и нравится моим партнершам. Я должен был добавить к этому другие движения, которые мне нравятся. Иначе это становится скучным само по себе.

Как эволюционный процесс, одно дело выть в состоянии сделать что-то из ранее освоенного. Но (по-моему мнению) совершенно другое дело сделать это "вашим". Т.е. сделать это частью вашего репертуара, и уметь использовать это непринужденно.

Зачем это делать? Это помогает сохранить новизну. Это помогает сделать более интересными исполнение и музыкальную интерпретацию. Делает запоминающимся танцевальный опыт. Это когда вы спрашиваете кого-нибудь и они описывают между прочим ваш танец. Это помогает построить индивидуальность. Я верю, что в Танго, каждый должен иметь собственный запоминающийся танцевальный образ, и не быть просто "подражателем шагов и фигур".

Мой первый учитель Аргентинского Танго (Сонни Ньюман) как-то сказал:

"Вы должны создать ваш собственный стиль. Я вижу массу людей, которые пытаются походить на своих героев: Гавито, Фабиан, Фрумболи, или даже Мириам... Очень досадно, что они ограничивают себя только копированием движений. Мастера начинали точно так же как вы, учились множеству вещей у других и делали их своими собственными. Они развили их в то, что видите вы. Вы должны делать тоже самое."

by AmpsterTango
http://ampstertango.blogspot.com/2008/12/dancing-small-its-hard.html

Beautiful at any level

One of my most inspirational tango moments happened to me a few years ago. It was for me, a defining moment... The elderly lady...
At the time, I did not consider myself good a dancer. But, then again, I wasn't a raw beginner either. I was at my usual milonga and It was still early so attendance was light. I danced as best I could while trying to figure out how to improve my leading skills. Dancing with different partners was my strategy before the good dancers came. It was fun and I think I was starting to really understand this "leading" thing.

The night wore on and the milonga was now full of wonderful dancers. Sitting across the room was a very dignified looking elderly lady intently watching the floor with a look of awe. I wondered who she was, as I had never seen her before... I kept dancing.

A few tandas had passed, and decided to take a break and sit out the current tanda (it was a milonga and I was horrible). I noticed the very dignified elderly lady once again. She seemed happy with a wispy smile on her face as she watched. The cortina came. Deciding to take the chance and ask her to dance, I stood up. I stared her way as I was trying to make a cabecéo. No luck. Doing it the old fashioned way, I walked up to her and asked. She smiled and accepted.


The tanda...
I stood up straight, waiting for her. She approached and I offered my left hand. She took it with grace. I opened my right arm, inviting her for an embrace. She accepted, and settled in. My right arm rested across her back. She nestled her cheek on mine and we settled into a comfortable close embrace, safe and warm.

I listened to the music as the strains of the bandoneon permeated the air. I relaxed, took a breath, then moved. She moved with me, albeit a tad awkwardly. I could tell that she had a dance background (perhaps ballroom) but not Argentine tango (at least, not yet).

I tried to lead a back ocho, and she does a rearward fan. I tried to lead a front ocho, then suddenly four perfect latin/rhythm forward fans in succession... Yup! Ballroom. I went with it, letting her finish, then led something as best I could to make it look and feel seamless. Her posture was a bit off with a tendency to lean backwards a bit with squared shoulders (definitely ballroom). I compensated by keeping it simple enough that flow and syncopation could be maintained even if the following was not stellar. The tanda continued, and it worked. What was important to me was that the connection was great, and it was.


Dialing in...
*An old military technique (sic): To change your settings to compensate for the current situation*

I had to "dial her in." She had the spirit, the heart, the connection, but not necessarily the technique... at least, not tango technique. It was an exercise in reaction and adaptation. I led and she answered—not quite the answer I was looking for, but no matter. I reacted to make it flow and adapted so that it all blends into one motion after motion. So what if some of what she was doing wasn't a tango? Tango is about how it feels and I tried to make it feel good.


The end of the tanda...
I thanked my lady friend, and escorted her to her bench. I apologized for the flubs I did. She turned to me and smiled. She said "Thank you," and took her leave.

I really did make a few mistakes, and I tried to correct them as smoothly as I could. I let it go, and chalked it up as a learning experience. I made my way to the water fountain. I thirst.

Beautiful...
The water fountain was by the exit door. I took a couple of cups and filled them with water. It was a warm night and I stepped outside for some fresh air.

I sipped my water, savoring its coolness. It was a pleasant contrast to the warm night air. I stared blankly at the road and watched the passing cars to the tango tunes of the milonga.

Feeling a gentle tap on my shoulder, I turned and discovered my elderly lady friend smiling at me. She said,

"Thank you. You were my best dance of the evening and I can go home now."

I smiled and nodded in gratitude. She turned and started walking away. After a few steps, she turned to me and said...

"You made me feel beautiful this evening."

She smiled. Then, turned away, went down the stairs to her car and drove off. Rounding the corner, I watched her disappear.

To my dear elderly lady friend, whom I had never seen before, nor since...
You made me feel a heartfelt warmth that evening. My soul soared at the thought that I made someone happy. Because of you, my sweet lady, I have promised myself that from then on, I will make every effort for any and all my tango partners (regardless of skill level) to feel beautiful.

Thank you.

by AmpsterTango
http://ampstertango.blogspot.com/2009/04/beautiful-at-any-level.html