Modern Tango World #3 {Buenos Aires, Argentina)

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Modern Tango World: Number 1, Summer, 2015 — Neolonga Syndicate, Via Maestra Riva 124, Riva da Pinerola, Italy
Table of Contents
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Modern Tango World
Buenos Aires/Rosario Special Edition Editor
Martin Delgado
Buenos Aires/Rosario Special Features
Circuits of Milongas, Gustavo Ameri .................................. 5
What’s happening in Buenos Aires? Fabio Rodriguez... 8
Success is to Live Life Dancing Pablo Inza ...................... 12
Guide to Buenos Aires Tango....................................... 16
Guide to Rosario Tango................................................... 22
Movements, Julia Juliati.............................................................. 24
Interview with Max Masri, Martin Delgado .................... 28
The Dynamics of Tango , Alexandru Eugen Cristea ....... 31
New Tango Music Arndt Büssing ............................................. 34
Alba Sollis: Tango Diva ................................................................ 40
DJ/VJ-ing, Jochen Lüders............................................................... 42
Tango Moves, Raymond Lauzzana .......................................... 46
Letters to the Editor ..................................................................... 49
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Modern Tango World
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Buenos Aires Martin Delgado
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Circuits of Milongas, Porteñas and Rosarinas
Gustavo Ameri
In Buenos Aires, there are many milongas scattered among the different neighborhoods across the city.
The total number is around 180, every week. They are organized into milongueros circuits - sequences
of milongas distributed to different nights of the week.
Many milongas have organized classes taught by specialized
teachers, during the pre-dance time in the
early evening hours. They can be classified according
to some features, such as the more traditional versus
the avant-garde. Some are for amateur dancers, and
others for more experienced dancers.
Some, such as Salon Canning and El Beso moderate
between the traditional and the new generations of
milongas. Salon Canning is a famous venue with its
characteristic wooden floor, coveted by many tango
dancers. It ihas a large lounge where you can dine or
drink and is very busy with the most famous tango
dancers and tourists. It is located in Palermo and is
open Monday through Sunday. Every day, the milonga
is held by a different organizer. For example, Mondays,
Tuesdays and Fridays have become reserved for the
Parakultural Group’s milongas.
stock photo of La Viruta
Moreover, there are places with many people who
have no connection to tango, such as La Viruta and
La Catedral.
La Catedral is a landmark created by Omar Viola.
It has a relaxed atmosphere which opens its doors
to all genre of tango. It has become just a warm
place to dance. The main virtue of La Catedral is
that it has managed to bring people of all age levels
and not just to listen to tango. The relaxed style and
baroque atmosphere make it one of the amazing
and unique places in the world. Thousands of foreigners
and personalities that have visited Buenos
Aires, know it as one of the main attractions that
the city has to offer. La Catedral is located in the Almagro
neighborhood and it features an outstanding
cuisine, dance classes and milongas, as well as tango
shows on weekends.
On the other hand, milongas at Sin Rumbo, Sunderland
and Glorias Argentinas are very traditional and historical.
Sunderland is one of the most famous representatives
of the neighborhood clubs. This is one of the
most famous tango salons and its floor is dominated
by the highest level of dance. It is difficult for the less
experienced to dare to dance here.
Far from the salons at the center of the city, there are
typical clubs with all the characteristics that mark the
tradition of Villa Urquiza, a neighborhood with more
dancers than any other part of the city. The neighborhood
even has its own style of tango that bears its
name, and will forever be immortalized.
La Viruta is another very popular venue, with very
crowded classes. It is owned by the famous dancer
Pebete Godoy. This venue opened its doors to
all, with relaxed and undemanding atmosphere on
the floor, where newbies can dance alongside the
great milongueros. It is the quintessential milonga
for young people, who go alone without partners
or friends, because there they can find peers and
dance partners. It is a large lounge where you can
have all kinds of drinks and light meals. There is always
an artistic surprise for the guests, from exhibitions
of prominent dance partners to musical
shows and all kinds of events that tend to stretch
the limits their abilities, pack the place to capacity.
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La Bicicleta and El Yeite that are more modern and
frequented mostly professional dancers. El Yeite located
in Cordoba and is known for a dance festival
organized in February or March.
There are many milongas held in other cities,
such as Rosario, in lounges, neighborhood cafes
or clubs. In these tango churches, c,assical and
modern tango may be heard.
Echoes of such great figures as
Carlos Gardel, Aníbal Troilo and
Astor Piazzolla coexist with new
contemporary styles, and even
the electronic tango.
In recent years, Buenos Aires has
experienced tremendous growth
in the milonga circuit. From 2001
to the present, the tango grew
mainly in the neighborhoods of
Palermo, Villa Crespo and Almagro.
These are the places that
changed the most, and where
most tango events are located.
These neighborhoods that have
more possibilities, not only for
tango, but also for gastronomy
and culture.
stock photo of La Bicicleta
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After the 2001 financial crisis, the tango began experiencing
a new boom in Argentina with a new
kind of appreciation in value for its cultural value.
This can be seen not only in the styles of dance,
but also in the many bands that have turned to
tango. They are not just modern fusion bands, but
orchestra tipicas, as well.
With respect to the style of dance tango, tangot
has undoubtedly mutated with the music and the
times. In the mid-90s, Gustavo Naveira at Cochabamba
444 developed a new interpretation of
the dance that had not changed since the 1950s.
TFrom this new style, many exponents arose, perhaps
the most well-known is Chicho Frumboli.
There are two general
types of dancing. On the
one hand, the new generations
put more energy in
a more modern style. But
today, unlike ten years ago,
more value is given to tradition.
Definitely, this search
is left to the discretion of
those who teach and those
who dance.
Rosario is a great tango
city. The situation is similar
to Buenos Aires, but
on a smaller scale. There,
milongas are every day of
the week. Stylistic variation
is abundant, among them
are the Milonga Contramambo
in El Olimpo Bar at Mendoza and Corrientes,
where the scene tends towards modernity.
The manager, Santiago Aschilli, is a very innovative
dancer. Another space that is booming La
Chamuyera is a haven for both dancing and listening
to tango, rock and jazz concerts. It is the
home base of dancer Germán Ruiz Diaz. One of
the most traditional spaces is the Metropolitano
de Tango de Rosario.
Daniel Lancers who offers offers dance performances
of more traditional tango. Rosario is a city
of innumerable different groups of tango dancing
mixing and flowing together. Other milongas
to mention are the Café de la Flor, El Levante, and
in the legendary district of Pichincha, El Hornero,
Milonga Roja, El Revire and the traditional milonga
at La Casa del Tango.
The Argentine cities are not the only ones to have
the privilege of the great milongas. Berlin, Bologna,
Milan, Rome, Madrid and many other European cities
have tango spaces to tango that are the envy of
Buenos Aires. Medellin, Colombia has great milongas
and many Colombians take part in the Buenos Aires
dance scene.
stock photo of La Catedral
The most famous Argentine teachers lead workshops
in these cities in Europe and the world. The
great capital of tango was, is and will always remain
Buenos Aires.
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What’s happening in Buenos Aires?
Fabio Rodriguez
The images of Astor Piazzolla, Aníbal Troilo, Osvaldo Pugliese, Horacio Salgán and others
linger around us. In order to understand the current tango scene in Argentina, you need to look a
little into the past. Like the most musical genres in the world, tango had a beginning, then a resistance
on the part of society, and finally mass acceptance in communion with the media and the assumption
of its place in popular culture.
From the mid-fifties, political processes delayed
the development of a national culture. In general,
the tango stopped being spread and gradually lost
interest, especially among young people. Certain
sectors of the tango could be found. But, it was
difficult to accept and understand new patterns
in avmodern society. The mass arrival of television,
divided opinions of what is understood as tango
or not tango. And, tango failed to live within the
community. Indeed, many sectors came into open
confrontation with the new generations who were
inclined to musical culture that rose from rock, in
Argentina. Tango lost the support of record labels,
and had to take shelter, find new markets, reduce
or eliminate something key to its structure, such as
the orchestra tipica.
Despite this past, the cultural value of tango always
persisted. It may be debatable whether the
tango is the most popular music in Argentina.
Now, in the suburbs, where the first tango steps
were taken, many places have been taken over by
other types of music that more clearly reflect the
people’s daily lives. But, tango remains a current
cultural phenomenon, that has managed to survive
these cultural changes. It has lived in the same exile
that many Argentine people.
Modern tango composers often respond to contemporary
issues with modern aesthetics, incorporating
sounds drawn from modern life. Today,
tango has been rediscovered as a living entity. it
is one of the major musical genres of the world.
Traffic on the Internet indicates that tango in an
unimaginable following.
The works of Astor Piazzolla and many others
of that period became part of the repertoire of
these groups throughout the world, from the electronic
tango, philharmonic orchestras, to chamber
orchestras. Search Google anywhere in the world
for the word tango. You will always find something.
There is different situation when considering tango
as a dance phenomenon. In Argentina, during the
1980s, tango was barely visible, except for a small
world for tourists. And, that dancing was limited in
it scope. Today, there are dozens of milongas every
day, featuring wonderful exhibitions of dancing.
They are always hypnotic in their effect and full of
sensuality, a truly unique experience in the world.
Tango is now accepted and enjoyed in all its forms.
It lives in the Tribute Orchestras with their fundamental
forms of tango of Don Osvaldo Pugliese,
Juan D’Arienzo, Ricardo Tanturi. Tango also lived
in artistic renewal begun by the great Astor Piazzolla,
and only with groups that continue his movement.
There is intimate tango with many enjoyable
forms of piano and voice ensembles. It lives in the
wonderful Creole Style, Gardel School and in the
new sound of tango fusion.
Today, the vain polemics that divided the ears of
the Argentines are far away. The names of Noelia
Moncada Luis Filipelli, San Telmo Lounge, Cucuza
Castiello, Aureliano Marin, Guillermo Fernandez,
Maria Volonte are just a few examples of the many
excellent musical groups that are part of Argentine
tango culture.
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I was born in the city of Rosario and all fairness, I
need to write something about the city of Rosario,
the second city in Argentina. It has similar port
characteristics as Montevideo and Buenos Aires, is
one of the cultural capitals of tango. Like any artistic
expression, Rosario needs professionals and
trainers to promote the quality of its tango.
Rosario has currently one of the key training
schools, the Tango Orchestra School, under the Ministry
of Culture and Education. It is a place where
very young musicians learn to play in an orchestra.
It is the true seeedbed of tango today. Rosario is a
city in which cultural passion overflows.
It is in the wonderful Casa del Tango, with ongoing
outdoor shows, open air milongas, its famous Bar
El Cairo, aris oneme of the important places to visit.
There it is — Tango, a cultural force, always arousing
curiosity among visitors to Argentina. But also,
a force to which Argentines owe much for their
own culture.
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Pablo Inza:
An Interview with Pablo Inza
Success is to live life dancing.
Martin Delgado & Santiago Beretta
A porteño by birth and citizen of the world, Pablo Inza is one of today’s great tango dancers in the
world. he is a teacher and event producer, committed to the creation of festivals that are more than a
mere exhibition of show tango. Pablo Inza is experiencing a great professional moment. With Sofia
Saborido, his current dance partner, he started a tour that has led from country to country and continent
to continent. In September, they danced in Australia and the Netherlands and in November will
be in Poland and Italy.
We chatted with him between presentations and realized that enthusiasm for making not only warns
on stage: when he speaks overflowing vitality. The memory of his first tango lesson and cravings so it
is discovered seem to move him in the same way. In turn, no longer excited by how much progress was
made pedagogically in teaching dance.
MTW: Specifically on the subject of dance: What
was attracted you to it? Did you start right with the
tango or come to it after other genres?
Pablo Inza: Before meeting with the tango, I had
an experience with theater. I spent some time practicing
and that led me to contemporary dance, also
with the need to use my body as an expression possibility.
The theater was not enough.
I liked both contemporary and classical dance language.
But, I had more classical training. A friend
urged me to take a tango class and convinced me.
The first class is for me a brilliant memory. I still
remember that first moment, even though I can’t remember
many things or what tango was involved. I
found the dance to be amazing. Coming from contemporary
dance, where the dance is more individual,
there are few partner moments There is a word, pas
de deux, that is used to describe dancing in pairs. But,
the embrace; being so close; and being able to do a
series of movements. Over time, I began to dance,
but that first moment was shocking.
MTW: How old were you when you start to turn
professional tango possibility?
Pablo Inza: I was twenty-two, maybe twenty-four.
It happened by accident. I was in Brussels, Belgium,
and the same friend goes there and suggested I put
together a tango course. I said yes, but really did
not know who might interested in me in Belgium.
We made a kind of terrible promotion. But, we
filled the seminar. Instead of one seminar, we gave
three. It was an unexpected success.
MTW: In Brussels, you do not expect to tango?
Pablo Inza: No. There was little home for tango
in Brussels. I went to Buenos Aires to study.
I made the trip that make many foreigners who
come to study tango. I took the opposite path.
Studying in Buenos Aires and then going outside.
After study in Buenos Aires, I made my first steps
directly in Europe. Then I returned to live in Buenos
Aires, where I continued studying and investigating
the tango. During that period, I linked up with
the stage, working with, among others, Juan Carlos
Copes and dancing in the mythical Caño 14. After,
I started traveling, taking the path that many colleagues
take. There was some growing in me. We
are talking about 1999, from then began another age
— travel!
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MTW: What has changied in the way that you
and your contemporaries danced, over these twenty
years?
Pablo Inza: Tango has changed a lot in different
ways, the dance itself and fashions and the impressions
imposed by different times. Also pedagogy
has changed a lot, I think we’ve evolved in the sense
that we understand the tango more formally. And,
we can now better understand and transmit. this
knowledge When I started, teaching was much
more basic. But, this implies something very nice
because it was like a passage. You got something.
But, you were unable to explain it. Today, there are
more ways to approach the tango that are much
more sophisticated. With respect to my dance,
my colleagues have influenced me a lot. There are
things that are interesting to me and the things that
I needed to develop. Perhaps, these two ingredients
are the ones that have given me my dance.
MTW: Are there mainstream trends that are
more than cosmetic changes to the dance?
Pablo Inza: Yes of course. There have been
trends in dance. Milonguero Style, Salon, Nuevo,
etc. Those are some of the styles. Until recently,
newer tango styles were fashionable. They provided
a structural compression of dance. Today, this is
indispensable for the teaching. From the outwrd
appearance of the dance, tango is understood differently.
This comes from a new pedagogy that is
useful for all styles. In addition, there are tango
fashions, such as more open, more closed, more
simple, more complex, etc.
Pablo Inza: The important thing is that it always
tries to be tango. I do not believe in the war of styles.
I think one of the best things about tango is the diversity,
where each dancer seeks expression and if it
is genuine, generates a personal style. Unfortunately
today, we see a tendency towards uniformity. This is
most evident outside Buenos Aires.
MTW: Who have been your primary influences?
Pablo Inza: This is very difficult to answer because
there are many people who inspire me. Anonymous
and acquaintances. And it changes over time. My
tastes change and I change my identifications. Before
traveling, in the nineties, I identified with the Urquiza
Style dancers, practiced with the neighborhood dancers
and frequented those milongas. Today, this style
is often called the Tango Salon. I practiced with old
milongueros, people who were going, and many of
them are totally unknown.
On the other hand, I remember my first image of
the tango. I saw a performance, named Tango for
Two. It shocked me, it must have been in 1991 or
1992. Miguel Angel Zotto with Milena Plebs and
Osvaldo Zotto with Guillermina Quiroga. There
have been other couples who inspired me since,
such as Roberto Herrera with Vanina Bilous. The
tango was taken from the roots, developed into choreographed
shows. I also had a taste of improvisation,
especially those of the old milongueros, They
could be more basic but at the same time rich in
nuances, each one was special, they were all unique.
One of the things that I like about the tango is the
unique personalities of the dancers.
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Pablo Inza: I was very nervous
because it was a huge challenge.
I went there with a lot of people
who knew what I was doing. I did
not control the situation.
MTW: Do you find it interesting
Piazzolla for dance?
Pablo Inza: The list of dancers who have inspired
me and that I admire is very very long.
MTW: Do you frequent the milonga as a participant,
or just as a teacher and artist?
Pablo Inza: I am like everyone else. Especially,
when I’m in Buenos Aires, those milongas are irreplaceable.
I frequent the milongas when I want
to play. What I have noticed is that the dancers
always choose the same version of a song for
dancing. But, there are many versions.
MTW: What do you think you of this?
Pablo Inza: It is true that there is a sort of short
list of songs. I think that when dancers always listen
to a same version, with known arrangements,
then they can interpret it. But. all of the modes of
dance are slowly changing. Today, a DJ does not
play exactly the same music that was danced 3, 5,
10 or 15 years ago. There are bands that come
and gone overthe past few years. Also, various
orchestras become fashionable, and others not.
MTW: Many dancers say they remember the
first time that they embraced another dancer. Do
you remember that time, as well?
Pablo Inza: O yes, I remember. I remember
especially the nerves. It was in that class that I had
that was amazing. And, I also remember my first
time in a milonga,
Pablo Inza: I love Piazzolla, He
wrote many sublime compositions!
I had a period when I used to dance
to his music, very often in performance.
Lately, I dance it with Sofia
Saborido. And, I did an opera with
Maria Buenos Aires. It was a production
that was done in the Opera
Company of Oslo, Norway. In
the cast were Julia Zenko and Per
Arne Glovirgen among others. It
was a beautiful experience.
MTW: So, do you see Astor Piazzolla’s music
more appropriate for exhibitions than milongas.
Pablo Inza: It is so with the post-Piazzolla concert
music, as well. There are many orchestras and
groups which produce a more danceable sound,
with marked rhythms, that help the dancer. Then
came, electronic tango, with a strong rhythm. This
marked an important moment. Many people came
to tango because of it. Now it is heard less, But,
there are encuentros and milongas where electronic
tango is played.
MTW: Do you currently reside in Buenos Aires?
Pablo Inza: This difficult to answer. I’m actually
in Buenos Aires, for the three Summer months. The
rest of the year, I’m out. I’ll be six months in Europe.
Then, we go to the United States and Canada for
two months and and then possibly Australia. So, it’s
hard to know where I reside. I sleep most times
during the year in France.
MTW: Are there different dance trends in each
country and on every continent?
Pablo Inza: Now that there is Youtube, Facebook
and the Internet, there is more homogeneity. Everywhere
has is a bit of everything. In Asia, it is more the
tango dance hall hits of the past. In Europe, there was
a boom in the new tango. Everything has become
more danceable and the United States surpasses in
this. Maybe, Australia will come a little second. But I
think everywhere the trend is more or less similar.
— 14 —

Pablo Inza: With the internet,, even though you are
fifteen thousand kilometers away, you find out what is
happening in Buenos Aires. I do not know if this is
good or bad. But now, we all learn, at the same time.
MTW: You are widely recognized in your career as
a dancer, in many countries. What are the things that
you are working on. And, what are your future goals as
an artist?
This is something that I did for six years and that
today is still goes on in Buenos Aires. It has always
been interesting in developing, I think that
there is much to take from show tango type performances.
Shows generally have a mix of styles
in the same way. There are so many things to
do in tango. But, I do not want to stop dancing
just for the pleasure of dancing.
MTW: After so much traveling, do you still like the
milonga scene?
Pablo Inza: I am always
questioning my dance, I
am never satisfied to stay
in the same place. I say
this with pleasure in the
sense that I can always
find more. Over time
you see that you can always
continue to discover,
it is infinite and I like
it. There are times when I
am more eager and other
times when I am less
patient. I feel closer to
the milonga then perhaps
closer to art performances.
Lately, I have been
questioning my dancing and
my role in education. This is
what I am most connected
to, now.
Pablo Inza: I have always
said that the tango is a language with many
possibilities. For nine years, I produced a space
known as Practica X. It became a tango stronghold
for young people and for the exploration of the
tango, I also produced a festival, trying to combine
tango with other aristic languages. This is how the
Cambalache Festival was born.
Pablo Inza: Yes of course! I love it! I love to
dance! Both in the milongas, and part of an exhibition
I still have many concerns abot dancing and
what I represent,.
MTW: So, it is this artistic search. Are you aware
of when you are successful.?
Pablo Inza: Absolutely! My success already exists!
I live dancing! I do what I like!
— 15 —

Buenos Aires Tango Guide
WeeKlY Milongas
Sunday
17:00 - 20:00 El Abrazo Verdadero Bar Los Laureles Av. Gral. Iriarte 2290 Barracas
18:00 - 23:00 Milonga Placita Plaza Dorrego Café San Telmo 1098 Centro
18:00 - 24:00 El Pial Salón El Pial Ramón L. Falcón 2750 Flores
18:00 - 24:00 Lo de Celia Lo de Celia Tango Club Humberto Primo 1783 San Cristóbal
18:00 - 24:30 Lujos en Plaza Bohemia Plaza Suipacha 921 Balvanera
18:00 - 02:00 Sueno Porteno Club Gricel La Rioja 1180 San Cristóbal
19:00 - 22:00 Bailongo de Domingos Complejo 25 de Mayo Av Triunvirato 4444 Villa Urquiza
19:00 - 01:00 A Puro Tango Salon Canning Av. Raúl Ortiz 1331 Palermo
19:00 - 02:00 Alo Lola Obelisco Tango Av. Entre Ríos 1056 San Cristóbal
20:00 - 24:00 Fulgor de Villa Crespo Club Fulgor Loyola 828 Villa Crespo
20:00 - 02:00 Estacion Sur Club Atlético Temperley Av. Meeks 1066 Centro
20:30 - 01:00 Lilián Milonga Centro Acerenza Lucania Bermudez 3127 Villa Devoto
21:00 - 01:00 Rodriguez Tango El Rodriguez Club Av. Gral. Rodríguez 1191 Villa Crespo
21:00 - 01:00 Bella Vista Tango Bella Vista Tango Club San Miguel 1663 Bella Vista
21:00 - 02:00 Abrazando Tangos Abrazando Tangos Av. Alvarez Thomas 1121 Colegiales
21:30 - 02:00 Milonga Floreal Club Ciencia y Labor Av. Cesar Díaz 2453 Villa Mitre
22:00 - 02:00 Viva la Pepa Club Villa Malcolm Av. Cordoba 5064 Palermo
22:00 - 03:00 Milonga de Domingos El Beso Nightclub Riobamba 416 B. Balvanera
22:00 - 03:00 Mundo Tango Confitería Ideal Suipacha 384 Centro
22:30 - 02:00 Maldita Milonga Domingo Buenos Ayres Club Perú 571 Monserrat
22:30 - 03:00 Domilonga Club Independencia Av. Independencia 572 San Telmo
23:30 - 05:00 La Catedral Catedral de Almagro Sarmiento 4006 Almagro
Monday
15:00 - 20:30 Milonga Ideal Confitería Ideal Suipacha 384 Centro
16:00 - 22:00 Matiné de los Lunes Plaza Bohemia Suipacha 921 Balvanera
18:00 - 23:45 El Maipu de Lucy y Dany La Nacional Alsina 1465 Monserrat
19:30 - 23:00 Bien de Abajo La Glorieta de Belgrano La Pampa 1781 Belgrano
20:00 - 03:00 Derecho Viejo Club Gricel La Rioja 1180 San Cristóbal
22:30 - 02:00 Bendita Milonga Buenos Ayres Club Perú 571 Monserrat
22:30 - 02:30 Galpón Milagros La Bicicleta Gorriti 5417 Palermo
22:30 - 03:00 Segundos Afuera Club Independencia Av. Independencia 572 San Telmo
23:00 - 04:00 Parakultural Salon Canning Av. Raúl Ortiz 1331 Palermo
23:30 - 05:00 La Catedral Catedral de Almagro Sarmiento 4006 Almagro
Tuesday
15:00 - 21:00 El Arranque Nuevo Salón La Argentina San N. Bartolomé 1759 Villa Mitre
16:00 - 23:00 Nuevo Chique Casa de Galicia San Jose 224 Centro
18:00 - 02:00 Nolvidable Obelisco Tango Av. Entre Ríos 1056 San Cristóbal
19:00 - 00:30 Sentimental y Coqueta Salon Plaza Bohemia Alsina 2540 Centro
20:00 - 02:00 Zona Tango Zona Tango Club Venezuela 2937 Centro
20:30 - 01:00 Saraza Tango Club Telégrafo y Crisol Saraza 951 Chacabuco
21:00 - 03:00 Cachirulo en el Beso El Beso Nightclub Riobamba 416 Balvanera
— 16 —

WeeKlY Milongas
Tuesday (Continued)
22:00 - 03:00 Bichito Tango Club Independencia Av. Independencia 572 San Telmo
22:00 - 02:30 Caricias Imagen Saavedra Av. Ricardo Balbín 4699 Villa Urquiza
22:30 - 03:00 Fulgor Tango Club Fulgor Loyola 828 Villa Crespo
23:30 - 04:00 Parakultural Salon Canning Av. Raúl S. Ortiz 1331 Palermo
23:30 - 05:00 La Catedral Catedral de Almagro Sarmiento 4006 Almagro
Wednesday
15:00 - 21:00 Matinée Unitango Confitería Ideal Suipacha 384 San Nicolá
16:00 - 24:00 A Puro Tango Salon Canning Av. Raúl S. Ortiz 1331 Palermo
17:00 - 22:30 La Milonga del Pueblo Salon Rock Sur Av. Sáenz 459 Nueva Pompeya
18:00 - 23:00 Lo de Celia Celia Tango Club Humberto Primo 1783 San Cristóbal
18:00 - 23:45 El Maipu Lucy y Dany La Nacional Alsina 1465 Monserrat
18:00 - 24:00 Rodriguez Tango El Rodriguez Club Gral. Rodríguez 1191 Villa Crespo
19:30 - 23:00 Bien de Abajo Glorieta de Belgrano La Papa 1781 Belgrano
19:30 - 03:00 Sueño Porteño Centro Leonesa Av. San Juan 3330 Centro
19:30 - 03:00 Febril y Ante Obelisco Tango Av. Entre Ríos 1056 San Cristóbal
20:00 - 02:00 Zona Tango Zona Tango Club Venezuela 2937 Centro
20:00 - 02:00 San Isidro Tango San Isidro Tango Club Tres de Febrero 55 San Isidro
20:00 - 03:00 Los Laureles Milonga Bar Los Laureles Av. Gral. Iriarte 2290 Centro
20:30 - 01:30 MadreTango Club Fulgor Loyola 828 Villa Crespo
22:00 - 02:00 Milonga de Oliverio Espacio O. Girondo Vera 574 Villa Crespo
22:30 - 02:00 Maldita Milonga Buenos Ayres Club Perú 571 Monserrat
22:30 - 02:30 Fruto Dulce Tangos Club Villa Malcolm Av. Cordoba 5064 Palermo
22:30 - 02:30 Milonga Popular Club Independencia Av. Independencia 572 San Telmo
22:45 - 24:00 La Milonga Niceto Niceto Club Av. Cnl. Niceto Vega 5510 Palermo
23:00 - 02:00 Milonga La Mandrilera Teatro Mandril Humberto Primo 2758 San Cristóbal
23:30 - 05:00 La Catedral Catedral de Almagro Sarmiento 4006 Almagro
Thursday
15:00 - 21:00 Milonga El Alero Confitería Ideal Suipacha 384 San Nicolá
16:00 - 23:00 Milonga del Corazón Nuevo Chique San Jose 224 Centro
18:00 - 24:00 El Pial Salón El Pial Rón L. Falcón 2750 Flores
18:00 - 01:00 Lujos El Beso Nightclub Riobamba 416 Buenos Balvanera
19:00 - 03:00 Milonga de los Zucca Centro Leonesa Av. San Juan 3330 Constitución
20:00 - 02:00 Maracaibo Bailable Cabaret El Marabú Maipu 365 San Nicolás
20:00 - 03:00 La Cachila Club Gricel La Rioja 1180 San Cristóbal
20:00 - 03:00 Milonga Rumbo Bar Los Laureles Av. Gral. Iriarte 2290 Barracas
21:00 - 01:00 Noche de Milongueros El Rodriguez Club Gral. M. A. Rodríguez 1191 Villa Crespo
22:00 - 01:30 Milonga El Puchu Mansión Dandi Royal Piedras 922 San Telmo
22:00 - 02:00 Milonga Apola Club Fierro Sánchez de Bustante 697 Almagro
22:30 - 03:00 Milonga Archibrazo Centro El Archibrazo Mario Bravo 441 Almagro
22:30 - 04:00 Soho Tango Salon Canning Av. Raúl Ortiz 1331 Palermo
23:30 - 05:00 La Catedral Catedral de Almagro Sarmiento 4006 Almagro
— 17 —

Buenos Aires Tango Guide
WeeKlY Milongas
Friday
18:00 - 24:00 La Baldosa Salón El Pial Ramón L. Falcón 2750 Flores
18:00 - 02:00 La Milonga de Elsita Bohemia Plaza Suipacha 921 Buenos Balvanera
18:00 - 02:00 Sueno Porteno Club Gricel La Rioja 1180 San Cristóbal
18:00 - 03:00 Milonga de Bs As Obelisco Tango Av. Entre Ríos 1056 San Cristóbal
19:00 - 03:00 Yira Yira Centro Región Leonesa Av. San Juan 3330 Constitución
19:30 - 23:00 Bien de Abajo La Glorieta de Belgrano La Pampa 1781 Belgrano
20:00 - 03:00 Peña de Tango de Arrabal Los Laureles Iriarte 2290 Centro
20:30 - 03:30 TANGOCOOL Club Villa Malcolm Av. Cordoba 5064 Palermo
21:00 - 03:00 Cesar Palace Milonga Casa Paraguaya Chile 1769 Monserrat
21:00 - 04:00 El Gardel de Medellín Parque Patricios Av. Caseros 3033 Centro
22:00 - 02:00 Milonga Pichuco Espacio Oliverio Girondo Vera 574 Villa Crespo
22:00 - 03:00 Lo de Celia Celia Tango Club Humberto Primo 1783 San Cristóbal
22:00 - 04:00 Sin Rumbo Club Sin Rumbo José Pasc. Tborini 6157 Villa Pueyrredón
22:30 - 03:00 Sin Gomina Milonga Villa Raffo Chile 1351 Monserrat
22:30 - 04:00 La Tradicional Club Gricel La Rioja 1180 San Cristóbal
23:00 - 03:00 Zona Tango Asociación Genovesa Venezuela 2943 Balvanera
23:00 - 04:00 El Embrujo Funda. Tango Argentino Av Córdoba 5942 Chacarita
23:00 - 05:00 Independencia Club Independencia Av. Independencia 572 San Telmo
23:00 - 05:30 Parakultural Salon Canning Av. Raúl Ortiz 1331 Palermo
23:30 - 03:00 La Marshall El Beso Riobba 416 Buenos Balvanera
23:30 - 05:00 La Catedral Catedral de Almagro Sarmiento 4006 Almagro
Saturday
15:00 - 20:30 Milonga Ideal Confitería Ideal Suipacha 384 Centro
15:00 - 21:00 El Arranque Salón La Argentina Bartolomé Mitre 1759 San Nicolás
19:00 - 03:00 Los Consagrados Centro Región Leonesa Av. San Juan 3330 Constitución
20:00 - 03:00 Milonguitas Empastadas Los Laureles Iriarte 2290 Centro
20:30 - 01:00 La Milonga de Mi Vida Centro A. Lucania Bermudez 3127 Villa Devoto
20:30 - 03:00 Clasico de los Sabados Espacio el Tacuarí Tacuari 1557 Centro
21:00 - 04:00 Mi Refugio La Nacional Alsina 1465 Centro
21:00 - 04:00 Cachirulo Obelisco Tango Av. Entre Ríos 1056 San Cristóbal
22:00 - 02:00 Milonga San Pugliese Espacio Oliverio Girondo Vera 574 Villa Crespo
22:00 - 03:00 Lo de Celia Celia Tango Club Humberto Primo 1783 San Cristóbal
22:00 - 04:00 Milonga en Rojo Plaza Bohemia Suipacha 921 Buenos Balvanera
22:30 - 04:00 Milonga de Cisneros La Traicionera Av. San Martin 2288 Villa Gral. Mitre
22:30 - 04:30 Las Morochas El Beso Riobba 416 Buenos Balvanera
22:30 - 04:30 Fulgor Tango Club Fulgor Loyola 828 Villa Crespo
23:00 - 03:00 La Independencia Club Independencia Av. Independencia 572 San Telmo
23:00 - 03:00 La Bruja Club Villa Malcolm Av. Cordoba 5064 Palermo
23:00 - 03:00 Zona Tango Asociación Genovesa Venezuela 2943 Buenos Balvanera
23:00 - 04:30 A Puro Tango Salon Canning Av. Raúl S. Ortiz 1331 Palermo
23:00 - 04:30 Malena Tango Club Sunderland Lugones 3151 Villa Urquiza
23:30 - 05:00 La Catedral Catedral de Almagro Sarmiento 4006 Almagro
— 18 —

Weekly Practicas
Sunday
20:00 - 23:00 Domingos de Tango El Viejo Buzón Neuquén 1100 Caballito
20:00 - 23:00 La Milonguita Sala Siranush Armenia 1353 Palermo
24:00 - 04:00 La Viruta Practica La Viruta Armenia 1366 Palermo
Monday
14:00 - 17:00 Muñecas Bravas La Maleva Hotel Tucumán 3424 Centro
19:00 - 24:00 De Querusa Rincón Filiar Andaluz Carlos Calvo 3745 Centro
20:00 - 22:30 Carlos & Rosa Sunderland Club Lugones 3151 Villa Urquiza
22:00 - 01:00 El Motivo Practica Club Villa Malcolm Av. Cordoba 5064 Palermo
22:30 - 00:30 Práctica de los Lunes El Beso Riobba 416 Buenos Balvanera
23:00 - 02:00 La Garufa Club Premier Capichuelo 472 Centro
Tuesday
18:00 - 21:00 Que lo Parióoooo!!! Espacio 423 Venezuela 423 Monserrat
18:30 - 20:00 PractiMilonguero El Beso Riobba 416 Buenos Balvanera
22:00 - 02:00 Ventanita de Arrabal La casa Sr. Duncan Av. Rivadavia 3832 Almagro
Wednesday
17:00 - 19:00 La María Practica La María Currichaga 1509 Palermo
20:00 - 22:30 Carlos & Rosa Practica Sunderland Club Lugones 3151 Villa Urquiza
20:00 - 23:00 La Milonguita Sala Siranush Armenia 1353 Palermo
21:30 - 01:30 Cheek to Cheek El Juvenil Bar Av. Corrientes 4534 Centro
24:00 - 04:00 La Viruta Practica La Viruta Armenia 1366 Palermo
Thursday
19:00 - 24:00 De Querusa Rincón Filiar B. Carlos Calvo 3745 Andaluz
23:00 - 02:00 La Garufa Club Premier Capichuelo 472 Centro
24:00 - 04:00 La Viruta Practica La Viruta Armenia 1366 Palermo
Friday
21:30 - 01:30 Cheek to Cheek El Juvenil Bar Av. Corrientes 4534 Centro
22:30 - 04:00 GNC Milongon de Cisneros Av. San Martin 2288 Villa Mitre
23:30 - 03:30 ZUM Club Villa Malcolm Av. Cordoba 5064 Palermo
24:00 - 06:00 La Viruta Practica La Viruta Armenia 1366 Palermo
Saturday
17:00 - 20:00 Practica Patricios Parque de Patricios Centro
18:00 - 20:00 Practica DNI DNI Tango School Bulnes 1011 Almagro
19:00 - 23:00 Milonga Abierta Glorieta de Belgrano La Ppa 1781 Belgrano
24:00 - 06:00 La Viruta Practica La Viruta Armenia 1366 Palermo
— 19 —

Buenos Aires Tango Guide
Annual Events
February Misterio Tango Festival facebook.com/misteriofanpage
February El Yeite Festival facebook.com/elyeitetangoclub/
March Festival Provincial de Tango de Zárate facebook.com/festivalzarate
April Tango Secrets Festival facebook.com/groups/1526948670888917/
June Festival de Tango de Caballito facebook.com/IFestivalDeTangoDeCaballito
July Maldita Festival facebook.com/events/324692190941216/
July La Semana de la Milonga facebook.com/events/1440774692888262/
July Festival Bailemos Mas Tango facebook.com/festivalbailemosmastango
August Mujercitas Tango Festival facebook.com/groups/204379659610811/
October Festival de Tango de Valentín Alsina facebook.com/events/1541571849406975/
November Festival Tango Queer
facebook.com/pages/Festival-Tango-Queer-de-Buenos-Aires/
November TANGOXPOSED
facebook.com/TANGOXPOSED-278158148869845
WebSites
Buenos Aires Milongas.................... buenosairesmilongas.com/
Hoy Milonga...................................... hoy-milonga.com/
Milongas In......................................... milongas-in.com/
Milongas.org ..................................... milongas.org.ar/
Tango City.......................................... tangocity.com/
Tango Info.......................................... tango.info/
Tango Santa Fe.................................. tangoensantafe.com.ar/
Tangos y Milongas en Rosario ...... tangoymilongasenrosario.com/
These are spme of the Internet resources that were used to build this guide.It is a
consolidation of information gleaned from these resources combined with ground visit
verification.We suggest that you check these resources in the future, as we all know
- things change.

The Places
Associations & Clubs
Asociación Genovesa Venezuela 2937 Buenos Balvanera +54 11 3328-9289
Bar Los Laureles Av. Gral. Iriarte 2290 Barracas +54 11 4303-3393
Bella Vista Tango Club Av. Francia 701 Bella Vista +54 11 4666 8945
Buenos Ayres Club Perú 571 Monserrat +54 11 4331-1518
Casa de Galicia San Jose 224 Centro +54 15 5137-9061
Casa Paraguaya Chile 1769 Monserrat +54 11 4383-4283
Centro Región Leonesa Av. San Juan 3330 Constitución +54 11 4304-5595
Celia Tango Club Humberto Primo 1783 San Cristóbal +54 11 4305-6778
Club Ciencia y Labor Cesar Díaz 2453 Villa Mitre +54 11 4582-9779
Club Fulgor Loyola 828 Villa Crespo +54 11 4778-1511
Club Glorias Argentinas Bragado 6875 Mataderos +54 11 4687-8576
Club Gricel La Rioja 1180 San Cristóbal +54 11 5021-4996
Club Independencia Av. Independencia 572 San Telmo +54 11 4931-7977
Club Telégrafo y Crisol Unidos Saraza 951 Parque Chacabuco +54 11 4912-0708
Club Villa Malcolm Av. Cordoba 5064 Palermo +54 11 4772-9796
Confitería Ideal Suipacha 380 San Nicolá +54 11 4328-7750
El Beso Nightclub Riobba 416 Buenos Balvanera +54 11 4953-2794
El Complejo Cultural Av Triunvirato 4444 Villa Urquiza +54 11 4524-7997
El Gardel de Medellín Av. Caseros 3033 Parque Patricios +54 15 6166-4593
El Juvenil Teatro Bar Av. Corrientes 4534 Centro +54 11 6091-9034
El Pial Salón Rón L. Falcón 2750 Flores +54 11 4612-4257
El Viejo Buzón Neuquén 1100 Caballito +54 11 4433-3061
El Yeite Córdoba 4157 Centro +54 11 4855-6777
Espacio 423 Venezuela 423 Monserrat +54 11 6736-7027
Espacio Cultural O. Girondo Vera 574 Villa Crespo +54 15 6554-5095
Espacio el Tacuarí Tacuari 1557 Centro +54 11 4362-7077
La Bicicleta Gorriti 5417 Palermo +54 11 4899-0991
La Catedral Sarmiento 4006 Almagro +54 15 5325-1630
La Fundación Tango Argentino Av Córdoba 5942 Chacarita +54 11 4778-0199
La Maleva Hotel Tucumán 3424 Almagro +54 11 4861-5652
La Nacional Alsina 1465 Monserrat +54 11 6519-9573
La Viruta Armenia 1366 Centro +54 11 4832-4105
Niceto Club Av. Cnel. Niceto Vega 5510 Palermo +54 11 4779-9396
Nuevo Salón La Argentina Bartolomé Mitre 1759 San Nicolás +54 11 4371-6767
Obelisco Tango Club Av. Entre Ríos 1056 San Cristóba +54 11 4305-0459
Rincón Filiar Andaluz Carlos Calvo 3745 Centro +54 11 4931-4800
Sala Siranush Armenia 1353 Palermo +54 11 4899-4101
Salon Canning Av. Raúl S. Ortiz 1331 Palermo +54 11 4832-6753
Salon Rock Sur Av. Sáenz 459 Nueva Pompeya +54 11 4912-0708
Sin Rumbo Tborini 6157 Villa Pueyrredón +54 11 4925-5830
Sunderland Lugones 3161 Villa Urquiza +54 11 4541-2378
— 21 —

Rosario Tango Guide
WeeKlY Milongas
Sunday
16:00 - 19:00 Practica Domingo La Casa del Tango Av. Illia 1750 y España +54 (341) 449-4666
16:00 - 22:00 Abrazame Tango Matinée Cafe Guatemala Italia 107 +54 (341) 438-3057
20:00 - 01:00 La Dominguera Estudio Especial 1ro. de Mayo 1159 +54 (341) 426-1832
21:00 - 03:00 Domingueando Café de la Flor Mendoza 862 +54 (341) 411-2727
22:00 - 01:00 Milonga Roja Unión Cívica Radical Paraguay 358. +54 (341) 583-2255
Monday
18:00 - 24:00 Rosarigasitango Imperium RestoBar Entre Ríos 565 +54 (341) 447-0597
21:30 - 01:00 Peña de Tango de Arrabal Bar Olimpo Av. Mendoza 1201 +54 (341) 421-6536
Tuesday
18:00 - 24:00 Milonga Martes Imperium RestoBar Entre Ríos 565 +54 (341) 447-0597
21:30 - 01:00 Milonga El Encuentro Bar El Cairo Santa Fe 1102 +54 (341) 449-0714
Wednesday
22:00 - 04:00 Contramambo Iruña Bar y Café Santa Fe 1204 +54 (341) 449-2610
20:30 - 01:00 La Temprana Estudio Especial 1ro. de Mayo 1159 +54 (341) 426-1832
21:00 - 01:00 El Enganche Resto Bar San Antonio Av. San Martín 3372 +54 (341) 464-2908
21:30 - 01:00 Lo de Juanita Bar La Favrika Tucumán 1816 +54 (341) 447-5248
Thursday
21:30 - 24:00 Práctica El Faro El Faro San Juan 3667 +54 (341) 664-6700
23:00 - 01:00 La Chamuyera Milonga La Chamuyera Corrientes 1380 +54 (341) 426-0755
Friday
20:00 - 02:00 La Previa La Casa del Tango Av. Illia 1750 y España +54 (341) 449-4666
22:00 - 03:00 Milonga Tradiciónal Centro El Hornero Juan M. De Rosas 1147 +54 (341) 448-2012
23:00 - 04:00 Milonga del Levante El Levante Pichincha 120 +54 (341) 472 4390
23:00 - 04:00 Milonga Roja Plataforma Lavardén Mendoza 1085, Piso 5 +54 (341) 472-1462
Saturday
18:30 - 01:00 Milonga Tu Corazón Asociación Japonesa Iriondo 1035 +54 (341) 583-2255
21:00 - 02:00 El Milongon Centro de Jubilados Alvear 165 +54 (341) 599-3014
23:00 - 01:00 La Musa Mistonga La Chamuyera Corrientes 1380 +54 (341) 426-0755
21:00 - 03:00 Milonga a Sabado El Revire Entre Ríos 1051 +54 (341) 515-5590
Annual Events
January Festival de Danza Rosario facebook.com/misteriofanpage
April Festival Metropolitano de Tango facebook.com/elyeitetangoclub/
May Festival Mutante facebook.com/festivalzarate
July Tango Maraton Rosario facebook.com/groups/1526948670888917/
— 22 —

The Places
Associations & Clubs
Asociación Japonesa en Rosario Av. Iriondo 1035 +54 341 430-6902
Bar El Cairo Av. Santa Fe 1102 +54 341 449-0714
Café de la Flor Av. Mendoza 862 +54 341 411-2727
Café & Comida Iruña Av. Santa Fe 1204 +54 341 449-2610
Casa del Tango Av. Illia 1750 +54 341 449-4666
Centro Progresista Av. San Juan 3667
Chamuyera Av. Corrientes 1380 +54 341 426-0755
El Duende (Hornero) Av. Juan M. de Rosas 114 +54 341 448-2012
Imperium RestoBar Av. Entre Ríos 565 +54 341 447-0597
Kasona Av. Pellegrini 942 +54 341 447-1894
Milongon 200 Alvear 165
Olimpo Bar Corrientes y Mendoza +54 341 421-6536
Organiza Cultural El Levante Pichincha 120
Pizzeria San Antonio San Martín 3372 +54 341 464-2908
Restaurante la Favrika Tucumán 1816 +54 341 447-5248
Restobar Lennon
Paraguay y Urquiza
El Revire Entre Ríos 1051
Sociedad Libanesa de Rosario Italia 1070 +54 341 421-8804
Plataforma Roja
Mendoza 1085, 5to Piso
VyC Tango Mariano Moreno Bis 135 +54 341 449-7874
Other Milongas in Argentina
Aventura
Tuesday 09:00 - 13:00 Tango KLUB 2650 NE 188th +54 (305) 466-3633
Colon
Friday 22:00 - 03:30 Amurados Bolivar y Sourigues +54 (155) 923-8272
Cordoba
Sunday 21:00 - 02:00 El Farolito La Rioja 352 +54 (351) 478-3197
Thursday 22:30 - 03:00 Jockey Club Gral Paz 195
La Plata
Saturday 22:00 - 02:00 Milongón Platense 68 entre 24 y 25 n° 1439
Sunday 22:00 - 02:00 Che Milonga 8 esquina 42
Mar del Plata
Wednesday 21:00 - 23:45 Menesunda San Martin 3017 +54 (223) 467-0565
Necochea
Saturday 23:00 - 03:00 Almacen Murillo, Entre Ríos 565 +54 (226) 242-4417
San Carlos de Bariloche
Saturday 23:00 = 04:00 El Rincon del Tango Moreno 40
San Miguel de Tucuman
Friday 22:00 - 04:00 Milonga del Siglo Av. Mitre 502 +54 (381) 402-3777
— 23 —

Movements
Julia Juliati
Julia Juliati is a second generation photographer, taking
off from her father. Starting from childhood, Julia
has an extensive exposure to art through her parents,
from frequent visits to classical art exhibitions,
to ballet and opera, to modern dance shows. Besides
being fascinated by the visual influence of art, Julia
was always intrigued by the nuances of human personalities,
thus getting a psychology degree was an
obvious choice.
She developed her own style of portraiture that depicts
the beauty and sensuality of female form. Her
clientele are women of all ages and body types. Many
of her clients commission Julia to do a portrait just
for themselves to celebrate their bodies and sensuality,
while others may do it for a loved one. Julia’s
style of classic art with a modern twist shines
through in her portraits, yet she lets the energy of
the client direct the project.
Her artistry not only shows in the quality of her
images but the visible ease of her clientele. The oneon-one
photography session in her private and comfortable
studio gives her clients a sense of freedom,
expression, and a new ability to let go of prior insecurities.
Julia sees her clients change in front of her
eyes into new sensual beings, proud of themselves
and full of new respect for their bodies. This transformation
that comes from the way women view
themselves empowers women in their search for
self-growth, confidence, and self-esteem.
Movement photography and filmography has taken
her artistic adventures into new territory, meshing
her love for dance and the human form. Being a Tango
dancer herself, Julia has created beautiful cinematography
projects incorporating her love for Tango
and her sensual style, bringing the viewer to a very
new angle of the Tango world.
— 24 —

— 25 —

— 26 —

One option for some of Julia’s clients may be to
collaborate with her to create a personal film of
a choreographed dance. The movement and sensuality,
along with cinema graphic perfection leave
her clients with a timeless treasure and a beautiful
personalized movie.
Juliati implements the sense of movement in her
photography work extensively. Understanding
movement gives her the ability to create interesting
compositions not only for her dance clients,
but for non-dance photoshoots as well. The flowing
fabric is used for Maternity shoots to create
waves and a sense of harmony; the long hair is
arrange as a dancing fire for a Glamour photoshoot;
the fluidity of a sheer fabric against the
body is used to accentuate sensuality for Boudoir
or Nude photo sessions. At Juliati’s studio there
is always music playing, there is always movement.
The most important aspect of Juliati’s photography
is the ability to not only compliment the
women’s body, but also the character, the whole
woman, to enhance her confidence and comfort.
Juliati begins with a consultation, a conversation
that’s part of getting to know a client, and part
creative brainstorm. Each session is customized
combining Juliati’s creativity with client’s personality,
finding a perfect harmony, a dance within.
Julia Juliati has received numerous honors and accolades
of excellence in local and international
photography competitions. Her dance films and
documentaries have been screened in numerous
venues and inspired many to dream big and pursue
their passion. Julia runs her successful photography
& film business in Westchester NY.
I’m not right for everybody. For a few people
that I’m right for I do an extraordinary
job. I invite you to a session with me...it will
change the way you see yourself.
— Julia Juliati
http://www.Juliati.com/
— 27 —

Max Masri, chefe de Tanghetto
interviewed by Martin Delgado
Max Masri is a composer, producer, singer and keyboardist born in Buenos Aires, Argentina.
He is the founder and leader of Tanghetto, one of the key groups that define electro tango.
In 1994 he started to work as a producer, songwriter and composer. With Alex Zuker, founder of the
group Alas, he produced several bands of different genre: pop, electronic, tango, and alternative rock.
In 1997 he started to fuse tango with electronic music, becoming one of the creators of what is
now known as electro tango. In 1998 he founded the group 020, the pioneer of fusing modern
tango with sounds from pop music.
In 2002, the band releases its album End of Illusions which opened the door to tango fusion. After
debuting this album he decided to create Tanghetto. He is the producer, composer and songwriter
for everything the band releases, including the albums nominated for the Latin Grammy
Awards for Emigrante, Hybrid Tango and Hybrid Tango II. With Tanghetto, he has played and
sung in prestigious venues in Argentina and other parts of the world.
In 2005, he produced and composed
the music for the album ADN Proyecto
Andino which fuses South American
folklore with electronic sounds.
In 2008, he discovered Tabaré
Leyton, the Uruguayan singer, and
began to produce for him, composing
music and writing lyrics for various
songs of different styles that
this artist performs.
All of Max’s tango albums have obtained
a gold or silver status. He is
a two time Gardel Award winne,
the most important music industry
award in Argentina. He has also
won the most important Uruguayan
awards - Iris, Grafitti and Morosoli.
Max was interviewed on the internet
by Martin Delgado.
— 28 —

MTW — First of all, thank you for giving us this
interview. And a big thank you to Anna Stąpór
for making these arrangements. Our first question
- Has your music has been changing in the course
of your career?
Max Masri — Our music has constantly been
changing and improving. We try to bring as many
influences and different styles of music into tango
as we can. We have expanded our artistic vision
to be without any boundaries, without any limits,
but still keeping the tango spirit of fusion alive.
Tango itself started as fusion of different rhythms
like candombe, habanera and payada among others.
We really like how our career has evolved artistically.
I think that we’re having a great moment
as artists and musicians.
MTW — Has your music always been close
to the tango? Has it modified its link to genre
throughout their albums?
Max Masri — Tanghetto has become like a
magic link between ourselves and tango. We
started to appreciate tango much more since the
Tanghetto project began many years ago. We
love tango and working with various artists. We
have played in all major Tango festivals all over
the world. Now, we are part of the tango scene
around the world. So, we are tango, a part of it,
and we are proud of that.
MTW — What is the difference between the
two projects, Tanghetto and Tangocrisis?
Max Masri — Well, both of them share the
same spirit - to bring something new to tango. Everyone
knows what we achieved it with Tanghetto
and we got the recognition for it; including
with Gardel Awards, many world tours, etc. Tangocrisis
is more introvert, more rebellious, with
tango subtleties, defying the laws of music prejudice
even more. We love both projects so much!
There is an old saying — You can’t go wrong with
what you really love.
MTW — Do you think that there will be a return
to the orchestra in tango scene?
Max Masri — Yes, and I think that this revival or
the return to traditional orchestras is really great.
It is also great that right now there are diverse
artistic ideas and points of view regarding tango, it
really helps to keep tango alive! So, what’s best is
that there are really many artistic options and it is
good for people who are into tango or getting into
this music to have a variety of options from very
traditional to modern tango projects, like ours.
MTW — Have you played in an orchestra of
traditional tango?
Max Masri — I like to play in Tanghetto. Today,
Tanghetto is a traditional orchestra, Ha, Ha, Ha! We
love what we do, without prejudice to any other
forms of expression.
MTW — Is there a market for tango music that
is just for listening, but not dance. Or is this a distraction
in the world of tango?
Max Masri — Tango, or any other kind of music,
is always danceable. It seems like our main audience
for tango have been dancers for at least 15
years. We managed to have a very broad crowd
of fans, like people who dance tango and those
who don’t, people who like tango, and people who
prefer tango fusion, and those who are rather into
world music or jazz, so it depends.
Tango is a very versatile style of music and a lot
of people like tango because it can always be different
depending on its genre. Music fans that are
more into world music or jazz or other styles of
music really like tango fusion, because it gives them
something like a modern tango sound, the experience
of the tango of today.
I guess that there is a lot of people who are just
into the music in general and that’s why we sold
so many CDs, we have Gold and Platinum albums
in Argentina. But, a lot of people love to dance to
our music. The best is the combination of both: to
have an audience that likes just to listen and they
come to the theaters and arenas, and people who
want to dance and they come Tanghetto shows in
tango festivals or milongas. We are happy that we
have both kinds of audiences.
MTW — Why doesn’t such massive musical
project produce more CDs?
— 29 —

Max Masri — Well, Tanghetto is also a combination
of both a massive and a not so massive project.
We have played all over the world and we have
received very important recognition. We recieved
two Gardel Awards andthree nominations to the
Latin Grammy’s. But, we are also hard core artists,
very bohemian in a way. We have the chance to
live both sides of the coin.
We’ve had the impact and the flavor of being mainstream,
being on television, like MTV, and performing
in very important venues of the world, Our
music is being played on radios but we also play in
local milongas in different places of the world. We
are independent with a taste of massiveness. From
La Viruta in Buenos Aires to the O2 Arena in
London.
MTW — Why has the tango, as a genre, been
able to capture a larger market in recent years
and still remain rather marginal music?
Max Masri — Tango was very successful around
the world in the ’30s and ’40s but right now for
some reason tango people like to keep tango as
if it was an exclusive club. Our music has brought
many people into the tango, especially young
people. I guess tango could be much more popular.
It is an amazing music and we have seen how
our albums have sold hundreds of thousands of
copies.
Thanks to milongas and to the word of mouth,
people talk to each other and spread the magic
of dancing and the spirit of tango. But, it could
be even bigger than today. Let’s hope it will keep
growing with an open mind.
MTW — What are your plans in the near future?
Max Masri — We are finishing two albums right
now. On one of them we’ve been working for
many years and it will be released when it’s finished.
And the other one, that is called Progressive
Tango, is being released in a few days. This
album explores the musical extremes of our tango
influences. It’s a progression in a way.
We feel that there is a progression in our career
and for tango itself. The other thing is that we
will be touring Europe, again. This will be our 21st
European tour and we are very happy that we
haven’t stopped gigging around the world for the
last ten years.
I would love to play in some places that we never
played before, it’s our main goal for the next
months.
But, tango people have to open up their minds
and let other people into the scene. Tango has
grown all over the world.
— 30 —

The Dynamics of the Tango
Alexandru Eugen Cristea
There has been more than a century of evolution of the tango dance. It’s time we considered
some of the changes in the people’s perception of the dance. Many of tango dancers also teach
tango dance. Each of them have have some kind of a personal methodology.
There is a lot of information available, from the traditional
books and DVDs to the up-to-date online
training programs, each teaching their methodology.
But, what is the essence of all these teaching methods?
Is there something that belongs to all of them
without being owned by anyone in particular? As
the years have passed, I have identified some new
reference points in order to better understand the
structure of the dance and its organic pattern of
movement. Here, I present to you two of these
fundamental concepts to identify the dynamics in
Argentine Tango.
Diagonal Circularity
Diagonal circularity is used for moves, such as
circular high back boleos, where the knees of
the follower are apart.
However, the best way to distinguish between all this
characteristic figures of tango is the concept of levels.
CIRCULARITY
The first concept is that of circularity. This is not
something entirely new. Most dancers have some
ideas about it. There are three types of circularity:
Horizontal Circularity
Horizontal circularity is used for pivots, such
as the circle figures made in ocho adelante
and ocho atras. A planeo also uses a horizontal
circularity, but in a different way.
Vertical Circularity
Vertical circularity is used to change the weight,
from one foot to the other, such as traspie.
When the follower changes weight from her
right foot to her left, she produces a type of
circularity looks like an inverted letter U. Similarly,
a linear back boleo uses a vertical circularity,
from down to up. All of the three basic steps
– open sidestep, front cross and back cross —
use a downward vertical circularity.
Gancho Boleo
photo by Cristian Martis
— 31 —

LEVELS
There are three basic levels, and seven levels, in all.
Level 0
Just as a house has a ground floor, in tango,
we can consider level zero to be the caminar.
When both partners are walking together;
this is level zero, from here moves go up or
down.
Level +1
If the leader projects the energy a little upward
while the follower has her feet collected, this will
generate a change of weight, traspie.
Many of tango’s movements and steps and figures can
be described with just these three basic levels. It is
crucial to understand that the levels describe the leader’s
marca. This is where the leader directs the impulse,
not the end result of the lead.
If the couple is walking, and the leader wants to stop
the follower, there are two options:
Level -1 - with the feet apart
Level 0 - with the feet collected
Follower’s ganchos at Level 0 also, because they are
an intercepted step. To produce a balanceo, a cunita,
an ocho cortado or a sandwicitto, the leader needs to
project an impulsec to Level -1. To produce a calesita,
a sostenida or a high boleo, the impulse must be projected
to Level +1One.
But this is not all. There is also Levels -2, -3 and +2, +3.
These levels are best understood by example.
Level +2
To raise the follower’s foot up to knee level, requires
a Level +2 impulse from the leader. This
is used in the kick type of boleos, the piernazzo,
and llevaldas.
Level -2
To cause the follower to bend the knee of the
weighted, standing leg, the leader needs a Level
-2 impulse. This is used for movements such as
lapiz, planeo, corte.
Level +3
For the follower to jump or for movements such as
sentada, Level +3 is needed.
Low Front Boleo
photo by Bucharest Social Dance
Level -1
When walking together, at some point the
leader projects an impulse, marca. If it is a
little down, the follower will naturally stop
with her feet apart with straight knees, as in
a balanceo.
Level -3
To cause the follower to flex the weighted foot all the
way down, Level -3 is required.
All the movements in tango can be categorized in
more detail using the concept of levels. Some movements
are a combination of levels, starting at one level
and end in another. Some other movements, such as
circular boleos, may be done at several levels with different
results.
— 32 —

For the classical circular boleo, only with the hips,
uses Level 0. On the other hand, a high classical
boleo, where the knees are together, but the foot
goes up, uses Level +1. Nuevo style boleo in which
the knees are apart, and cuatro type of boleos, use
Level +2. For a low boleo, where the foot of the
follower maintains the connection with the floor,
Level -1 or even Level -2, are used.
Of course, when the concepts of circularity and
levels are combined, many movements will be easier
to understand. By applying these concepts, the
dynamics will also change.
In conclusion, leaders will be able to change the
way that they dance, improving the quality of their
movement through a better understanding of the
dynamics. Leaders will also find it easier to communicate
with the follower and discover many step
sequences by deconstructing and recomposing the
dance, using these concepts.
Alexandru Eugen Cristea may be contacted at
Bucharest Social Dance:
http://www.egosromania.ro
— 33 —

New Tango Music
Arndt Büssing
San Telmo Lounge: Doble Imperfecto
The ensemble San Telmo Lounge from Buenos Aires has established its brand sound clearly
identifiable by the tango fans. Their mastermind Martin Delgado, guitarist and musical director,
announced their sixth album, Doble Imperfecto, to the pleasure of their waiting fans.
The group has decided to publish a 4-track preview EP with exclusive material.
There are two vocal tracks
— the beautifully melodic
Karma Paris and the swinging
Indiferencia and two
instrumentals — the bright
New York Freedom with its
haunting solo parts, and the
accentuated milonga Igor.
The ensemble remains true
to their principles to a combined
tango and jazz, with
mild rock elements. They
create a wonderful mélange
which is attractive for dancers
and also for the listeners-only.
Kudos go to Martin Delgado
(guitar), Lucas Polichiso
(piano), Maximiliano Natlutti
(violin), Ariel Aguilar
(bandoneón), Tutu Rufus
(bass), Sebastián Mamet (drums) and Laura Cardini (vocals). What we hear on this EP is
definitely a very attractive promise that their new album is worth waiting for.
Overall Scoring *****
Dancer´s pleasure = Listener´s pleasure
Duration : 13 min.
Artist´s website: http://www.santelmolounge.com.ar/
— 34 —

Tanghetto: Hybrid Tango II
The influential ensemble Tanghetto from Buenos Aires presents their new CD Hybrid
Tango II which links to their influential 2004 album Hybrid Tango. Again, pianist-producer-composer
Max Masri and guitarist-composer Diego S. Velázquez offer a blended
mix of melodic and textural tango music with bandoneon and piano, electronica with
synthesizer and samples, pop with electric guitars and drums, and chamber music with
violins and violoncello. Not surprisingly, this album was nominated as Best Tango Album
for the Latin Grammy.
Among several attractive
and danceable songs, there
are some outstanding tracks.
For example the instrumental
El Miedo a la Libertad. It
has a slow pace, a fine melody,
a diversified arrangement
including strings, and thus
generates a wonderful pleasant
atmosphere. Then there
is the completely different,
straight-forward dancefloor
suited track Quien me quita
lo bailado This is all that is
needed to let go from the
distractions in daily life.
Montevideo tango singer
and composer Tabare Leyton
is impressive with his
vocal appearance in No me
ringo, a vibrant song with a
good melodic progression,
and a strong chorus which
calls for more. Later on the
singer enchants us again with Aires de Buenos Aires. Max Masri is lead singer of Piazzolla´s
Vuelvo al Sur; one more version of this standby, here with a simple and good groove.
I would recommend to hear particularly the accentuated songs loud, their flow is much
better! When Tanghetto is the DJ, life is a dancefloor – at least for an evening
Overall Scoring (1-5 stars): ****
Dancer´s pleasure > Listener´s pleasure
Duration: 48 min.
Website: http://www.tanghetto.net/
— 35 —

Tabaré Leyton: Charrúa
Tabaré Leyton´s 15-track album Charrúa is a good blend of different music styles and atmospheres.
Several songs have a nylon string guitar as the dominant instrument, others were interpreted with a classical
rock ensemble. Some piano licks here and there, a violin and the bandoneon – and always the warm
and characteristic voice of this outstanding singer from Montevideo, living in Paris, France.
Max Masri, producer-composer
of the electrotango ensemble
Tanghetto noticed the singer
and produced his second album,
too. Max Masri´s beautiful hymn
Montevideo is definitely one of
my favorite tracks. Listen also to
the elegant but much too short
bandoneon solo, and you know
what I mean.
Tabaré Leyton attracts our attention
also as good songwriter.
Five of the songs were written
by him, and one with Max Masri.
Leyton´s relaxed vals Nada
para ofrecer has definitely something
to offer.
The styles on this album range
from rocking pop songs to classical
folk oriented songs, and inbetween.
Some are suited for the
dancefloor such as No va más
performed with percussionistcomposer-singer
Ruben Rada
and Tanghetto, and the classical
tango Arrabal Amargo written by
Carlos Gardel and Alfredo Le Pera. The rocking Charrúa is performed with the rock singer-guitar player
Emiliano Brancciari and Tangocrisis. A further, different style of music is found in Como siempre which
surprises with a great salsa feeling.
I can definitely recommend this album with its versatile facets of good music. Tabaré Leyton as an outstanding
and very relaxed singer, with dark sunglasses, of course.
Overall Scoring (1-5 stars): ****
Dancer´s pleasure < Listener´s pleasure
Duration: 51 min.
Artist´s website: http://www.facebook.com/TabareLeytonOficial
— 36 —

Ultratango: Alborada
Once upon a time, Ultratango started as an electronic music quintet from Buenos Aires which added
tango flavors to their music, and had Sami Abadi (violin) and Julio Perez (bandoneon) on their side.
Their danceable electronica versions of Astor Piazzolla´s songs and also their song Kryptonite were
quite exciting.
Now, several years later, they are
a trio Leonardo Satragno (synthesizers,
programming, bass),
Gastón Satragno (synthesizers,
programming; piano) and Braulio
D’Aguirre (drums). They had
to decide which direction to take.
The trio´s new songs still range
somewhere between trip hop,
house, ambient, and pop, with a
clear dominance of electronica
sounds, but without the sound
of the tango trademark instrument,
the bandoneon. Gastón
Satragno said they intended to
raise the stakes with this new record.
Indeed, Ultratango might
find a new audience beyond the
traditional tango dancers with
their specific expectations.
All of the thirteen tracks of their
new album were composed by
the Satragno brothers. The one
exception is a collaboration with
Braulio D’Aguirre. They are
predominantly slow dance music for the clubs, and they create a relaxing atmosphere and a fine flow. To
get an impression what the listener may expect, start with the attractive tracks Avant Garde, Calida and
Hiphope, or the samba-milonga Amorio. Modern beats, simple piano pattern, and repetitive synthesizer
licks, some special sound to discover here and there. These tracks don´t rely on a usual melodic development,
they are definitely groove oriented.
Are Ultratango´s songs typical tango? No, but several are suited to be played in alternative milongas, and
you may dance to them in a tango style. Be open to be surprised.
Overall Scoring (1-5 stars): ***
Dancer´s pleasure > Listener´s pleasure
Duration : 47 min.
Artist´s website: http://www.ultratango.com.ar
— 37 —

— 38 —

Our Advertisers
Amy’s Shop ....................................................... p.38
Ann Leon .......................................................... p.20
Assassination Tango ........................................ p.45
Astor Piazzolla ................................................. p.41
Bajofondo ......................................................... p.27
Beginning Argentine Tango ............................ p.45
Belmar Hotel ................................................... p.11
Carlos & Alison ............................................... p.38
Club des Belugas ............................................. p.39
Electrocutango ................................................. p.48
Gotan Project .................................................. p.38
Gustavo Santaolalla ......................................... p.27
In-Grid ............................................................... p.39
Ines Muzzopappa ............................................. p.12
Last Tango in Paris ........................................... p.45
London Tango Boutique ................................. p.09
Mercedes Sosa ................................................. p.41
MariMasha ........................................................ p.35
Montana Tango Uprising ................................ p.13
NeoTango ......................................................... p.41
NeoTango Marathon Roma .......................... p.06
Otros Aires ...................................................... p.27
Quartango ........................................................ p.30
Richard Galliano .............................................. p.45
Sabados de Milonga ........................................ p.11
San Telmo Lounge ........................................... p.10
Tango ................................................................. p.49
Tango, Argentine Love Story ......................... p.45
Tango Argentina Finlandia ............................. p.44
Tango Bar .......................................................... p.49
TangoBiathlon Munich .................................... p.07
Tango Etudes .................................................... p.38
Tango Fatal ........................................................ p.38
Tangothic .......................................................... p.30
Tango Fireworks Dehli ................................... p.11
Tango for Teachers .......................................... p.49
Tango, History of Obsession ........................ p.49
Tango, Our Dance ........................................... p.38
Tango Stories ................................................... p.39
Tango, Structure of the Dance ..................... p.45
Tango, the book ............................................... p.38
The Tango Dance ............................................ p.45
Trio Hugo Diaz ................................................ p.45
Trio Garufa ....................................................... p.48
Tucson Tango Festival ..................................... p.33
Two to Tangp .................................................... p.38
Why Tango ........................................................ p.11
Zona Tango ....................................................... p.48
— 39 —

Alba Solis
Tango Diva
Alba Solis had everything needed for a diva of the
tango: humor, audacity and drama. From a young age,
she was a singer who transcended fads and aesthetics
of the moment. Alba Solis died February 3, 2016 at
age 88, after multiple surgeries.
Solis had long had retired from the stage, but had left
a legacy of tango songs. She sang in the fifties and
sixties in all theaters of Buenos Aires. As a young
lady, she fell in love to the press. She was voice
of Mariano Mores, Juan D’Arienzo, Francisco Canaro,
Hector Varela, and Chupita Stamponi. She
performed on the catwalk of the Maipo Theater and
in the film Astral.
I’m more singer actress. But notice that one of
the most beautiful films I did was Hex, with
Narciso Ibáñez Menta. However, he was a coproduction
that was not much. The pass is always
meat, where I am Isabel Sarli was singing.
it’s the scariest thing on earth
She spent thirteen years touring the world Tango
Argentino. Alba Solis has given everything on stage,
and no one could escape her charm, her brilliance
and the dark storm of her voice.
But before being born as an artist, Alba Solis was
a girl of precocious talent. his According to her own
biography, she was born in the year 1900,to Dona
Herminia Trapanese Lamberti and Oreste Juan
Guillermo Lamberti. Born Angela Herminia Lamberti,
she participated in a radio contest: long before
she found her tango voice. She came in second,
but her presence was so strong that she became a
member of the station’s regular cast. As a child with
a precocious talent, she became one of the children
in the Gang Marylin.
She debuted in Buenos Aires Magazine in comedy
theater, and soon became a star of the genre. She
appeared in Blum, the great theatrical event of
Enrique Santos Discepolo. Homero Manzi composed,
with Pichuco Troilo, the tango Discepolín
theme It was first performed in the cabaret El Colonial,
by Alba Solís.
— 40 —

As a singer, she also worked with Mariano Mores
and dancers Mayoral and Maria Elena, in the
musical Buenos Aires. When Francini and Pontier
reorganized their orchestra in 1973 for a special
performance in Japan, she was entrusted with the
responsibility of being the female vocalist. In the
1980s, the success of Argentine Tango allowed her
to travel around the world and make her unforgettable
performances of One and The Last Kurdish
known to the world. In Buenos Aires, she would be
a key figure of tango resistance nights, along with
Caño ( Viejo) Almacen.
There sound of their version of Fangal is very special,
When she performs tangos such as Fangal
When Tanguera premiered she was asked This is
not a song for women, you’re a man then?
She responded:
I am always on the edge, on the edge I can
spend a little energy, I can be a male, a little
later, I’m a woman Some tangos are not only
sung. They are a perspective, an overall point
of vie. They must not only be sung, they must
also be acted.
Fangal was both theatrical and sentimental. It was
the tango.
I’d like to say something tangos: I want what
excites me If I do not get excited, I cannot
give anything to the young people who have
to listen to me and know about tango. Some
songs and some singers of tango that are
like reading the newspaper.
— Alba Solis
— 41 —

VJing & DJing
Jochen Lüders
Tandas & Cortinas at Neolongas
I am a tanguera. A tango dancer, teacher, djane, journalist and story writer. A passionate
tango lover, an addict, an admirer. At my first milonga back in 2003, I got
There is a strange tendency that has developed at milongas with alternative, non-traditional tango
music hooked — Neolongas. instantly. DJs But, don’t I play would tandas not (sets have of songs) continued and cortinas if my (time teachers btween sets). had I not always played
do Gotan because Project’s in my opinion first they CD have in one a lot of of their advantages. lessons. Since then, my focus is on modern
tango both as a dancer and as a DJ.
Separating
Tandas and cortinas make it easy to separate politely
and without any stress. The leader need not stop dancing at the same time. Of course it may hap-
With cortinas, you don’t have all this stress. All couples
think when he can leave the follower without appearing
impolite. Less than three dances is a turn next tanda with her present partner, in this case I still
pen that my favourite partner wants to dance also the
down.. The follower can bear dancing with a bad have to be patient. But at least, I know that I can dance
leader more easily, when she knows that she can the next tanda without glancing around furtively. Of
leave him after 3-4 dances without having to humiliate
him by ending the dance herself. A lot of
course there will always be a few impolite, ignorant
people who stop dancing in the middle of a tanda, but
the more DJs play tandas and cortinas, the sooner this
traditional pieces are about 3 minutes long, whereas
a lot of modern songs are about 4 minutes or
particular dancer species will disappear.
more That is why in contrast to the traditional
tanda structure of four tangos, three milongas,
three valses, I mostly play only three pieces per
tanda. It is bad enough for the follower to be embraced
too tightly, be whirled around or be forced
to dance certain jump or dive figures for twelve
minutes. I n my opinion it is unacceptable if the follower
has to endure that even longer.
Dancing with your Favourite Partner
Tandas and cortinas make it much easier to dance
with your favourite partner. Without cortinas
people switch partners arbitrarily and it often
happens that you keep missing the person you
really want to dance with. If I want to dance with
a certain woman I have two possibilities. I can sit
down and wait patiently until she is available. If I
am unlucky I will have to wait pretty long, when
the woman dances with a man who doesn’t want
to let her go. The alternative is that while I am
dancing I have to glance at my dream partner all
the time in order to leave my present follower
at the decisive moment, taking the risk that I embarrass
her because we have only danced two
dances together. Moreover she will probably notice
that I am not really with her.
Musical and Emotional Structure
The most important reason for me however is that
tandas and cortinas structure the evening musically
and emotionally and make it predictable. Traditionalists
often, and rightly so, in my opinion, accuse Neo-
DJs of creating an insensitive chaos. In extreme cases
you get pounding Otros Aires pieces, followed by
something tender by René Aubry, then some endless
lounge music, followed by a traditional tango from the
1930s, then a vals from Amelie, followed by some electro
Gotan Project etc. Of course you have every right
to find that varied and interesting. But personally, I find
it musically insensitive and terrible. I know a number of
people who enjoy modern music at least as much as
traditional one, but who, understandably, simply can’t
stand this acoustic hodge-podge and therefore only
go to traditional milongas.
I don’t want to be pushed into a different direction
by every single piece of music played. In the course
of the evening I do want to live the whole emotional
spectrum from dynamic, lively and cheerful to melancholy
amd romantic, but NOT with each piece. One
of the reasons why I find traditional milongas often so
boring and monotonous is that at the end of the evening
you frequently have the feeling of having danced
all the time to the same piece of music with some
slight variations.
— 42 —

Cortinas create an emotionally neutral transition between
the different moods. Although he refers to traditional
music Royce has put it very well:
I’m so much into the music that, I need a break
in-between tandas or something to make me
forget about the previous tanda. Otherwise, I will
have a hard time to pull my emotion out from
what has been played, then I cannot dance the
next set of music. In a nutshell, I cannot immediately
jump from Di Sarli to Donato, I need
something to wash away my Di Sarli mood so
that I can change myself into Donato mode,
and that’s what cortina means to me. I don’t
need a very long cortina, a 20 or 30 second cortina
is good enough.
I see it exactly the same way, my cortinas are thirty
seconds. I find cortinas that are much longer, a minute
and more, too long. Such long cortinas are often
played by DJs, who were in Buenos Aires and try to
imitate Buenos Aires customs. What they don’t understand
is that cortinas have a different function in
Buenos Aires:
The primary function of cortinas in Buenos Aires is to
clear the dance floor and encourage people to change
partners. It is a very practical reason. Cortina is a code
of behavior in a milonga. When dancers hear the cortina,
everybody will leave the dance floor. If there’s
someone who doesn’t know this rule and waits for
the next tanda to start on the dance floor, then they
will find themselves extremely embarrassed, it happens
quite often to the milonga first timer.. Then in
Buenos Aires, cortina usually lasts around one minute,
sometimes longer sometimes shorter, depends on different
DJs and different milongas. If the dance floor
is big and there’re lots of dancers, of course it takes
more time to clear the dance floor, hence the DJ plays
longer cortina, and vice versa.
You may consider many rules of traditional tandas
as petty, for example not mixing different orchestras,
singers or vocal and instrumental. But, a lot of them
do make sense.
The function of tandas is always the same: A tanda is
both social and musical. It establishes a mood for the
couple to share. For this reason, it’s essential that a
tanda is coherent. The songs in the tanda should feel
as if they belong together.
Let’s take a romantic vals like Tardes de Bolonha. I need
the first vals to tune in to the woman who might be a
stranger to me and get into the mood. I can only fully
enjoy the second and hopefully the third vals. But if
after the first vals, there follows some monotonous
heavy pounding by Otros Aires or Gotan Project, all
our mood and pleasure are lost again.
My basic structure of tandas looks like this, —
Three songs in each tanda, separated by a cortina:
Tango tanda - dynamic, lively and cheerful
Tango tanda - medium tempo
Milonga tanda
Tango tanda - calm, romantic and sad
Tango tanda - medium tempo
Vals tanda
Repeat everything from the beginning
Like in traditional tandas I like to combine similar pieces,
for example into a Greek, Turkish or Arab tanda.
Sometimes, I make a tanda with various instrumental
versions of well-known songs like Adele’s Hello.
Other times, I make tandas of only German songs like
Fang mich an, Oft gefragt and Lieblingsmensch.
Predictability
Tandas and cortinas make the music predictable.
Let’s imagine someone simply doesn’t like Greek
music like Sou Aksize Mia Kaliteri Agkalia If I play this
song, he will know: Ok, I can forget the next tanda,
because it’s going to be this terrible whiny folk music.
I’d better go to the toilet, get a drink or chat with
somebody.
Each new tanda is a new beginning, and the dancers
decide whether or not they will dance, and with
whom, according to how it opens. The first song is a
sign and a promise of what is to come. Accordingly,
it is important that the first song accurately portrays
the tanda as a whole. If it does not, the dancers
start to lose trust in the DJ.
I hate it when I have to dance to music that I don’t
like. When you have a steady partner you can sit
down and wait for the next piece. But when you
dance with an unknown woman, etiquette forbids
to make a pause already after the first dance, only
because you can’t stand the next song.
— 43 —

I find it rather strange when DJs play tandas, but
don’t make them recognizable with cortinas. What
sense could that have? One reason that I have heard
several times is that cortinas interrupt the flow of
the music. There may be non-stop dancers who see
it that way. But, my view is completely different and
I rather like breaks. Some DJs don’t play any cortinas
because they consider the evening to be an
organic whole and want to have smooth transitions
from one piece to the next, sometimes introducing
segues that overlap one song with the next.
One frequent consequence of this concept is that
pieces blend into each other or that pauses between
pieces are either extremely short or don’t
exist at all. I can’t stand both. Blending pieces into
each other for me shows a lack of respect for the
music. Moreover, the poignant dramatic endings
with their corresponding final poses are automatically
lost. I like music with a distinctive end and
don’t like it if the music just fades out. Especially
after romantic pieces, I want to have a few seconds
in which I can let the music and the dance
resonate inside me for a brief moment. I find it
stressful and irritating if the next piece begins immediately.
Playlists
With the above said, it follows that I have absolutely
nothing against DJs who use playlists. On the contrary:
I prefer a carefully chosen and varied playlist
to spontaneous DJing. From my experience, this
often leads to musical chaos. That’s why I also don’t
expect the DJ to work the whole evening with a
headphone over one ear all the time, constantly selecting
the next musical piece.
When dancing, I focus exclusively on the dance, the
music and of course on the woman in my arms. It
may sound harsh but I don’t care at all about the DJs.
They need not be present, as most of the time I am
not even aware of them.
Dancing DJ
Also, I totally don’t mind when the DJ enjoys himself
and dances to his music.
The traditional commandment for DJs says: You
have to at least pretend the whole evening to be terribly
busy, stare constantly at your display and fumble
around with your knobs and slider controls. Under no
circumstances may you enjoy yourself and dance.
I think this whole idea rather silly. That’s why I like
the following statement of a traditional DJ:
Because I’ve spent so much time in preparation,
I usually dance a lot when I DJ. A FJ who doesn’t
dance makes me wonder why — not a dancer?
not prepared? just choosing in the moment? Oh, oh
Jochen Lüders may be contacted at:
http://www.jochenenglish.de/
lueders@gmail.com
— 44 —

— 45 —

Tango Moves
Raymond Lauzzana
Last quarter, we discussed standing, finding your axis, and centering your weight on
your axis. Before we can start to walk, we need to know where we are going. For the
tango, there is a traditional structure to the dance floor. Dancers must understand
this structure, even if they are going to violate it. As with all art forms, you need to
know the rules if you are going to break them. The tango dancefloor rules are an
etiquette designed to provide an smooth environment for dancing with a minimum
of collisions and accidents.
Line of Dance (Alineación)
Dancer’s follow a counter clockwise movement
around the dance floor, forming a ring. On larger
dance floors, there may be two rings. The leader
needs to be very conscious of the dancers in front
and behind him. Movement around the floor is rather
slow. On large floors, a couple rarely completse a full
cycle. Do not tailgate, crowding the couple in front.
The Ring (La Ronde)
An imaginary line around the perimeter of the dance
floor. The dancers follow this line in a counter clockwise
manner. In large ballrooms, there may be two
ronde, an inner and outer ring.
The Center (El Centro)
The center is reserved for Spot and Slot dancing in
which the dancers dance within circles or slots that
do not travel around the floor. The center is dominated
by more experienced dancers. It should be
avoided by novices. In practicas, the center is used
for demonstrations and instructions.
The Corner (El Rincón)
The corner of the dance floor provides an opportunity
for dancers to leave the ronde, The four corners
of the dance floor are the ‘sweet spots’ for circular or
rotational spot dancing, and pauses. This practice is
not understood in all parts of the world. So, if traffic
builds up behind you, its probably best tp move on.
In some milongas, etiquette calls for moving to the
corner, out of the line of dance to permit, tail-gaiters
to pass. However, this in not always true. You’ll need
to experiment.
Inside the Line of Dance (a Dentro)
The leader is walking inside the line of dance when he
is to the left of the follower, towards the center of the
ronde. This is the most place for the leader to walk
other than directly in-line.
Reverse the Line of Dance (a Reverso)
The couple is walking in reverse of the line of dance
when they move in a clockwise direction. This should
be done only rarely, and then, with great caution. The
leader needs to prepare for movement in the reverse
direction by establishing the space for the reversal prior
to reversed movement.
Six Step Beginning (Salidas Traditional)
The traditional six step start is not described here.
There are a great many places that you can find this
step sequence described. It may be useful to know.
But, it can become very restrictive if dancers adopt it
as dogma. This article approaches the salida from the
point of view of possibilities. exposing the options that
the leader has at the beginning of the dance.
The Prelude (Preludio)
Dancers frequently delay their forward movement until
after the prelude, when the first verse begins. This
permits the dancers to absorb the rhythm and melody
of the music prioe to taking their first step. Leaders
may express their interpretation of the music by shifting
their weight in time to the rhythm, melody or even
the phrasing of a particular instrument. This gives the
follower a sense how the song will be danced, and the
leader’s sense of the song.
Outside the Line of Dance (a Fuera)
The leader is is said to be walking outside the line of
dance when he is to the right of the follower, on the
periphery. of the ronde Some people call this the
dark side because it is used less frequently.
The Start (Salida)
It may seem strange the the start is called a salida. The
term usually means exit. But in this case and in the case
of musi, it means departure - the point at which you
begin your journey.
— 46 —

There are only four starting positions for the couple
withe respect to the ronde.
1. leader faces In-line with the line of dance
2. leader faces away from the center
3. leader faces the center of the dancefloor
4. leader faces opposite the line of dance.
Volcado Start (Salida Apilado)
The leader steps diagonal back while falsely indicating
a sidestep. The follower is then offset their axis
as in a volcada or carpa. The follower is free to perform
various sorts of adornments, until the leader
steps out on the follower’s right side.
Simple Start (Salida Parallelo)
Facing in-line with the line of dance, the leader sways
to insure that the lady is standing on her left foot. The
leader expresses an intention to move forward, the
follower steps backwards, and the leader then steps
with the left foot.
Inside Access (Retrocesso)
The leader faces towards the outside of the line of
dance, requiring 90° rotation counter clockwise to enter
the line of dance. The leader steps back with the left
foot, slide sidesteps right, forward left rotate 90°, and
collects to face in-line the line of dance. The follower’s
legs are crossed left over right. From this position, there
are many options to proceed down the line of dance.
Outside Access (Contracesso)
The leader faces the the center of the dancefloor,
requiring 90° rotation clockwise to enter the line of
dance. The leader rocks forward with the left foot,
crosses behind with his right, swivels 90° into the line
of dance. The follower ends up legs apart with weight
on her left foot.
Reverse Start (Salida Reverso)
The leader is facing opposite the line of dance, requiring
180° rotation to enter the line of dance. The
leader steps back the left foot, then slide steps in a
180° circle to forward collect into the line of dance.
Variations.
There are numerous variations on these basic starts.
Here are a few of them’
Cross System Start (Salida Cruzada)
Facing in-line with the line of dance, the leader sidesteps
to the left, with the foot outside follower’s,. The
leader then cross steps inside with his right leg. The
follower then steps backwards with her left foot.
Double Start (Salida Doble)
Facing in-line with the line of dance, the leader touch
recovers before stepping forward. The touch may be
sideways or back.
American Start (Salida Americano)
Cat’s Start (Salida del Gato)
Sometimes called Walking to the Cross. The leader
steps forward with left foot, then cross steps across
the follower with his right. This is followed by a long
slow left step with extreme upper body torque, towards
the follower, possibly lowering his body. Then,
with a quick step of the right, the leader collects and
straightens up, causing the follower to cross the left
foot in front of the supporting right foot.
Ochos Start (Salida en Ochos)
The leader faces the outer rim of the line of dance,
requiring 90° rotation counter clockwise to enter
the line of dance. The leader steps forward with the
right foot diagonal across the follower, swivels on
left 90°, forward right into the line of dance. The
follower then walks in large back ochos as a result.
‘
— 47 —

American Start (El Americano)
With the leader facing the outer rim of the line of
dance, and the follower facing towards the center
of the dance floor., the leader initiates walk into a
promenade (paseo) with the leader and the follower
walking in the same direction. The leader steps
with left foot crossing the right foot behind. He then
swivels on the right foot 90° counter clockwise, and
steps forward with left into the line of dance.
This is only a taste of the possibilities for the salida.
Leaders and followers should investigate the range
of possibilities and improvise their own flavors. The
most important thing for leaders to be conscious of is
where the follower’s axis is and to return her to balance
and the end of the beginning.
Tornado (A Tornillo)
In this start, the leader raises the follower’s hand
above her head and spirals her down much like a
cobra or a top. As she comes up her hands flare
out and the leader’s hands slide down to the follower’s
waist to stop her spinning.
— 48 —

— 49 —

Letters to the Editor
Se merecen ésto y mucho más, por buena gente
!! Los felicito amigos...
Silvana Victoria Conte
Felicitaciones genios!!!!
Javier F. Fuentes
Pero q bieeeeeeen!!! Un abrazo prima!!!
Marcos Augusto Brito
Divinoooooossss!!!!!!
Analía Marcolini
I am sympathetic to your project but I don’t
believe in it - I just don’t know the target communities
like NYC But, I’d be surprised if they
needed the paper
Dimitry Pruss
The printed version isn’t for the community,
itself. Its for libraries, museums and
collectors. Its archival quality. The online
version is for the community. There is an
issue with the PDF. The higher the resolution
the slower the downloads. The online
version is 72 dpi, and is sort of slow as it
is. The print version is 300 dpi, about 16
times as much data.
— MTW
Thanks for what you’re doing
Beautiful magazine
Tom Kamrath
Pablo y Carolina
Good luck to you and your staff on this venture.
I thought your NYC issue was first class.
Walt Tashnick
The magazine s amazing!
M. Kalogera & K.Nika
Looks great, I’ll report this to the council.
Marcello Schena
Thank you for amazing work
Anil Kumar, Qatar
Awesome! Thank you
Cesar Flores
I subscribed to Modern Tango World today and
friended you on Facebook. But... I can’t figure out
how to create an account so I can log in. Can you
help me please?
- Walt Tashnick
Right now the login doesn’t work. We are
still working on how to provide on-line
subscriber benefits.
A template of the catalog has jsut been
posted on our website. When we get
it flushed out a bit more we will ssue
Subscriber ID numbers. Then, subscribers
will be able to use that number to get
discounts. — MTW
http://moderntangoworld.com/catalog.php
Thanks, just love it.
Braaaaaavoo
- Sheree Hook
- Mela Lenoir
Go Libedinsky brothers !! Sensitive creators of musical
and cinematic art !!, Argentine figures in the
world, double pride !!!
- Dora Galin
So many achievements.
- Luis Lucha
I received my copies of the NY issues today,
love it! great job!
Simone Ferrari
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