Modern Tango World #3 {Buenos Aires, Argentina)
Buenos Aires/Rosario Special Edition Editor Martin Delgado Table of Contents Buenos Aires/Rosario Special Features Circuits of Milongas, Gustavo Ameri 3 What’s happening in Buenos Aires? Fabio Rodriguez 6 Success is to Live Life Dancing Pablo Inza 10 Guide to Buenos Aires Tango 14 Guide to Rosario Tango 20 Movements, Julia Juliati 22 Interview with Max Masri, Martin Delgado 26 The Dynamics of Tango , Alexandru Eugen Cristea 29 New Tango Music Arndt Büssing 32 Alba Sollis: Tango Diva 38 Alternative DJ/VJ-ing, Jochen Lüders 40 Tango Moves, Raymond Lauzzana 44 Letters to the Editor 47
Buenos Aires/Rosario Special Edition Editor
Martin Delgado
Table of Contents
Buenos Aires/Rosario Special Features
Circuits of Milongas, Gustavo Ameri 3
What’s happening in Buenos Aires? Fabio Rodriguez 6
Success is to Live Life Dancing Pablo Inza 10
Guide to Buenos Aires Tango 14
Guide to Rosario Tango 20
Movements, Julia Juliati 22
Interview with Max Masri, Martin Delgado 26
The Dynamics of Tango , Alexandru Eugen Cristea 29
New Tango Music Arndt Büssing 32
Alba Sollis: Tango Diva 38
Alternative DJ/VJ-ing, Jochen Lüders 40
Tango Moves, Raymond Lauzzana 44
Letters to the Editor 47
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<strong>Modern</strong> <strong>Tango</strong> <strong>World</strong>: Number 1, Summer, 2015 — Neolonga Syndicate, Via Maestra Riva 124, Riva da Pinerola, Italy<br />
Table of Contents<br />
We are always looking for tango<br />
news and stories from around the<br />
international tango community. If<br />
you would like to join us, send us<br />
your stories and news from your<br />
tango group.<br />
We welcome your participation in<br />
this exciting adventure.<br />
<strong>Modern</strong> <strong>Tango</strong> <strong>World</strong><br />
<strong>Buenos</strong> <strong>Aires</strong>/Rosario Special Edition Editor<br />
Martin Delgado<br />
<strong>Buenos</strong> <strong>Aires</strong>/Rosario Special Features<br />
Circuits of Milongas, Gustavo Ameri .................................. 5<br />
What’s happening in <strong>Buenos</strong> <strong>Aires</strong>? Fabio Rodriguez... 8<br />
Success is to Live Life Dancing Pablo Inza ...................... 12<br />
Guide to <strong>Buenos</strong> <strong>Aires</strong> <strong>Tango</strong>....................................... 16<br />
Guide to Rosario <strong>Tango</strong>................................................... 22<br />
Movements, Julia Juliati.............................................................. 24<br />
Interview with Max Masri, Martin Delgado .................... 28<br />
The Dynamics of <strong>Tango</strong> , Alexandru Eugen Cristea ....... 31<br />
New <strong>Tango</strong> Music Arndt Büssing ............................................. 34<br />
Alba Sollis: <strong>Tango</strong> Diva ................................................................ 40<br />
DJ/VJ-ing, Jochen Lüders............................................................... 42<br />
<strong>Tango</strong> Moves, Raymond Lauzzana .......................................... 46<br />
Letters to the Editor ..................................................................... 49<br />
— 3 —
<strong>Modern</strong> <strong>Tango</strong> <strong>World</strong><br />
Publisher & Evangelist Raymond Lauzzana<br />
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<strong>Buenos</strong> <strong>Aires</strong> Martin Delgado<br />
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Circuits of Milongas, Porteñas and Rosarinas<br />
Gustavo Ameri<br />
In <strong>Buenos</strong> <strong>Aires</strong>, there are many milongas scattered among the different neighborhoods across the city.<br />
The total number is around 180, every week. They are organized into milongueros circuits - sequences<br />
of milongas distributed to different nights of the week.<br />
Many milongas have organized classes taught by specialized<br />
teachers, during the pre-dance time in the<br />
early evening hours. They can be classified according<br />
to some features, such as the more traditional versus<br />
the avant-garde. Some are for amateur dancers, and<br />
others for more experienced dancers.<br />
Some, such as Salon Canning and El Beso moderate<br />
between the traditional and the new generations of<br />
milongas. Salon Canning is a famous venue with its<br />
characteristic wooden floor, coveted by many tango<br />
dancers. It ihas a large lounge where you can dine or<br />
drink and is very busy with the most famous tango<br />
dancers and tourists. It is located in Palermo and is<br />
open Monday through Sunday. Every day, the milonga<br />
is held by a different organizer. For example, Mondays,<br />
Tuesdays and Fridays have become reserved for the<br />
Parakultural Group’s milongas.<br />
stock photo of La Viruta<br />
Moreover, there are places with many people who<br />
have no connection to tango, such as La Viruta and<br />
La Catedral.<br />
La Catedral is a landmark created by Omar Viola.<br />
It has a relaxed atmosphere which opens its doors<br />
to all genre of tango. It has become just a warm<br />
place to dance. The main virtue of La Catedral is<br />
that it has managed to bring people of all age levels<br />
and not just to listen to tango. The relaxed style and<br />
baroque atmosphere make it one of the amazing<br />
and unique places in the world. Thousands of foreigners<br />
and personalities that have visited <strong>Buenos</strong><br />
<strong>Aires</strong>, know it as one of the main attractions that<br />
the city has to offer. La Catedral is located in the Almagro<br />
neighborhood and it features an outstanding<br />
cuisine, dance classes and milongas, as well as tango<br />
shows on weekends.<br />
On the other hand, milongas at Sin Rumbo, Sunderland<br />
and Glorias <strong>Argentina</strong>s are very traditional and historical.<br />
Sunderland is one of the most famous representatives<br />
of the neighborhood clubs. This is one of the<br />
most famous tango salons and its floor is dominated<br />
by the highest level of dance. It is difficult for the less<br />
experienced to dare to dance here.<br />
Far from the salons at the center of the city, there are<br />
typical clubs with all the characteristics that mark the<br />
tradition of Villa Urquiza, a neighborhood with more<br />
dancers than any other part of the city. The neighborhood<br />
even has its own style of tango that bears its<br />
name, and will forever be immortalized.<br />
La Viruta is another very popular venue, with very<br />
crowded classes. It is owned by the famous dancer<br />
Pebete Godoy. This venue opened its doors to<br />
all, with relaxed and undemanding atmosphere on<br />
the floor, where newbies can dance alongside the<br />
great milongueros. It is the quintessential milonga<br />
for young people, who go alone without partners<br />
or friends, because there they can find peers and<br />
dance partners. It is a large lounge where you can<br />
have all kinds of drinks and light meals. There is always<br />
an artistic surprise for the guests, from exhibitions<br />
of prominent dance partners to musical<br />
shows and all kinds of events that tend to stretch<br />
the limits their abilities, pack the place to capacity.<br />
— 5 —
La Bicicleta and El Yeite that are more modern and<br />
frequented mostly professional dancers. El Yeite located<br />
in Cordoba and is known for a dance festival<br />
organized in February or March.<br />
There are many milongas held in other cities,<br />
such as Rosario, in lounges, neighborhood cafes<br />
or clubs. In these tango churches, c,assical and<br />
modern tango may be heard.<br />
Echoes of such great figures as<br />
Carlos Gardel, Aníbal Troilo and<br />
Astor Piazzolla coexist with new<br />
contemporary styles, and even<br />
the electronic tango.<br />
In recent years, <strong>Buenos</strong> <strong>Aires</strong> has<br />
experienced tremendous growth<br />
in the milonga circuit. From 2001<br />
to the present, the tango grew<br />
mainly in the neighborhoods of<br />
Palermo, Villa Crespo and Almagro.<br />
These are the places that<br />
changed the most, and where<br />
most tango events are located.<br />
These neighborhoods that have<br />
more possibilities, not only for<br />
tango, but also for gastronomy<br />
and culture.<br />
stock photo of La Bicicleta<br />
— 6 —
After the 2001 financial crisis, the tango began experiencing<br />
a new boom in <strong>Argentina</strong> with a new<br />
kind of appreciation in value for its cultural value.<br />
This can be seen not only in the styles of dance,<br />
but also in the many bands that have turned to<br />
tango. They are not just modern fusion bands, but<br />
orchestra tipicas, as well.<br />
With respect to the style of dance tango, tangot<br />
has undoubtedly mutated with the music and the<br />
times. In the mid-90s, Gustavo Naveira at Cochabamba<br />
444 developed a new interpretation of<br />
the dance that had not changed since the 1950s.<br />
TFrom this new style, many exponents arose, perhaps<br />
the most well-known is Chicho Frumboli.<br />
There are two general<br />
types of dancing. On the<br />
one hand, the new generations<br />
put more energy in<br />
a more modern style. But<br />
today, unlike ten years ago,<br />
more value is given to tradition.<br />
Definitely, this search<br />
is left to the discretion of<br />
those who teach and those<br />
who dance.<br />
Rosario is a great tango<br />
city. The situation is similar<br />
to <strong>Buenos</strong> <strong>Aires</strong>, but<br />
on a smaller scale. There,<br />
milongas are every day of<br />
the week. Stylistic variation<br />
is abundant, among them<br />
are the Milonga Contramambo<br />
in El Olimpo Bar at Mendoza and Corrientes,<br />
where the scene tends towards modernity.<br />
The manager, Santiago Aschilli, is a very innovative<br />
dancer. Another space that is booming La<br />
Chamuyera is a haven for both dancing and listening<br />
to tango, rock and jazz concerts. It is the<br />
home base of dancer Germán Ruiz Diaz. One of<br />
the most traditional spaces is the Metropolitano<br />
de <strong>Tango</strong> de Rosario.<br />
Daniel Lancers who offers offers dance performances<br />
of more traditional tango. Rosario is a city<br />
of innumerable different groups of tango dancing<br />
mixing and flowing together. Other milongas<br />
to mention are the Café de la Flor, El Levante, and<br />
in the legendary district of Pichincha, El Hornero,<br />
Milonga Roja, El Revire and the traditional milonga<br />
at La Casa del <strong>Tango</strong>.<br />
The Argentine cities are not the only ones to have<br />
the privilege of the great milongas. Berlin, Bologna,<br />
Milan, Rome, Madrid and many other European cities<br />
have tango spaces to tango that are the envy of<br />
<strong>Buenos</strong> <strong>Aires</strong>. Medellin, Colombia has great milongas<br />
and many Colombians take part in the <strong>Buenos</strong> <strong>Aires</strong><br />
dance scene.<br />
stock photo of La Catedral<br />
The most famous Argentine teachers lead workshops<br />
in these cities in Europe and the world. The<br />
great capital of tango was, is and will always remain<br />
<strong>Buenos</strong> <strong>Aires</strong>.<br />
— 7 —
What’s happening in <strong>Buenos</strong> <strong>Aires</strong>?<br />
Fabio Rodriguez<br />
The images of Astor Piazzolla, Aníbal Troilo, Osvaldo Pugliese, Horacio Salgán and others<br />
linger around us. In order to understand the current tango scene in <strong>Argentina</strong>, you need to look a<br />
little into the past. Like the most musical genres in the world, tango had a beginning, then a resistance<br />
on the part of society, and finally mass acceptance in communion with the media and the assumption<br />
of its place in popular culture.<br />
From the mid-fifties, political processes delayed<br />
the development of a national culture. In general,<br />
the tango stopped being spread and gradually lost<br />
interest, especially among young people. Certain<br />
sectors of the tango could be found. But, it was<br />
difficult to accept and understand new patterns<br />
in avmodern society. The mass arrival of television,<br />
divided opinions of what is understood as tango<br />
or not tango. And, tango failed to live within the<br />
community. Indeed, many sectors came into open<br />
confrontation with the new generations who were<br />
inclined to musical culture that rose from rock, in<br />
<strong>Argentina</strong>. <strong>Tango</strong> lost the support of record labels,<br />
and had to take shelter, find new markets, reduce<br />
or eliminate something key to its structure, such as<br />
the orchestra tipica.<br />
Despite this past, the cultural value of tango always<br />
persisted. It may be debatable whether the<br />
tango is the most popular music in <strong>Argentina</strong>.<br />
Now, in the suburbs, where the first tango steps<br />
were taken, many places have been taken over by<br />
other types of music that more clearly reflect the<br />
people’s daily lives. But, tango remains a current<br />
cultural phenomenon, that has managed to survive<br />
these cultural changes. It has lived in the same exile<br />
that many Argentine people.<br />
<strong>Modern</strong> tango composers often respond to contemporary<br />
issues with modern aesthetics, incorporating<br />
sounds drawn from modern life. Today,<br />
tango has been rediscovered as a living entity. it<br />
is one of the major musical genres of the world.<br />
Traffic on the Internet indicates that tango in an<br />
unimaginable following.<br />
The works of Astor Piazzolla and many others<br />
of that period became part of the repertoire of<br />
these groups throughout the world, from the electronic<br />
tango, philharmonic orchestras, to chamber<br />
orchestras. Search Google anywhere in the world<br />
for the word tango. You will always find something.<br />
There is different situation when considering tango<br />
as a dance phenomenon. In <strong>Argentina</strong>, during the<br />
1980s, tango was barely visible, except for a small<br />
world for tourists. And, that dancing was limited in<br />
it scope. Today, there are dozens of milongas every<br />
day, featuring wonderful exhibitions of dancing.<br />
They are always hypnotic in their effect and full of<br />
sensuality, a truly unique experience in the world.<br />
<strong>Tango</strong> is now accepted and enjoyed in all its forms.<br />
It lives in the Tribute Orchestras with their fundamental<br />
forms of tango of Don Osvaldo Pugliese,<br />
Juan D’Arienzo, Ricardo Tanturi. <strong>Tango</strong> also lived<br />
in artistic renewal begun by the great Astor Piazzolla,<br />
and only with groups that continue his movement.<br />
There is intimate tango with many enjoyable<br />
forms of piano and voice ensembles. It lives in the<br />
wonderful Creole Style, Gardel School and in the<br />
new sound of tango fusion.<br />
Today, the vain polemics that divided the ears of<br />
the Argentines are far away. The names of Noelia<br />
Moncada Luis Filipelli, San Telmo Lounge, Cucuza<br />
Castiello, Aureliano Marin, Guillermo Fernandez,<br />
Maria Volonte are just a few examples of the many<br />
excellent musical groups that are part of Argentine<br />
tango culture.<br />
— 8 —
— 9 —
I was born in the city of Rosario and all fairness, I<br />
need to write something about the city of Rosario,<br />
the second city in <strong>Argentina</strong>. It has similar port<br />
characteristics as Montevideo and <strong>Buenos</strong> <strong>Aires</strong>, is<br />
one of the cultural capitals of tango. Like any artistic<br />
expression, Rosario needs professionals and<br />
trainers to promote the quality of its tango.<br />
Rosario has currently one of the key training<br />
schools, the <strong>Tango</strong> Orchestra School, under the Ministry<br />
of Culture and Education. It is a place where<br />
very young musicians learn to play in an orchestra.<br />
It is the true seeedbed of tango today. Rosario is a<br />
city in which cultural passion overflows.<br />
It is in the wonderful Casa del <strong>Tango</strong>, with ongoing<br />
outdoor shows, open air milongas, its famous Bar<br />
El Cairo, aris oneme of the important places to visit.<br />
There it is — <strong>Tango</strong>, a cultural force, always arousing<br />
curiosity among visitors to <strong>Argentina</strong>. But also,<br />
a force to which Argentines owe much for their<br />
own culture.<br />
— 10 —
— 11 —
Pablo Inza:<br />
An Interview with Pablo Inza<br />
Success is to live life dancing.<br />
Martin Delgado & Santiago Beretta<br />
A porteño by birth and citizen of the world, Pablo Inza is one of today’s great tango dancers in the<br />
world. he is a teacher and event producer, committed to the creation of festivals that are more than a<br />
mere exhibition of show tango. Pablo Inza is experiencing a great professional moment. With Sofia<br />
Saborido, his current dance partner, he started a tour that has led from country to country and continent<br />
to continent. In September, they danced in Australia and the Netherlands and in November will<br />
be in Poland and Italy.<br />
We chatted with him between presentations and realized that enthusiasm for making not only warns<br />
on stage: when he speaks overflowing vitality. The memory of his first tango lesson and cravings so it<br />
is discovered seem to move him in the same way. In turn, no longer excited by how much progress was<br />
made pedagogically in teaching dance.<br />
MTW: Specifically on the subject of dance: What<br />
was attracted you to it? Did you start right with the<br />
tango or come to it after other genres?<br />
Pablo Inza: Before meeting with the tango, I had<br />
an experience with theater. I spent some time practicing<br />
and that led me to contemporary dance, also<br />
with the need to use my body as an expression possibility.<br />
The theater was not enough.<br />
I liked both contemporary and classical dance language.<br />
But, I had more classical training. A friend<br />
urged me to take a tango class and convinced me.<br />
The first class is for me a brilliant memory. I still<br />
remember that first moment, even though I can’t remember<br />
many things or what tango was involved. I<br />
found the dance to be amazing. Coming from contemporary<br />
dance, where the dance is more individual,<br />
there are few partner moments There is a word, pas<br />
de deux, that is used to describe dancing in pairs. But,<br />
the embrace; being so close; and being able to do a<br />
series of movements. Over time, I began to dance,<br />
but that first moment was shocking.<br />
MTW: How old were you when you start to turn<br />
professional tango possibility?<br />
Pablo Inza: I was twenty-two, maybe twenty-four.<br />
It happened by accident. I was in Brussels, Belgium,<br />
and the same friend goes there and suggested I put<br />
together a tango course. I said yes, but really did<br />
not know who might interested in me in Belgium.<br />
We made a kind of terrible promotion. But, we<br />
filled the seminar. Instead of one seminar, we gave<br />
three. It was an unexpected success.<br />
MTW: In Brussels, you do not expect to tango?<br />
Pablo Inza: No. There was little home for tango<br />
in Brussels. I went to <strong>Buenos</strong> <strong>Aires</strong> to study.<br />
I made the trip that make many foreigners who<br />
come to study tango. I took the opposite path.<br />
Studying in <strong>Buenos</strong> <strong>Aires</strong> and then going outside.<br />
After study in <strong>Buenos</strong> <strong>Aires</strong>, I made my first steps<br />
directly in Europe. Then I returned to live in <strong>Buenos</strong><br />
<strong>Aires</strong>, where I continued studying and investigating<br />
the tango. During that period, I linked up with<br />
the stage, working with, among others, Juan Carlos<br />
Copes and dancing in the mythical Caño 14. After,<br />
I started traveling, taking the path that many colleagues<br />
take. There was some growing in me. We<br />
are talking about 1999, from then began another age<br />
— travel!<br />
— 12 —
MTW: What has changied in the way that you<br />
and your contemporaries danced, over these twenty<br />
years?<br />
Pablo Inza: <strong>Tango</strong> has changed a lot in different<br />
ways, the dance itself and fashions and the impressions<br />
imposed by different times. Also pedagogy<br />
has changed a lot, I think we’ve evolved in the sense<br />
that we understand the tango more formally. And,<br />
we can now better understand and transmit. this<br />
knowledge When I started, teaching was much<br />
more basic. But, this implies something very nice<br />
because it was like a passage. You got something.<br />
But, you were unable to explain it. Today, there are<br />
more ways to approach the tango that are much<br />
more sophisticated. With respect to my dance,<br />
my colleagues have influenced me a lot. There are<br />
things that are interesting to me and the things that<br />
I needed to develop. Perhaps, these two ingredients<br />
are the ones that have given me my dance.<br />
MTW: Are there mainstream trends that are<br />
more than cosmetic changes to the dance?<br />
Pablo Inza: Yes of course. There have been<br />
trends in dance. Milonguero Style, Salon, Nuevo,<br />
etc. Those are some of the styles. Until recently,<br />
newer tango styles were fashionable. They provided<br />
a structural compression of dance. Today, this is<br />
indispensable for the teaching. From the outwrd<br />
appearance of the dance, tango is understood differently.<br />
This comes from a new pedagogy that is<br />
useful for all styles. In addition, there are tango<br />
fashions, such as more open, more closed, more<br />
simple, more complex, etc.<br />
Pablo Inza: The important thing is that it always<br />
tries to be tango. I do not believe in the war of styles.<br />
I think one of the best things about tango is the diversity,<br />
where each dancer seeks expression and if it<br />
is genuine, generates a personal style. Unfortunately<br />
today, we see a tendency towards uniformity. This is<br />
most evident outside <strong>Buenos</strong> <strong>Aires</strong>.<br />
MTW: Who have been your primary influences?<br />
Pablo Inza: This is very difficult to answer because<br />
there are many people who inspire me. Anonymous<br />
and acquaintances. And it changes over time. My<br />
tastes change and I change my identifications. Before<br />
traveling, in the nineties, I identified with the Urquiza<br />
Style dancers, practiced with the neighborhood dancers<br />
and frequented those milongas. Today, this style<br />
is often called the <strong>Tango</strong> Salon. I practiced with old<br />
milongueros, people who were going, and many of<br />
them are totally unknown.<br />
On the other hand, I remember my first image of<br />
the tango. I saw a performance, named <strong>Tango</strong> for<br />
Two. It shocked me, it must have been in 1991 or<br />
1992. Miguel Angel Zotto with Milena Plebs and<br />
Osvaldo Zotto with Guillermina Quiroga. There<br />
have been other couples who inspired me since,<br />
such as Roberto Herrera with Vanina Bilous. The<br />
tango was taken from the roots, developed into choreographed<br />
shows. I also had a taste of improvisation,<br />
especially those of the old milongueros, They<br />
could be more basic but at the same time rich in<br />
nuances, each one was special, they were all unique.<br />
One of the things that I like about the tango is the<br />
unique personalities of the dancers.<br />
— 13 —
Pablo Inza: I was very nervous<br />
because it was a huge challenge.<br />
I went there with a lot of people<br />
who knew what I was doing. I did<br />
not control the situation.<br />
MTW: Do you find it interesting<br />
Piazzolla for dance?<br />
Pablo Inza: The list of dancers who have inspired<br />
me and that I admire is very very long.<br />
MTW: Do you frequent the milonga as a participant,<br />
or just as a teacher and artist?<br />
Pablo Inza: I am like everyone else. Especially,<br />
when I’m in <strong>Buenos</strong> <strong>Aires</strong>, those milongas are irreplaceable.<br />
I frequent the milongas when I want<br />
to play. What I have noticed is that the dancers<br />
always choose the same version of a song for<br />
dancing. But, there are many versions.<br />
MTW: What do you think you of this?<br />
Pablo Inza: It is true that there is a sort of short<br />
list of songs. I think that when dancers always listen<br />
to a same version, with known arrangements,<br />
then they can interpret it. But. all of the modes of<br />
dance are slowly changing. Today, a DJ does not<br />
play exactly the same music that was danced 3, 5,<br />
10 or 15 years ago. There are bands that come<br />
and gone overthe past few years. Also, various<br />
orchestras become fashionable, and others not.<br />
MTW: Many dancers say they remember the<br />
first time that they embraced another dancer. Do<br />
you remember that time, as well?<br />
Pablo Inza: O yes, I remember. I remember<br />
especially the nerves. It was in that class that I had<br />
that was amazing. And, I also remember my first<br />
time in a milonga,<br />
Pablo Inza: I love Piazzolla, He<br />
wrote many sublime compositions!<br />
I had a period when I used to dance<br />
to his music, very often in performance.<br />
Lately, I dance it with Sofia<br />
Saborido. And, I did an opera with<br />
Maria <strong>Buenos</strong> <strong>Aires</strong>. It was a production<br />
that was done in the Opera<br />
Company of Oslo, Norway. In<br />
the cast were Julia Zenko and Per<br />
Arne Glovirgen among others. It<br />
was a beautiful experience.<br />
MTW: So, do you see Astor Piazzolla’s music<br />
more appropriate for exhibitions than milongas.<br />
Pablo Inza: It is so with the post-Piazzolla concert<br />
music, as well. There are many orchestras and<br />
groups which produce a more danceable sound,<br />
with marked rhythms, that help the dancer. Then<br />
came, electronic tango, with a strong rhythm. This<br />
marked an important moment. Many people came<br />
to tango because of it. Now it is heard less, But,<br />
there are encuentros and milongas where electronic<br />
tango is played.<br />
MTW: Do you currently reside in <strong>Buenos</strong> <strong>Aires</strong>?<br />
Pablo Inza: This difficult to answer. I’m actually<br />
in <strong>Buenos</strong> <strong>Aires</strong>, for the three Summer months. The<br />
rest of the year, I’m out. I’ll be six months in Europe.<br />
Then, we go to the United States and Canada for<br />
two months and and then possibly Australia. So, it’s<br />
hard to know where I reside. I sleep most times<br />
during the year in France.<br />
MTW: Are there different dance trends in each<br />
country and on every continent?<br />
Pablo Inza: Now that there is Youtube, Facebook<br />
and the Internet, there is more homogeneity. Everywhere<br />
has is a bit of everything. In Asia, it is more the<br />
tango dance hall hits of the past. In Europe, there was<br />
a boom in the new tango. Everything has become<br />
more danceable and the United States surpasses in<br />
this. Maybe, Australia will come a little second. But I<br />
think everywhere the trend is more or less similar.<br />
— 14 —
Pablo Inza: With the internet,, even though you are<br />
fifteen thousand kilometers away, you find out what is<br />
happening in <strong>Buenos</strong> <strong>Aires</strong>. I do not know if this is<br />
good or bad. But now, we all learn, at the same time.<br />
MTW: You are widely recognized in your career as<br />
a dancer, in many countries. What are the things that<br />
you are working on. And, what are your future goals as<br />
an artist?<br />
This is something that I did for six years and that<br />
today is still goes on in <strong>Buenos</strong> <strong>Aires</strong>. It has always<br />
been interesting in developing, I think that<br />
there is much to take from show tango type performances.<br />
Shows generally have a mix of styles<br />
in the same way. There are so many things to<br />
do in tango. But, I do not want to stop dancing<br />
just for the pleasure of dancing.<br />
MTW: After so much traveling, do you still like the<br />
milonga scene?<br />
Pablo Inza: I am always<br />
questioning my dance, I<br />
am never satisfied to stay<br />
in the same place. I say<br />
this with pleasure in the<br />
sense that I can always<br />
find more. Over time<br />
you see that you can always<br />
continue to discover,<br />
it is infinite and I like<br />
it. There are times when I<br />
am more eager and other<br />
times when I am less<br />
patient. I feel closer to<br />
the milonga then perhaps<br />
closer to art performances.<br />
Lately, I have been<br />
questioning my dancing and<br />
my role in education. This is<br />
what I am most connected<br />
to, now.<br />
Pablo Inza: I have always<br />
said that the tango is a language with many<br />
possibilities. For nine years, I produced a space<br />
known as Practica X. It became a tango stronghold<br />
for young people and for the exploration of the<br />
tango, I also produced a festival, trying to combine<br />
tango with other aristic languages. This is how the<br />
Cambalache Festival was born.<br />
Pablo Inza: Yes of course! I love it! I love to<br />
dance! Both in the milongas, and part of an exhibition<br />
I still have many concerns abot dancing and<br />
what I represent,.<br />
MTW: So, it is this artistic search. Are you aware<br />
of when you are successful.?<br />
Pablo Inza: Absolutely! My success already exists!<br />
I live dancing! I do what I like!<br />
— 15 —
<strong>Buenos</strong> <strong>Aires</strong> <strong>Tango</strong> Guide<br />
WeeKlY Milongas<br />
Sunday<br />
17:00 - 20:00 El Abrazo Verdadero Bar Los Laureles Av. Gral. Iriarte 2290 Barracas<br />
18:00 - 23:00 Milonga Placita Plaza Dorrego Café San Telmo 1098 Centro<br />
18:00 - 24:00 El Pial Salón El Pial Ramón L. Falcón 2750 Flores<br />
18:00 - 24:00 Lo de Celia Lo de Celia <strong>Tango</strong> Club Humberto Primo 1783 San Cristóbal<br />
18:00 - 24:30 Lujos en Plaza Bohemia Plaza Suipacha 921 Balvanera<br />
18:00 - 02:00 Sueno Porteno Club Gricel La Rioja 1180 San Cristóbal<br />
19:00 - 22:00 Bailongo de Domingos Complejo 25 de Mayo Av Triunvirato 4444 Villa Urquiza<br />
19:00 - 01:00 A Puro <strong>Tango</strong> Salon Canning Av. Raúl Ortiz 1331 Palermo<br />
19:00 - 02:00 Alo Lola Obelisco <strong>Tango</strong> Av. Entre Ríos 1056 San Cristóbal<br />
20:00 - 24:00 Fulgor de Villa Crespo Club Fulgor Loyola 828 Villa Crespo<br />
20:00 - 02:00 Estacion Sur Club Atlético Temperley Av. Meeks 1066 Centro<br />
20:30 - 01:00 Lilián Milonga Centro Acerenza Lucania Bermudez 3127 Villa Devoto<br />
21:00 - 01:00 Rodriguez <strong>Tango</strong> El Rodriguez Club Av. Gral. Rodríguez 1191 Villa Crespo<br />
21:00 - 01:00 Bella Vista <strong>Tango</strong> Bella Vista <strong>Tango</strong> Club San Miguel 1663 Bella Vista<br />
21:00 - 02:00 Abrazando <strong>Tango</strong>s Abrazando <strong>Tango</strong>s Av. Alvarez Thomas 1121 Colegiales<br />
21:30 - 02:00 Milonga Floreal Club Ciencia y Labor Av. Cesar Díaz 2453 Villa Mitre<br />
22:00 - 02:00 Viva la Pepa Club Villa Malcolm Av. Cordoba 5064 Palermo<br />
22:00 - 03:00 Milonga de Domingos El Beso Nightclub Riobamba 416 B. Balvanera<br />
22:00 - 03:00 Mundo <strong>Tango</strong> Confitería Ideal Suipacha 384 Centro<br />
22:30 - 02:00 Maldita Milonga Domingo <strong>Buenos</strong> Ayres Club Perú 571 Monserrat<br />
22:30 - 03:00 Domilonga Club Independencia Av. Independencia 572 San Telmo<br />
23:30 - 05:00 La Catedral Catedral de Almagro Sarmiento 4006 Almagro<br />
Monday<br />
15:00 - 20:30 Milonga Ideal Confitería Ideal Suipacha 384 Centro<br />
16:00 - 22:00 Matiné de los Lunes Plaza Bohemia Suipacha 921 Balvanera<br />
18:00 - 23:45 El Maipu de Lucy y Dany La Nacional Alsina 1465 Monserrat<br />
19:30 - 23:00 Bien de Abajo La Glorieta de Belgrano La Pampa 1781 Belgrano<br />
20:00 - 03:00 Derecho Viejo Club Gricel La Rioja 1180 San Cristóbal<br />
22:30 - 02:00 Bendita Milonga <strong>Buenos</strong> Ayres Club Perú 571 Monserrat<br />
22:30 - 02:30 Galpón Milagros La Bicicleta Gorriti 5417 Palermo<br />
22:30 - 03:00 Segundos Afuera Club Independencia Av. Independencia 572 San Telmo<br />
23:00 - 04:00 Parakultural Salon Canning Av. Raúl Ortiz 1331 Palermo<br />
23:30 - 05:00 La Catedral Catedral de Almagro Sarmiento 4006 Almagro<br />
Tuesday<br />
15:00 - 21:00 El Arranque Nuevo Salón La <strong>Argentina</strong> San N. Bartolomé 1759 Villa Mitre<br />
16:00 - 23:00 Nuevo Chique Casa de Galicia San Jose 224 Centro<br />
18:00 - 02:00 Nolvidable Obelisco <strong>Tango</strong> Av. Entre Ríos 1056 San Cristóbal<br />
19:00 - 00:30 Sentimental y Coqueta Salon Plaza Bohemia Alsina 2540 Centro<br />
20:00 - 02:00 Zona <strong>Tango</strong> Zona <strong>Tango</strong> Club Venezuela 2937 Centro<br />
20:30 - 01:00 Saraza <strong>Tango</strong> Club Telégrafo y Crisol Saraza 951 Chacabuco<br />
21:00 - 03:00 Cachirulo en el Beso El Beso Nightclub Riobamba 416 Balvanera<br />
— 16 —
WeeKlY Milongas<br />
Tuesday (Continued)<br />
22:00 - 03:00 Bichito <strong>Tango</strong> Club Independencia Av. Independencia 572 San Telmo<br />
22:00 - 02:30 Caricias Imagen Saavedra Av. Ricardo Balbín 4699 Villa Urquiza<br />
22:30 - 03:00 Fulgor <strong>Tango</strong> Club Fulgor Loyola 828 Villa Crespo<br />
23:30 - 04:00 Parakultural Salon Canning Av. Raúl S. Ortiz 1331 Palermo<br />
23:30 - 05:00 La Catedral Catedral de Almagro Sarmiento 4006 Almagro<br />
Wednesday<br />
15:00 - 21:00 Matinée Unitango Confitería Ideal Suipacha 384 San Nicolá<br />
16:00 - 24:00 A Puro <strong>Tango</strong> Salon Canning Av. Raúl S. Ortiz 1331 Palermo<br />
17:00 - 22:30 La Milonga del Pueblo Salon Rock Sur Av. Sáenz 459 Nueva Pompeya<br />
18:00 - 23:00 Lo de Celia Celia <strong>Tango</strong> Club Humberto Primo 1783 San Cristóbal<br />
18:00 - 23:45 El Maipu Lucy y Dany La Nacional Alsina 1465 Monserrat<br />
18:00 - 24:00 Rodriguez <strong>Tango</strong> El Rodriguez Club Gral. Rodríguez 1191 Villa Crespo<br />
19:30 - 23:00 Bien de Abajo Glorieta de Belgrano La Papa 1781 Belgrano<br />
19:30 - 03:00 Sueño Porteño Centro Leonesa Av. San Juan 3330 Centro<br />
19:30 - 03:00 Febril y Ante Obelisco <strong>Tango</strong> Av. Entre Ríos 1056 San Cristóbal<br />
20:00 - 02:00 Zona <strong>Tango</strong> Zona <strong>Tango</strong> Club Venezuela 2937 Centro<br />
20:00 - 02:00 San Isidro <strong>Tango</strong> San Isidro <strong>Tango</strong> Club Tres de Febrero 55 San Isidro<br />
20:00 - 03:00 Los Laureles Milonga Bar Los Laureles Av. Gral. Iriarte 2290 Centro<br />
20:30 - 01:30 Madre<strong>Tango</strong> Club Fulgor Loyola 828 Villa Crespo<br />
22:00 - 02:00 Milonga de Oliverio Espacio O. Girondo Vera 574 Villa Crespo<br />
22:30 - 02:00 Maldita Milonga <strong>Buenos</strong> Ayres Club Perú 571 Monserrat<br />
22:30 - 02:30 Fruto Dulce <strong>Tango</strong>s Club Villa Malcolm Av. Cordoba 5064 Palermo<br />
22:30 - 02:30 Milonga Popular Club Independencia Av. Independencia 572 San Telmo<br />
22:45 - 24:00 La Milonga Niceto Niceto Club Av. Cnl. Niceto Vega 5510 Palermo<br />
23:00 - 02:00 Milonga La Mandrilera Teatro Mandril Humberto Primo 2758 San Cristóbal<br />
23:30 - 05:00 La Catedral Catedral de Almagro Sarmiento 4006 Almagro<br />
Thursday<br />
15:00 - 21:00 Milonga El Alero Confitería Ideal Suipacha 384 San Nicolá<br />
16:00 - 23:00 Milonga del Corazón Nuevo Chique San Jose 224 Centro<br />
18:00 - 24:00 El Pial Salón El Pial Rón L. Falcón 2750 Flores<br />
18:00 - 01:00 Lujos El Beso Nightclub Riobamba 416 <strong>Buenos</strong> Balvanera<br />
19:00 - 03:00 Milonga de los Zucca Centro Leonesa Av. San Juan 3330 Constitución<br />
20:00 - 02:00 Maracaibo Bailable Cabaret El Marabú Maipu 365 San Nicolás<br />
20:00 - 03:00 La Cachila Club Gricel La Rioja 1180 San Cristóbal<br />
20:00 - 03:00 Milonga Rumbo Bar Los Laureles Av. Gral. Iriarte 2290 Barracas<br />
21:00 - 01:00 Noche de Milongueros El Rodriguez Club Gral. M. A. Rodríguez 1191 Villa Crespo<br />
22:00 - 01:30 Milonga El Puchu Mansión Dandi Royal Piedras 922 San Telmo<br />
22:00 - 02:00 Milonga Apola Club Fierro Sánchez de Bustante 697 Almagro<br />
22:30 - 03:00 Milonga Archibrazo Centro El Archibrazo Mario Bravo 441 Almagro<br />
22:30 - 04:00 Soho <strong>Tango</strong> Salon Canning Av. Raúl Ortiz 1331 Palermo<br />
23:30 - 05:00 La Catedral Catedral de Almagro Sarmiento 4006 Almagro<br />
— 17 —
<strong>Buenos</strong> <strong>Aires</strong> <strong>Tango</strong> Guide<br />
WeeKlY Milongas<br />
Friday<br />
18:00 - 24:00 La Baldosa Salón El Pial Ramón L. Falcón 2750 Flores<br />
18:00 - 02:00 La Milonga de Elsita Bohemia Plaza Suipacha 921 <strong>Buenos</strong> Balvanera<br />
18:00 - 02:00 Sueno Porteno Club Gricel La Rioja 1180 San Cristóbal<br />
18:00 - 03:00 Milonga de Bs As Obelisco <strong>Tango</strong> Av. Entre Ríos 1056 San Cristóbal<br />
19:00 - 03:00 Yira Yira Centro Región Leonesa Av. San Juan 3330 Constitución<br />
19:30 - 23:00 Bien de Abajo La Glorieta de Belgrano La Pampa 1781 Belgrano<br />
20:00 - 03:00 Peña de <strong>Tango</strong> de Arrabal Los Laureles Iriarte 2290 Centro<br />
20:30 - 03:30 TANGOCOOL Club Villa Malcolm Av. Cordoba 5064 Palermo<br />
21:00 - 03:00 Cesar Palace Milonga Casa Paraguaya Chile 1769 Monserrat<br />
21:00 - 04:00 El Gardel de Medellín Parque Patricios Av. Caseros 3033 Centro<br />
22:00 - 02:00 Milonga Pichuco Espacio Oliverio Girondo Vera 574 Villa Crespo<br />
22:00 - 03:00 Lo de Celia Celia <strong>Tango</strong> Club Humberto Primo 1783 San Cristóbal<br />
22:00 - 04:00 Sin Rumbo Club Sin Rumbo José Pasc. Tborini 6157 Villa Pueyrredón<br />
22:30 - 03:00 Sin Gomina Milonga Villa Raffo Chile 1351 Monserrat<br />
22:30 - 04:00 La Tradicional Club Gricel La Rioja 1180 San Cristóbal<br />
23:00 - 03:00 Zona <strong>Tango</strong> Asociación Genovesa Venezuela 2943 Balvanera<br />
23:00 - 04:00 El Embrujo Funda. <strong>Tango</strong> Argentino Av Córdoba 5942 Chacarita<br />
23:00 - 05:00 Independencia Club Independencia Av. Independencia 572 San Telmo<br />
23:00 - 05:30 Parakultural Salon Canning Av. Raúl Ortiz 1331 Palermo<br />
23:30 - 03:00 La Marshall El Beso Riobba 416 <strong>Buenos</strong> Balvanera<br />
23:30 - 05:00 La Catedral Catedral de Almagro Sarmiento 4006 Almagro<br />
Saturday<br />
15:00 - 20:30 Milonga Ideal Confitería Ideal Suipacha 384 Centro<br />
15:00 - 21:00 El Arranque Salón La <strong>Argentina</strong> Bartolomé Mitre 1759 San Nicolás<br />
19:00 - 03:00 Los Consagrados Centro Región Leonesa Av. San Juan 3330 Constitución<br />
20:00 - 03:00 Milonguitas Empastadas Los Laureles Iriarte 2290 Centro<br />
20:30 - 01:00 La Milonga de Mi Vida Centro A. Lucania Bermudez 3127 Villa Devoto<br />
20:30 - 03:00 Clasico de los Sabados Espacio el Tacuarí Tacuari 1557 Centro<br />
21:00 - 04:00 Mi Refugio La Nacional Alsina 1465 Centro<br />
21:00 - 04:00 Cachirulo Obelisco <strong>Tango</strong> Av. Entre Ríos 1056 San Cristóbal<br />
22:00 - 02:00 Milonga San Pugliese Espacio Oliverio Girondo Vera 574 Villa Crespo<br />
22:00 - 03:00 Lo de Celia Celia <strong>Tango</strong> Club Humberto Primo 1783 San Cristóbal<br />
22:00 - 04:00 Milonga en Rojo Plaza Bohemia Suipacha 921 <strong>Buenos</strong> Balvanera<br />
22:30 - 04:00 Milonga de Cisneros La Traicionera Av. San Martin 2288 Villa Gral. Mitre<br />
22:30 - 04:30 Las Morochas El Beso Riobba 416 <strong>Buenos</strong> Balvanera<br />
22:30 - 04:30 Fulgor <strong>Tango</strong> Club Fulgor Loyola 828 Villa Crespo<br />
23:00 - 03:00 La Independencia Club Independencia Av. Independencia 572 San Telmo<br />
23:00 - 03:00 La Bruja Club Villa Malcolm Av. Cordoba 5064 Palermo<br />
23:00 - 03:00 Zona <strong>Tango</strong> Asociación Genovesa Venezuela 2943 <strong>Buenos</strong> Balvanera<br />
23:00 - 04:30 A Puro <strong>Tango</strong> Salon Canning Av. Raúl S. Ortiz 1331 Palermo<br />
23:00 - 04:30 Malena <strong>Tango</strong> Club Sunderland Lugones 3151 Villa Urquiza<br />
23:30 - 05:00 La Catedral Catedral de Almagro Sarmiento 4006 Almagro<br />
— 18 —
Weekly Practicas<br />
Sunday<br />
20:00 - 23:00 Domingos de <strong>Tango</strong> El Viejo Buzón Neuquén 1100 Caballito<br />
20:00 - 23:00 La Milonguita Sala Siranush Armenia 1353 Palermo<br />
24:00 - 04:00 La Viruta Practica La Viruta Armenia 1366 Palermo<br />
Monday<br />
14:00 - 17:00 Muñecas Bravas La Maleva Hotel Tucumán 3424 Centro<br />
19:00 - 24:00 De Querusa Rincón Filiar Andaluz Carlos Calvo 3745 Centro<br />
20:00 - 22:30 Carlos & Rosa Sunderland Club Lugones 3151 Villa Urquiza<br />
22:00 - 01:00 El Motivo Practica Club Villa Malcolm Av. Cordoba 5064 Palermo<br />
22:30 - 00:30 Práctica de los Lunes El Beso Riobba 416 <strong>Buenos</strong> Balvanera<br />
23:00 - 02:00 La Garufa Club Premier Capichuelo 472 Centro<br />
Tuesday<br />
18:00 - 21:00 Que lo Parióoooo!!! Espacio 423 Venezuela 423 Monserrat<br />
18:30 - 20:00 PractiMilonguero El Beso Riobba 416 <strong>Buenos</strong> Balvanera<br />
22:00 - 02:00 Ventanita de Arrabal La casa Sr. Duncan Av. Rivadavia 3832 Almagro<br />
Wednesday<br />
17:00 - 19:00 La María Practica La María Currichaga 1509 Palermo<br />
20:00 - 22:30 Carlos & Rosa Practica Sunderland Club Lugones 3151 Villa Urquiza<br />
20:00 - 23:00 La Milonguita Sala Siranush Armenia 1353 Palermo<br />
21:30 - 01:30 Cheek to Cheek El Juvenil Bar Av. Corrientes 4534 Centro<br />
24:00 - 04:00 La Viruta Practica La Viruta Armenia 1366 Palermo<br />
Thursday<br />
19:00 - 24:00 De Querusa Rincón Filiar B. Carlos Calvo 3745 Andaluz<br />
23:00 - 02:00 La Garufa Club Premier Capichuelo 472 Centro<br />
24:00 - 04:00 La Viruta Practica La Viruta Armenia 1366 Palermo<br />
Friday<br />
21:30 - 01:30 Cheek to Cheek El Juvenil Bar Av. Corrientes 4534 Centro<br />
22:30 - 04:00 GNC Milongon de Cisneros Av. San Martin 2288 Villa Mitre<br />
23:30 - 03:30 ZUM Club Villa Malcolm Av. Cordoba 5064 Palermo<br />
24:00 - 06:00 La Viruta Practica La Viruta Armenia 1366 Palermo<br />
Saturday<br />
17:00 - 20:00 Practica Patricios Parque de Patricios Centro<br />
18:00 - 20:00 Practica DNI DNI <strong>Tango</strong> School Bulnes 1011 Almagro<br />
19:00 - 23:00 Milonga Abierta Glorieta de Belgrano La Ppa 1781 Belgrano<br />
24:00 - 06:00 La Viruta Practica La Viruta Armenia 1366 Palermo<br />
— 19 —
<strong>Buenos</strong> <strong>Aires</strong> <strong>Tango</strong> Guide<br />
Annual Events<br />
February Misterio <strong>Tango</strong> Festival facebook.com/misteriofanpage<br />
February El Yeite Festival facebook.com/elyeitetangoclub/<br />
March Festival Provincial de <strong>Tango</strong> de Zárate facebook.com/festivalzarate<br />
April <strong>Tango</strong> Secrets Festival facebook.com/groups/1526948670888917/<br />
June Festival de <strong>Tango</strong> de Caballito facebook.com/IFestivalDe<strong>Tango</strong>DeCaballito<br />
July Maldita Festival facebook.com/events/324692190941216/<br />
July La Semana de la Milonga facebook.com/events/1440774692888262/<br />
July Festival Bailemos Mas <strong>Tango</strong> facebook.com/festivalbailemosmastango<br />
August Mujercitas <strong>Tango</strong> Festival facebook.com/groups/204379659610811/<br />
October Festival de <strong>Tango</strong> de Valentín Alsina facebook.com/events/1541571849406975/<br />
November Festival <strong>Tango</strong> Queer<br />
facebook.com/pages/Festival-<strong>Tango</strong>-Queer-de-<strong>Buenos</strong>-<strong>Aires</strong>/<br />
November TANGOXPOSED<br />
facebook.com/TANGOXPOSED-278158148869845<br />
WebSites<br />
<strong>Buenos</strong> <strong>Aires</strong> Milongas.................... buenosairesmilongas.com/<br />
Hoy Milonga...................................... hoy-milonga.com/<br />
Milongas In......................................... milongas-in.com/<br />
Milongas.org ..................................... milongas.org.ar/<br />
<strong>Tango</strong> City.......................................... tangocity.com/<br />
<strong>Tango</strong> Info.......................................... tango.info/<br />
<strong>Tango</strong> Santa Fe.................................. tangoensantafe.com.ar/<br />
<strong>Tango</strong>s y Milongas en Rosario ...... tangoymilongasenrosario.com/<br />
These are spme of the Internet resources that were used to build this guide.It is a<br />
consolidation of information gleaned from these resources combined with ground visit<br />
verification.We suggest that you check these resources in the future, as we all know<br />
- things change.
The Places<br />
Associations & Clubs<br />
Asociación Genovesa Venezuela 2937 <strong>Buenos</strong> Balvanera +54 11 3328-9289<br />
Bar Los Laureles Av. Gral. Iriarte 2290 Barracas +54 11 4303-3393<br />
Bella Vista <strong>Tango</strong> Club Av. Francia 701 Bella Vista +54 11 4666 8945<br />
<strong>Buenos</strong> Ayres Club Perú 571 Monserrat +54 11 4331-1518<br />
Casa de Galicia San Jose 224 Centro +54 15 5137-9061<br />
Casa Paraguaya Chile 1769 Monserrat +54 11 4383-4283<br />
Centro Región Leonesa Av. San Juan 3330 Constitución +54 11 4304-5595<br />
Celia <strong>Tango</strong> Club Humberto Primo 1783 San Cristóbal +54 11 4305-6778<br />
Club Ciencia y Labor Cesar Díaz 2453 Villa Mitre +54 11 4582-9779<br />
Club Fulgor Loyola 828 Villa Crespo +54 11 4778-1511<br />
Club Glorias <strong>Argentina</strong>s Bragado 6875 Mataderos +54 11 4687-8576<br />
Club Gricel La Rioja 1180 San Cristóbal +54 11 5021-4996<br />
Club Independencia Av. Independencia 572 San Telmo +54 11 4931-7977<br />
Club Telégrafo y Crisol Unidos Saraza 951 Parque Chacabuco +54 11 4912-0708<br />
Club Villa Malcolm Av. Cordoba 5064 Palermo +54 11 4772-9796<br />
Confitería Ideal Suipacha 380 San Nicolá +54 11 4328-7750<br />
El Beso Nightclub Riobba 416 <strong>Buenos</strong> Balvanera +54 11 4953-2794<br />
El Complejo Cultural Av Triunvirato 4444 Villa Urquiza +54 11 4524-7997<br />
El Gardel de Medellín Av. Caseros 3033 Parque Patricios +54 15 6166-4593<br />
El Juvenil Teatro Bar Av. Corrientes 4534 Centro +54 11 6091-9034<br />
El Pial Salón Rón L. Falcón 2750 Flores +54 11 4612-4257<br />
El Viejo Buzón Neuquén 1100 Caballito +54 11 4433-3061<br />
El Yeite Córdoba 4157 Centro +54 11 4855-6777<br />
Espacio 423 Venezuela 423 Monserrat +54 11 6736-7027<br />
Espacio Cultural O. Girondo Vera 574 Villa Crespo +54 15 6554-5095<br />
Espacio el Tacuarí Tacuari 1557 Centro +54 11 4362-7077<br />
La Bicicleta Gorriti 5417 Palermo +54 11 4899-0991<br />
La Catedral Sarmiento 4006 Almagro +54 15 5325-1630<br />
La Fundación <strong>Tango</strong> Argentino Av Córdoba 5942 Chacarita +54 11 4778-0199<br />
La Maleva Hotel Tucumán 3424 Almagro +54 11 4861-5652<br />
La Nacional Alsina 1465 Monserrat +54 11 6519-9573<br />
La Viruta Armenia 1366 Centro +54 11 4832-4105<br />
Niceto Club Av. Cnel. Niceto Vega 5510 Palermo +54 11 4779-9396<br />
Nuevo Salón La <strong>Argentina</strong> Bartolomé Mitre 1759 San Nicolás +54 11 4371-6767<br />
Obelisco <strong>Tango</strong> Club Av. Entre Ríos 1056 San Cristóba +54 11 4305-0459<br />
Rincón Filiar Andaluz Carlos Calvo 3745 Centro +54 11 4931-4800<br />
Sala Siranush Armenia 1353 Palermo +54 11 4899-4101<br />
Salon Canning Av. Raúl S. Ortiz 1331 Palermo +54 11 4832-6753<br />
Salon Rock Sur Av. Sáenz 459 Nueva Pompeya +54 11 4912-0708<br />
Sin Rumbo Tborini 6157 Villa Pueyrredón +54 11 4925-5830<br />
Sunderland Lugones 3161 Villa Urquiza +54 11 4541-2378<br />
— 21 —
Rosario <strong>Tango</strong> Guide<br />
WeeKlY Milongas<br />
Sunday<br />
16:00 - 19:00 Practica Domingo La Casa del <strong>Tango</strong> Av. Illia 1750 y España +54 (341) 449-4666<br />
16:00 - 22:00 Abrazame <strong>Tango</strong> Matinée Cafe Guatemala Italia 107 +54 (341) 438-3057<br />
20:00 - 01:00 La Dominguera Estudio Especial 1ro. de Mayo 1159 +54 (341) 426-1832<br />
21:00 - 03:00 Domingueando Café de la Flor Mendoza 862 +54 (341) 411-2727<br />
22:00 - 01:00 Milonga Roja Unión Cívica Radical Paraguay 358. +54 (341) 583-2255<br />
Monday<br />
18:00 - 24:00 Rosarigasitango Imperium RestoBar Entre Ríos 565 +54 (341) 447-0597<br />
21:30 - 01:00 Peña de <strong>Tango</strong> de Arrabal Bar Olimpo Av. Mendoza 1201 +54 (341) 421-6536<br />
Tuesday<br />
18:00 - 24:00 Milonga Martes Imperium RestoBar Entre Ríos 565 +54 (341) 447-0597<br />
21:30 - 01:00 Milonga El Encuentro Bar El Cairo Santa Fe 1102 +54 (341) 449-0714<br />
Wednesday<br />
22:00 - 04:00 Contramambo Iruña Bar y Café Santa Fe 1204 +54 (341) 449-2610<br />
20:30 - 01:00 La Temprana Estudio Especial 1ro. de Mayo 1159 +54 (341) 426-1832<br />
21:00 - 01:00 El Enganche Resto Bar San Antonio Av. San Martín 3372 +54 (341) 464-2908<br />
21:30 - 01:00 Lo de Juanita Bar La Favrika Tucumán 1816 +54 (341) 447-5248<br />
Thursday<br />
21:30 - 24:00 Práctica El Faro El Faro San Juan 3667 +54 (341) 664-6700<br />
23:00 - 01:00 La Chamuyera Milonga La Chamuyera Corrientes 1380 +54 (341) 426-0755<br />
Friday<br />
20:00 - 02:00 La Previa La Casa del <strong>Tango</strong> Av. Illia 1750 y España +54 (341) 449-4666<br />
22:00 - 03:00 Milonga Tradiciónal Centro El Hornero Juan M. De Rosas 1147 +54 (341) 448-2012<br />
23:00 - 04:00 Milonga del Levante El Levante Pichincha 120 +54 (341) 472 4390<br />
23:00 - 04:00 Milonga Roja Plataforma Lavardén Mendoza 1085, Piso 5 +54 (341) 472-1462<br />
Saturday<br />
18:30 - 01:00 Milonga Tu Corazón Asociación Japonesa Iriondo 1035 +54 (341) 583-2255<br />
21:00 - 02:00 El Milongon Centro de Jubilados Alvear 165 +54 (341) 599-3014<br />
23:00 - 01:00 La Musa Mistonga La Chamuyera Corrientes 1380 +54 (341) 426-0755<br />
21:00 - 03:00 Milonga a Sabado El Revire Entre Ríos 1051 +54 (341) 515-5590<br />
Annual Events<br />
January Festival de Danza Rosario facebook.com/misteriofanpage<br />
April Festival Metropolitano de <strong>Tango</strong> facebook.com/elyeitetangoclub/<br />
May Festival Mutante facebook.com/festivalzarate<br />
July <strong>Tango</strong> Maraton Rosario facebook.com/groups/1526948670888917/<br />
— 22 —
The Places<br />
Associations & Clubs<br />
Asociación Japonesa en Rosario Av. Iriondo 1035 +54 341 430-6902<br />
Bar El Cairo Av. Santa Fe 1102 +54 341 449-0714<br />
Café de la Flor Av. Mendoza 862 +54 341 411-2727<br />
Café & Comida Iruña Av. Santa Fe 1204 +54 341 449-2610<br />
Casa del <strong>Tango</strong> Av. Illia 1750 +54 341 449-4666<br />
Centro Progresista Av. San Juan 3667<br />
Chamuyera Av. Corrientes 1380 +54 341 426-0755<br />
El Duende (Hornero) Av. Juan M. de Rosas 114 +54 341 448-2012<br />
Imperium RestoBar Av. Entre Ríos 565 +54 341 447-0597<br />
Kasona Av. Pellegrini 942 +54 341 447-1894<br />
Milongon 200 Alvear 165<br />
Olimpo Bar Corrientes y Mendoza +54 341 421-6536<br />
Organiza Cultural El Levante Pichincha 120<br />
Pizzeria San Antonio San Martín 3372 +54 341 464-2908<br />
Restaurante la Favrika Tucumán 1816 +54 341 447-5248<br />
Restobar Lennon<br />
Paraguay y Urquiza<br />
El Revire Entre Ríos 1051<br />
Sociedad Libanesa de Rosario Italia 1070 +54 341 421-8804<br />
Plataforma Roja<br />
Mendoza 1085, 5to Piso<br />
VyC <strong>Tango</strong> Mariano Moreno Bis 135 +54 341 449-7874<br />
Other Milongas in <strong>Argentina</strong><br />
Aventura<br />
Tuesday 09:00 - 13:00 <strong>Tango</strong> KLUB 2650 NE 188th +54 (305) 466-3633<br />
Colon<br />
Friday 22:00 - 03:30 Amurados Bolivar y Sourigues +54 (155) 923-8272<br />
Cordoba<br />
Sunday 21:00 - 02:00 El Farolito La Rioja 352 +54 (351) 478-3197<br />
Thursday 22:30 - 03:00 Jockey Club Gral Paz 195<br />
La Plata<br />
Saturday 22:00 - 02:00 Milongón Platense 68 entre 24 y 25 n° 1439<br />
Sunday 22:00 - 02:00 Che Milonga 8 esquina 42<br />
Mar del Plata<br />
Wednesday 21:00 - 23:45 Menesunda San Martin 3017 +54 (223) 467-0565<br />
Necochea<br />
Saturday 23:00 - 03:00 Almacen Murillo, Entre Ríos 565 +54 (226) 242-4417<br />
San Carlos de Bariloche<br />
Saturday 23:00 = 04:00 El Rincon del <strong>Tango</strong> Moreno 40<br />
San Miguel de Tucuman<br />
Friday 22:00 - 04:00 Milonga del Siglo Av. Mitre 502 +54 (381) 402-3777<br />
— 23 —
Movements<br />
Julia Juliati<br />
Julia Juliati is a second generation photographer, taking<br />
off from her father. Starting from childhood, Julia<br />
has an extensive exposure to art through her parents,<br />
from frequent visits to classical art exhibitions,<br />
to ballet and opera, to modern dance shows. Besides<br />
being fascinated by the visual influence of art, Julia<br />
was always intrigued by the nuances of human personalities,<br />
thus getting a psychology degree was an<br />
obvious choice.<br />
She developed her own style of portraiture that depicts<br />
the beauty and sensuality of female form. Her<br />
clientele are women of all ages and body types. Many<br />
of her clients commission Julia to do a portrait just<br />
for themselves to celebrate their bodies and sensuality,<br />
while others may do it for a loved one. Julia’s<br />
style of classic art with a modern twist shines<br />
through in her portraits, yet she lets the energy of<br />
the client direct the project.<br />
Her artistry not only shows in the quality of her<br />
images but the visible ease of her clientele. The oneon-one<br />
photography session in her private and comfortable<br />
studio gives her clients a sense of freedom,<br />
expression, and a new ability to let go of prior insecurities.<br />
Julia sees her clients change in front of her<br />
eyes into new sensual beings, proud of themselves<br />
and full of new respect for their bodies. This transformation<br />
that comes from the way women view<br />
themselves empowers women in their search for<br />
self-growth, confidence, and self-esteem.<br />
Movement photography and filmography has taken<br />
her artistic adventures into new territory, meshing<br />
her love for dance and the human form. Being a <strong>Tango</strong><br />
dancer herself, Julia has created beautiful cinematography<br />
projects incorporating her love for <strong>Tango</strong><br />
and her sensual style, bringing the viewer to a very<br />
new angle of the <strong>Tango</strong> world.<br />
— 24 —
— 25 —
— 26 —
One option for some of Julia’s clients may be to<br />
collaborate with her to create a personal film of<br />
a choreographed dance. The movement and sensuality,<br />
along with cinema graphic perfection leave<br />
her clients with a timeless treasure and a beautiful<br />
personalized movie.<br />
Juliati implements the sense of movement in her<br />
photography work extensively. Understanding<br />
movement gives her the ability to create interesting<br />
compositions not only for her dance clients,<br />
but for non-dance photoshoots as well. The flowing<br />
fabric is used for Maternity shoots to create<br />
waves and a sense of harmony; the long hair is<br />
arrange as a dancing fire for a Glamour photoshoot;<br />
the fluidity of a sheer fabric against the<br />
body is used to accentuate sensuality for Boudoir<br />
or Nude photo sessions. At Juliati’s studio there<br />
is always music playing, there is always movement.<br />
The most important aspect of Juliati’s photography<br />
is the ability to not only compliment the<br />
women’s body, but also the character, the whole<br />
woman, to enhance her confidence and comfort.<br />
Juliati begins with a consultation, a conversation<br />
that’s part of getting to know a client, and part<br />
creative brainstorm. Each session is customized<br />
combining Juliati’s creativity with client’s personality,<br />
finding a perfect harmony, a dance within.<br />
Julia Juliati has received numerous honors and accolades<br />
of excellence in local and international<br />
photography competitions. Her dance films and<br />
documentaries have been screened in numerous<br />
venues and inspired many to dream big and pursue<br />
their passion. Julia runs her successful photography<br />
& film business in Westchester NY.<br />
I’m not right for everybody. For a few people<br />
that I’m right for I do an extraordinary<br />
job. I invite you to a session with me...it will<br />
change the way you see yourself.<br />
— Julia Juliati<br />
http://www.Juliati.com/<br />
— 27 —
Max Masri, chefe de Tanghetto<br />
interviewed by Martin Delgado<br />
Max Masri is a composer, producer, singer and keyboardist born in <strong>Buenos</strong> <strong>Aires</strong>, <strong>Argentina</strong>.<br />
He is the founder and leader of Tanghetto, one of the key groups that define electro tango.<br />
In 1994 he started to work as a producer, songwriter and composer. With Alex Zuker, founder of the<br />
group Alas, he produced several bands of different genre: pop, electronic, tango, and alternative rock.<br />
In 1997 he started to fuse tango with electronic music, becoming one of the creators of what is<br />
now known as electro tango. In 1998 he founded the group 020, the pioneer of fusing modern<br />
tango with sounds from pop music.<br />
In 2002, the band releases its album End of Illusions which opened the door to tango fusion. After<br />
debuting this album he decided to create Tanghetto. He is the producer, composer and songwriter<br />
for everything the band releases, including the albums nominated for the Latin Grammy<br />
Awards for Emigrante, Hybrid <strong>Tango</strong> and Hybrid <strong>Tango</strong> II. With Tanghetto, he has played and<br />
sung in prestigious venues in <strong>Argentina</strong> and other parts of the world.<br />
In 2005, he produced and composed<br />
the music for the album ADN Proyecto<br />
Andino which fuses South American<br />
folklore with electronic sounds.<br />
In 2008, he discovered Tabaré<br />
Leyton, the Uruguayan singer, and<br />
began to produce for him, composing<br />
music and writing lyrics for various<br />
songs of different styles that<br />
this artist performs.<br />
All of Max’s tango albums have obtained<br />
a gold or silver status. He is<br />
a two time Gardel Award winne,<br />
the most important music industry<br />
award in <strong>Argentina</strong>. He has also<br />
won the most important Uruguayan<br />
awards - Iris, Grafitti and Morosoli.<br />
Max was interviewed on the internet<br />
by Martin Delgado.<br />
— 28 —
MTW — First of all, thank you for giving us this<br />
interview. And a big thank you to Anna Stąpór<br />
for making these arrangements. Our first question<br />
- Has your music has been changing in the course<br />
of your career?<br />
Max Masri — Our music has constantly been<br />
changing and improving. We try to bring as many<br />
influences and different styles of music into tango<br />
as we can. We have expanded our artistic vision<br />
to be without any boundaries, without any limits,<br />
but still keeping the tango spirit of fusion alive.<br />
<strong>Tango</strong> itself started as fusion of different rhythms<br />
like candombe, habanera and payada among others.<br />
We really like how our career has evolved artistically.<br />
I think that we’re having a great moment<br />
as artists and musicians.<br />
MTW — Has your music always been close<br />
to the tango? Has it modified its link to genre<br />
throughout their albums?<br />
Max Masri — Tanghetto has become like a<br />
magic link between ourselves and tango. We<br />
started to appreciate tango much more since the<br />
Tanghetto project began many years ago. We<br />
love tango and working with various artists. We<br />
have played in all major <strong>Tango</strong> festivals all over<br />
the world. Now, we are part of the tango scene<br />
around the world. So, we are tango, a part of it,<br />
and we are proud of that.<br />
MTW — What is the difference between the<br />
two projects, Tanghetto and <strong>Tango</strong>crisis?<br />
Max Masri — Well, both of them share the<br />
same spirit - to bring something new to tango. Everyone<br />
knows what we achieved it with Tanghetto<br />
and we got the recognition for it; including<br />
with Gardel Awards, many world tours, etc. <strong>Tango</strong>crisis<br />
is more introvert, more rebellious, with<br />
tango subtleties, defying the laws of music prejudice<br />
even more. We love both projects so much!<br />
There is an old saying — You can’t go wrong with<br />
what you really love.<br />
MTW — Do you think that there will be a return<br />
to the orchestra in tango scene?<br />
Max Masri — Yes, and I think that this revival or<br />
the return to traditional orchestras is really great.<br />
It is also great that right now there are diverse<br />
artistic ideas and points of view regarding tango, it<br />
really helps to keep tango alive! So, what’s best is<br />
that there are really many artistic options and it is<br />
good for people who are into tango or getting into<br />
this music to have a variety of options from very<br />
traditional to modern tango projects, like ours.<br />
MTW — Have you played in an orchestra of<br />
traditional tango?<br />
Max Masri — I like to play in Tanghetto. Today,<br />
Tanghetto is a traditional orchestra, Ha, Ha, Ha! We<br />
love what we do, without prejudice to any other<br />
forms of expression.<br />
MTW — Is there a market for tango music that<br />
is just for listening, but not dance. Or is this a distraction<br />
in the world of tango?<br />
Max Masri — <strong>Tango</strong>, or any other kind of music,<br />
is always danceable. It seems like our main audience<br />
for tango have been dancers for at least 15<br />
years. We managed to have a very broad crowd<br />
of fans, like people who dance tango and those<br />
who don’t, people who like tango, and people who<br />
prefer tango fusion, and those who are rather into<br />
world music or jazz, so it depends.<br />
<strong>Tango</strong> is a very versatile style of music and a lot<br />
of people like tango because it can always be different<br />
depending on its genre. Music fans that are<br />
more into world music or jazz or other styles of<br />
music really like tango fusion, because it gives them<br />
something like a modern tango sound, the experience<br />
of the tango of today.<br />
I guess that there is a lot of people who are just<br />
into the music in general and that’s why we sold<br />
so many CDs, we have Gold and Platinum albums<br />
in <strong>Argentina</strong>. But, a lot of people love to dance to<br />
our music. The best is the combination of both: to<br />
have an audience that likes just to listen and they<br />
come to the theaters and arenas, and people who<br />
want to dance and they come Tanghetto shows in<br />
tango festivals or milongas. We are happy that we<br />
have both kinds of audiences.<br />
MTW — Why doesn’t such massive musical<br />
project produce more CDs?<br />
— 29 —
Max Masri — Well, Tanghetto is also a combination<br />
of both a massive and a not so massive project.<br />
We have played all over the world and we have<br />
received very important recognition. We recieved<br />
two Gardel Awards andthree nominations to the<br />
Latin Grammy’s. But, we are also hard core artists,<br />
very bohemian in a way. We have the chance to<br />
live both sides of the coin.<br />
We’ve had the impact and the flavor of being mainstream,<br />
being on television, like MTV, and performing<br />
in very important venues of the world, Our<br />
music is being played on radios but we also play in<br />
local milongas in different places of the world. We<br />
are independent with a taste of massiveness. From<br />
La Viruta in <strong>Buenos</strong> <strong>Aires</strong> to the O2 Arena in<br />
London.<br />
MTW — Why has the tango, as a genre, been<br />
able to capture a larger market in recent years<br />
and still remain rather marginal music?<br />
Max Masri — <strong>Tango</strong> was very successful around<br />
the world in the ’30s and ’40s but right now for<br />
some reason tango people like to keep tango as<br />
if it was an exclusive club. Our music has brought<br />
many people into the tango, especially young<br />
people. I guess tango could be much more popular.<br />
It is an amazing music and we have seen how<br />
our albums have sold hundreds of thousands of<br />
copies.<br />
Thanks to milongas and to the word of mouth,<br />
people talk to each other and spread the magic<br />
of dancing and the spirit of tango. But, it could<br />
be even bigger than today. Let’s hope it will keep<br />
growing with an open mind.<br />
MTW — What are your plans in the near future?<br />
Max Masri — We are finishing two albums right<br />
now. On one of them we’ve been working for<br />
many years and it will be released when it’s finished.<br />
And the other one, that is called Progressive<br />
<strong>Tango</strong>, is being released in a few days. This<br />
album explores the musical extremes of our tango<br />
influences. It’s a progression in a way.<br />
We feel that there is a progression in our career<br />
and for tango itself. The other thing is that we<br />
will be touring Europe, again. This will be our 21st<br />
European tour and we are very happy that we<br />
haven’t stopped gigging around the world for the<br />
last ten years.<br />
I would love to play in some places that we never<br />
played before, it’s our main goal for the next<br />
months.<br />
But, tango people have to open up their minds<br />
and let other people into the scene. <strong>Tango</strong> has<br />
grown all over the world.<br />
— 30 —
The Dynamics of the <strong>Tango</strong><br />
Alexandru Eugen Cristea<br />
There has been more than a century of evolution of the tango dance. It’s time we considered<br />
some of the changes in the people’s perception of the dance. Many of tango dancers also teach<br />
tango dance. Each of them have have some kind of a personal methodology.<br />
There is a lot of information available, from the traditional<br />
books and DVDs to the up-to-date online<br />
training programs, each teaching their methodology.<br />
But, what is the essence of all these teaching methods?<br />
Is there something that belongs to all of them<br />
without being owned by anyone in particular? As<br />
the years have passed, I have identified some new<br />
reference points in order to better understand the<br />
structure of the dance and its organic pattern of<br />
movement. Here, I present to you two of these<br />
fundamental concepts to identify the dynamics in<br />
Argentine <strong>Tango</strong>.<br />
Diagonal Circularity<br />
Diagonal circularity is used for moves, such as<br />
circular high back boleos, where the knees of<br />
the follower are apart.<br />
However, the best way to distinguish between all this<br />
characteristic figures of tango is the concept of levels.<br />
CIRCULARITY<br />
The first concept is that of circularity. This is not<br />
something entirely new. Most dancers have some<br />
ideas about it. There are three types of circularity:<br />
Horizontal Circularity<br />
Horizontal circularity is used for pivots, such<br />
as the circle figures made in ocho adelante<br />
and ocho atras. A planeo also uses a horizontal<br />
circularity, but in a different way.<br />
Vertical Circularity<br />
Vertical circularity is used to change the weight,<br />
from one foot to the other, such as traspie.<br />
When the follower changes weight from her<br />
right foot to her left, she produces a type of<br />
circularity looks like an inverted letter U. Similarly,<br />
a linear back boleo uses a vertical circularity,<br />
from down to up. All of the three basic steps<br />
– open sidestep, front cross and back cross —<br />
use a downward vertical circularity.<br />
Gancho Boleo<br />
photo by Cristian Martis<br />
— 31 —
LEVELS<br />
There are three basic levels, and seven levels, in all.<br />
Level 0<br />
Just as a house has a ground floor, in tango,<br />
we can consider level zero to be the caminar.<br />
When both partners are walking together;<br />
this is level zero, from here moves go up or<br />
down.<br />
Level +1<br />
If the leader projects the energy a little upward<br />
while the follower has her feet collected, this will<br />
generate a change of weight, traspie.<br />
Many of tango’s movements and steps and figures can<br />
be described with just these three basic levels. It is<br />
crucial to understand that the levels describe the leader’s<br />
marca. This is where the leader directs the impulse,<br />
not the end result of the lead.<br />
If the couple is walking, and the leader wants to stop<br />
the follower, there are two options:<br />
Level -1 - with the feet apart<br />
Level 0 - with the feet collected<br />
Follower’s ganchos at Level 0 also, because they are<br />
an intercepted step. To produce a balanceo, a cunita,<br />
an ocho cortado or a sandwicitto, the leader needs to<br />
project an impulsec to Level -1. To produce a calesita,<br />
a sostenida or a high boleo, the impulse must be projected<br />
to Level +1One.<br />
But this is not all. There is also Levels -2, -3 and +2, +3.<br />
These levels are best understood by example.<br />
Level +2<br />
To raise the follower’s foot up to knee level, requires<br />
a Level +2 impulse from the leader. This<br />
is used in the kick type of boleos, the piernazzo,<br />
and llevaldas.<br />
Level -2<br />
To cause the follower to bend the knee of the<br />
weighted, standing leg, the leader needs a Level<br />
-2 impulse. This is used for movements such as<br />
lapiz, planeo, corte.<br />
Level +3<br />
For the follower to jump or for movements such as<br />
sentada, Level +3 is needed.<br />
Low Front Boleo<br />
photo by Bucharest Social Dance<br />
Level -1<br />
When walking together, at some point the<br />
leader projects an impulse, marca. If it is a<br />
little down, the follower will naturally stop<br />
with her feet apart with straight knees, as in<br />
a balanceo.<br />
Level -3<br />
To cause the follower to flex the weighted foot all the<br />
way down, Level -3 is required.<br />
All the movements in tango can be categorized in<br />
more detail using the concept of levels. Some movements<br />
are a combination of levels, starting at one level<br />
and end in another. Some other movements, such as<br />
circular boleos, may be done at several levels with different<br />
results.<br />
— 32 —
For the classical circular boleo, only with the hips,<br />
uses Level 0. On the other hand, a high classical<br />
boleo, where the knees are together, but the foot<br />
goes up, uses Level +1. Nuevo style boleo in which<br />
the knees are apart, and cuatro type of boleos, use<br />
Level +2. For a low boleo, where the foot of the<br />
follower maintains the connection with the floor,<br />
Level -1 or even Level -2, are used.<br />
Of course, when the concepts of circularity and<br />
levels are combined, many movements will be easier<br />
to understand. By applying these concepts, the<br />
dynamics will also change.<br />
In conclusion, leaders will be able to change the<br />
way that they dance, improving the quality of their<br />
movement through a better understanding of the<br />
dynamics. Leaders will also find it easier to communicate<br />
with the follower and discover many step<br />
sequences by deconstructing and recomposing the<br />
dance, using these concepts.<br />
Alexandru Eugen Cristea may be contacted at<br />
Bucharest Social Dance:<br />
http://www.egosromania.ro<br />
— 33 —
New <strong>Tango</strong> Music<br />
Arndt Büssing<br />
San Telmo Lounge: Doble Imperfecto<br />
The ensemble San Telmo Lounge from <strong>Buenos</strong> <strong>Aires</strong> has established its brand sound clearly<br />
identifiable by the tango fans. Their mastermind Martin Delgado, guitarist and musical director,<br />
announced their sixth album, Doble Imperfecto, to the pleasure of their waiting fans.<br />
The group has decided to publish a 4-track preview EP with exclusive material.<br />
There are two vocal tracks<br />
— the beautifully melodic<br />
Karma Paris and the swinging<br />
Indiferencia and two<br />
instrumentals — the bright<br />
New York Freedom with its<br />
haunting solo parts, and the<br />
accentuated milonga Igor.<br />
The ensemble remains true<br />
to their principles to a combined<br />
tango and jazz, with<br />
mild rock elements. They<br />
create a wonderful mélange<br />
which is attractive for dancers<br />
and also for the listeners-only.<br />
Kudos go to Martin Delgado<br />
(guitar), Lucas Polichiso<br />
(piano), Maximiliano Natlutti<br />
(violin), Ariel Aguilar<br />
(bandoneón), Tutu Rufus<br />
(bass), Sebastián Mamet (drums) and Laura Cardini (vocals). What we hear on this EP is<br />
definitely a very attractive promise that their new album is worth waiting for.<br />
Overall Scoring *****<br />
Dancer´s pleasure = Listener´s pleasure<br />
Duration : 13 min.<br />
Artist´s website: http://www.santelmolounge.com.ar/<br />
— 34 —
Tanghetto: Hybrid <strong>Tango</strong> II<br />
The influential ensemble Tanghetto from <strong>Buenos</strong> <strong>Aires</strong> presents their new CD Hybrid<br />
<strong>Tango</strong> II which links to their influential 2004 album Hybrid <strong>Tango</strong>. Again, pianist-producer-composer<br />
Max Masri and guitarist-composer Diego S. Velázquez offer a blended<br />
mix of melodic and textural tango music with bandoneon and piano, electronica with<br />
synthesizer and samples, pop with electric guitars and drums, and chamber music with<br />
violins and violoncello. Not surprisingly, this album was nominated as Best <strong>Tango</strong> Album<br />
for the Latin Grammy.<br />
Among several attractive<br />
and danceable songs, there<br />
are some outstanding tracks.<br />
For example the instrumental<br />
El Miedo a la Libertad. It<br />
has a slow pace, a fine melody,<br />
a diversified arrangement<br />
including strings, and thus<br />
generates a wonderful pleasant<br />
atmosphere. Then there<br />
is the completely different,<br />
straight-forward dancefloor<br />
suited track Quien me quita<br />
lo bailado This is all that is<br />
needed to let go from the<br />
distractions in daily life.<br />
Montevideo tango singer<br />
and composer Tabare Leyton<br />
is impressive with his<br />
vocal appearance in No me<br />
ringo, a vibrant song with a<br />
good melodic progression,<br />
and a strong chorus which<br />
calls for more. Later on the<br />
singer enchants us again with <strong>Aires</strong> de <strong>Buenos</strong> <strong>Aires</strong>. Max Masri is lead singer of Piazzolla´s<br />
Vuelvo al Sur; one more version of this standby, here with a simple and good groove.<br />
I would recommend to hear particularly the accentuated songs loud, their flow is much<br />
better! When Tanghetto is the DJ, life is a dancefloor – at least for an evening<br />
Overall Scoring (1-5 stars): ****<br />
Dancer´s pleasure > Listener´s pleasure<br />
Duration: 48 min.<br />
Website: http://www.tanghetto.net/<br />
— 35 —
Tabaré Leyton: Charrúa<br />
Tabaré Leyton´s 15-track album Charrúa is a good blend of different music styles and atmospheres.<br />
Several songs have a nylon string guitar as the dominant instrument, others were interpreted with a classical<br />
rock ensemble. Some piano licks here and there, a violin and the bandoneon – and always the warm<br />
and characteristic voice of this outstanding singer from Montevideo, living in Paris, France.<br />
Max Masri, producer-composer<br />
of the electrotango ensemble<br />
Tanghetto noticed the singer<br />
and produced his second album,<br />
too. Max Masri´s beautiful hymn<br />
Montevideo is definitely one of<br />
my favorite tracks. Listen also to<br />
the elegant but much too short<br />
bandoneon solo, and you know<br />
what I mean.<br />
Tabaré Leyton attracts our attention<br />
also as good songwriter.<br />
Five of the songs were written<br />
by him, and one with Max Masri.<br />
Leyton´s relaxed vals Nada<br />
para ofrecer has definitely something<br />
to offer.<br />
The styles on this album range<br />
from rocking pop songs to classical<br />
folk oriented songs, and inbetween.<br />
Some are suited for the<br />
dancefloor such as No va más<br />
performed with percussionistcomposer-singer<br />
Ruben Rada<br />
and Tanghetto, and the classical<br />
tango Arrabal Amargo written by<br />
Carlos Gardel and Alfredo Le Pera. The rocking Charrúa is performed with the rock singer-guitar player<br />
Emiliano Brancciari and <strong>Tango</strong>crisis. A further, different style of music is found in Como siempre which<br />
surprises with a great salsa feeling.<br />
I can definitely recommend this album with its versatile facets of good music. Tabaré Leyton as an outstanding<br />
and very relaxed singer, with dark sunglasses, of course.<br />
Overall Scoring (1-5 stars): ****<br />
Dancer´s pleasure < Listener´s pleasure<br />
Duration: 51 min.<br />
Artist´s website: http://www.facebook.com/TabareLeytonOficial<br />
— 36 —
Ultratango: Alborada<br />
Once upon a time, Ultratango started as an electronic music quintet from <strong>Buenos</strong> <strong>Aires</strong> which added<br />
tango flavors to their music, and had Sami Abadi (violin) and Julio Perez (bandoneon) on their side.<br />
Their danceable electronica versions of Astor Piazzolla´s songs and also their song Kryptonite were<br />
quite exciting.<br />
Now, several years later, they are<br />
a trio Leonardo Satragno (synthesizers,<br />
programming, bass),<br />
Gastón Satragno (synthesizers,<br />
programming; piano) and Braulio<br />
D’Aguirre (drums). They had<br />
to decide which direction to take.<br />
The trio´s new songs still range<br />
somewhere between trip hop,<br />
house, ambient, and pop, with a<br />
clear dominance of electronica<br />
sounds, but without the sound<br />
of the tango trademark instrument,<br />
the bandoneon. Gastón<br />
Satragno said they intended to<br />
raise the stakes with this new record.<br />
Indeed, Ultratango might<br />
find a new audience beyond the<br />
traditional tango dancers with<br />
their specific expectations.<br />
All of the thirteen tracks of their<br />
new album were composed by<br />
the Satragno brothers. The one<br />
exception is a collaboration with<br />
Braulio D’Aguirre. They are<br />
predominantly slow dance music for the clubs, and they create a relaxing atmosphere and a fine flow. To<br />
get an impression what the listener may expect, start with the attractive tracks Avant Garde, Calida and<br />
Hiphope, or the samba-milonga Amorio. <strong>Modern</strong> beats, simple piano pattern, and repetitive synthesizer<br />
licks, some special sound to discover here and there. These tracks don´t rely on a usual melodic development,<br />
they are definitely groove oriented.<br />
Are Ultratango´s songs typical tango? No, but several are suited to be played in alternative milongas, and<br />
you may dance to them in a tango style. Be open to be surprised.<br />
Overall Scoring (1-5 stars): ***<br />
Dancer´s pleasure > Listener´s pleasure<br />
Duration : 47 min.<br />
Artist´s website: http://www.ultratango.com.ar<br />
— 37 —
— 38 —
Our Advertisers<br />
Amy’s Shop ....................................................... p.38<br />
Ann Leon .......................................................... p.20<br />
Assassination <strong>Tango</strong> ........................................ p.45<br />
Astor Piazzolla ................................................. p.41<br />
Bajofondo ......................................................... p.27<br />
Beginning Argentine <strong>Tango</strong> ............................ p.45<br />
Belmar Hotel ................................................... p.11<br />
Carlos & Alison ............................................... p.38<br />
Club des Belugas ............................................. p.39<br />
Electrocutango ................................................. p.48<br />
Gotan Project .................................................. p.38<br />
Gustavo Santaolalla ......................................... p.27<br />
In-Grid ............................................................... p.39<br />
Ines Muzzopappa ............................................. p.12<br />
Last <strong>Tango</strong> in Paris ........................................... p.45<br />
London <strong>Tango</strong> Boutique ................................. p.09<br />
Mercedes Sosa ................................................. p.41<br />
MariMasha ........................................................ p.35<br />
Montana <strong>Tango</strong> Uprising ................................ p.13<br />
Neo<strong>Tango</strong> ......................................................... p.41<br />
Neo<strong>Tango</strong> Marathon Roma .......................... p.06<br />
Otros <strong>Aires</strong> ...................................................... p.27<br />
Quartango ........................................................ p.30<br />
Richard Galliano .............................................. p.45<br />
Sabados de Milonga ........................................ p.11<br />
San Telmo Lounge ........................................... p.10<br />
<strong>Tango</strong> ................................................................. p.49<br />
<strong>Tango</strong>, Argentine Love Story ......................... p.45<br />
<strong>Tango</strong> <strong>Argentina</strong> Finlandia ............................. p.44<br />
<strong>Tango</strong> Bar .......................................................... p.49<br />
<strong>Tango</strong>Biathlon Munich .................................... p.07<br />
<strong>Tango</strong> Etudes .................................................... p.38<br />
<strong>Tango</strong> Fatal ........................................................ p.38<br />
<strong>Tango</strong>thic .......................................................... p.30<br />
<strong>Tango</strong> Fireworks Dehli ................................... p.11<br />
<strong>Tango</strong> for Teachers .......................................... p.49<br />
<strong>Tango</strong>, History of Obsession ........................ p.49<br />
<strong>Tango</strong>, Our Dance ........................................... p.38<br />
<strong>Tango</strong> Stories ................................................... p.39<br />
<strong>Tango</strong>, Structure of the Dance ..................... p.45<br />
<strong>Tango</strong>, the book ............................................... p.38<br />
The <strong>Tango</strong> Dance ............................................ p.45<br />
Trio Hugo Diaz ................................................ p.45<br />
Trio Garufa ....................................................... p.48<br />
Tucson <strong>Tango</strong> Festival ..................................... p.33<br />
Two to Tangp .................................................... p.38<br />
Why <strong>Tango</strong> ........................................................ p.11<br />
Zona <strong>Tango</strong> ....................................................... p.48<br />
— 39 —
Alba Solis<br />
<strong>Tango</strong> Diva<br />
Alba Solis had everything needed for a diva of the<br />
tango: humor, audacity and drama. From a young age,<br />
she was a singer who transcended fads and aesthetics<br />
of the moment. Alba Solis died February 3, 2016 at<br />
age 88, after multiple surgeries.<br />
Solis had long had retired from the stage, but had left<br />
a legacy of tango songs. She sang in the fifties and<br />
sixties in all theaters of <strong>Buenos</strong> <strong>Aires</strong>. As a young<br />
lady, she fell in love to the press. She was voice<br />
of Mariano Mores, Juan D’Arienzo, Francisco Canaro,<br />
Hector Varela, and Chupita Stamponi. She<br />
performed on the catwalk of the Maipo Theater and<br />
in the film Astral.<br />
I’m more singer actress. But notice that one of<br />
the most beautiful films I did was Hex, with<br />
Narciso Ibáñez Menta. However, he was a coproduction<br />
that was not much. The pass is always<br />
meat, where I am Isabel Sarli was singing.<br />
it’s the scariest thing on earth<br />
She spent thirteen years touring the world <strong>Tango</strong><br />
Argentino. Alba Solis has given everything on stage,<br />
and no one could escape her charm, her brilliance<br />
and the dark storm of her voice.<br />
But before being born as an artist, Alba Solis was<br />
a girl of precocious talent. his According to her own<br />
biography, she was born in the year 1900,to Dona<br />
Herminia Trapanese Lamberti and Oreste Juan<br />
Guillermo Lamberti. Born Angela Herminia Lamberti,<br />
she participated in a radio contest: long before<br />
she found her tango voice. She came in second,<br />
but her presence was so strong that she became a<br />
member of the station’s regular cast. As a child with<br />
a precocious talent, she became one of the children<br />
in the Gang Marylin.<br />
She debuted in <strong>Buenos</strong> <strong>Aires</strong> Magazine in comedy<br />
theater, and soon became a star of the genre. She<br />
appeared in Blum, the great theatrical event of<br />
Enrique Santos Discepolo. Homero Manzi composed,<br />
with Pichuco Troilo, the tango Discepolín<br />
theme It was first performed in the cabaret El Colonial,<br />
by Alba Solís.<br />
— 40 —
As a singer, she also worked with Mariano Mores<br />
and dancers Mayoral and Maria Elena, in the<br />
musical <strong>Buenos</strong> <strong>Aires</strong>. When Francini and Pontier<br />
reorganized their orchestra in 1973 for a special<br />
performance in Japan, she was entrusted with the<br />
responsibility of being the female vocalist. In the<br />
1980s, the success of Argentine <strong>Tango</strong> allowed her<br />
to travel around the world and make her unforgettable<br />
performances of One and The Last Kurdish<br />
known to the world. In <strong>Buenos</strong> <strong>Aires</strong>, she would be<br />
a key figure of tango resistance nights, along with<br />
Caño ( Viejo) Almacen.<br />
There sound of their version of Fangal is very special,<br />
When she performs tangos such as Fangal<br />
When Tanguera premiered she was asked This is<br />
not a song for women, you’re a man then?<br />
She responded:<br />
I am always on the edge, on the edge I can<br />
spend a little energy, I can be a male, a little<br />
later, I’m a woman Some tangos are not only<br />
sung. They are a perspective, an overall point<br />
of vie. They must not only be sung, they must<br />
also be acted.<br />
Fangal was both theatrical and sentimental. It was<br />
the tango.<br />
I’d like to say something tangos: I want what<br />
excites me If I do not get excited, I cannot<br />
give anything to the young people who have<br />
to listen to me and know about tango. Some<br />
songs and some singers of tango that are<br />
like reading the newspaper.<br />
— Alba Solis<br />
— 41 —
VJing & DJing<br />
Jochen Lüders<br />
Tandas & Cortinas at Neolongas<br />
I am a tanguera. A tango dancer, teacher, djane, journalist and story writer. A passionate<br />
tango lover, an addict, an admirer. At my first milonga back in 2003, I got<br />
There is a strange tendency that has developed at milongas with alternative, non-traditional tango<br />
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<br />
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<br />
tango both as a dancer and as a DJ.<br />
Separating<br />
Tandas and cortinas make it easy to separate politely<br />
and without any stress. The leader need not stop dancing at the same time. Of course it may hap-<br />
With cortinas, you don’t have all this stress. All couples<br />
think when he can leave the follower without appearing<br />
impolite. Less than three dances is a turn next tanda with her present partner, in this case I still<br />
pen that my favourite partner wants to dance also the<br />
down.. The follower can bear dancing with a bad have to be patient. But at least, I know that I can dance<br />
leader more easily, when she knows that she can the next tanda without glancing around furtively. Of<br />
leave him after 3-4 dances without having to humiliate<br />
him by ending the dance herself. A lot of<br />
course there will always be a few impolite, ignorant<br />
people who stop dancing in the middle of a tanda, but<br />
the more DJs play tandas and cortinas, the sooner this<br />
traditional pieces are about 3 minutes long, whereas<br />
a lot of modern songs are about 4 minutes or<br />
particular dancer species will disappear.<br />
more That is why in contrast to the traditional<br />
tanda structure of four tangos, three milongas,<br />
three valses, I mostly play only three pieces per<br />
tanda. It is bad enough for the follower to be embraced<br />
too tightly, be whirled around or be forced<br />
to dance certain jump or dive figures for twelve<br />
minutes. I n my opinion it is unacceptable if the follower<br />
has to endure that even longer.<br />
Dancing with your Favourite Partner<br />
Tandas and cortinas make it much easier to dance<br />
with your favourite partner. Without cortinas<br />
people switch partners arbitrarily and it often<br />
happens that you keep missing the person you<br />
really want to dance with. If I want to dance with<br />
a certain woman I have two possibilities. I can sit<br />
down and wait patiently until she is available. If I<br />
am unlucky I will have to wait pretty long, when<br />
the woman dances with a man who doesn’t want<br />
to let her go. The alternative is that while I am<br />
dancing I have to glance at my dream partner all<br />
the time in order to leave my present follower<br />
at the decisive moment, taking the risk that I embarrass<br />
her because we have only danced two<br />
dances together. Moreover she will probably notice<br />
that I am not really with her.<br />
Musical and Emotional Structure<br />
The most important reason for me however is that<br />
tandas and cortinas structure the evening musically<br />
and emotionally and make it predictable. Traditionalists<br />
often, and rightly so, in my opinion, accuse Neo-<br />
DJs of creating an insensitive chaos. In extreme cases<br />
you get pounding Otros <strong>Aires</strong> pieces, followed by<br />
something tender by René Aubry, then some endless<br />
lounge music, followed by a traditional tango from the<br />
1930s, then a vals from Amelie, followed by some electro<br />
Gotan Project etc. Of course you have every right<br />
to find that varied and interesting. But personally, I find<br />
it musically insensitive and terrible. I know a number of<br />
people who enjoy modern music at least as much as<br />
traditional one, but who, understandably, simply can’t<br />
stand this acoustic hodge-podge and therefore only<br />
go to traditional milongas.<br />
I don’t want to be pushed into a different direction<br />
by every single piece of music played. In the course<br />
of the evening I do want to live the whole emotional<br />
spectrum from dynamic, lively and cheerful to melancholy<br />
amd romantic, but NOT with each piece. One<br />
of the reasons why I find traditional milongas often so<br />
boring and monotonous is that at the end of the evening<br />
you frequently have the feeling of having danced<br />
all the time to the same piece of music with some<br />
slight variations.<br />
— 42 —
Cortinas create an emotionally neutral transition between<br />
the different moods. Although he refers to traditional<br />
music Royce has put it very well:<br />
I’m so much into the music that, I need a break<br />
in-between tandas or something to make me<br />
forget about the previous tanda. Otherwise, I will<br />
have a hard time to pull my emotion out from<br />
what has been played, then I cannot dance the<br />
next set of music. In a nutshell, I cannot immediately<br />
jump from Di Sarli to Donato, I need<br />
something to wash away my Di Sarli mood so<br />
that I can change myself into Donato mode,<br />
and that’s what cortina means to me. I don’t<br />
need a very long cortina, a 20 or 30 second cortina<br />
is good enough.<br />
I see it exactly the same way, my cortinas are thirty<br />
seconds. I find cortinas that are much longer, a minute<br />
and more, too long. Such long cortinas are often<br />
played by DJs, who were in <strong>Buenos</strong> <strong>Aires</strong> and try to<br />
imitate <strong>Buenos</strong> <strong>Aires</strong> customs. What they don’t understand<br />
is that cortinas have a different function in<br />
<strong>Buenos</strong> <strong>Aires</strong>:<br />
The primary function of cortinas in <strong>Buenos</strong> <strong>Aires</strong> is to<br />
clear the dance floor and encourage people to change<br />
partners. It is a very practical reason. Cortina is a code<br />
of behavior in a milonga. When dancers hear the cortina,<br />
everybody will leave the dance floor. If there’s<br />
someone who doesn’t know this rule and waits for<br />
the next tanda to start on the dance floor, then they<br />
will find themselves extremely embarrassed, it happens<br />
quite often to the milonga first timer.. Then in<br />
<strong>Buenos</strong> <strong>Aires</strong>, cortina usually lasts around one minute,<br />
sometimes longer sometimes shorter, depends on different<br />
DJs and different milongas. If the dance floor<br />
is big and there’re lots of dancers, of course it takes<br />
more time to clear the dance floor, hence the DJ plays<br />
longer cortina, and vice versa.<br />
You may consider many rules of traditional tandas<br />
as petty, for example not mixing different orchestras,<br />
singers or vocal and instrumental. But, a lot of them<br />
do make sense.<br />
The function of tandas is always the same: A tanda is<br />
both social and musical. It establishes a mood for the<br />
couple to share. For this reason, it’s essential that a<br />
tanda is coherent. The songs in the tanda should feel<br />
as if they belong together.<br />
Let’s take a romantic vals like Tardes de Bolonha. I need<br />
the first vals to tune in to the woman who might be a<br />
stranger to me and get into the mood. I can only fully<br />
enjoy the second and hopefully the third vals. But if<br />
after the first vals, there follows some monotonous<br />
heavy pounding by Otros <strong>Aires</strong> or Gotan Project, all<br />
our mood and pleasure are lost again.<br />
My basic structure of tandas looks like this, —<br />
Three songs in each tanda, separated by a cortina:<br />
<strong>Tango</strong> tanda - dynamic, lively and cheerful<br />
<strong>Tango</strong> tanda - medium tempo<br />
Milonga tanda<br />
<strong>Tango</strong> tanda - calm, romantic and sad<br />
<strong>Tango</strong> tanda - medium tempo<br />
Vals tanda<br />
Repeat everything from the beginning<br />
Like in traditional tandas I like to combine similar pieces,<br />
for example into a Greek, Turkish or Arab tanda.<br />
Sometimes, I make a tanda with various instrumental<br />
versions of well-known songs like Adele’s Hello.<br />
Other times, I make tandas of only German songs like<br />
Fang mich an, Oft gefragt and Lieblingsmensch.<br />
Predictability<br />
Tandas and cortinas make the music predictable.<br />
Let’s imagine someone simply doesn’t like Greek<br />
music like Sou Aksize Mia Kaliteri Agkalia If I play this<br />
song, he will know: Ok, I can forget the next tanda,<br />
because it’s going to be this terrible whiny folk music.<br />
I’d better go to the toilet, get a drink or chat with<br />
somebody.<br />
Each new tanda is a new beginning, and the dancers<br />
decide whether or not they will dance, and with<br />
whom, according to how it opens. The first song is a<br />
sign and a promise of what is to come. Accordingly,<br />
it is important that the first song accurately portrays<br />
the tanda as a whole. If it does not, the dancers<br />
start to lose trust in the DJ.<br />
I hate it when I have to dance to music that I don’t<br />
like. When you have a steady partner you can sit<br />
down and wait for the next piece. But when you<br />
dance with an unknown woman, etiquette forbids<br />
to make a pause already after the first dance, only<br />
because you can’t stand the next song.<br />
— 43 —
I find it rather strange when DJs play tandas, but<br />
don’t make them recognizable with cortinas. What<br />
sense could that have? One reason that I have heard<br />
several times is that cortinas interrupt the flow of<br />
the music. There may be non-stop dancers who see<br />
it that way. But, my view is completely different and<br />
I rather like breaks. Some DJs don’t play any cortinas<br />
because they consider the evening to be an<br />
organic whole and want to have smooth transitions<br />
from one piece to the next, sometimes introducing<br />
segues that overlap one song with the next.<br />
One frequent consequence of this concept is that<br />
pieces blend into each other or that pauses between<br />
pieces are either extremely short or don’t<br />
exist at all. I can’t stand both. Blending pieces into<br />
each other for me shows a lack of respect for the<br />
music. Moreover, the poignant dramatic endings<br />
with their corresponding final poses are automatically<br />
lost. I like music with a distinctive end and<br />
don’t like it if the music just fades out. Especially<br />
after romantic pieces, I want to have a few seconds<br />
in which I can let the music and the dance<br />
resonate inside me for a brief moment. I find it<br />
stressful and irritating if the next piece begins immediately.<br />
Playlists<br />
With the above said, it follows that I have absolutely<br />
nothing against DJs who use playlists. On the contrary:<br />
I prefer a carefully chosen and varied playlist<br />
to spontaneous DJing. From my experience, this<br />
often leads to musical chaos. That’s why I also don’t<br />
expect the DJ to work the whole evening with a<br />
headphone over one ear all the time, constantly selecting<br />
the next musical piece.<br />
When dancing, I focus exclusively on the dance, the<br />
music and of course on the woman in my arms. It<br />
may sound harsh but I don’t care at all about the DJs.<br />
They need not be present, as most of the time I am<br />
not even aware of them.<br />
Dancing DJ<br />
Also, I totally don’t mind when the DJ enjoys himself<br />
and dances to his music.<br />
The traditional commandment for DJs says: You<br />
have to at least pretend the whole evening to be terribly<br />
busy, stare constantly at your display and fumble<br />
around with your knobs and slider controls. Under no<br />
circumstances may you enjoy yourself and dance.<br />
I think this whole idea rather silly. That’s why I like<br />
the following statement of a traditional DJ:<br />
Because I’ve spent so much time in preparation,<br />
I usually dance a lot when I DJ. A FJ who doesn’t<br />
dance makes me wonder why — not a dancer?<br />
not prepared? just choosing in the moment? Oh, oh<br />
Jochen Lüders may be contacted at:<br />
http://www.jochenenglish.de/<br />
lueders@gmail.com<br />
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— 45 —
<strong>Tango</strong> Moves<br />
Raymond Lauzzana<br />
Last quarter, we discussed standing, finding your axis, and centering your weight on<br />
your axis. Before we can start to walk, we need to know where we are going. For the<br />
tango, there is a traditional structure to the dance floor. Dancers must understand<br />
this structure, even if they are going to violate it. As with all art forms, you need to<br />
know the rules if you are going to break them. The tango dancefloor rules are an<br />
etiquette designed to provide an smooth environment for dancing with a minimum<br />
of collisions and accidents.<br />
Line of Dance (Alineación)<br />
Dancer’s follow a counter clockwise movement<br />
around the dance floor, forming a ring. On larger<br />
dance floors, there may be two rings. The leader<br />
needs to be very conscious of the dancers in front<br />
and behind him. Movement around the floor is rather<br />
slow. On large floors, a couple rarely completse a full<br />
cycle. Do not tailgate, crowding the couple in front.<br />
The Ring (La Ronde)<br />
An imaginary line around the perimeter of the dance<br />
floor. The dancers follow this line in a counter clockwise<br />
manner. In large ballrooms, there may be two<br />
ronde, an inner and outer ring.<br />
The Center (El Centro)<br />
The center is reserved for Spot and Slot dancing in<br />
which the dancers dance within circles or slots that<br />
do not travel around the floor. The center is dominated<br />
by more experienced dancers. It should be<br />
avoided by novices. In practicas, the center is used<br />
for demonstrations and instructions.<br />
The Corner (El Rincón)<br />
The corner of the dance floor provides an opportunity<br />
for dancers to leave the ronde, The four corners<br />
of the dance floor are the ‘sweet spots’ for circular or<br />
rotational spot dancing, and pauses. This practice is<br />
not understood in all parts of the world. So, if traffic<br />
builds up behind you, its probably best tp move on.<br />
In some milongas, etiquette calls for moving to the<br />
corner, out of the line of dance to permit, tail-gaiters<br />
to pass. However, this in not always true. You’ll need<br />
to experiment.<br />
Inside the Line of Dance (a Dentro)<br />
The leader is walking inside the line of dance when he<br />
is to the left of the follower, towards the center of the<br />
ronde. This is the most place for the leader to walk<br />
other than directly in-line.<br />
Reverse the Line of Dance (a Reverso)<br />
The couple is walking in reverse of the line of dance<br />
when they move in a clockwise direction. This should<br />
be done only rarely, and then, with great caution. The<br />
leader needs to prepare for movement in the reverse<br />
direction by establishing the space for the reversal prior<br />
to reversed movement.<br />
Six Step Beginning (Salidas Traditional)<br />
The traditional six step start is not described here.<br />
There are a great many places that you can find this<br />
step sequence described. It may be useful to know.<br />
But, it can become very restrictive if dancers adopt it<br />
as dogma. This article approaches the salida from the<br />
point of view of possibilities. exposing the options that<br />
the leader has at the beginning of the dance.<br />
The Prelude (Preludio)<br />
Dancers frequently delay their forward movement until<br />
after the prelude, when the first verse begins. This<br />
permits the dancers to absorb the rhythm and melody<br />
of the music prioe to taking their first step. Leaders<br />
may express their interpretation of the music by shifting<br />
their weight in time to the rhythm, melody or even<br />
the phrasing of a particular instrument. This gives the<br />
follower a sense how the song will be danced, and the<br />
leader’s sense of the song.<br />
Outside the Line of Dance (a Fuera)<br />
The leader is is said to be walking outside the line of<br />
dance when he is to the right of the follower, on the<br />
periphery. of the ronde Some people call this the<br />
dark side because it is used less frequently.<br />
The Start (Salida)<br />
It may seem strange the the start is called a salida. The<br />
term usually means exit. But in this case and in the case<br />
of musi, it means departure - the point at which you<br />
begin your journey.<br />
— 46 —
There are only four starting positions for the couple<br />
withe respect to the ronde.<br />
1. leader faces In-line with the line of dance<br />
2. leader faces away from the center<br />
3. leader faces the center of the dancefloor<br />
4. leader faces opposite the line of dance.<br />
Volcado Start (Salida Apilado)<br />
The leader steps diagonal back while falsely indicating<br />
a sidestep. The follower is then offset their axis<br />
as in a volcada or carpa. The follower is free to perform<br />
various sorts of adornments, until the leader<br />
steps out on the follower’s right side.<br />
Simple Start (Salida Parallelo)<br />
Facing in-line with the line of dance, the leader sways<br />
to insure that the lady is standing on her left foot. The<br />
leader expresses an intention to move forward, the<br />
follower steps backwards, and the leader then steps<br />
with the left foot.<br />
Inside Access (Retrocesso)<br />
The leader faces towards the outside of the line of<br />
dance, requiring 90° rotation counter clockwise to enter<br />
the line of dance. The leader steps back with the left<br />
foot, slide sidesteps right, forward left rotate 90°, and<br />
collects to face in-line the line of dance. The follower’s<br />
legs are crossed left over right. From this position, there<br />
are many options to proceed down the line of dance.<br />
Outside Access (Contracesso)<br />
The leader faces the the center of the dancefloor,<br />
requiring 90° rotation clockwise to enter the line of<br />
dance. The leader rocks forward with the left foot,<br />
crosses behind with his right, swivels 90° into the line<br />
of dance. The follower ends up legs apart with weight<br />
on her left foot.<br />
Reverse Start (Salida Reverso)<br />
The leader is facing opposite the line of dance, requiring<br />
180° rotation to enter the line of dance. The<br />
leader steps back the left foot, then slide steps in a<br />
180° circle to forward collect into the line of dance.<br />
Variations.<br />
There are numerous variations on these basic starts.<br />
Here are a few of them’<br />
Cross System Start (Salida Cruzada)<br />
Facing in-line with the line of dance, the leader sidesteps<br />
to the left, with the foot outside follower’s,. The<br />
leader then cross steps inside with his right leg. The<br />
follower then steps backwards with her left foot.<br />
Double Start (Salida Doble)<br />
Facing in-line with the line of dance, the leader touch<br />
recovers before stepping forward. The touch may be<br />
sideways or back.<br />
American Start (Salida Americano)<br />
Cat’s Start (Salida del Gato)<br />
Sometimes called Walking to the Cross. The leader<br />
steps forward with left foot, then cross steps across<br />
the follower with his right. This is followed by a long<br />
slow left step with extreme upper body torque, towards<br />
the follower, possibly lowering his body. Then,<br />
with a quick step of the right, the leader collects and<br />
straightens up, causing the follower to cross the left<br />
foot in front of the supporting right foot.<br />
Ochos Start (Salida en Ochos)<br />
The leader faces the outer rim of the line of dance,<br />
requiring 90° rotation counter clockwise to enter<br />
the line of dance. The leader steps forward with the<br />
right foot diagonal across the follower, swivels on<br />
left 90°, forward right into the line of dance. The<br />
follower then walks in large back ochos as a result.<br />
‘<br />
— 47 —
American Start (El Americano)<br />
With the leader facing the outer rim of the line of<br />
dance, and the follower facing towards the center<br />
of the dance floor., the leader initiates walk into a<br />
promenade (paseo) with the leader and the follower<br />
walking in the same direction. The leader steps<br />
with left foot crossing the right foot behind. He then<br />
swivels on the right foot 90° counter clockwise, and<br />
steps forward with left into the line of dance.<br />
This is only a taste of the possibilities for the salida.<br />
Leaders and followers should investigate the range<br />
of possibilities and improvise their own flavors. The<br />
most important thing for leaders to be conscious of is<br />
where the follower’s axis is and to return her to balance<br />
and the end of the beginning.<br />
Tornado (A Tornillo)<br />
In this start, the leader raises the follower’s hand<br />
above her head and spirals her down much like a<br />
cobra or a top. As she comes up her hands flare<br />
out and the leader’s hands slide down to the follower’s<br />
waist to stop her spinning.<br />
— 48 —
— 49 —
Letters to the Editor<br />
Se merecen ésto y mucho más, por buena gente<br />
!! Los felicito amigos...<br />
Silvana Victoria Conte<br />
Felicitaciones genios!!!!<br />
Javier F. Fuentes<br />
Pero q bieeeeeeen!!! Un abrazo prima!!!<br />
Marcos Augusto Brito<br />
Divinoooooossss!!!!!!<br />
Analía Marcolini<br />
I am sympathetic to your project but I don’t<br />
believe in it - I just don’t know the target communities<br />
like NYC But, I’d be surprised if they<br />
needed the paper<br />
Dimitry Pruss<br />
The printed version isn’t for the community,<br />
itself. Its for libraries, museums and<br />
collectors. Its archival quality. The online<br />
version is for the community. There is an<br />
issue with the PDF. The higher the resolution<br />
the slower the downloads. The online<br />
version is 72 dpi, and is sort of slow as it<br />
is. The print version is 300 dpi, about 16<br />
times as much data.<br />
— MTW<br />
Thanks for what you’re doing<br />
Beautiful magazine<br />
Tom Kamrath<br />
Pablo y Carolina<br />
Good luck to you and your staff on this venture.<br />
I thought your NYC issue was first class.<br />
Walt Tashnick<br />
The magazine s amazing!<br />
M. Kalogera & K.Nika<br />
Looks great, I’ll report this to the council.<br />
Marcello Schena<br />
Thank you for amazing work<br />
Anil Kumar, Qatar<br />
Awesome! Thank you<br />
Cesar Flores<br />
I subscribed to <strong>Modern</strong> <strong>Tango</strong> <strong>World</strong> today and<br />
friended you on Facebook. But... I can’t figure out<br />
how to create an account so I can log in. Can you<br />
help me please?<br />
- Walt Tashnick<br />
Right now the login doesn’t work. We are<br />
still working on how to provide on-line<br />
subscriber benefits.<br />
A template of the catalog has jsut been<br />
posted on our website. When we get<br />
it flushed out a bit more we will ssue<br />
Subscriber ID numbers. Then, subscribers<br />
will be able to use that number to get<br />
discounts. — MTW<br />
http://moderntangoworld.com/catalog.php<br />
Thanks, just love it.<br />
Braaaaaavoo<br />
- Sheree Hook<br />
- Mela Lenoir<br />
Go Libedinsky brothers !! Sensitive creators of musical<br />
and cinematic art !!, Argentine figures in the<br />
world, double pride !!!<br />
- Dora Galin<br />
So many achievements.<br />
- Luis Lucha<br />
I received my copies of the NY issues today,<br />
love it! great job!<br />
Simone Ferrari<br />
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