[Tango-A] NA-E: PABLO VERON in BOSTON THIS WEEKEND, 18-19 September
The Tango Society of Boston will start our Fall Master Series Workshop with one of the Premier Dancers and Instructors, PABLO VERON THIS WEEKEND, 18-19 September. You can register in-person at Dance Union, or download a paper registration form and send it by mail, or Register electronically. To Register electronically with your credit card now, just follow this link http://www.bostontango.org/ to our Boston Tango Calendar website. Click on the upper right hand corner of the banner and it will take you to the page with the workshop details. When you are ready to register, click the Buy Now button near the bottom and it will transport you to the paypal area specifically set up for the workshops. So HURRY! REGISTER NOW! If you would like to learn about privates with Pablo Veron or have more questions, call Vicky directly at 617-721-4872
[Tango-A] NYC: SAT, SEPT 25 - 'Tango Play' Workshops w/JULIO BASSAN LUIZA PAES @ Practilonga-939!
Tango Play (in two acts) Exploring technique, mechanics and musicality through games, theater dynamics and exercises 3-4:25PM - Act I: Preparation - building the character and first conflicts (technique and mechanics) Intermediate through Advanced level 4:35-6PM - Act II: Developing the character and resolving the conflicts (mechanics and musicality) Intermediate through Advanced level :: REGISTER VIA EMAIL: santiagoste...@gmail.com :: Cost: $35 for 1 workshop, or $60 for both Location: 939 8th Avenue, Studio 200 (buzz 200) Video preview: http://il.youtube.com/watch?v=vA5-xCat3bQ LUIZA PAES: Luiza Paes, Brazilian-born, music student since age six, worked in musical education and vocal technique for many years. Her very first tango experience was in 1997 in Portland, Oregon where she took a group class with Clay Nelson and was immediately struck by the music and fascinated by the idea of the connection in the couple. Back in Brazil, Luiza met Norberto Pulpo Esbrez who became her teacher and then partner for nearly 10 years. Luiza and Pulpo traveled the world teaching and performing: Russia, Japan, Netherlands, France, Italy, Germany, Austria, Bulgaria, Slovenia, Greece, Spain, Denmark, United States, Canada, Mexico, Uruguay, and Brazil. They taught at numerous tango festivals including CITA in Buenos Aires, Portland, Las Vegas, Boston, Amsterdam, Tango del Norte in Denmark Luiza is a fun, caring and articulate instructor and teaches technique emphasizing the leader's and follower's roles, improvisation and the ability of adapting. She is very successful in generating a relaxed and humorous environment for the students to enjoy and take the most out of their learning process. Since February 2008 she started teaching and traveling on her own and with different partners (Tango Masquerade, Tango de los Muertos, Portland TangoFest, Houston Tango Festival).Her focus has been teaching musicality along with a technique that opens up possibilities for creativity in the dance. JULIO BASSAN: Julio is of the new breed of tanguero from Buenos Aires. An extraordinary, in-demand stage performer, known for his elegant, sultry moves and smoldering theatricality, he is an excellent and caring teacher of creative, social dancing, emphasizing connection, musicality, embrace and rhythmic improvisation. He adapts guardia vieja (old guard) moves to 21st Century dance floors with originality, sensitivity and humor. Julio is also a trained actor, having obtained a degree in theater from the University National Institute of Arts. As a tango dancer he has studied with such notable teachers as Ricardo Barrios, Carlos Rivarola, Claudia Bozzo, and Mingo Pugliese, among others. He teaches regularly and hosts his own milonga Gardel of Medellín in the famous tango neighborhood of Parque Patricios, which has become one of the most popular milongas in Buenos Aires. His elegance, musicality, and dramatic sensibility has propelled him to become a sought-after performer in the major tango shows in BsAs. He was also featured in the Tango Ballet of the University of Moron (2004 -2007), along with many theatrical shows in Argentina and the U.S. Julio has appeared in films, and coordinates popular tango events and festivals in Buenos Aires.
[Tango-A] NA-E:Nocturne NYC, 9/18/10, Erik Lindgren and Rebecca Rorick Smith performing and teaching, DJ Robin Thomas.
Nocturne Tango Salon New Yorks monthly one day tango festival Host and DJ Robin Thomas 22 west 34th st (east entrance) between 5th av and 6th av New York, NY Performing and teaching, Eric Lindgren and Rebecca Rorick Smith, now of Boston. Intermediate class 9-10 Milonga 10-very late Chacareras at 2am. 2 big rooms, enough for 400 dancers to dance comfortably. $12 $7 college students with ID No BYOB (there is a cash bar) :-( -- RobinThomasTango.com
[Tango-A] OSCAR Y GEORGINA back at TANGO WITH COLETTE in San Diego Oct 29-30-31
Dear Tangueros, Oscar Mandagaran Georgina Vargas are back in San Diego at Tango With Colette Studio as part of their 2010 World Tour !! Mark your calendars, October 29, 30 and 31 for 10-hour of intensive training. Workshop: How to dance like in a Buenos Aires milonga This incredible couple, technically perfect and emotionally inspiring, are sharing their Tango secrets with you, remember they only want to teach serious Tangueros who really want to learn how to dance real, authentic Argentine Tango! For more information and register via Pay Pal link at www.TangoWithColette.com To see them dancing click here: http://www.tangowithcolette.com/guestps/twcgstvid01.html Colette Hebert cell 514-726-5567 www.TangoWithColette.com Dance Place San Diego 2650 Truxtun Rd. San Diego CA. 92106
[Tango-A] NA-E: Sunday is MAXI'S NIGHT in NYC
At Esmeralda¹s Tango and Tapas this Sun. Sept 19-at Session 73, 73rd and 1st, SW Corner MAXI is back for some dynamite Mini-privates---he was over-booked last visit to us!! if possible, please call 212 777 6053 or email Francesca Bertelli at francescab...@gmail.com. to reserve a time between 8:30 to 12:00, He is a very popular teacher. Join his class at 7:15-8:30. Please add $5 to the regular $10 milonga admission. Enjoy his performance at 10:30 He will perform with the very gifted Ann-Sophie Persson. ³Maxi is a porteño dancer who proudly continues the tradition of his hometown social dance. His professional life in tango is divided into two main areas: researching the dance of the old generation milongueros and teachingHis teaching is about sharing the magic of the porteño dance... its technique, its culture, and its mystery. During the mini-privates, Maximiliano will evaluate your dancing and give you suggestions and exercises to improve your weak spots. If requested, the session can be video taped with your camera/video camera or we can provide you with a DVD of the class. Dance 8:30 12:30 to the great traditional tangos (a dash of salsa/swing/something else can occur) Open level class with Danny and Doris teaching in the Party Room at 7:00. Included in the $10 admission. Courtesy WINE or BEER served with an order of Session¹s fabulous (and I am not kidding) tapas til 8:30 in the café.
[Tango-L] the fear of close embrace
Coincedently, this morning I came to the conclusion that it was the fear of the close embrace that was keeping the women in my town gaah gaah over fancy stage steps and avoiding the close embrace dancethis is after some months of observing classes and social dances...at first, I couldnt understand the almost universal preference for dancing apart with wide, ostentaciously swinging movements and the absence of the subtle and close dancingafter listening to their reactions to certain dancing and their absence of same for the close embrace dance, seeing that they comprised young and not so young women and from different cultures some of them.is it just a matter of taste and my own lack of it? I have considered that and I give the edge to this strange reticence and fear of the close embrace...I remember one woman expressing the idea that she didnt want to be 'glued to someone'...this was some time ago but it expresses the same distaste for the intimate embrace. ... www.theopendoorway.org/audiovisual.html www.mario7.deviantart.com/ www.youtube.com/user/nacotete www.tangoandchaos.org THE WAR IS MAKING YOU POOR! ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
[Tango-L] the ?? of close embrace
I agree that there are a lot of people (men and women both) who seem to want to do big showy figures. But I think fear is the wrong word to use here. Disinterest or apathy or indifference is probably more accurate. Especially for people who are new to tango, it's simply not obvious what's the big deal about listening to the music, simple steps, close embrace, all of that stuff. But anybody can see what's going on when you start up the nuevo stuff: wow, that's really complicated, she has really nice legs, he's dressed like a bum so he must be cool, I want to be like them! What's the big deal about close embrace that I keep hearing about? Obviously those people aren't doing anything. Aren't you supposed to do something? How can you convince people that it's actually more interesting to get close to your partner than to do acrobatics? I really don't have any idea. ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
[Tango-L] When there is standing-room only at Buenos Aires milongas
Reports a few months ago on Tango-L of the imminent death of Buenos Aires milongas owing to lack of attendance notwithstanding, there is an unfortunate phenomenon one sometimes sees, where the organizer lets people into the milonga when there is no room for them to be seated, without letting them know before they pay and enter. This happened to me twice in the last two months: The first was at Parakultural in Salon Canning about a month ago (some overrated but popular couple was dancing the show), and most recently last night at La Bruja at El Beso. In both cases I took my ticket back to the desk and politely asked for a refund as there were no seats, and in both cases I was given one (promptly without fuss at Parakultural; though at La Bruja the girl at the desk tried to send me back in to speak to someone, but relented in a few seconds when I looked shocked at the suggestion). I would suggest that others with similar expectations of a seat not be reluctant to do the same. As I pointed out to the El Beso receptionist, It's supposed to be a milonga not a boliche! Otherwise, it will just be another nail in the coffin of the continued deterioration of milongas into being just places to dance rather than the broader social and cultural institution that they all were at one time. Some other random observations on this subject: At almost all milongas in Buenos Aires, the place where you pay is intentionally located where you cannot see inside the milonga. No doubt this is done so as not to discourage people from entering a lightly-attended milonga (or an overcrowded one), among other things. If you ask to take a peek in, however, you will rarely be refused, though there is a psychological barrier to doing so. At La Milonguita in Colegiales 2-3 years ago, I went once on a Sunday, not expecting it to be crowded, and I was turned away (quite apologetically and gracefully) since it was full! Now, you might ask, would you rather be turned away or given the option to enter without seating? Well, it depends on the situation: - Firstly, at the very least, if there is no seating but they are allowing people to enter, this should be disclosed. This is exactly what was done at another milonga in El Beso I remember going to (also a couple of years ago) where a sign at the desk said, No hay sillas (no [available] chairs) or something similar. - The physical limitations of some locations just does not permit even willing standees. El Beso is in fact one of these--the extra people just end up piling up and blocking the entranceway--there is no real place to stand around the dance floor. Salon Canning is large enough and has a wide bar area that one can get away with offering standing-room admission. - The atmosphere and setup of certain milongas (created by the organizer) sometimes doesn't lend itself to standees. La Milonguita (the milonga where I couldn't get in), is one of these. People standing around would be entirely out of place there and would detract from the experience for others. - The navigation skills at most milongas is usually not good enough for enjoyable dancing when the place (and hence the floor) is overcrowded. (There can be a compensating positive crowd energy for those who are willing to deal with the overcrowding and have suitably tuned receptors for this energy.) What about capacity limitations, fire codes, etc.? Well, like many new regulations (or newly-enforced regulations), there is an enforcement/observance half-life of such things in Buenos Aires, which I would estimate at: - 3 months when the new seatbelt law was passed a few years ago; - 2-3 years for capacity limitation enforcements at milongas after the Cromañon nightclub disaster of 2004. Interestingly, the no-smoking laws seem to continue to be close to 100% enforced with no sign of letting up. Some loss of atmosphere (or is it gain? :-)) when Fumando Espero, one of my favourite tangos, is playing, but otherwise a good thing. Shahrukh ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
Re: [Tango-L] the fear of close embrace
have you all ever considered that some people enjoy dancing a more open embrace? enjoy seeing each others faces as they dance? enjoy sliding their bodies past each other? enjoy the larger figures? enjoy the more dramatic dance permited by a more open embrace? enjoy the athletiscm that a more open embrace permits, even encourages? have you ever considered that starting slowly and allowing a more open embrace, larger figures and a more dramatic dance might improve your recruitment and retention? especially among younger dancers? have you ever considered that some people feel mauled and threatened (especially good looking females) by the pack of wolves that descend on them DEMANDING close embrace dances and belittling their hesitation to have their personal boundries invaided by stinky old men? and this destroys your retention, especially among younger females? i'm just asking. who is it that has the issues? The Tangonista Sponsered by P.E.T.A. (People Expressing Tango Attitude) NOTICE - no cats were injured in the making of our music ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
Re: [Tango-L] the fear of close embrace
- Original Message From: meaning of life kushi_bu...@hotmail.com have you all ever considered that some people enjoy dancing a more open embrace? enjoy seeing each others faces as they dance? enjoy sliding their bodies past each other? enjoy the larger figures? enjoy the more dramatic dance permited by a more open embrace? enjoy the athletiscm that a more open embrace permits, even encourages? Yes, I've considered that many people prefer dancing stage tango rather than social tango on the milonga dance floor. I have considered that outside of Argentina many people prefer to avoid the embrace, dance with space between them, and call it 'Argentine Tango' whereas in the milongas of Buenos Aires the rare person dancing in an 'open embrace' is a misguided tourist. Without the close embrace it is not Argentine Tango, it is 'Tango for Export', a version of tango that is adapted to the culture of the nation to which tango is exported. By breaking open the embrace, Argentine Tango becomes just another ballroom dance. have you ever considered that starting slowly and allowing a more open embrace, larger figures and a more dramatic dance might improve your recruitment and retention? especially among younger dancers? Yes, it will. So will playing electrotango or gypsy music or Sting in a milonga so people can mimic stage tango steps. Adapt tango to foreign tastes and it will be easy to attract people, but they won't understand tango. The tango of the milongas of Buenos Aires is a man embracing a woman and walking to classic tango music, respecting the space of others on the floor. Getting outside of one's ethnocentric worldview and understanding what the tango culture of Buenos Aires offers provides a new and rewarding experience. If we have to destroy just to attract people who can't make the transition, then we are sacrificing the potential benefits of embracing tango argentino. have you ever considered that some people feel mauled and threatened (especially good looking females) by the pack of wolves that descend on them DEMANDING close embrace dances and belittling their hesitation to have their personal boundries invaided by stinky old men? and this destroys your retention, especially among younger females? Actually, I've seen more slimy varmint sexual predators dancing nuevo and stage tango than dancing tango de salon. What a generalization!! I suppose we need to stop hugging each other for fear of introducing lewd thoughts. i'm just asking. who is it that has the issues? The person who has issues is the person who comes to the dance with prior issues. Tango in close embrace does not corrupt a decent person.. Ron ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
Re: [Tango-L] the fear of close embrace
- Original Message From: meaning of life kushi_bu...@hotmail.com have you ever considered that some people feel mauled and threatened (especially good looking females) by the pack of wolves that descend on them DEMANDING close embrace dances and belittling their hesitation to have their personal boundries invaided by stinky old men? and this destroys your retention, especially among younger females? I guess this means I am not young enough or good-looking enough because what I get from those younger nuevo females is a kick, an interception of cabeceos meant for me or way-laying of my partner even as we are walking onto the floor for a tanda. On more than one occasion, they even said What? You would rather dance with her than with me? Nice. And I don't care if that is the way you do it in NYC or Portland or LA. When you are in my tango homes, you will please observe the codes of our milongas or I might have to teach you a little R-E-S-P-E-C-T. The stinky old men know how to treat ladies and they always are fresh and have on clean, pressed clothes, with fresh haircuts and freshly shaved faces. They are never sweaty or dirty or wearing outlandish costumes or HATS for cripe's sake! And they don't have to watch their feet to dance - they know where my feet and their feet are so they watch the other dancers around them instead of the floor. That's how they avoid crashing into other dancers. Please, keep your good-looking young women away from my old menif you are man enough and a good enough dancer. Nancy ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
Re: [Tango-L] the fear of close embrace
On 16/09/2010 22:46, RonTango wrote: [I can understand why you wanted to comment on the other poster, who could be read to imply that *all* the qualities he ascribed to open embrace somehow were inaccessible to people with different styles, but I can't let the pendulum swing entirely back to the other side either.] whereas in the milongas of Buenos Aires the rare person dancing in an 'open embrace' is a misguided tourist. Some practicas have porteños dancing in embraces that are decidedly open. Somehow, I think they wouldn't agree being labeled misguided tourists. A misguided tourist doesn't know what embrace to use when. But many (in my opinion not so misguided) porteños know darn well how to dance where, and even how to dance to what music (even within the space of classical tango, lest you accuse me of speaking about electropunknewbeathouseraggamuffingangstatango.) Without the close embrace it is not Argentine Tango, I know at least three or four embraces (depending on the different angles between the bodies, the amount of leaning, how much it all is allowed to vary,...) that I'd personally still call close. Since at least one of them is with the two embracers close but with each of them on his and her axis, how much space exactly makes it no longer close embrace? Should the tango police bring vernier calipers? it is 'Tango for Export', It is true that Tango for Export exists (and is even danced by porteños who have to feed their kids), and it is also an overgeneralisation to say that it - whatever differs from one particular narrowly defined embrace - is merely tango for export. There have always been many styles of tango. Of course, each porteño can entertain you for hours on why his style is the Only True One, but somehow these people mix and rub shoulders, and are fairly tolerant (up to a point) of the others, if not in words, certainly in deeds (a bit like soccer fans of a club have to put up with there being other soccer teams, or there'd be no games). And none, in his heart, would dream of ostracising the other-styled porteños or shipping them all to Europe. Will you have tourists pick up something and run with it, gutting whatever they run with from the very soul of it? Of course. That doesn't mean there's One True Style or that *any* minute deviation from any perceived orthodoxy is suddenly automatically not tango. Tango's a social dance, with all that implies (and thank God for that!), including the fact that there is no authority to define an orthodoxy very rigidly. The tango of the milongas of Buenos Aires I still tend to think of this (THE tango of the milongas of Buenos Aires) as a mythical beast, housed in the Platonic world of ideas, not in Buenos Aires. There are many milongas and up to a point each one has its own tango, and if there are N good pair of dancers on the dance floor, each milonga really has N tangos. It's a dialect continuum, and one without a written form cast in stone. And the dialect continuum has also evolved over time; people don't dance like it was 1899. You can fill pages of debate (and get many papers and citations) discussing whether hebban olla vogala nestas hagunnan hinase hic enda thu is Old Dutch or Old Kentish, and to a certain point everyone arguing for seemingly irreconcilable viewpoints will be right because that's the way dialect continua function. is a man embracing a woman and walking to classic tango music, Well, *an* embrace is certainly necessary (as one of the central tenets is that it is a pure improvisational dance, you need an embrace or you can't lead and follow). But even you don't define embrace here as close embrace (whatever that is, see above). respecting the space of others on the floor. That's certainly part of tango (or more general, civil behaviour in *any* form of social dance; I dont think people who dance Valse Musette enjoy being knocked off the dance floor more than tango dancers.) The person who has issues is the person who comes to the dance with prior issues. Tango in close embrace does not corrupt a decent person. Neither does tango (within the parameters you did set above) in open embrace, if there really *is* an embrace (it *is* indeed inexcusable to use the fact the embrace is open just to utterly ignore it and throw the follower around like a bag of potatoes while you walk whatever way you want without leading anything properly). If some people are corrupted, I think it's the attitude, or even the mere lack of experience, not the particular embrace, and you can't just amalgamate everything or say the embrace caused it all. Open embracers are often more vulnerable to a particular danger (that of thinking that freedom is the same as anything goes, and that someone who tells them that something in their dance is jarring makes him a tango nazi) - but that is an overgeneralisation and the danger is not the embrace. I see a lot of corrupted people in close embrace as well, in many senses of
Re: [Tango-L] the fear of close embrace
--- On Thu, 9/16/10, meaning of life kushi_bu...@hotmail.com wrote: have you all ever considered that some people enjoy dancing a more open embrace? enjoy seeing each others faces as they dance? enjoy sliding their bodies past each other? enjoy the larger figures? enjoy the more dramatic dance permited by a more open embrace? enjoy the athletiscm that a more open embrace permits, even encourages? have you ever considered that starting slowly and allowing a more open embrace, larger figures and a more dramatic dance might improve your recruitment and retention? especially among younger dancers? I agree that boundaries, wherever you set them, are a serious issue, and it's true that close embrace is just too close for some people. I don't have any problem with dancing in an open embrace. Maybe I usually prefer a close embrace but I don't have anything to gain by imposing on my partner. As long as we have good communication in the embrace, which is possible with open or close embrace, we have a good dance, from my point of view. I have to take issue with your suggestions about bigger figures, though. One can approach the essence of tango through figures, but that's definitely the slow way to do it. If you start out doing figures, you might never get beyond that, and I do believe there is much more to tango than just the steps. Perhaps open versus close embrace is a misleading way to characterize the situation. The things that seem important are the music, your partner, the pista, and the social experience of the milonga. Showing off at a milonga isn't really consistent with that. I can't really think of a catch-phrase to sum it up. ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
[Tango-L] How does one 'learn' and 'grow' in Arg. tango....acording to me.
Well, I want to say a few words against 'learning' and 'growing'. Yes that's right and at the risk of sounding 'inappropriate' and all those other finger-slapping middle-class school marm words that are meant to keep us quiet and buying more of whatever it is that someone is selling. I have just completed my third year at 'learning' Argentine tango. There were many 'stages' that I had to navigate including not having a clue after a year's worth of trying hard...OK, here's my take on 'learning' and 'growing' in Arg. tangofirst of all what it doesn't mean is; adding more steps, joining the open embrace swingers, taking more classes. What those stern, finger-wagging words mean to me at this point is; Making your own dance your own...making it more and more a visceral part of who you are...to the point where no one else can 'teach' you your dance. To the point where you and the music are one...to the point where your dance partner has a really unique experience everytime you dance. To the point where being 'better' or 'worse' are meaningless words Where the dance becomes a poem, a passionate experience, the wind and the night sky. ... www.theopendoorway.org/audiovisual.html www.mario7.deviantart.com/ www.youtube.com/user/nacotete www.tangoandchaos.org THE WAR IS MAKING YOU POOR! ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
[Tango-L] Fwd: the fear of close embrace
I have been requested to post my response by Nancy Ellen Saunders From: Saunders Ellen ellen_l_saund...@me.com Subject: Re: [Tango-L] the fear of close embrace To: NANCY ningle_2...@yahoo.com Date: Thursday, September 16, 2010, 5:47 PM Bravo Nancy! The Portland community I hope will recover the good manners, the smooth flow , cabeceo, it once worked so hard to establish. The new athletic types really haven't a clew that us old folks don't want our smooth subtle delight to be interrupted by their disruptive performance. We are not impressed by the high flying feet. We have come to dance gently with our beloved partners not play dodge ball. If the young women need to say no they can just refuse to look at the men they don't want to embrace. It would be wonderful if we could feel the flow of the dance floor as if we were moving respectfully together as one group. In BA a milonga is a social event where everyone is politely seated to enjoy an evening with friends. It is not an athletic competition for show offs. Ellen Saunders On Sep 16, 2010, at 2:10 PM, NANCY wrote: - Original Message From: meaning of life kushi_bu...@hotmail.com have you ever considered that some people feel mauled and threatened (especially good looking females) by the pack of wolves that descend on them DEMANDING close embrace dances and belittling their hesitation to have their personal boundries invaided by stinky old men? and this destroys your retention, especially among younger females? I guess this means I am not young enough or good-looking enough because what I get from those younger nuevo females is a kick, an interception of cabeceos meant for me or way-laying of my partner even as we are walking onto the floor for a tanda. On more than one occasion, they even said What? You would rather dance with her than with me? Nice. And I don't care if that is the way you do it in NYC or Portland or LA. When you are in my tango homes, you will please observe the codes of our milongas or I might have to teach you a little R-E-S-P-E-C-T. The stinky old men know how to treat ladies and they always are fresh and have on clean, pressed clothes, with fresh haircuts and freshly shaved faces. They are never sweaty or dirty or wearing outlandish costumes or HATS for cripe's sake! And they don't have to watch their feet to dance - they know where my feet and their feet are so they watch the other dancers around them instead of the floor. That's how they avoid crashing into other dancers. Please, keep your good-looking young women away from my old menif you are man enough and a good enough dancer. Nancy ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
[Tango-L] My first trip to Buenos Aires
I recently returned from my first Tango holiday to Buenos Aires for two weeks. Having less than 3 years experience, I considered the adventure a great success. I danced 100 tandas with 85 different women in 12 days. I had several Tango friends show me around B.A mostly to the trendy downtown evening milongas that typically start at 11:00 p.m. and run to 4:00 a.m. Get home to bed about 6:00 or 7:00 a.m. Sleep til noon or 1:00 p.m. Then go out for sightseeing/shopping in the afternoon. Dinner with friends, then out again to the milongas. Sometimes 2 or 3 milongas in an evening. I only danced a couple times with my friends. Mostly I danced with strangers and all by cabeceo invitation. I'm a friendly person and I found most of the people of B.A. to be very friendly and the dancers in the milongas to be friendly. Sometimes, the pista was quite crowded and I only had barely a square meter or less to dance on. That's not really a problem for me, but some others were not such good navigators and sometimes did ganchos or big patterns or backsteps against the line of dance or crossed lanes or passed and cut in, which I have been trained not to do and is supposedly not allowed in B.A. crowded milongas. Yet some were violating the code. But I protected my partners and allowed no injuries. I speak only a little Spanish, but I managed pretty well. Often my partners spoke some or a little English or were even fluent. But since we were mainly dancing it usually didn't matter much, as long as I lead well and she enjoyed the dance. Almost always they would say Muy Bien! In addition to some bad dancing that I observed, I also observed some very fine dancing. Some of the old milongueros danced VERY sweetly, with great style, musicality, passion and intense feeling. Having seen that intensity with my own eyes inspired me to amp up my own dancing to a new level and I feel like I brought that feeling back home with me. On the first night, a really nice porteña dancer I danced with told my friend in Spanish, that I danced elegantly and on the music. That was nice to hear and I heard it several more times. Of course, my confidence as a dancer is greatly increased now. I managed to take 3 classes. One with Raul Bravo, an icon. Fancy steps: sacadas, enrosque, etc. One with Christian Marquez, a young, elegant show dancer: more fancy steps, sacadas, enrosque etc. Of course I can't use these in a crowded milonga. One with my teacher Mimi Santapa. And what do I work on with her? The same thing she always works on with me: posture, embrace, walk. And that I REALLY used in the crowded milongas. Now having danced back home for a couple weeks, my compliments continue. I still go to weekly lessons, practicas and milongas and I feel like I dance better every week. I still share the love with everyone I can. Many thanks to all my teachers and partners over the last several years! What a ride it has been! For those who have yet to go to Buenos Aires to dance, I say go as soon as you can. Observe the codes and dance as much as you can and let the Tango spirit infuse into you and bring that back home to share with others. Abrazos! El Stevito de Gainesville ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
Re: [Tango-L] the fear of close embrace
--- On Thu, 9/16/10, Sergey Kazachenko syarz...@gmail.com wrote: Nancy, While I agree with most of your points, I have to ask - what is wrong with HATS? Of course, I mean, when the height difference is large enough so that the hat does not violate the closeness of the abrazo. Sergey May you be forever touched by His Noodly Appendage... ( http://en.wikipedia.org/wiki/Flying_Spaghetti_Monster ) I was taught that a gentleman removes his hat in the presence of a lady unless his topper is of religious significance. But maybe the sun is very strong where you dance tango? ;-) Most gentlemen in BsAs also remove their glasses so they do not poke our eyes or cheeks. N ___ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l
[Tango-A] NA-E: PABLO VERON in BOSTON THIS WEEKEND, 18-19 September
The Tango Society of Boston will start our Fall Master Series Workshop with one of the Premier Dancers and Instructors, PABLO VERON THIS WEEKEND, 18-19 September. You can register in-person at Dance Union, or download a paper registration form and send it by mail, or Register electronically. To Register electronically with your credit card now, just follow this link http://www.bostontango.org/ to our Boston Tango Calendar website. Click on the upper right hand corner of the banner and it will take you to the page with the workshop details. When you are ready to register, click the Buy Now button near the bottom and it will transport you to the paypal area specifically set up for the workshops. So HURRY! REGISTER NOW! If you would like to learn about privates with Pablo Veron or have more questions, call Vicky directly at 617-721-4872
[Tango-A] NYC: SAT, SEPT 25 - 'Tango Play' Workshops w/JULIO BASSAN LUIZA PAES @ Practilonga-939!
Tango Play (in two acts) Exploring technique, mechanics and musicality through games, theater dynamics and exercises 3-4:25PM - Act I: Preparation - building the character and first conflicts (technique and mechanics) Intermediate through Advanced level 4:35-6PM - Act II: Developing the character and resolving the conflicts (mechanics and musicality) Intermediate through Advanced level :: REGISTER VIA EMAIL: santiagoste...@gmail.com :: Cost: $35 for 1 workshop, or $60 for both Location: 939 8th Avenue, Studio 200 (buzz 200) Video preview: http://il.youtube.com/watch?v=vA5-xCat3bQ LUIZA PAES: Luiza Paes, Brazilian-born, music student since age six, worked in musical education and vocal technique for many years. Her very first tango experience was in 1997 in Portland, Oregon where she took a group class with Clay Nelson and was immediately struck by the music and fascinated by the idea of the connection in the couple. Back in Brazil, Luiza met Norberto Pulpo Esbrez who became her teacher and then partner for nearly 10 years. Luiza and Pulpo traveled the world teaching and performing: Russia, Japan, Netherlands, France, Italy, Germany, Austria, Bulgaria, Slovenia, Greece, Spain, Denmark, United States, Canada, Mexico, Uruguay, and Brazil. They taught at numerous tango festivals including CITA in Buenos Aires, Portland, Las Vegas, Boston, Amsterdam, Tango del Norte in Denmark Luiza is a fun, caring and articulate instructor and teaches technique emphasizing the leader's and follower's roles, improvisation and the ability of adapting. She is very successful in generating a relaxed and humorous environment for the students to enjoy and take the most out of their learning process. Since February 2008 she started teaching and traveling on her own and with different partners (Tango Masquerade, Tango de los Muertos, Portland TangoFest, Houston Tango Festival).Her focus has been teaching musicality along with a technique that opens up possibilities for creativity in the dance. JULIO BASSAN: Julio is of the new breed of tanguero from Buenos Aires. An extraordinary, in-demand stage performer, known for his elegant, sultry moves and smoldering theatricality, he is an excellent and caring teacher of creative, social dancing, emphasizing connection, musicality, embrace and rhythmic improvisation. He adapts guardia vieja (old guard) moves to 21st Century dance floors with originality, sensitivity and humor. Julio is also a trained actor, having obtained a degree in theater from the University National Institute of Arts. As a tango dancer he has studied with such notable teachers as Ricardo Barrios, Carlos Rivarola, Claudia Bozzo, and Mingo Pugliese, among others. He teaches regularly and hosts his own milonga Gardel of Medellín in the famous tango neighborhood of Parque Patricios, which has become one of the most popular milongas in Buenos Aires. His elegance, musicality, and dramatic sensibility has propelled him to become a sought-after performer in the major tango shows in BsAs. He was also featured in the Tango Ballet of the University of Moron (2004 -2007), along with many theatrical shows in Argentina and the U.S. Julio has appeared in films, and coordinates popular tango events and festivals in Buenos Aires.
[Tango-A] NA-E:Nocturne NYC, 9/18/10, Erik Lindgren and Rebecca Rorick Smith performing and teaching, DJ Robin Thomas.
Nocturne Tango Salon New Yorks monthly one day tango festival Host and DJ Robin Thomas 22 west 34th st (east entrance) between 5th av and 6th av New York, NY Performing and teaching, Eric Lindgren and Rebecca Rorick Smith, now of Boston. Intermediate class 9-10 Milonga 10-very late Chacareras at 2am. 2 big rooms, enough for 400 dancers to dance comfortably. $12 $7 college students with ID No BYOB (there is a cash bar) :-( -- RobinThomasTango.com
[Tango-A] OSCAR Y GEORGINA back at TANGO WITH COLETTE in San Diego Oct 29-30-31
Dear Tangueros, Oscar Mandagaran Georgina Vargas are back in San Diego at Tango With Colette Studio as part of their 2010 World Tour !! Mark your calendars, October 29, 30 and 31 for 10-hour of intensive training. Workshop: How to dance like in a Buenos Aires milonga This incredible couple, technically perfect and emotionally inspiring, are sharing their Tango secrets with you, remember they only want to teach serious Tangueros who really want to learn how to dance real, authentic Argentine Tango! For more information and register via Pay Pal link at www.TangoWithColette.com To see them dancing click here: http://www.tangowithcolette.com/guestps/twcgstvid01.html Colette Hebert cell 514-726-5567 www.TangoWithColette.com Dance Place San Diego 2650 Truxtun Rd. San Diego CA. 92106
[Tango-A] NA-E: Sunday is MAXI'S NIGHT in NYC
At Esmeralda¹s Tango and Tapas this Sun. Sept 19-at Session 73, 73rd and 1st, SW Corner MAXI is back for some dynamite Mini-privates---he was over-booked last visit to us!! if possible, please call 212 777 6053 or email Francesca Bertelli at francescab...@gmail.com. to reserve a time between 8:30 to 12:00, He is a very popular teacher. Join his class at 7:15-8:30. Please add $5 to the regular $10 milonga admission. Enjoy his performance at 10:30 He will perform with the very gifted Ann-Sophie Persson. ³Maxi is a porteño dancer who proudly continues the tradition of his hometown social dance. His professional life in tango is divided into two main areas: researching the dance of the old generation milongueros and teachingHis teaching is about sharing the magic of the porteño dance... its technique, its culture, and its mystery. During the mini-privates, Maximiliano will evaluate your dancing and give you suggestions and exercises to improve your weak spots. If requested, the session can be video taped with your camera/video camera or we can provide you with a DVD of the class. Dance 8:30 12:30 to the great traditional tangos (a dash of salsa/swing/something else can occur) Open level class with Danny and Doris teaching in the Party Room at 7:00. Included in the $10 admission. Courtesy WINE or BEER served with an order of Session¹s fabulous (and I am not kidding) tapas til 8:30 in the café.
