Chris' comments don't really seem to tell the story correctly. What I've
learned from Gustavo Naveira and others is that there are only 6 'changes
of direction' and each is a single step. They are:
Right foot front cross to left foot back cross;
Right foot back cross to left foot front cross;
R
I suppose it's just convention that has caused the figures described as
'Changes
of Direction' to include a pivot. As Iron Logic says, without the pivot they
become
rock steps which are OK but are beginner figures, whereas I consider 'Changes
of Direction' to be more of an advanced figure. Fo
'Changes of Direction' change the direction of the turn in a Giro. Since the
Giro
consists of only 3 steps - side, forward and back and we have only 2 feet, I
don't
see how there can be more than 6.
But I'm willing to be proved wrong if Chris can give us another example.
Jack
- Original M
The great thing about Naveira's terminology is that the lady's step is
determined
by her position relative to the man. For example; if the lady steps LF backward
on the man's right side, this would be a LF back cross. This means, for
example,
that the man could lead her directly into a Back Oc
Astrid,
These concepts are only of any value to the man, as leader; they have no
relevance to the lady, as follower.
So don't worry your pretty little head about it :-))
Jack
- Original Message
> From: Astrid <[EMAIL PROTECTED]>
>
> I did not follow the thread as I hate reading these mi
David,
A Change of Direction, as the term now seems to be commonly used, includes
a change in the direction of a Giro.
A LF Front Cross is part of a Giro to Left [CCW]. If you the lead the lady to a
RF
Back [Open] Step this is still part of a Giro to Left as is shown by the fact
that the
lad
Larry,
I assume you mean the difference between an 'open step' and 'crossed step''.
OK, I'll do my best.
Have a girl stand facing you, feet together, and then have her turn 90deg left
so that
you're on her right side. If she now steps LF back, this would be a LF Back
Cross.
>From your per
Mario,
Well, I thought I knew what a traspie is but all I see at 1.03 is a lurch
forward
and at 1.12 a lurch backvward - definitely not to be recommended in a milonga.
Are you being serious Mario, or is this an inside-joke that I haven't been
around
long enough to 'get'. Maybe we need more word
Mario,
I'm sure you're doing a great Traspie - as you say ..."why so difficult?". 3
short
steps in 2 beats of music. Well, my friend, the difficult part is leading the
lady
to do an equally great Traspie. I see lots of guys doing 'great' Traspie while
the
lady is just shuffling her feet and
- Original Message
> From: Mario [EMAIL PROTECTED]
I did a couple more lines in my best Christopher Walken voice (whenever I
> feel vulnerable, I go to Chris) and then we danced.
Is that also because Christopher Walken started his show-biz career as a dancer?
___
I was planning to reply to Martin but Ron and Sergio have said it all much
better than I could. And thanks to Nina for giving a lady's view. To me, Tango
is a dance between a man and a woman. Part of the man's role is to lead and
part of the woman's role is to follow. But there's more to the man
Mel,
A fabulous dance by a couple obviously trained in ballet.
But I'd be interested to hear just why you think they are dancing 'tango'.
Seriously,
Jack
- Original Message
> From: "[EMAIL PROTECTED]" <[EMAIL PROTECTED]>
>
> I searched on YouTube and found a good example of two men danc
Pupi Castello was correct and I think everyone who learns
tango discovers this for himself.
Which I suspect is why many people enjoy Nuevo. No need
to worry about that pesky walk :-)
Jack
- Original Message
> From: "[EMAIL PROTECTED]" <[EMAIL PROTECTED]>
>
> Which reminds of what fa
Thank you Deby; that is indeed very interesting. I always had the
impression that the brothers were dancing a caricature of tango
and, from their name, it now seems that that is their intention.
It's unfortunate that others, such as Miguel y Augusto, appear
to be so deadly serious while dancing
Larry,
I think you need to lighten up. I haven't been writing here for long but I was
reading previously and I don't thing things are not as bad as you make out.
The only people who refer to real, authentic tango seem to be those who
say tango should be danced as the Argentines dance it. Pretty
Sergio,
Yes, a fabulous tango.
But is that what tango is to you - steps and figures?
Two men could dance exactly the same routine, Maybe, technically, equally
as well. But, to me anyway, it would look and, more importantly, feel like a
completely different dance.
Don't we talk a lot about the fe
Larry,
As others have said - nice post; I also like the 'tango is a house of many
rooms' analogy.
The people who built this house, and their successors, the current guardians,
are wonderful, generous people and they allow me to use the house whenever
I want. They even allow me to take it to oth
It certainly wasn't my intention to insult Nuevo dancers. I like to dance
some Nuevo elements and I enjoy watching good Nuevo dancers.
My point was that, in my opinion, the walk is less important to Nuevo
dancers than to those who dance Salon or even Milonguero style. It
appears that Nuevo is mor
David,
You disagree but then immediately prove my point by describing 2 such
Nuevo figures. A Salon or Milonguero dancer might have no such figures
to describe. Even Ochos an Giros are just walking steps divided by pivots.
Btw, I never said Nuevo figures were not led. I assume they are. But they
Trini,
Very true. When a lady is tipped into a Vocada, she needs to be able
to keep her body straight so that only a horizontal force is exerted against
the man. The man can then support this with his body weight and no strength
is required. [The typical Gavito Lean]. Some ladies sag into the ma
Oh yeah, I recognise that. I know some intermediate guys that teach their
own partner and they actually look quite good together. The problem comes
when the girl tries to dance with somebody else and she has no idea what
the man wants her to do because she can't recognise a 'familiar pattern'.
Trini,
I know exactly what you're talking about and maybe I'm too cynical but I don't
think the guys who dance with women who don't take classes are looking for
feedback on their tango. I suspect their motives lie elsewhere. o_O
If a man is really interested in tango, he's going to dance with w
It was a very nice dance by Andreas and Anne-Cécile. Very nice. But I like
my Tangos, Milongas and Vals' to be very different dances. Milonga is fun,
playful and cheeky while Vals is elegant, sweeping, flowing and romantic.
As Tete put it - "when I Vals, I want to fly".
But, nonetheless, Andreas
Hmmm, this might be true in principle, but in my experience, every
woman who dances wants to look beautiful. I don't think they'd agree
that ... "It doesn't really matter what the dance looks like,"
And isn't it part of the man's job to help his partner look beautiful
as well as feel beautiful
David,
Very well said. I often strike a little pose with my partners, especially at
the end
of the dance, or maybe even during a dance. But it's got absolutely nothing to
do
with ... "showing off to an audience." I just do it to have little fun with my
partner.
But, from the tone of many of
I disagree with most of what Lois Donnay wrote in her latest message and was
planning a response until I saw that Sergio had already replied and said most
of what I was also going to say.
I quite often assist my teacher in her classes and my experience is that most
beginner students are happier
Man, I'm glad I'm not a teacher trying to explain a figure on this list. Not
with
critics like Larry around and just waiting to pounce. Personally, I thought JPS
did a good job in explaining the most common and popular form of Volcada and
I've little doubt that he explains it and its different
Astrid,
It's the Gavito Lean. Some call it a Carpa or tent, others call it a Puente or
bridge,
Jack
- Original Message
> From: Astrid <[EMAIL PROTECTED]>
> >
> I had no idea that there was any such move as a "tent" in tango. You
> mean tent as in the woman being the canvas and the c
Larry,
Sacadas are another good example of the usefulness of the open/cross
system understanding. Walking outside partner on the right or left sides,
I can always do a Sacada on the lady's trailing leg. But the Sacadas and
their results will be very different depending on whether mine or my part
Larry,
I also first learned a basic Volcada as you describe it, i.e. as a simple
forward lean.
The problem is that times have changed and, largely because of Nuevo
terminology,
few people call that a Volcada anymore. As mentioned in another post, that
figure
is now called a Carpa [tent] or Pu
Joe,
I admire you, but from my own experience, I think you're unusual.
Most people, after they've been dancing for a few years, develop
a 'preferred style'. Of course there will always be exceptions such
as changing style for a performance or dancing with a partner who
has a fondness for Nuevo
Chris,
I completely agree with you and no one has ever said that ... "one particular
predefined sequence is the only thing that is called volcada". I don't know
where you got that idea. Just check YouTube and you'll find countless
variations of Volcadas.
It's my view that tango is a fast-evolving
- Original Message
> From: David Thorn <[EMAIL PROTECTED]>
>
> First few seconds. Liz is lead to spiral at the waist, her leg does float
> behind and then wraps around front, and then
> she is lead to settle onto her left foot. A front boleo??? A front
> ocho???
> Simply a cross
Mario,
Don't make the mistake of trying to model your dance on someone else.
Ricardo Vidort and the other milongueros come from a bygone age. Yes,
let's marvel at their dancing but, when a milonguero dies, his dance dies
with him and that's the way it has to be.
What you need to do is find yo
Ilene,
That's OK for you ladies but, as a man, I'm way too busy taking care
of my partner and navigating the crowded floor, not to mention trying
to be seductive and creative, to even think about the 'tangozone' for
myself.
I'd like to ask the other guys out there, is it even possible for the m
Mario,
I'm assuming you wrote this post just to get people talking. OK, I'll bite.
I don't enjoy classes and I don't enjoy practicing. But I do both so that
my dancing skills and technique will improve and I can better enjoy the
milongas. I hope the day will come when I need never attend anoth
Caroline,
I can certainly sympathise - a year of nothing but classes and practicas
must have been terrible and would be enough to destroy almost anyone's
love of tango. I'm just surprised that your teacher and others in your class
didn't encourage you to attend milongas. Hereabouts, most peopl
What my own teacher does if he he thinks there's going to be a gender
imbalance in one of his classes is to phone up a few of his regular students
to ask them to come along to act as dance partners. No charge of course.
I always agree because I get a free refresher class and I get to meet the
f
I also dislike this 30 seconds of chit-chat on the dance floor. Just what is its
purpose? Someone told me it was so that the dancers could hear the music
before starting to dance but, IMO, that just doesn't ring true.. Firstly,
they're
chatting, not listening and, secondly, the 5 seconds to make
Trini,
You asked a good question that, IMO, Jean-Pierre didn't really answer.
I think he is doing what I often do and is treating the Carpa and the Volcada
as 2 separate figures, with the Carpa being a prelude to the Volcada.. However,
as has been correctly pointed out by Larry and others, the
Igor,
I'm prepared to believe that it's possible to lead the lady into
a Carpa or to Apilado without using suspension and that's one
reason why I posted. But, as I need to make a backward step
to initiate the lean, you haven't explained why the lady won't
make a corresponding forward step. I k
- Original Message
> From: Igor Polk <[EMAIL PROTECTED]>
> After she steps forward, then there is time when she brings the back leg to
> the "collect" position. At this time you move faster and initiate the lean.
> Once she feels the lean, she will not be able to move to the next step.
>
I agree with Sergio that it sounds like a joke. I've always understood and been
taught that tango is all about 'lead and follow', as is every other partner
dance.
Surely, leading is the man's major responsibility in tango. How can the lady
ignore or fight his lead unless, of course, she doesn't
Is this Tango Liso? I always thought tango liso was a very smooth, simple dance
with few steps and figures. But this video includes some fancy
footwork, sacadas,
high front and back boleos and a even a planeo.
Jack
- Original Message
> From: Mario <[EMAIL PROTECTED]>
>
> Eduardo
I agree.
Contra-body torsion is extremely important in tango and requires a flexible
spine.
One of my favourite warm-up exercises is to stand backing a wall, a short
distance
away. With hands up, palms out and without moving the feet, twist as much as
you
can to place your palms on the wall.
David,
Nice find! Thank goodness we now have a voice that people might listen to :-)
Or maybe not. Who wants to be the first to tell us that Gavito got it wrong?
Jack
- Original Message
> From: David <[EMAIL PROTECTED]>
>
> PS: Who made this quote?
>
> "I lead every thing. Every
Wow, some of you guys are tough. It seems that Sean will not only not
dance with women who are not good dancers but with women who agree
to dance with men who are not good dancers. It makes me feel a little sorry
for the nice ladies who agree to dance with me :-). Does it mean they will
miss ou
This is very frustrating because many people are still talking at cross
purposes. As many have already said, misunderstanding a lead and
doing something unintended is a totally different thing to deliberately
refusing a lead for no other reason than the lady wanting to do
something other than w
I'm always looking for ways to improve my Front Ochos in close embrace and
finally found some time to read Eero Olli's lengthy post. While I appreciate
his
effort, I quickly got lost. If anyone else understand's what he is trying to
say,
could they please enlighten me. I got lost here ... "the
Sergio Vandekier wrote:
>
> The woman should be instructed to do nothing unless she gets a clear lead
> from
> the man.
>
This is extremely important, especially in classes. All the time I see ladies
in class
doing the steps themselves and then later, these same ladies complain that
their
I'm still open to the idea, but I'm not convinced about any big improvement
that the man will make by learning to dance the woman's role.
Yes, of course the man must understand the woman's role and must know
all her steps and pivots that he is going to lead but, IMHO, I don't think that
require
What I really dislike about the milonga video is Melina's left arm position..
That looks really uncomfortable for Detlef. In the second dance on the
video her arm is back to a more-normal over the shoulder position.
Jack
- Original Message
> From: "Nussbaum, Martin" [EMAIL PROTECTED]
> From: Tango Society of Central Illinois <[EMAIL PROTECTED]>
> For the crowded floor:
>
> - Hold your partner close.
> - Take small steps.
> - etec, etc >
Since Larry has had 20, or is it 30, years experience of Tango,
I would assume he already knows these simple rules and is
looking to be mor
Does anyone know anything about Milongueando 2009? It's quite expensive but is
it worth attending since I could be in BsAs at that time? Their website says
it's the 3rd International Encuentro of Tango Milonguero in Buenos Aires. Did
anyone attend either of the first two? Their website is at:
I've also taken classes with Jorge Firpo and, while he's very good and
a lot of fun, it's a huge stretch to classify him as 'a great dancer and
teacher'.
For my taste, he over-emphasises the importance of embellishments
for both man and lady.
I prefer to keep things more simple and elegant. But
What's the big deal here and why even post this question?
It's just a group of people enjoying their Tango; no more,
no less. OK, they're not experts, but so what?
Mario, I've noticed this tendency in you before. You show
all the signs of becoming a first-class Tango snob.
Jack
> From: Mario
Melina,
Thanks for the common-sense advice on how to behave in the
milongas - at least, you would think it is common sense :-).
And thanks for your anecdotes of milongas in the USA. Yes,
I believe you. My partner and I have lived long, full lives both in
the world of dance and in business. One
Mostly, yes but the figure from 2.10 to 2.20 was hardly
Salon Tango, IMHO. I'd say that figure was Nuevo.
But I agree; very nice demonstration of Tango in
open-embrace.
Jack
> From: Trini y Sean (PATangoS) <[EMAIL PROTECTED]>
>
> Mario, that was salon tango. No nuevo.
>
_
Sergio,
I certainly bow to your superior knowledge of Tango. But! I didn't mention this
in my previous post but Dörte Ricklefsen y Ramiro Gigliotti do a 'change of
direction' at 0.23 of the original video and they also do one at 1.07 of the
second video you posted. I wasn't really sure if this
Sorry Mario, but I see no sign at all that the lady [much better word
than 'follow', ugh!] takes over the lady. 1.05? Mario, perhaps you've
never seen a lady walk forwards before. Not that common, especially
in crowded milongas, but not unusual either.
Jack
- Original Message
> From
I love the exuberence of youth as displayed by Pablo Rodriguez & Noelia
Hurtado.
But for other extreme you need go no further than Mario's previous YouTube
video
of Javier Rodriguez and Andrea Misse. Elegance personified.
Jack
> From: "[EMAIL PROTECTED]" <[EMAIL PROTECTED]>
>
> I wonder.
Larry,
You often amaze me with your posts and now I don't know whether you're
playing with us or not. Just who were these "three dozen teachers" who
could teach Ochos and fail to mention that the amount of turn can vary?
Sorry, but it just beggars belief. OK, overturned Ochos can wait, but, IMH
> From: Martin Waxman <[EMAIL PROTECTED]>
>
> The lead leaves off after the mark; the follow begins when the lead
> is interpreted/understood.
>
I don't fully understand Martin's answer because he uses the words
'mark' and 'lead' in the same sentence and I don't know whether he
uses them with
OK, I'm confused.
> From: Nina Pesochinsky <[EMAIL PROTECTED]>
>
> Vince is right. Those are the big changes and they result in the
> changes in tango.
>
Vince and Nina agree - except that I get the impression that the factors listed
by Vince as causes for change are approved of by Vince bu
Thanks Charles:
> From: "[EMAIL PROTECTED]" <[EMAIL PROTECTED]>
>
> Actually the tango de salon that is danced today is pretty much the same as
> it was then anyway. Tango de salon never went away nor really changed that
> much, if at all. >
And Ron:
> From: Tango Society of Central Illi
Barbara,
I'd like to agree with you but, if the couples haven't been to Argentina,
how can they actually KNOW what real tango is? I'm sure you do know
couples who dance traditional tango beautifully without visiting Argentina
but I suspect it's because they like you and they like the way you da
Trini,
Thank you, thank you - absolutely magnificent! And did you notice
how almost all the YouTube comments were in Spanish?
I saw Miguel Zotto in BsAs a few years ago. The audience, mostly
Argentine, went crazy. Miguel is a true tango icon.
Jack
> From: Trini y Sean (PATangoS) <[EMAIL PROT
I took classes with Eduardo Capussi and Mariana Flores back in 2000 [approx].
It was solid, traditional tango with lots of walking and simple figures - and
it wasn't a beginner class. In 1995/96 my first teacher was Pablo Inza, who is
now one of the leading Nuevo dancers, But, back then he was a
> From: "[EMAIL PROTECTED]" <[EMAIL PROTECTED]>
>
> http://www.youtube..com/watch?v=a-5Bxtck3Uw
>
> This, incidentally, is
> Chicho in 2003, during the two years on which he visited L.A. a half
> dozen times and during which I took several lessons from him. He went
> to milongas about a doze
> From: Joe Grohens <[EMAIL PROTECTED]>
>
> Mingo said that the clip was showing, not how Petroleo danced, but how
> they used to dance in the old days, _before_ the developments (read
> improvements) that Petroleo and his cohort brought into the tango.
> Petroleo was demonstrating this prim
Thanks for this. I must admit I'm a total duffer when it comes to computers
but even I managed to download the '70 Most Danced Tangos'
Is this legal? I mean, I've spent a small fortune buying CDs on-line and now
I get 70 great tracks for free. Just doesn't seem right.
Jack
- Original Mess
Larry,
I've had at least 2 instructors teach me the 'butt kick', both times for
Milonga.
One of them even included a lady's 'butt kick' in response to the man's.
Jack
> From: "[EMAIL PROTECTED]" <[EMAIL PROTECTED]>
>
> You'll also see some movements that no one today has copied, even nuevo
The original question from Larry was:
"Why does the Argentine tango spawn such passionate controversies?"
If Amaury's answer is correct and that the controversies reveal more about the
participants than about the dance, does that mean the question can be
re-phrased to:
"Why does the Argentine
Mario,
Yes, the lady's left breast between your two is the position for the "V"
embrace
and this is by far the most popular embrace used in the milongas of Buenos
Aires.
But there are a growing number of teachers, who often promote their classes as
'Milonguero Style', who teach a different em
Jay,
I guess my answer would be ... "well, it LOOKS like a Tango" But I think
I'd reserve
judgement until I heard the music. And isn't the same true of most other
dances? Is a
Waltz really a Waltz if the music is not Waltz? I don't think so. In Ballroom
dancing
they have a catch-all name f
The lady has a choice of 3 positions. In my personal order of preference:
1. She can look straight ahead, i.e facing or touching the right side of the
man's head or face;
2. Head turned slightly left looking over the man's right shoulder; or
3. Head turned slightly right.
Many ladies use a diffe
Here's the best video I've seen on how to dance some nice Milonga.
http://hk.youtube.com/watch?v=VRQ1T5zKTJ4
Jack
From: "larry...@juno.com" larry...@juno.com
Looking back over the last couple dozen threads I see almost no mention
of milongas. Do you do them? Any secrets of how to do them, and
Trini and Jay,
Sorry, but I just don't get this. When dancing Milonga in particular,
because of the quicker tempo and shorter reaction time for my partner,
I dance in very close embrace with the best connection I can muster.
So if I'm dancing to what I 'hear' in the music, I lead my partner to
Norm,
Since you obviously think it''s important, could you provide us
with an explanation, preferably with examples, of what you mean
by a 'syncopated rhythm' in milonga?
Cheers,
Jack
> From: Norman Tiber nati...@charter.net
> Understanding the difference between “double time” and
> “sync
C'mon, Martin, you've gone from a very ordinary, intermediate nobody,
like many of us I suspect, to one of the world's greatest exponents of
Tango. Not really a fair comparison.
But, you're right, Klaus should be aiming a lot, lot higher.
Jack
- Original Message
> From: "Nussbaum, M
I was sitting in Nino Bien the other night, opposite my partner as we
sipped our Chandon, probaby looking like a couple of newbie tourists.
I've been before but not for a couple of years. Anyway, an old guy walked
behind my partner, put his hand on one of her bare shoulders and stroked
her neck
I've been trying to stay away from Ballroom discussions but, c'mon Damian!
I've studied Ballroom in the UK with the world's greatest dancers and teachers,
including my personal favourite - John Wood. NOT ONE EVER mentioned a
chest lead.
If they used another term that you're interpreting as a 'c
Certainly not from Buenos Aires! I'm currently taking classes with Susanna
Miller in Mlongueando 2009. Almost her first statement was that "the idea
that milongueros lead from the chest is a myth - they use their hands and
arms". For the last 2 days, after years of leading from the chest, I
Igor,
It wasn't Back Ochos in general but a particular Back Ocho. Susana Mller was
assisted in the class by a milonguero who has danced for more than 70 years and
is well known for this Back Ocho. Sorry, but I didn't catch his name but I've
seen him many times in the milongas, despite him being
A 'discussion' implies people offering different views. So far everyone
has agreed that teaching in a milonga is a big no-no. So, where's the
discussion, other than confirming what we all already know.
I really don't understand why Klaus wasted his time in writing such
a silly post and wasted o
This might come as a surprise to many but not everyone in enamored
with the cabeceo. My partner danced Ballroom for many years, where
the tradition is that the man comes to her table and politely asks her
for the pleasure of the next dance. And, if he has a little charming chat,
then so much th
I think Jay is going to have to explain a lot more about the form of teaching
in a milonga that he thinks is acceptable. IMO, it's not just about disrupting
the other dancers; its also about the fact that most ladies truly hate it. I
also
consider it disrespectful to the lady - unless she actua
I agree with Trini. My response would probably have been "don't worry about
it; let's just try again." Later, when leading the cross again, I would make
the
lead very clear so that I'm sure she'd follow correctly.. Then I could say
something
like ... "OK, no problem". This kind of thing h
I think 'Rebound' is the modern terminology and 'Rock-step'
is the older terminology. Also called an 'Amague' or 'fake'.
Jack
> From: NANCY
>
>
> What is a check step in tango?
> >
___
Tango-L mailing list
Tango-L@mit.edu
http://mai
At El Beso milongas they change the lighting to change the mood. They have
maximum lighting for the cabaceo between tandas, dim slightly for the dancing
and then it dims right down at the end of the tanda to allow for a nice
romantic
ending. It then goes up again to allow people to leave the fl
Mario,
You might be interested to know that I saw Alberto Dassieu recently
at a milonga in Buenos Aires. Strangely, it was on a very quiet night
at El Beso, which is mostly frequented by tourists and I guess he was
there to escort a Japanese couple who appeared to be his students.
Alberto rar
This brings up an interesting subject that I'm not sure has been discussed
before. Is there any such thing as a 'Nuevo Milonga'?
As Vince points out, everyone treats Practica X as a milonga, but the
organisers call it a practica and that's how it's listed in El Tangauta and
B.A. Tango. Similar
Thanks Ron,
I agree - 100%.
But not sure if others, outside of Argentina, will agree.
Jack
- Original Message
> From: Tango Society of Central Illinois
>
> The term 'Nuevo Milonga' is an oxymoron.
>
___
Tango-L mailing list
I don't actually agree with that. I think Argentine Tango belongs to the
Argentines.
Anyone is free to dance it but you should respect the fact that it's not yours.
What right do you have to change it and continue to call it Argentine Tango?
Jack
> From: David Thorn
>
> If you would like
Michael,
Thanks for the reports - very accurate from my experiences and
very useful for first-time visitors to BsAs.
But I don't agree with your term 'original style' because, as Trini has
already pointed out, we don't really know what that is and it would
result in a lot of disagreements.
The first thing they are is professional dancers. My very first Tango
lessons, in the mid-90s, were with Pablo Inza [with his then-wife,
Gladys Fernandez] when they were already travelling the world as
tango teachers. Back then Pablo was super-traditional and
conservative with short slicked-ba
> From: "larry...@juno.com"
>
> Maybe those of you who have a lot of experience in the Buenos Aires
> tango scene can tell us - where do "tango nuevo" dancers usually go
> to dance?
>
Practica X, Tango Cool, El Motivo and La Viruta.
Larry, enjoy yourself. I hope you're fast on your feet to ta
I agree with Mario. If I'm going to do a linear walk to the cross, I'll ALWAYS
do
it in crossed feet. It's just much more comfortable and keeps the lady closer.
If I step outside right in parallel, it's because I intend to do something else
before reaching the cross position. There are many o
> From: Trini y Sean (PATangoS) patan...@yahoo.com
>It's interesting that you noted the music as being important for
> the milonguero. That's one of the reasons cross system is used so much.
I'm surprised to hear you say that and I'm not sure if I really agree. As Mario
noted:
"6. All rhyt
> From: Michael tangoman...@cavtel.net
> C) Currency Exchange
> Use Banco de Nacional Argentina at the airport and not kiosks. There
> is no commission charge at the bank. If possible, get all the pesos
> you´ll need. You´ll have to wait in line if you decide to do it in
> town. In fact waiting i
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