Alexandru Eugen Cristea

Transcription

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Modern Tango World: Number 1, Summer, 2015 — Neolonga Syndicate, Via Maestra Riva 124, Riva da Pinerola, Italy
M o d e r n Ta n g o W o r l d
Buenos Aires/Rosario Special Edition Editor
Martin Delgado
Table of Contents
Buenos Aires/Rosario Special Features
Circuits of Milongas, Gustavo Ameri .................................. 5
What’s happening in Buenos Aires? Fabio Rodriguez... 8
Success is to Live Life Dancing Pablo Inza ...................... 12
G u i d e to B u e n o s A i r e s Ta n g o ....................................... 16
G u i d e to R o s a r i o Ta n g o ................................................... 22
Movements, Julia Juliati.............................................................. 24
Interview with Max Masri, Martin Delgado .................... 28
The Dynamics of Tango , Alexandru Eugen Cristea ....... 31
New Tango Music Arndt Büssing ............................................. 34
Alba Sollis: Tango Diva ................................................................ 40
DJ/VJ-ing, Jochen Lüders............................................................... 42
Tango Moves, Raymond Lauzzana .......................................... 46
Letters to the Editor ..................................................................... 49
We are always looking for tango
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you would like to join us, send us
your stories and news from your
tango group.
We welcome your participation in
this exciting adventure.
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Circuits of Milongas, Porteñas and Rosarinas
Gustavo Ameri
stock photo of La Viruta
In Buenos Aires, there are many milongas scattered among the different neighborhoods across the city.
The total number is around 180, every week. They are organized into milongueros circuits - sequences
of milongas distributed to different nights of the week.
Many milongas have organized classes taught by specialized teachers, during the pre-dance time in the
early evening hours. They can be classified according
to some features, such as the more traditional versus
the avant-garde. Some are for amateur dancers, and
others for more experienced dancers.
Some, such as Salon Canning and El Beso moderate
between the traditional and the new generations of
milongas. Salon Canning is a famous venue with its
characteristic wooden floor, coveted by many tango
dancers. It ihas a large lounge where you can dine or
drink and is very busy with the most famous tango
dancers and tourists. It is located in Palermo and is
open Monday through Sunday. Every day, the milonga
is held by a different organizer. For example, Mondays,
Tuesdays and Fridays have become reserved for the
Parakultural Group’s milongas.
On the other hand, milongas at Sin Rumbo, Sunderland
and Glorias Argentinas are very traditional and historical. Sunderland is one of the most famous representatives of the neighborhood clubs. This is one of the
most famous tango salons and its floor is dominated
by the highest level of dance. It is difficult for the less
experienced to dare to dance here.
Far from the salons at the center of the city, there are
typical clubs with all the characteristics that mark the
tradition of Villa Urquiza, a neighborhood with more
dancers than any other part of the city. The neighborhood even has its own style of tango that bears its
name, and will forever be immortalized.
Moreover, there are places with many people who
have no connection to tango, such as La Viruta and
La Catedral.
La Catedral is a landmark created by Omar Viola.
It has a relaxed atmosphere which opens its doors
to all genre of tango. It has become just a warm
place to dance. The main virtue of La Catedral is
that it has managed to bring people of all age levels
and not just to listen to tango. The relaxed style and
baroque atmosphere make it one of the amazing
and unique places in the world. Thousands of foreigners and personalities that have visited Buenos
Aires, know it as one of the main attractions that
the city has to offer. La Catedral is located in the Almagro neighborhood and it features an outstanding
cuisine, dance classes and milongas, as well as tango
shows on weekends.
La Viruta is another very popular venue, with very
crowded classes. It is owned by the famous dancer Pebete Godoy. This venue opened its doors to
all, with relaxed and undemanding atmosphere on
the floor, where newbies can dance alongside the
great milongueros. It is the quintessential milonga
for young people, who go alone without partners
or friends, because there they can find peers and
dance partners. It is a large lounge where you can
have all kinds of drinks and light meals. There is always an artistic surprise for the guests, from exhibitions of prominent dance partners to musical
shows and all kinds of events that tend to stretch
the limits their abilities, pack the place to capacity.
—5—
La Bicicleta and El Yeite that are more modern and
frequented mostly professional dancers. El Yeite located in Cordoba and is known for a dance festival
organized in February or March.
There are many milongas held in other cities,
such as Rosario, in lounges, neighborhood cafes
or clubs. In these tango churches, c,assical and
modern tango may be heard.
Echoes of such great figures as
Carlos Gardel, Aníbal Troilo and
Astor Piazzolla coexist with new
contemporary styles, and even
the electronic tango.
In recent years, Buenos Aires has
experienced tremendous growth
in the milonga circuit. From 2001
to the present, the tango grew
mainly in the neighborhoods of
Palermo, Villa Crespo and Almagro. These are the places that
changed the most, and where
most tango events are located.
These neighborhoods that have
more possibilities, not only for
tango, but also for gastronomy
and culture.
stock photo of La Bicicleta
—6—
After the 2001 financial crisis, the tango began experiencing a new boom in Argentina with a new
kind of appreciation in value for its cultural value.
This can be seen not only in the styles of dance,
but also in the many bands that have turned to
tango. They are not just modern fusion bands, but
orchestra tipicas, as well.
With respect to the style of dance tango, tangot
has undoubtedly mutated with the music and the
times. In the mid-90s, Gustavo Naveira at Cochabamba 444 developed a new interpretation of
the dance that had not changed since the 1950s.
TFrom this new style, many exponents arose, perhaps the most well-known is Chicho Frumboli.
There are two general
types of dancing. On the
one hand, the new generations put more energy in
a more modern style. But
today, unlike ten years ago,
more value is given to tradition. Definitely, this search
is left to the discretion of
those who teach and those
who dance.
Rosario is a great tango
city. The situation is similar to Buenos Aires, but
on a smaller scale. There,
milongas are every day of
the week. Stylistic variation
is abundant, among them
are the Milonga Contramambo in El Olimpo Bar at Mendoza and Corrientes, where the scene tends towards modernity.
The manager, Santiago Aschilli, is a very innovative dancer. Another space that is booming La
Chamuyera is a haven for both dancing and listening to tango, rock and jazz concerts. It is the
home base of dancer Germán Ruiz Diaz. One of
the most traditional spaces is the Metropolitano
de Tango de Rosario.
Daniel Lancers who offers offers dance performances of more traditional tango. Rosario is a city
of innumerable different groups of tango dancing mixing and flowing together. Other milongas
to mention are the Café de la Flor, El Levante, and
in the legendary district of Pichincha, El Hornero,
Milonga Roja, El Revire and the traditional milonga
at La Casa del Tango.
The Argentine cities are not the only ones to have
the privilege of the great milongas. Berlin, Bologna,
Milan, Rome, Madrid and many other European cities have tango spaces to tango that are the envy of
Buenos Aires. Medellin, Colombia has great milongas
and many Colombians take part in the Buenos Aires
dance scene.
stock photo of La Catedral
The most famous Argentine teachers lead workshops in these cities in Europe and the world. The
great capital of tango was, is and will always remain
Buenos Aires.
—7—
What’s happening in Buenos Aires?
Fabio Rodriguez
The images of Astor Piazzolla, Aníbal Troilo, Osvaldo Pugliese, Horacio Salgán and others linger around us. In order to understand the current tango scene in Argentina, you need to look a
little into the past. Like the most musical genres in the world, tango had a beginning, then a resistance
on the part of society, and finally mass acceptance in communion with the media and the assumption
of its place in popular culture.
From the mid-fifties, political processes delayed
the development of a national culture. In general,
the tango stopped being spread and gradually lost
interest, especially among young people. Certain
sectors of the tango could be found. But, it was
difficult to accept and understand new patterns
in avmodern society. The mass arrival of television,
divided opinions of what is understood as tango
or not tango. And, tango failed to live within the
community. Indeed, many sectors came into open
confrontation with the new generations who were
inclined to musical culture that rose from rock, in
Argentina. Tango lost the support of record labels,
and had to take shelter, find new markets, reduce
or eliminate something key to its structure, such as
the orchestra tipica.
Despite this past, the cultural value of tango always persisted. It may be debatable whether the
tango is the most popular music in Argentina.
Now, in the suburbs, where the first tango steps
were taken, many places have been taken over by
other types of music that more clearly reflect the
people’s daily lives. But, tango remains a current
cultural phenomenon, that has managed to survive
these cultural changes. It has lived in the same exile that many Argentine people.
Modern tango composers often respond to contemporary issues with modern aesthetics, incorporating sounds drawn from modern life. Today,
tango has been rediscovered as a living entity. it
is one of the major musical genres of the world.
Traffic on the Internet indicates that tango in an
unimaginable following.
The works of Astor Piazzolla and many others
of that period became part of the reper toire of
these groups throughout the world, from the electronic tango, philharmonic orchestras, to chamber
orchestras. Search Google anywhere in the world
for the word tango. You will always find something.
There is different situation when considering tango
as a dance phenomenon. In Argentina, during the
1980s, tango was barely visible, except for a small
world for tourists. And, that dancing was limited in
it scope. Today, there are dozens of milongas every day, featuring wonderful exhibitions of dancing.
They are always hypnotic in their effect and full of
sensuality, a truly unique experience in the world.
Tango is now accepted and enjoyed in all its forms.
It lives in the Tribute Orchestras with their fundamental forms of tango of Don Osvaldo Pugliese,
Juan D’Arienzo, Ricardo Tanturi. Tango also lived
in artistic renewal begun by the great Astor Piazzolla, and only with groups that continue his movement. There is intimate tango with many enjoyable
forms of piano and voice ensembles. It lives in the
wonderful Creole Style, Gardel School and in the
new sound of tango fusion.
Today, the vain polemics that divided the ears of
the Argentines are far away. The names of Noelia
Moncada Luis Filipelli, San Telmo Lounge, Cucuza
Castiello, Aureliano Marin, Guillermo Fernandez,
Maria Volonte are just a few examples of the many
excellent musical groups that are part of Argentine
tango culture.
—8—
—9—
I was born in the city of Rosario and all fairness, I
need to write something about the city of Rosario, the second city in Argentina. It has similar port
characteristics as Montevideo and Buenos Aires, is
one of the cultural capitals of tango. Like any artistic expression, Rosario needs professionals and
trainers to promote the quality of its tango.
Rosario has currently one of the key training
schools, the Tango Orchestra School, under the Ministry of Culture and Education. It is a place where
very young musicians learn to play in an orchestra.
It is the true seeedbed of tango today. Rosario is a
city in which cultural passion overflows.
It is in the wonderful Casa del Tango, with ongoing
outdoor shows, open air milongas, its famous Bar
El Cairo, aris oneme of the important places to visit.
There it is — Tango, a cultural force, always arousing curiosity among visitors to Argentina. But also,
a force to which Argentines owe much for their
own culture.
— 10 —
— 11 —
Pablo Inza:
An Interview with Pablo Inza
Success is to live life dancing.
Martin Delgado & Santiago Beretta
A porteño by birth and citizen of the world, Pablo Inza is one of today’s great tango dancers in the
world. he is a teacher and event producer, committed to the creation of festivals that are more than a
mere exhibition of show tango. Pablo Inza is experiencing a great professional moment. With Sofia
Saborido, his current dance partner, he started a tour that has led from country to country and continent to continent. In September, they danced in Australia and the Netherlands and in November will
be in Poland and Italy.
We chatted with him between presentations and realized that enthusiasm for making not only warns
on stage: when he speaks overflowing vitality. The memory of his first tango lesson and cravings so it
is discovered seem to move him in the same way. In turn, no longer excited by how much progress was
made pedagogically in teaching dance.
MTW: Specifically on the subject of dance: What Pablo Inza: I was twenty-two, maybe twenty-four.
was attracted you to it? Did you start right with the It happened by accident. I was in Brussels, Belgium,
tango or come to it after other genres?
and the same friend goes there and suggested I put
together a tango course. I said yes, but really did
Pablo Inza: Before meeting with the tango, I had not know who might interested in me in Belgium.
an experience with theater. I spent some time prac- We made a kind of terrible promotion. But, we
ticing and that led me to contemporary dance, also filled the seminar. Instead of one seminar, we gave
with the need to use my body as an expression pos- three. It was an unexpected success.
sibility. The theater was not enough.
MTW: In Brussels, you do not expect to tango?
I liked both contemporary and classical dance language. But, I had more classical training. A friend Pablo Inza: No. There was little home for tanurged me to take a tango class and convinced me. go in Brussels. I went to Buenos Aires to study.
The first class is for me a brilliant memory. I still I made the trip that make many foreigners who
remember that first moment, even though I can’t re- come to study tango. I took the opposite path.
member many things or what tango was involved. I Studying in Buenos Aires and then going outside.
found the dance to be amazing. Coming from conAfter study in Buenos Aires, I made my first steps
temporary dance, where the dance is more individual,
directly in Europe. Then I returned to live in Buethere are few partner moments There is a word, pas
nos Aires, where I continued studying and investigatde deux, that is used to describe dancing in pairs. But,
ing the tango. During that period, I linked up with
the embrace; being so close; and being able to do a
the stage, working with, among others, Juan Carlos
series of movements. Over time, I began to dance,
Copes and dancing in the mythical Caño 14. After,
but that first moment was shocking.
I started traveling, taking the path that many colMTW: How old were you when you start to turn leagues take. There was some growing in me. We
are talking about 1999, from then began another age
professional tango possibility?
— travel!
— 12 —
MTW: What has changied in the way that you Pablo Inza: The important thing is that it always
and your contemporaries danced, over these twen- tries to be tango. I do not believe in the war of styles.
ty years?
I think one of the best things about tango is the diversity, where each dancer seeks expression and if it
Pablo Inza: Tango has changed a lot in different is genuine, generates a personal style. Unfortunately
ways, the dance itself and fashions and the impres- today, we see a tendency towards uniformity. This is
sions imposed by different times. Also pedagogy most evident outside Buenos Aires.
has changed a lot, I think we’ve evolved in the sense
that we understand the tango more formally. And, MTW: Who have been your primary influences?
we can now better understand and transmit. this
knowledge When I started, teaching was much Pablo Inza: This is very difficult to answer because
more basic. But, this implies something very nice there are many people who inspire me. Anonymous
because it was like a passage. You got something. and acquaintances. And it changes over time. My
But, you were unable to explain it. Today, there are tastes change and I change my identifications. Before
more ways to approach the tango that are much traveling, in the nineties, I identified with the Urquiza
more sophisticated. With respect to my dance, Style dancers, practiced with the neighborhood dancmy colleagues have influenced me a lot. There are ers and frequented those milongas. Today, this style
things that are interesting to me and the things that is often called the Tango Salon. I practiced with old
I needed to develop. Perhaps, these two ingredi- milongueros, people who were going, and many of
ents are the ones that have given me my dance.
them are totally unknown.
MTW: Are there mainstream trends that are On the other hand, I remember my first image of
more than cosmetic changes to the dance?
the tango. I saw a performance, named Tango for
Two. It shocked me, it must have been in 1991 or
Pablo Inza: Yes of course. There have been 1992. Miguel Angel Zotto with Milena Plebs and
trends in dance. Milonguero Style, Salon, Nuevo, Osvaldo Zotto with Guillermina Quiroga. There
etc. Those are some of the styles. Until recently, have been other couples who inspired me since,
newer tango styles were fashionable. They provid- such as Roberto Herrera with Vanina Bilous. The
ed a structural compression of dance. Today, this is tango was taken from the roots, developed into choindispensable for the teaching. From the outwrd reographed shows. I also had a taste of improvisaappearance of the dance, tango is understood dif- tion, especially those of the old milongueros, They
ferently. This comes from a new pedagogy that is could be more basic but at the same time rich in
useful for all styles. In addition, there are tango nuances, each one was special, they were all unique.
fashions, such as more open, more closed, more One of the things that I like about the tango is the
simple, more complex, etc.
unique personalities of the dancers.
— 13 —
Pablo Inza: I was very nervous
because it was a huge challenge.
I went there with a lot of people
who knew what I was doing. I did
not control the situation.
MTW: Do you find it interesting
Piazzolla for dance?
Pablo Inza: The list of dancers who have inspired
me and that I admire is very very long.
MTW: Do you frequent the milonga as a participant, or just as a teacher and artist?
Pablo Inza: I am like everyone else. Especially,
when I’m in Buenos Aires, those milongas are irreplaceable. I frequent the milongas when I want
to play. What I have noticed is that the dancers always choose the same version of a song for
dancing. But, there are many versions.
MTW: What do you think you of this?
Pablo Inza: It is true that there is a sort of short
list of songs. I think that when dancers always listen to a same version, with known arrangements,
then they can interpret it. But. all of the modes of
dance are slowly changing. Today, a DJ does not
play exactly the same music that was danced 3, 5,
10 or 15 years ago. There are bands that come
and gone overthe past few years. Also, various
orchestras become fashionable, and others not.
MTW: Many dancers say they remember the
first time that they embraced another dancer. Do
you remember that time, as well?
Pablo Inza: O yes, I remember. I remember
especially the nerves. It was in that class that I had
that was amazing. And, I also remember my first
time in a milonga,
Pablo Inza: I love Piazzolla, He
wrote many sublime compositions!
I had a period when I used to dance
to his music, very often in performance. Lately, I dance it with Sofia
Saborido. And, I did an opera with
Maria Buenos Aires. It was a production that was done in the Opera Company of Oslo, Norway. In
the cast were Julia Zenko and Per
Arne Glovirgen among others. It
was a beautiful experience.
MTW: So, do you see Astor Piazzolla’s music
more appropriate for exhibitions than milongas.
Pablo Inza: It is so with the post-Piazzolla concert music, as well. There are many orchestras and
groups which produce a more danceable sound,
with marked rhythms, that help the dancer. Then
came, electronic tango, with a strong rhythm. This
marked an important moment. Many people came
to tango because of it. Now it is heard less, But,
there are encuentros and milongas where electronic tango is played.
MTW: Do you currently reside in Buenos Aires?
Pablo Inza: This difficult to answer. I’m actually
in Buenos Aires, for the three Summer months. The
rest of the year, I’m out. I’ll be six months in Europe.
Then, we go to the United States and Canada for
two months and and then possibly Australia. So, it’s
hard to know where I reside. I sleep most times
during the year in France.
MTW: Are there different dance trends in each
country and on every continent?
Pablo Inza: Now that there is Youtube, Facebook
and the Internet, there is more homogeneity. Everywhere has is a bit of everything. In Asia, it is more the
tango dance hall hits of the past. In Europe, there was
a boom in the new tango. Everything has become
more danceable and the United States surpasses in
this. Maybe, Australia will come a little second. But I
think everywhere the trend is more or less similar.
— 14 —
Pablo Inza: With the internet,, even though you are MTW: After so much traveling, do you still like the
fifteen thousand kilometers away, you find out what is milonga scene?
happening in Buenos Aires. I do not know if this is
good or bad. But now, we all learn, at the same time. Pablo Inza: Yes of course! I love it! I love to
dance! Both in the milongas, and part of an exhibiMTW: You are widely recognized in your career as tion I still have many concerns abot dancing and
a dancer, in many countries. What are the things that what I represent,.
you are working on. And, what are your future goals as
an artist?
Pablo Inza: I am always questioning my dance, I am never satisfied to stay in the same place. I say
this with pleasure in the sense that
I can always find more. Over time
you see that you can always continue to discover, it is infinite and I
like it. There are times when I am
more eager and other times when
I am less patient. I feel closer to
the milonga then perhaps closer to
art performances. Lately, I have
been questioning my dancing and my
role in education. This is what I am
most connected to, now.
Pablo Inza: I have always said
that the tango is a language with
many possibilities. For nine years, I
produced a space known as Practica X. It became a tango stronghold for young people and for the
exploration of the tango, I also
MTW: So, it is this artistic search. Are you aware
produced a festival, trying to combine tango with
of when you are successful.?
other aristic languages. This is how the Cambalache
Festival was born.
Pablo Inza: Absolutely! My success already exists!
I live dancing! I do what I like!
This is something that I did for six years and that
today is still goes on in Buenos Aires. It has always been interesting in developing, I think that
there is much to take from show tango type performances. Shows generally have a mix of styles in
the same way. There are so many things to do in
tango. But, I do not want to stop dancing just for
the pleasure of dancing.
— 15 —
Buenos Aires Tango Guide
WeeKlY Milongas
Sunday
17:00 - 20:00
18:00 - 23:00
18:00 - 24:00
18:00 - 24:00
18:00 - 24:30
18:00 - 02:00
19:00 - 22:00
19:00 - 01:00
19:00 - 02:00
20:00 - 24:00
20:00 - 02:00
20:30 - 01:00
21:00 - 01:00
21:00 - 01:00
21:00 - 02:00
21:30 - 02:00
22:00 - 02:00
22:00 - 03:00
22:00 - 03:00
22:30 - 02:00
22:30 - 03:00
23:30 - 05:00
Monday
15:00 - 20:30
16:00 - 22:00
18:00 - 23:45
19:30 - 23:00
20:00 - 03:00
22:30 - 02:00
22:30 - 02:30
22:30 - 03:00
23:00 - 04:00
23:30 - 05:00
Tuesday
15:00 - 21:00
16:00 - 23:00
18:00 - 02:00
19:00 - 00:30
20:00 - 02:00
20:30 - 01:00
21:00 - 03:00
El Abrazo Verdadero
Milonga Placita
El Pial
Lo de Celia
Lujos en Plaza
Sueno Porteno
Bailongo de Domingos
A Puro Tango
Alo Lola
Fulgor de Villa Crespo
Estacion Sur
Lilián Milonga
Rodriguez Tango
Bella Vista Tango
Abrazando Tangos
Milonga Floreal
Viva la Pepa
Milonga de Domingos
Mundo Tango
Maldita Milonga Domingo
Domilonga
La Catedral
Bar Los Laureles
Plaza Dorrego Café
Salón El Pial
Lo de Celia Tango Club
Bohemia Plaza
Club Gricel
Complejo 25 de Mayo
Salon Canning
Obelisco Tango
Club Fulgor
Club Atlético Temperley
Centro Acerenza Lucania
El Rodriguez Club
Bella Vista Tango Club
Abrazando Tangos
Club Ciencia y Labor
Club Villa Malcolm
El Beso Nightclub
Confitería Ideal
Buenos Ayres Club
Club Independencia
Catedral de Almagro
Av. Gral. Iriarte 2290
San Telmo 1098
Ramón L. Falcón 2750
Humberto Primo 1783
Suipacha 921
La Rioja 1180
Av Triunvirato 4444
Av. Raúl Ortiz 1331
Av. Entre Ríos 1056
Loyola 828
Av. Meeks 1066
Bermudez 3127
Av. Gral. Rodríguez 1191
San Miguel 1663
Av. Alvarez Thomas 1121
Av. Cesar Díaz 2453
Av. Cordoba 5064
Riobamba 416
Suipacha 384
Perú 571
Av. Independencia 572
Sarmiento 4006
Barracas
Centro
Flores
San Cristóbal
Balvanera
San Cristóbal
Villa Urquiza
Palermo
San Cristóbal
Villa Crespo
Centro
Villa Devoto
Villa Crespo
Bella Vista
Colegiales
Villa Mitre
Palermo
B. Balvanera
Centro
Monserrat
San Telmo
Almagro
Milonga Ideal
Matiné de los Lunes
El Maipu de Lucy y Dany
Bien de Abajo
Derecho Viejo
Bendita Milonga
Galpón Milagros
Segundos Afuera
Parakultural
La Catedral
Confitería Ideal
Plaza Bohemia
La Nacional
La Glorieta de Belgrano
Club Gricel
Buenos Ayres Club
La Bicicleta
Club Independencia
Salon Canning
Catedral de Almagro
Suipacha 384
Suipacha 921
Alsina 1465
La Pampa 1781
La Rioja 1180
Perú 571
Gorriti 5417
Sarmiento 4006
Centro
Balvanera
Monserrat
Belgrano
San Cristóbal
Monserrat
Palermo
San Telmo
Palermo
Almagro
El Arranque
Nuevo Chique
Nolvidable
Sentimental y Coqueta
Zona Tango
Saraza Tango
Cachirulo en el Beso
Nuevo Salón La Argentina
Casa de Galicia
Obelisco Tango
Salon Plaza Bohemia
Zona Tango Club
Club Telégrafo y Crisol
El Beso Nightclub
San N. Bartolomé 1759
San Jose 224
Alsina 2540
Venezuela 2937
Saraza 951
Riobamba 416
Villa Mitre
Centro
San Cristóbal
Centro
Centro
Chacabuco
Balvanera
— 16 —
WeeKlY Milongas
Tuesday (Continued)
22:00 - 03:00
22:00 - 02:30
22:30 - 03:00
23:30 - 04:00
23:30 - 05:00
Wednesday
15:00 - 21:00
16:00 - 24:00
17:00 - 22:30
18:00 - 23:00
18:00 - 23:45
18:00 - 24:00
19:30 - 23:00
19:30 - 03:00
19:30 - 03:00
20:00 - 02:00
20:00 - 02:00
20:00 - 03:00
20:30 - 01:30
22:00 - 02:00
22:30 - 02:00
22:30 - 02:30
22:30 - 02:30
22:45 - 24:00
23:00 - 02:00
23:30 - 05:00
Thursday
15:00 - 21:00
16:00 - 23:00
18:00 - 24:00
18:00 - 01:00
19:00 - 03:00
20:00 - 02:00
20:00 - 03:00
20:00 - 03:00
Bichito Tango
Caricias
Fulgor Tango
Parakultural
La Catedral
Club Independencia
Imagen Saavedra
Club Fulgor
Salon Canning
Catedral de Almagro
Av. Ricardo Balbín 4699
Loyola 828
Av. Raúl S. Ortiz 1331
Sarmiento 4006
San Telmo
Villa Urquiza
Villa Crespo
Palermo
Almagro
Matinée Unitango
A Puro Tango
La Milonga del Pueblo
Lo de Celia
El Maipu Lucy y Dany
Rodriguez Tango
Bien de Abajo
Sueño Porteño
Febril y Ante
Zona Tango
San Isidro Tango
Los Laureles Milonga
MadreTango
Milonga de Oliverio
Maldita Milonga
Fruto Dulce Tangos
Milonga Popular
La Milonga Niceto
Milonga La Mandrilera
La Catedral
Confitería Ideal
Salon Canning
Salon Rock Sur
Celia Tango Club
La Nacional
El Rodriguez Club
Glorieta de Belgrano
Centro Leonesa
Obelisco Tango
Zona Tango Club
San Isidro Tango Club
Bar Los Laureles
Club Fulgor
Espacio O. Girondo
Buenos Ayres Club
Club Villa Malcolm
Club Independencia
Niceto Club
Teatro Mandril
Catedral de Almagro
Suipacha 384
Av. Sáenz 459
Humberto Primo 1783
Alsina 1465
Gral. Rodríguez 1191
La Papa 1781
Av. San Juan 3330
Venezuela 2937
Tres de Febrero 55
Loyola 828
Vera 574
Perú 571
Av. Cordoba 5064
Av. Cnl. Niceto Vega 5510
Humberto Primo 2758
Sarmiento 4006
San Nicolá
Palermo
Nueva Pompeya
San Cristóbal
Monserrat
Villa Crespo
Belgrano
Centro
San Cristóbal
Centro
San Isidro
Centro
Villa Crespo
Villa Crespo
Monserrat
Palermo
San Telmo
Palermo
San Cristóbal
Almagro
Milonga El Alero
Milonga del Corazón
El Pial
Lujos
Milonga de los Zucca
Maracaibo Bailable
La Cachila
Milonga Rumbo
Confitería Ideal
Nuevo Chique
Salón El Pial
El Beso Nightclub
Centro Leonesa
Cabaret El Marabú
Club Gricel
Bar Los Laureles
Suipacha 384
San Jose 224
Rón L. Falcón 2750
Riobamba 416
Av. San Juan 3330
Maipu 365
La Rioja 1180
San Nicolá
Centro
Flores
Buenos Balvanera
Constitución
San Nicolás
San Cristóbal
Barracas
21:00 - 01:00
22:00 - 01:30
22:00 - 02:00
22:30 - 03:00
22:30 - 04:00
23:30 - 05:00
Noche de Milongueros
Milonga El Puchu
Milonga Apola
Milonga Archibrazo
Soho Tango
La Catedral
El Rodriguez Club
Mansión Dandi Royal
Club Fierro
Centro El Archibrazo
Salon Canning
Catedral de Almagro
Gral. M. A. Rodríguez 1191
Piedras 922
Sánchez de Bustante 697
Mario Bravo 441
Sarmiento 4006
Villa Crespo
San Telmo
Almagro
Almagro
Palermo
Almagro
— 17 —
WeeKlY Milongas
Friday
18:00 - 24:00
18:00 - 02:00
18:00 - 02:00
18:00 - 03:00
19:00 - 03:00
19:30 - 23:00
20:00 - 03:00
20:30 - 03:30
21:00 - 03:00
21:00 - 04:00
22:00 - 02:00
22:00 - 03:00
22:00 - 04:00
22:30 - 03:00
22:30 - 04:00
23:00 - 03:00
23:00 - 04:00
23:00 - 05:00
23:00 - 05:30
23:30 - 03:00
23:30 - 05:00
Saturday
15:00 - 20:30
15:00 - 21:00
19:00 - 03:00
20:00 - 03:00
20:30 - 01:00
20:30 - 03:00
21:00 - 04:00
21:00 - 04:00
22:00 - 02:00
22:00 - 03:00
22:00 - 04:00
22:30 - 04:00
22:30 - 04:30
22:30 - 04:30
23:00 - 03:00
23:00 - 03:00
La Baldosa
La Milonga de Elsita
Sueno Porteno
Milonga de Bs As
Yira Yira
Bien de Abajo
Peña de Tango de Arrabal
TANGOCOOL
Cesar Palace Milonga
El Gardel de Medellín
Milonga Pichuco
Lo de Celia
Sin Rumbo
Sin Gomina Milonga
La Tradicional
Zona Tango
El Embrujo
Independencia
Parakultural
La Marshall
La Catedral
Salón El Pial
Bohemia Plaza
Club Gricel
Obelisco Tango
Centro Región Leonesa
La Glorieta de Belgrano
Los Laureles
Club Villa Malcolm
Casa Paraguaya
Parque Patricios
Espacio Oliverio Girondo
Celia Tango Club
Club Sin Rumbo
Villa Raffo
Club Gricel
Asociación Genovesa
Funda. Tango Argentino
Club Independencia
Salon Canning
El Beso
Catedral de Almagro
Ramón L. Falcón 2750
Suipacha 921
La Rioja 1180
Av. San Juan 3330
La Pampa 1781
Iriarte 2290
Av. Cordoba 5064
Chile 1769
Av. Caseros 3033
Vera 574
Humberto Primo 1783
José Pasc. Tborini 6157
Chile 1351
La Rioja 1180
Venezuela 2943
Av Córdoba 5942
Riobba 416
Sarmiento 4006
Flores
Buenos Balvanera
San Cristóbal
San Cristóbal
Constitución
Belgrano
Centro
Palermo
Monserrat
Centro
Villa Crespo
San Cristóbal
Villa Pueyrredón
Monserrat
San Cristóbal
Balvanera
Chacarita
San Telmo
Palermo
Buenos Balvanera
Almagro
Milonga Ideal
El Arranque
Los Consagrados
Milonguitas Empastadas
La Milonga de Mi Vida
Clasico de los Sabados
Mi Refugio
Cachirulo
Milonga San Pugliese
Lo de Celia
Milonga en Rojo
Milonga de Cisneros
Las Morochas
Fulgor Tango
La Independencia
La Bruja
Confitería Ideal
Salón La Argentina
Los Laureles
Centro A. Lucania
Espacio el Tacuarí
La Nacional
Obelisco Tango
Espacio Oliverio Girondo
Celia Tango Club
Plaza Bohemia
La Traicionera
El Beso
Club Fulgor
Club Independencia
Club Villa Malcolm
Suipacha 384
Bartolomé Mitre 1759
Av. San Juan 3330
Iriarte 2290
Bermudez 3127
Tacuari 1557
Alsina 1465
Vera 574
Humberto Primo 1783
Suipacha 921
Av. San Martin 2288
Riobba 416
Loyola 828
Av. Cordoba 5064
Centro
San Nicolás
Constitución
Centro
Villa Devoto
Centro
Centro
San Cristóbal
Villa Crespo
San Cristóbal
Buenos Balvanera
Villa Gral. Mitre
Buenos Balvanera
Villa Crespo
San Telmo
Palermo
23:00 - 03:00 Zona Tango
Venezuela 2943
Buenos Balvanera
23:00 - 04:30 A Puro Tango
Salon Canning
Palermo
23:00 - 04:30 Malena Tango
Club Sunderland
Lugones 3151
Villa Urquiza
23:30 - 05:00 La Catedral
Catedral de Almagro
— 18 —
Sarmiento 4006
Almagro
Weekly Practicas
Sunday
20:00 - 23:00
20:00 - 23:00
24:00 - 04:00
Domingos de Tango
La Milonguita
La Viruta Practica
El Viejo Buzón
Sala Siranush
La Viruta
Neuquén 1100
Armenia 1353
Armenia 1366
Caballito
Palermo
Palermo
14:00 - 17:00
19:00 - 24:00
20:00 - 22:30
22:00 - 01:00
22:30 - 00:30
23:00 - 02:00
Tuesday
18:00 - 21:00
18:30 - 20:00
22:00 - 02:00
Muñecas Bravas
De Querusa
Carlos & Rosa
El Motivo Practica
Práctica de los Lunes
La Garufa
La Maleva Hotel
Rincón Filiar Andaluz
Sunderland Club
Club Villa Malcolm
El Beso
Club Premier
Tucumán 3424
Carlos Calvo 3745
Lugones 3151
Av. Cordoba 5064
Riobba 416
Capichuelo 472
Centro
Centro
Villa Urquiza
Palermo
Buenos Balvanera
Centro
Que lo Parióoooo!!!
PractiMilonguero
Ventanita de Arrabal
Espacio 423
El Beso
La casa Sr. Duncan
Venezuela 423
Riobba 416
Av. Rivadavia 3832
Monserrat
Buenos Balvanera
Almagro
Monday
Wednesday
17:00 - 19:00
20:00 - 22:30
20:00 - 23:00
21:30 - 01:30
24:00 - 04:00
La María Practica
Carlos & Rosa Practica
La Milonguita
Cheek to Cheek
La Viruta Practica
La María
Sunderland Club
Sala Siranush
El Juvenil Bar
La Viruta
Currichaga 1509
Lugones 3151
Armenia 1353
Av. Corrientes 4534
Armenia 1366
Palermo
Villa Urquiza
Palermo
Centro
Palermo
19:00 - 24:00
23:00 - 02:00
24:00 - 04:00
De Querusa
La Garufa
La Viruta Practica
Rincón Filiar
Club Premier
La Viruta
B. Carlos Calvo 3745
Capichuelo 472
Armenia 1366
Andaluz
Centro
Palermo
21:30 - 01:30
22:30 - 04:00
23:30 - 03:30
24:00 - 06:00
Cheek to Cheek
GNC
ZUM
La Viruta Practica
El Juvenil Bar
Milongon de Cisneros
Club Villa Malcolm
La Viruta
Av. Corrientes 4534
Av. San Martin 2288
Av. Cordoba 5064
Armenia 1366
Centro
Villa Mitre
Palermo
Palermo
Practica Patricios
Practica DNI
Milonga Abierta
La Viruta Practica
Parque de Patricios
DNI Tango School
Glorieta de Belgrano
La Viruta
Bulnes 1011
La Ppa 1781
Armenia 1366
Centro
Almagro
Belgrano
Palermo
Thursday
Friday
Saturday
17:00 - 20:00
18:00 - 20:00
19:00 - 23:00
24:00 - 06:00
— 19 —
Annual Events
February
February
March
April
June
July
July
July
August
October
November
November
Misterio Tango Festival
El Yeite Festival
Festival Provincial de Tango de Zárate
Tango Secrets Festival
Festival de Tango de Caballito
Maldita Festival
La Semana de la Milonga
Festival Bailemos Mas Tango
Mujercitas Tango Festival
Festival de Tango de Valentín Alsina
Festival Tango Queer
TANGOXPOSED
facebook.com/misteriofanpage
facebook.com/elyeitetangoclub/
facebook.com/festivalzarate
facebook.com/groups/1526948670888917/
facebook.com/IFestivalDeTangoDeCaballito
facebook.com/events/324692190941216/
facebook.com/festivalbailemosmastango
facebook.com/pages/Festival-Tango-Queer-de-Buenos-Aires/
facebook.com/TANGOXPOSED-278158148869845
WebSites
Buenos Aires Milongas....................
Hoy Milonga......................................
Milongas In.........................................
Milongas.org .....................................
Tango City..........................................
Tango Info..........................................
Tango Santa Fe..................................
Tangos y Milongas en Rosario ......
buenosairesmilongas.com/
hoy-milonga.com/
milongas-in.com/
milongas.org.ar/
tangocity.com/
tango.info/
tangoensantafe.com.ar/
tangoymilongasenrosario.com/
These are spme of the Internet resources that were used to build this guide.It is a
consolidation of information gleaned from these resources combined with ground visit
verification.We suggest that you check these resources in the future, as we all know
- things change.
The Places
Associations & Clubs
Bar Los Laureles
Bella Vista Tango Club
Buenos Ayres Club
Casa de Galicia
Casa Paraguaya
Celia Tango Club
Club Ciencia y Labor
Club Fulgor
Club Glorias Argentinas
Club Gricel
Club Independencia
Club Telégrafo y Crisol
Club Villa Malcolm
Confitería Ideal
El Beso Nightclub
El Complejo Cultural
El Gardel de Medellín
El Juvenil Teatro Bar
El Pial Salón
El Viejo Buzón
El Yeite
Espacio 423
Espacio Cultural O. Girondo
Espacio el Tacuarí
La Bicicleta
La Catedral
La Fundación Tango Argentino
La Maleva Hotel
La Nacional
La Viruta
Niceto Club
Nuevo Salón La Argentina
Obelisco Tango Club
Rincón Filiar Andaluz
Sala Siranush
Salon Canning
Salon Rock Sur
Sin Rumbo
Sunderland
Venezuela 2937
Buenos Balvanera
Barracas
Av. Francia 701
Bella Vista
Perú 571
Monserrat
San Jose 224
Centro
Chile 1769
Monserrat
Av. San Juan 3330
Constitución
Humberto Primo 1783
San Cristóbal
Cesar Díaz 2453
Villa Mitre
Loyola 828
Villa Crespo
Bragado 6875
Mataderos
La Rioja 1180
San Cristóbal
San Telmo
UnidosSaraza 951
Parque Chacabuco
Av. Cordoba 5064
Palermo
Suipacha 380
San Nicolá
Riobba 416
Buenos Balvanera
Av Triunvirato 4444
Villa Urquiza
Av. Caseros 3033
Parque Patricios
Av. Corrientes 4534
Centro
Rón L. Falcón 2750
Flores
Neuquén 1100
Caballito
Córdoba 4157
Centro
Venezuela 423
Monserrat
Vera 574
Villa Crespo
Tacuari 1557
Centro
Gorriti 5417
Palermo
Sarmiento 4006
Almagro
Av Córdoba 5942
Chacarita
Tucumán 3424
Almagro
Alsina 1465
Monserrat
Armenia 1366
Centro
Av. Cnel. Niceto Vega 5510 Palermo
Bartolomé Mitre 1759
San Nicolás
San Cristóba
Carlos Calvo 3745
Centro
Armenia 1353
Palermo
Palermo
Av. Sáenz 459
Nueva Pompeya
Tborini 6157
Villa Pueyrredón
Lugones 3161
Villa Urquiza
— 21 —
+54 11 3328-9289
+54 11 4303-3393
+54 11 4666 8945
+54 11 4331-1518
+54 15 5137-9061
+54 11 4383-4283
+54 11 4304-5595
+54 11 4305-6778
+54 11 4582-9779
+54 11 4778-1511
+54 11 4687-8576
+54 11 5021-4996
+54 11 4931-7977
+54 11 4912-0708
+54 11 4772-9796
+54 11 4328-7750
+54 11 4953-2794
+54 11 4524-7997
+54 15 6166-4593
+54 11 6091-9034
+54 11 4612-4257
+54 11 4433-3061
+54 11 4855-6777
+54 11 6736-7027
+54 15 6554-5095
+54 11 4362-7077
+54 11 4899-0991
+54 15 5325-1630
+54 11 4778-0199
+54 11 4861-5652
+54 11 6519-9573
+54 11 4832-4105
+54 11 4779-9396
+54 11 4371-6767
+54 11 4305-0459
+54 11 4931-4800
+54 11 4899-4101
+54 11 4832-6753
+54 11 4912-0708
+54 11 4925-5830
+54 11 4541-2378
Rosario Tango Guide
WeeKlY Milongas
Sunday
16:00 - 19:00
16:00 - 22:00
20:00 - 01:00
21:00 - 03:00
22:00 - 01:00
Monday
18:00 - 24:00
21:30 - 01:00
Practica Domingo
Abrazame Tango Matinée
La Dominguera
Domingueando
Milonga Roja
La Casa del Tango
Cafe Guatemala
Estudio Especial
Café de la Flor
Unión Cívica Radical
Av. Illia 1750 y España
Italia 107
1ro. de Mayo 1159
Mendoza 862
Paraguay 358.
+54 (341) 449-4666
+54 (341) 438-3057
+54 (341) 426-1832
+54 (341) 411-2727
+54 (341) 583-2255
Entre Ríos 565
Av. Mendoza 1201
+54 (341) 447-0597
+54 (341) 421-6536
Imperium RestoBar
Bar El Cairo
Entre Ríos 565
Santa Fe 1102
+54 (341) 447-0597
+54 (341) 449-0714
Iruña Bar y Café
Estudio Especial
Resto Bar San Antonio
Bar La Favrika
Santa Fe 1204
1ro. de Mayo 1159
Av. San Martín 3372
Tucumán 1816
+54 (341) 449-2610
+54 (341) 426-1832
+54 (341) 464-2908
+54 (341) 447-5248
El Faro
La Chamuyera
San Juan 3667
Corrientes 1380
+54 (341) 664-6700
+54 (341) 426-0755
La Casa del Tango
Centro El Hornero
El Levante
Plataforma Lavardén
Av. Illia 1750 y España
Juan M. De Rosas 1147
Pichincha 120
Mendoza 1085, Piso 5
+54 (341) 449-4666
+54 (341) 448-2012
+54 (341) 472 4390
+54 (341) 472-1462
Asociación Japonesa
Centro de Jubilados
La Chamuyera
El Revire
Iriondo 1035
Alvear 165
Corrientes 1380
Entre Ríos 1051
+54 (341) 583-2255
+54 (341) 599-3014
+54 (341) 426-0755
+54 (341) 515-5590
Rosarigasitango
Imperium RestoBar
Peña de Tango de Arrabal Bar Olimpo
Tuesday
18:00 - 24:00 Milonga Martes
21:30 - 01:00 Milonga El Encuentro
Wednesday
22:00 - 04:00 Contramambo
20:30 - 01:00 La Temprana
21:00 - 01:00 El Enganche
21:30 - 01:00 Lo de Juanita
Thursday
21:30 - 24:00 Práctica El Faro
23:00 - 01:00 La Chamuyera Milonga
Friday
20:00 - 02:00 La Previa
22:00 - 03:00 Milonga Tradiciónal
23:00 - 04:00 Milonga del Levante
23:00 - 04:00 Milonga Roja
Saturday
18:30 - 01:00 Milonga Tu Corazón
21:00 - 02:00 El Milongon
23:00 - 01:00 La Musa Mistonga
21:00 - 03:00 Milonga a Sabado
Annual Events
January
April
May
July
Festival de Danza Rosario
Festival Metropolitano de Tango
Festival Mutante
Tango Maraton Rosario
facebook.com/misteriofanpage
facebook.com/elyeitetangoclub/
facebook.com/festivalzarate
— 22 —
The Places
Associations & Clubs
Asociación Japonesa en Rosario
Bar El Cairo
Café de la Flor
Café & Comida Iruña
Casa del Tango
Centro Progresista
Chamuyera
El Duende (Hornero)
Imperium RestoBar
Kasona
Milongon 200
Olimpo Bar
Organiza Cultural El Levante
Pizzeria San Antonio
Restaurante la Favrika
Restobar Lennon
El Revire
Sociedad Libanesa de Rosario
Plataforma Roja
VyC Tango
Av. Iriondo 1035
Av. Santa Fe 1102
Av. Mendoza 862
Av. Santa Fe 1204
Av. Illia 1750
Av. San Juan 3667
Av. Corrientes 1380
Av. Juan M. de Rosas 114
Av. Entre Ríos 565
Av. Pellegrini 942
Alvear 165
Corrientes y Mendoza
Pichincha 120
San Martín 3372
Tucumán 1816
Paraguay y Urquiza
Entre Ríos 1051
Italia 1070
Mendoza 1085, 5to Piso
Mariano Moreno Bis 135
+54 341 430-6902
+54 341 449-0714
+54 341 411-2727
+54 341 449-2610
+54 341 449-4666
+54 341 426-0755
+54 341 448-2012
+54 341 447-0597
+54 341 447-1894
+54 341 421-6536
+54 341 464-2908
+54 341 447-5248
+54 341 421-8804
+54 341 449-7874
Other Milongas in Argentina
Aventura
Tuesday
09:00 - 13:00
Colon
Friday
22:00 - 03:30
Cordoba
Sunday
21:00 - 02:00
Thursday
22:30 - 03:00
La Plata
Saturday
22:00 - 02:00
Sunday
22:00 - 02:00
Mar del Plata
Wednesday 21:00 - 23:45
Necochea
Saturday
23:00 - 03:00
San Carlos de Bariloche
Saturday
23:00 = 04:00
San Miguel de Tucuman
Friday
22:00 - 04:00
Tango KLUB
2650 NE 188th
+54 (305) 466-3633
Amurados
Bolivar y Sourigues
+54 (155) 923-8272
El Farolito
Jockey Club
La Rioja 352
Gral Paz 195
+54 (351) 478-3197
Milongón Platense
Che Milonga
68 entre 24 y 25 n° 1439
8 esquina 42
Menesunda
San Martin 3017
+54 (223) 467-0565
Almacen Murillo,
Entre Ríos 565
+54 (226) 242-4417
El Rincon del Tango
Moreno 40
Milonga del Siglo
Av. Mitre 502
— 23 —
+54 (381) 402-3777
Movements
Julia Juliati
Julia Juliati is a second generation photographer, taking off from her father. Starting from childhood, Julia
has an extensive exposure to art through her parents, from frequent visits to classical art exhibitions,
to ballet and opera, to modern dance shows. Besides
being fascinated by the visual influence of art, Julia
was always intrigued by the nuances of human personalities, thus getting a psychology degree was an
obvious choice.
She developed her own style of portraiture that depicts the beauty and sensuality of female form. Her
clientele are women of all ages and body types. Many
of her clients commission Julia to do a portrait just
for themselves to celebrate their bodies and sensuality, while others may do it for a loved one. Julia’s style of classic art with a modern twist shines
through in her portraits, yet she lets the energy of
the client direct the project.
Her artistry not only shows in the quality of her
images but the visible ease of her clientele. The oneon-one photography session in her private and comfortable studio gives her clients a sense of freedom,
expression, and a new ability to let go of prior insecurities. Julia sees her clients change in front of her
eyes into new sensual beings, proud of themselves
and full of new respect for their bodies. This transformation that comes from the way women view
themselves empowers women in their search for
self-growth, confidence, and self-esteem.
Movement photography and filmography has taken
her artistic adventures into new territory, meshing
her love for dance and the human form. Being a Tango dancer herself, Julia has created beautiful cinematography projects incorporating her love for Tango
and her sensual style, bringing the viewer to a very
new angle of the Tango world.
— 24 —
— 25 —
— 26 —
One option for some of Julia’s clients may be to
collaborate with her to create a personal film of
a choreographed dance. The movement and sensuality, along with cinema graphic perfection leave
her clients with a timeless treasure and a beautiful
personalized movie.
Juliati implements the sense of movement in her
photography work extensively. Understanding
movement gives her the ability to create interesting compositions not only for her dance clients,
but for non-dance photoshoots as well. The flowing fabric is used for Maternity shoots to create
waves and a sense of harmony; the long hair is
arrange as a dancing fire for a Glamour photoshoot; the fluidity of a sheer fabric against the
body is used to accentuate sensuality for Boudoir
or Nude photo sessions. At Juliati’s studio there
is always music playing, there is always movement.
The most important aspect of Juliati’s photography is the ability to not only compliment the
women’s body, but also the character, the whole
woman, to enhance her confidence and comfort.
Juliati begins with a consultation, a conversation
that’s part of getting to know a client, and part
creative brainstorm. Each session is customized
combining Juliati’s creativity with client’s personality, finding a perfect harmony, a dance within.
Julia Juliati has received numerous honors and accolades of excellence in local and international
photography competitions. Her dance films and
documentaries have been screened in numerous
venues and inspired many to dream big and pursue their passion. Julia runs her successful photography & film business in Westchester NY.
I’m not right for everybody. For a few people that I’m right for I do an extraordinary
job. I invite you to a session with me...it will
change the way you see yourself.
— Julia Juliati
http://www.Juliati.com/
— 27 —
Max Masri, chefe de Tanghetto
interviewed by
Martin Delgado
Max Masri is a composer, producer, singer and keyboardist born in Buenos Aires, Argentina.
He is the founder and leader of Tanghetto, one of the key groups that define electro tango.
In 1994 he started to work as a producer, songwriter and composer. With Alex Zuker, founder of the
group Alas, he produced several bands of different genre: pop, electronic, tango, and alternative rock.
In 1997 he started to fuse tango with electronic music, becoming one of the creators of what is
now known as electro tango. In 1998 he founded the group 020, the pioneer of fusing modern
tango with sounds from pop music.
In 2002, the band releases its album End of Illusions which opened the door to tango fusion. After debuting this album he decided to create Tanghetto. He is the producer, composer and songwriter for everything the band releases, including the albums nominated for the Latin Grammy
Awards for Emigrante, Hybrid Tango and Hybrid Tango II. With Tanghetto, he has played and
sung in prestigious venues in Argentina and other parts of the world.
In 2005, he produced and composed
the music for the album ADN Proyecto Andino which fuses South American folklore with electronic sounds.
In 2008, he discovered Tabaré
Leyton, the Uruguayan singer, and
began to produce for him, composing music and writing lyrics for various songs of different styles that
this artist performs.
All of Max’s tango albums have obtained a gold or silver status. He is
a two time Gardel Award winne,
the most important music industry award in Argentina. He has also
won the most important Uruguayan
awards - Iris, Grafitti and Morosoli.
Max was interviewed on the internet by Martin Delgado.
— 28 —
MTW — First of all, thank you for giving us this
interview. And a big thank you to Anna Stąpór
for making these arrangements. Our first question
- Has your music has been changing in the course
of your career?
Max Masri — Our music has constantly been
changing and improving. We try to bring as many
influences and different styles of music into tango
as we can. We have expanded our artistic vision
to be without any boundaries, without any limits,
but still keeping the tango spirit of fusion alive.
Tango itself started as fusion of different rhythms
like candombe, habanera and payada among others. We really like how our career has evolved artistically. I think that we’re having a great moment
as artists and musicians.
MTW — Has your music always been close
to the tango? Has it modified its link to genre
throughout their albums?
Max Masri — Tanghetto has become like a
magic link between ourselves and tango. We
started to appreciate tango much more since the
Tanghetto project began many years ago. We
love tango and working with various artists. We
have played in all major Tango festivals all over
the world. Now, we are part of the tango scene
around the world. So, we are tango, a part of it,
and we are proud of that.
MTW — What is the difference between the
two projects, Tanghetto and Tangocrisis?
Max Masri — Well, both of them share the
same spirit - to bring something new to tango. Everyone knows what we achieved it with Tanghetto and we got the recognition for it; including
with Gardel Awards, many world tours, etc. Tangocrisis is more introvert, more rebellious, with
tango subtleties, defying the laws of music prejudice even more. We love both projects so much!
There is an old saying — You can’t go wrong with
what you really love.
MTW — Do you think that there will be a return to the orchestra in tango scene?
Max Masri — Yes, and I think that this revival or
the return to traditional orchestras is really great.
It is also great that right now there are diverse
artistic ideas and points of view regarding tango, it
really helps to keep tango alive! So, what’s best is
that there are really many artistic options and it is
good for people who are into tango or getting into
this music to have a variety of options from very
traditional to modern tango projects, like ours.
MTW — Have you played in an orchestra of
traditional tango?
Max Masri — I like to play in Tanghetto. Today,
Tanghetto is a traditional orchestra, Ha, Ha, Ha! We
love what we do, without prejudice to any other
forms of expression.
MTW — Is there a market for tango music that
is just for listening, but not dance. Or is this a distraction in the world of tango?
Max Masri — Tango, or any other kind of music,
is always danceable. It seems like our main audience for tango have been dancers for at least 15
years. We managed to have a very broad crowd
of fans, like people who dance tango and those
who don’t, people who like tango, and people who
prefer tango fusion, and those who are rather into
world music or jazz, so it depends.
Tango is a very versatile style of music and a lot
of people like tango because it can always be different depending on its genre. Music fans that are
more into world music or jazz or other styles of
music really like tango fusion, because it gives them
something like a modern tango sound, the experience of the tango of today.
I guess that there is a lot of people who are just
into the music in general and that’s why we sold
so many CDs, we have Gold and Platinum albums
in Argentina. But, a lot of people love to dance to
our music. The best is the combination of both: to
have an audience that likes just to listen and they
come to the theaters and arenas, and people who
want to dance and they come Tanghetto shows in
tango festivals or milongas. We are happy that we
have both kinds of audiences.
MTW — Why doesn’t such massive musical
project produce more CDs?
— 29 —
Max Masri — Well, Tanghetto is also a combination of both a massive and a not so massive project.
We have played all over the world and we have
received very important recognition. We recieved
two Gardel Awards andthree nominations to the
Latin Grammy’s. But, we are also hard core artists,
very bohemian in a way. We have the chance to
live both sides of the coin.
We’ve had the impact and the flavor of being mainstream, being on television, like MTV, and performing in very important venues of the world, Our
music is being played on radios but we also play in
local milongas in different places of the world. We
are independent with a taste of massiveness. From
La Viruta in Buenos Aires to the O2 Arena in
London.
MTW — Why has the tango, as a genre, been
able to capture a larger market in recent years
and still remain rather marginal music?
Max Masri — Tango was very successful around
the world in the ’30s and ’40s but right now for
some reason tango people like to keep tango as
if it was an exclusive club. Our music has brought
many people into the tango, especially young
people. I guess tango could be much more popular. It is an amazing music and we have seen how
our albums have sold hundreds of thousands of
copies.
Thanks to milongas and to the word of mouth,
people talk to each other and spread the magic
of dancing and the spirit of tango. But, it could
be even bigger than today. Let’s hope it will keep
growing with an open mind.
MTW — What are your plans in the near future?
Max Masri — We are finishing two albums right
now. On one of them we’ve been working for
many years and it will be released when it’s finished. And the other one, that is called Progressive Tango, is being released in a few days. This
album explores the musical extremes of our tango
influences. It’s a progression in a way.
We feel that there is a progression in our career
and for tango itself. The other thing is that we
will be touring Europe, again. This will be our 21st
European tour and we are very happy that we
haven’t stopped gigging around the world for the
last ten years.
I would love to play in some places that we never played before, it’s our main goal for the next
months.
But, tango people have to open up their minds
and let other people into the scene. Tango has
grown all over the world.
— 30 —
The Dynamics of the Tango
Alexandru Eugen Cristea
There has been more than a century of evolution of the tango dance. It’s time we considered
some of the changes in the people’s perception of the dance. Many of tango dancers also teach
tango dance. Each of them have have some kind of a personal methodology.
There is a lot of information available, from the traditional books and DVDs to the up-to-date online
training programs, each teaching their methodology.
But, what is the essence of all these teaching methods? Is there something that belongs to all of them
without being owned by anyone in particular? As
the years have passed, I have identified some new
reference points in order to better understand the
structure of the dance and its organic pattern of
movement. Here, I present to you two of these
fundamental concepts to identify the dynamics in
Argentine Tango.
Diagonal Circularity
Diagonal circularity is used for moves, such as
circular high back boleos, where the knees of
the follower are apart.
However, the best way to distinguish between all this
characteristic figures of tango is the concept of levels.
CIRCULARITY
The first concept is that of circularity. This is not
something entirely new. Most dancers have some
ideas about it. There are three types of circularity:
Horizontal Circularity
Horizontal circularity is used for pivots, such
as the circle figures made in ocho adelante
and ocho atras. A planeo also uses a horizontal circularity, but in a different way.
Vertical Circularity
Vertical circularity is used to change the weight,
from one foot to the other, such as traspie.
When the follower changes weight from her
right foot to her left, she produces a type of
circularity looks like an inverted letter U. Similarly, a linear back boleo uses a vertical circularity, from down to up. All of the three basic steps
– open sidestep, front cross and back cross —
use a downward vertical circularity.
Gancho Boleo
— 31 —
photo by Cristian Martis
LEVELS
There are three basic levels, and seven levels, in all.
Level 0
Just as a house has a ground floor, in tango,
we can consider level zero to be the caminar.
When both partners are walking together;
this is level zero, from here moves go up or
down.
Level +1
If the leader projects the energy a little upward
while the follower has her feet collected, this will
generate a change of weight, traspie.
Many of tango’s movements and steps and figures can
be described with just these three basic levels. It is
crucial to understand that the levels describe the leader’s marca.This is where the leader directs the impulse,
not the end result of the lead.
If the couple is walking, and the leader wants to stop
the follower, there are two options:
Level -1 - with the feet apart
Level 0 - with the feet collected
Follower’s ganchos at Level 0 also, because they are
an intercepted step. To produce a balanceo, a cunita,
an ocho cortado or a sandwicitto, the leader needs to
project an impulsec to Level -1. To produce a calesita,
a sostenida or a high boleo, the impulse must be projected to Level +1One.
But this is not all. There is also Levels -2, -3 and +2, +3.
These levels are best understood by example.
Level +2
To raise the follower’s foot up to knee level, requires a Level +2 impulse from the leader. This
is used in the kick type of boleos, the piernazzo,
and llevaldas.
Level -2
To cause the follower to bend the knee of the
weighted, standing leg, the leader needs a Level
-2 impulse. This is used for movements such as
lapiz, planeo, corte.
Level +3
For the follower to jump or for movements such as
sentada, Level +3 is needed.
Low Front Boleo
photo by Bucharest Social Dance
Level -1
When walking together, at some point the
leader projects an impulse, marca. If it is a
little down, the follower will naturally stop
with her feet apart with straight knees, as in
a balanceo.
Level -3
To cause the follower to flex the weighted foot all the
way down, Level -3 is required.
All the movements in tango can be categorized in
more detail using the concept of levels. Some movements are a combination of levels, starting at one level
and end in another. Some other movements, such as
circular boleos, may be done at several levels with different results.
— 32 —
For the classical circular boleo, only with the hips,
uses Level 0. On the other hand, a high classical
boleo, where the knees are together, but the foot
goes up, uses Level +1. Nuevo style boleo in which
the knees are apart, and cuatro type of boleos, use
Level +2. For a low boleo, where the foot of the
follower maintains the connection with the floor,
Level -1 or even Level -2, are used.
Of course, when the concepts of circularity and
levels are combined, many movements will be easier to understand. By applying these concepts, the
dynamics will also change.
In conclusion, leaders will be able to change the
way that they dance, improving the quality of their
movement through a better understanding of the
dynamics. Leaders will also find it easier to communicate with the follower and discover many step
sequences by deconstructing and recomposing the
dance, using these concepts.
Alexandru Eugen Cristea may be contacted at
Bucharest Social Dance:
http://www.egosromania.ro
— 33 —
New Tango Music
Arndt Büssing
San Telmo Lounge: Doble Imperfecto
The ensemble San Telmo Lounge from Buenos Aires has established its brand sound clearly
identifiable by the tango fans. Their mastermind Martin Delgado, guitarist and musical director, announced their sixth album, Doble Imperfecto, to the pleasure of their waiting fans.
The group has decided to publish a 4-track preview EP with exclusive material.
There are two vocal tracks
— the beautifully melodic
Karma Paris and the swinging Indiferencia and two
instrumentals — the bright
New York Freedom with its
haunting solo parts, and the
accentuated milonga Igor.
The ensemble remains true
to their principles to a combined tango and jazz, with
mild rock elements. They
create a wonderful mélange
which is attractive for dancers
and also for the listeners-only.
Kudos go to Martin Delgado (guitar), Lucas Polichiso
(piano), Maximiliano Natlutti (violin), Ariel Aguilar
(bandoneón), Tutu Rufus
(bass), Sebastián Mamet (drums) and Laura Cardini (vocals). What we hear on this EP is
definitely a very attractive promise that their new album is worth waiting for.
Overall Scoring *****
Dancer´s pleasure = Listener´s pleasure
Duration : 13 min.
Artist´s website: http://www.santelmolounge.com.ar/
— 34 —
Tanghetto: Hybrid Tango II
The influential ensemble Tanghetto from Buenos Aires presents their new CD Hybrid
Tango II which links to their influential 2004 album Hybrid Tango. Again, pianist-producer-composer Max Masri and guitarist-composer Diego S. Velázquez offer a blended
mix of melodic and textural tango music with bandoneon and piano, electronica with
synthesizer and samples, pop with electric guitars and drums, and chamber music with
violins and violoncello. Not surprisingly, this album was nominated as Best Tango Album
for the Latin Grammy.
Among several attractive
and danceable songs, there
are some outstanding tracks.
For example the instrumental El Miedo a la Libertad. It
has a slow pace, a fine melody, a diversified arrangement
including strings, and thus
generates a wonderful pleasant atmosphere. Then there
is the completely different,
straight-forward dancefloor
suited track Quien me quita
lo bailado This is all that is
needed to let go from the
distractions in daily life.
Montevideo tango singer
and composer Tabare Leyton is impressive with his
vocal appearance in No me
ringo, a vibrant song with a
good melodic progression,
and a strong chorus which
calls for more. Later on the
singer enchants us again with Aires de Buenos Aires. Max Masri is lead singer of Piazzolla´s
Vuelvo al Sur; one more version of this standby, here with a simple and good groove.
I would recommend to hear particularly the accentuated songs loud, their flow is much
better! When Tanghetto is the DJ, life is a dancefloor – at least for an evening
Overall Scoring (1-5 stars): ****
Dancer´s pleasure > Listener´s pleasure
Duration: 48 min.
Website: http://www.tanghetto.net/
— 35 —
Tabaré Leyton: Charrúa
Tabaré Leyton´s 15-track album Charrúa is a good blend of different music styles and atmospheres.
Several songs have a nylon string guitar as the dominant instrument, others were interpreted with a classical rock ensemble. Some piano licks here and there, a violin and the bandoneon – and always the warm
and characteristic voice of this outstanding singer from Montevideo, living in Paris, France.
Max Masri, producer-composer
of the electrotango ensemble
Tanghetto noticed the singer
and produced his second album,
too. Max Masri´s beautiful hymn
Montevideo is definitely one of
my favorite tracks. Listen also to
the elegant but much too short
bandoneon solo, and you know
what I mean.
Tabaré Leyton attracts our attention also as good songwriter.
Five of the songs were written
by him, and one with Max Masri. Leyton´s relaxed vals Nada
para ofrecer has definitely something to offer.
The styles on this album range
from rocking pop songs to classical folk oriented songs, and inbetween. Some are suited for the
dancefloor such as No va más
performed with percussionistcomposer-singer Ruben Rada
and Tanghetto, and the classical
tango Arrabal Amargo written by
Carlos Gardel and Alfredo Le Pera. The rocking Charrúa is performed with the rock singer-guitar player
Emiliano Brancciari and Tangocrisis. A further, different style of music is found in Como siempre which
surprises with a great salsa feeling.
I can definitely recommend this album with its versatile facets of good music. Tabaré Leyton as an outstanding and very relaxed singer, with dark sunglasses, of course.
Overall Scoring (1-5 stars): ****
Dancer´s pleasure < Listener´s pleasure
Duration: 51 min.
Artist´s website: http://www.facebook.com/TabareLeytonOficial
— 36 —
Ultratango: Alborada
Once upon a time, Ultratango started as an electronic music quintet from Buenos Aires which added
tango flavors to their music, and had Sami Abadi (violin) and Julio Perez (bandoneon) on their side.
Their danceable electronica versions of Astor Piazzolla´s songs and also their song Kryptonite were
quite exciting.
Now, several years later, they are
a trio Leonardo Satragno (synthesizers, programming, bass),
Gastón Satragno (synthesizers,
programming; piano) and Braulio D’Aguirre (drums). They had
to decide which direction to take.
The trio´s new songs still range
somewhere between trip hop,
house, ambient, and pop, with a
clear dominance of electronica
sounds, but without the sound
of the tango trademark instrument, the bandoneon. Gastón
Satragno said they intended to
raise the stakes with this new record. Indeed, Ultratango might
find a new audience beyond the
traditional tango dancers with
their specific expectations.
All of the thirteen tracks of their
new album were composed by
the Satragno brothers. The one
exception is a collaboration with
Braulio D’Aguirre. They are
predominantly slow dance music for the clubs, and they create a relaxing atmosphere and a fine flow. To
get an impression what the listener may expect, start with the attractive tracks Avant Garde, Calida and
Hiphope, or the samba-milonga Amorio. Modern beats, simple piano pattern, and repetitive synthesizer
licks, some special sound to discover here and there. These tracks don´t rely on a usual melodic development, they are definitely groove oriented. Are Ultratango´s songs typical tango? No, but several are suited to be played in alternative milongas, and
you may dance to them in a tango style. Be open to be surprised.
Overall Scoring (1-5 stars): ***
Dancer´s pleasure > Listener´s pleasure
Duration : 47 min.
Artist´s website: http://www.ultratango.com.ar
— 37 —
— 38 —
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— 39 —
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Alba Solis
Tango Diva
Alba Solis had everything needed for a diva of the
tango: humor, audacity and drama. From a young age,
she was a singer who transcended fads and aesthetics
of the moment. Alba Solis died February 3, 2016 at
age 88, after multiple surgeries.
Solis had long had retired from the stage, but had left
a legacy of tango songs. She sang in the fifties and
sixties in all theaters of Buenos Aires. As a young
lady, she fell in love to the press. She was voice
of Mariano Mores, Juan D’Arienzo, Francisco Canaro, Hector Varela, and Chupita Stamponi. She
performed on the catwalk of the Maipo Theater and
in the film Astral.
I’m more singer actress. But notice that one of
the most beautiful films I did was Hex, with
Narciso Ibáñez Menta. However, he was a coproduction that was not much. The pass is always meat, where I am Isabel Sarli was singing.
it’s the scariest thing on earth
She spent thirteen years touring the world Tango
Argentino. Alba Solis has given everything on stage,
and no one could escape her charm, her brilliance
and the dark storm of her voice.
But before being born as an artist, Alba Solis was
a girl of precocious talent. his According to her own
biography, she was born in the year 1900,to Dona
Herminia Trapanese Lamberti and Oreste Juan
Guillermo Lamberti. Born Angela Herminia Lamberti, she participated in a radio contest: long before she found her tango voice. She came in second,
but her presence was so strong that she became a
member of the station’s regular cast. As a child with
a precocious talent, she became one of the children
in the Gang Marylin.
She debuted in Buenos Aires Magazine in comedy
theater, and soon became a star of the genre. She
appeared in Blum, the great theatrical event of
Enrique Santos Discepolo. Homero Manzi composed, with Pichuco Troilo, the tango Discepolín
theme It was first performed in the cabaret El Colonial, by Alba Solís.
— 40 —
As a singer, she also worked with Mariano Mores and dancers Mayoral and Maria Elena, in the
musical Buenos Aires. When Francini and Pontier
reorganized their orchestra in 1973 for a special
performance in Japan, she was entrusted with the
responsibility of being the female vocalist. In the
1980s, the success of Argentine Tango allowed her
to travel around the world and make her unforgettable performances of One and The Last Kurdish
known to the world. In Buenos Aires, she would be
a key figure of tango resistance nights, along with
Caño ( Viejo) Almacen.
There sound of their version of Fangal is very special, When she performs tangos such as Fangal
When Tanguera premiered she was asked This is
not a song for women, you’re a man then?
She responded:
I am always on the edge, on the edge I can
spend a little energy, I can be a male, a little
later, I’m a woman Some tangos are not only
sung. They are a perspective, an overall point
of vie. They must not only be sung, they must
also be acted.
Fangal was both theatrical and sentimental. It was
the tango.
I’d like to say something tangos: I want what
excites me If I do not get excited, I cannot
give anything to the young people who have
to listen to me and know about tango. Some
songs and some singers of tango that are
like reading the newspaper.
— Alba Solis
— 41 —
VJing & DJing
Jochen Lüders
I am a tanguera.
A tango dancer,
teacher, djane,
Tandas
& Cortinas
at Neolongas
journalist and story writer. A passionate tango lover, an addict, an admirer. At my first milonga back in 2003, I got
There is a strange tendency that has developed at milongas with alternative, non-traditional tango
hooked
instantly.DJsBut,
would
continued
if my
teachers
had Inot
played
music
— Neolongas.
don’t Iplay
tandasnot
(setshave
of songs)
and cortinas
(time
btween sets).
always
Gotan
Project’s
first they
CD have
in one
lessons. Since then, my focus is on modern
do
because
in my opinion
a lotof
of their
advantages.
tango both as a dancer and as a DJ.
Separating
Tandas and cortinas make it easy to separate politely and without any stress. The leader need not
think when he can leave the follower without appearing impolite. Less than three dances is a turn
down.. The follower can bear dancing with a bad
leader more easily, when she knows that she can
leave him after 3-4 dances without having to humiliate him by ending the dance herself. A lot of
traditional pieces are about 3 minutes long, whereas a lot of modern songs are about 4 minutes or
more That is why in contrast to the traditional
tanda structure of four tangos, three milongas,
three valses, I mostly play only three pieces per
tanda. It is bad enough for the follower to be embraced too tightly, be whirled around or be forced
to dance certain jump or dive figures for twelve
minutes. I n my opinion it is unacceptable if the follower has to endure that even longer.
Dancing with your Favourite Partner
Tandas and cortinas make it much easier to dance
with your favourite partner. Without cortinas
people switch partners arbitrarily and it often
happens that you keep missing the person you
really want to dance with. If I want to dance with
a certain woman I have two possibilities. I can sit
down and wait patiently until she is available. If I
am unlucky I will have to wait pretty long, when
the woman dances with a man who doesn’t want
to let her go. The alternative is that while I am
dancing I have to glance at my dream partner all
the time in order to leave my present follower
at the decisive moment, taking the risk that I embarrass her because we have only danced two
dances together. Moreover she will probably notice that I am not really with her.
With cortinas, you don’t have all this stress. All couples
stop dancing at the same time. Of course it may happen that my favourite partner wants to dance also the
next tanda with her present partner, in this case I still
have to be patient. But at least, I know that I can dance
the next tanda without glancing around furtively. Of
course there will always be a few impolite, ignorant
people who stop dancing in the middle of a tanda, but
the more DJs play tandas and cortinas, the sooner this
particular dancer species will disappear.
Musical and Emotional Structure
The most important reason for me however is that
tandas and cortinas structure the evening musically
and emotionally and make it predictable. Traditionalists often, and rightly so, in my opinion, accuse NeoDJs of creating an insensitive chaos. In extreme cases
you get pounding Otros Aires pieces, followed by
something tender by René Aubry, then some endless
lounge music, followed by a traditional tango from the
1930s, then a vals from Amelie, followed by some electro Gotan Project etc. Of course you have every right
to find that varied and interesting. But personally, I find
it musically insensitive and terrible. I know a number of
people who enjoy modern music at least as much as
traditional one, but who, understandably, simply can’t
stand this acoustic hodge-podge and therefore only
go to traditional milongas.
I don’t want to be pushed into a different direction
by every single piece of music played. In the course
of the evening I do want to live the whole emotional
spectrum from dynamic, lively and cheerful to melancholy amd romantic, but NOT with each piece. One
of the reasons why I find traditional milongas often so
boring and monotonous is that at the end of the evening you frequently have the feeling of having danced
all the time to the same piece of music with some
slight variations.
— 42 —
Cortinas create an emotionally neutral transition be- Let’s take a romantic vals like Tardes de Bolonha. I need
tween the different moods. Although he refers to tra- the first vals to tune in to the woman who might be a
ditional music Royce has put it very well:
stranger to me and get into the mood. I can only fully
enjoy the second and hopefully the third vals. But if
I’m so much into the music that, I need a break
after the first vals, there follows some monotonous
in-between tandas or something to make me
heavy pounding by Otros Aires or Gotan Project, all
forget about the previous tanda. Otherwise, I will
our mood and pleasure are lost again.
have a hard time to pull my emotion out from
what has been played, then I cannot dance the
My basic structure of tandas looks like this, —
next set of music. In a nutshell, I cannot immeThree songs in each tanda, separated by a cortina:
diately jump from Di Sarli to Donato, I need
Tango tanda - dynamic, lively and cheerful
something to wash away my Di Sarli mood so
Tango tanda - medium tempo
that I can change myself into Donato mode,
Milonga tanda
and that’s what cortina means to me. I don’t
Tango tanda - calm, romantic and sad
need a very long cortina, a 20 or 30 second corTango tanda - medium tempo
tina is good enough.
Vals tanda
Repeat everything from the beginning
I see it exactly the same way, my cortinas are thirty
seconds. I find cortinas that are much longer, a minute and more, too long. Such long cortinas are often
played by DJs, who were in Buenos Aires and try to
imitate Buenos Aires customs. What they don’t understand is that cortinas have a different function in
Buenos Aires:
The primary function of cortinas in Buenos Aires is to
clear the dance floor and encourage people to change
partners. It is a very practical reason. Cortina is a code
of behavior in a milonga. When dancers hear the cortina, everybody will leave the dance floor. If there’s
someone who doesn’t know this rule and waits for
the next tanda to start on the dance floor, then they
will find themselves extremely embarrassed, it happens quite often to the milonga first timer.. Then in
Buenos Aires, cortina usually lasts around one minute,
sometimes longer sometimes shorter, depends on different DJs and different milongas. If the dance floor
is big and there’re lots of dancers, of course it takes
more time to clear the dance floor, hence the DJ plays
longer cortina, and vice versa.
Like in traditional tandas I like to combine similar pieces, for example into a Greek, Turkish or Arab tanda.
Sometimes, I make a tanda with various instrumental versions of well-known songs like Adele’s Hello.
Other times, I make tandas of only German songs like
Fang mich an, Oft gefragt and Lieblingsmensch.
Predictability
Tandas and cortinas make the music predictable.
Let’s imagine someone simply doesn’t like Greek
music like Sou Aksize Mia Kaliteri Agkalia If I play this
song, he will know: Ok, I can forget the next tanda,
because it’s going to be this terrible whiny folk music. I’d better go to the toilet, get a drink or chat with
somebody.
Each new tanda is a new beginning, and the dancers decide whether or not they will dance, and with
whom, according to how it opens. The first song is a
sign and a promise of what is to come. Accordingly,
You may consider many rules of traditional tandas it is important that the first song accurately poras petty, for example not mixing different orchestras, trays the tanda as a whole. If it does not, the dancers
singers or vocal and instrumental. But, a lot of them start to lose trust in the DJ.
do make sense.
I hate it when I have to dance to music that I don’t
The function of tandas is always the same: A tanda is like. When you have a steady partner you can sit
both social and musical. It establishes a mood for the down and wait for the next piece. But when you
couple to share. For this reason, it’s essential that a dance with an unknown woman, etiquette forbids
tanda is coherent. The songs in the tanda should feel to make a pause already after the first dance, only
as if they belong together.
because you can’t stand the next song.
— 43 —
I find it rather strange when DJs play tandas, but
don’t make them recognizable with cortinas. What
sense could that have? One reason that I have heard
several times is that cortinas interrupt the flow of
the music.There may be non-stop dancers who see
it that way. But, my view is completely different and
I rather like breaks. Some DJs don’t play any cortinas because they consider the evening to be an
organic whole and want to have smooth transitions
from one piece to the next, sometimes introducing
segues that overlap one song with the next.
One frequent consequence of this concept is that
pieces blend into each other or that pauses between pieces are either extremely short or don’t
exist at all. I can’t stand both. Blending pieces into
each other for me shows a lack of respect for the
music. Moreover, the poignant dramatic endings
with their corresponding final poses are automatically lost. I like music with a distinctive end and
don’t like it if the music just fades out. Especially
after romantic pieces, I want to have a few seconds in which I can let the music and the dance
resonate inside me for a brief moment. I find it
stressful and irritating if the next piece begins immediately.
When dancing, I focus exclusively on the dance, the
music and of course on the woman in my arms. It
may sound harsh but I don’t care at all about the DJs.
They need not be present, as most of the time I am
not even aware of them.
Dancing DJ
Also, I totally don’t mind when the DJ enjoys himself
and dances to his music.
The traditional commandment for DJs says: You
have to at least pretend the whole evening to be terribly busy, stare constantly at your display and fumble
around with your knobs and slider controls. Under no
circumstances may you enjoy yourself and dance.
I think this whole idea rather silly. That’s why I like
the following statement of a traditional DJ:
Because I’ve spent so much time in preparation,
I usually dance a lot when I DJ. A FJ who doesn’t
dance makes me wonder why — not a dancer?
not prepared? just choosing in the moment? Oh, oh
Jochen Lüders may be contacted at:
http://www.jochenenglish.de/
[email protected]
Playlists
With the above said, it follows that I have absolutely
nothing against DJs who use playlists. On the contrary: I prefer a carefully chosen and varied playlist to spontaneous DJing. From my experience, this
often leads to musical chaos. That’s why I also don’t
expect the DJ to work the whole evening with a
headphone over one ear all the time, constantly selecting the next musical piece.
— 44 —
— 45 —
Tango Moves
Raymond Lauzzana
Last quarter, we discussed standing, finding your axis, and centering your weight on
your axis. Before we can start to walk, we need to know where we are going. For the
tango, there is a traditional structure to the dance floor. Dancers must understand
this structure, even if they are going to violate it. As with all art forms, you need to
know the rules if you are going to break them. The tango dancefloor rules are an
etiquette designed to provide an smooth environment for dancing with a minimum
of collisions and accidents.
Line of Dance (Alineación)
Dancer’s follow a counter clockwise movement
around the dance floor, forming a ring. On larger
dance floors, there may be two rings. The leader
needs to be very conscious of the dancers in front
and behind him. Movement around the floor is rather
slow. On large floors, a couple rarely completes a full
cycle. Do not tailgate or crowd the couple in front.
Inside the Line of Dance (a Dentro)
The leader is walking inside the line of dance when he
is to the left of the follower, towards the center of the
ronde. This is the most common place for the leader
to walk other than directly in-line.
Reverse the Line of Dance (a Reverso)
The couple is walking in reverse of the line of dance
when they move in a clockwise direction. This should
The Ring (La Ronde)
be done only rarely, and then with great caution. The
An imaginary line around the perimeter of the dance leader needs to prepare for movement in the reverse
floor. The dancers follow this line in a counter clock- direction by establishing the space for the reversal priwise manner. In large ballrooms, there may be two or to reversed movement.
ronde, an inner and outer ring.
The Center (El Centro)
The center is reserved for Spot and Slot dancing in
which the dancers dance within circles or slots that
do not travel around the floor. The center is dominated by more experienced dancers. It should be
avoided by novices. In practicas, the center is used
for demonstrations and instructions.
Six Step Beginning (Salidas Traditional)
The traditional six step start is not described here.
There are a great many places that you can find this
step sequence described. It may be useful to know.
But, it can become very restrictive if dancers adopt it
as dogma. This article approaches the salida from the
point of view of possibilities, to expose the options that
the leader has for the beginning of the dance.
The Corner (El Rincón)
The corner of the dance floor provides an opportunity for dancers to leave the ronde, The four corners
of the dance floor are the ‘sweet spots’ for circular
or rotational spot dancing and pauses. This practice is
not understood in all parts of the world. So, if traffic
builds up behind you, its probably best to move on.
In some milongas, etiquette calls for moving to the
corner, out of the line of dance to permit, tail-gaiters
to pass. However, this in not always true. You’ll need
to experiment.
The Prelude (Preludio)
Dancers frequently delay their forward movement until after the prelude, when the first verse begins. This
permits the dancers to absorb the rhythm and melody
of the music prioe to taking their first step. Leaders
may express their interpretation of the music by shifting their weight in time to the rhythm, melody or even
the phrasing of a particular instrument. This gives the
follower a sense how the song will be danced, and the
leader’s sense of the song.
Outside the Line of Dance (a Fuera)
The leader is is said to be walking outside the line of
dance when he is to the right of the follower, on the
periphery. of the ronde Some people call this the
dark side because it is used less frequently.
The Start (Salida)
It may seem strange the the start is called a salida. The
term usually means exit. But in this case and in the case
of musi,c it means departure - the point at which you
begin your journey.
— 46 —
There are only four starting positions for the couple
withe respect to the ronde.
1. leader faces In-line with the line of dance
2. leader faces away from the center
3. leader faces the center of the dancefloor
4. leader faces opposite the line of dance.
Volcado Start (Salida Apilado)
The leader steps diagonal back while falsely indicating a sidestep. The follower is then offset their axis
as in a volcada or carpa. The follower is free to perform various sorts of adornments, until the leader
steps out on the follower’s right side.
Simple Start (Salida Parallelo)
Facing in-line with the line of dance, the leader sways
to insure that the lady is standing on her left foot. The
leader expresses an intention to move forward, the
follower steps backwards and the leader then steps
with the left foot.
Inside Access (Retrocesso)
The leader faces towards the outside of the line of
dance, requiring 90° rotation counter clockwise to enter the line of dance.The leader steps back with the left
foot, slide sidesteps right, forward left rotate 90° and
collects to face in-line the line of dance. The follower’s
legs are crossed left over right. From this position, there
are many options to proceed down the line of dance.
Outside Access (Contracesso)
The leader faces the the center of the dancefloor,
requiring 90° rotation clockwise to enter the line of
dance. The leader rocks forward with the left foot,
crosses behind with his right, swivels 90° into the line
of dance. The follower ends up legs apart with weight
on her left foot.
Reverse Start (Salida Reverso)
American Start (Salida Americano)
The leader is facing opposite the line of dance, requiring 180° rotation to enter the line of dance. The
leader steps back the left foot, then slide steps in a Cat’s Start (Salida del Gato)
180° circle to forward collect into the line of dance. Sometimes called Walking to the Cross. The leader
steps forward with left foot, then cross steps across
the follower with his right. This is followed by a long
Variations.
There are numerous variations on these basic starts. slow left step with extreme upper body torque, towards the follower, possibly lowering his body. Then,
Here are a few of them:
with a quick step of the right, the leader collects and
straightens up, causing the follower to cross the left
Cross System Start (Salida Cruzada)
Facing in-line with the line of dance, the leader side- foot in front of the supporting right foot.
steps to the left, with the foot outside follower’s,. The
leader then cross steps inside with his right leg. The Ochos Start (Salida en Ochos)
The leader faces the outer rim of the line of dance,
follower then steps backwards with her left foot.
requiring 90° rotation counter clockwise to enter
the line of dance. The leader steps forward with the
Double Start (Salida Doble)
Facing in-line with the line of dance, the leader touch right foot diagonal across the follower, swivels on
recovers before stepping forward. The touch may be left 90°, forward right into the line of dance. The
follower then walks in large back ochos as a result.
sideways or back.
‘
— 47 —
American Start (El Americano)
With the leader facing the outer rim of the line of
dance, and the follower facing towards the center
of the dance floor. The leader initiates walk into a
promenade (paseo) with the leader and the follower walking in the same direction. The leader steps
with left foot crossing the right foot behind. He then
swivels on the right foot 90° counter clockwise, and
steps forward with left into the line of dance.
This is only a taste of the possibilities for the salida.
Leaders and followers should investigate the range
of possibilities and improvise their own flavors. The
most important thing for leaders to be conscious
of where the follower’s axis is located to return her
to her balance.
Tornado (A Tornillo)
In this start, the leader raises the follower’s hand
above her head and spirals her down much like a
cobra or a top. As she comes up her hands flare
out and the leader’s hands slide down to the follower’s waist to stop her spinning.
— 48 —
— 49 —
Letters to the Editor
Se merecen ésto y mucho más, por buena gente
!! Los felicito amigos...
Silvana Victoria Conte
Looks great, I’ll report this to the council.
Marcello Schena
Felicitaciones genios!!!!
Thank you for amazing work
Anil Kumar, Qatar
Javier F. Fuentes
Pero q bieeeeeeen!!! Un abrazo prima!!!
Marcos Augusto Brito
Divinoooooossss!!!!!!
Analía Marcolini
I am sympathetic to your project but I don’t
believe in it - I just don’t know the target communities like NYC But, I’d be surprised if they
needed the paper
Dimitry Pruss
The printed version isn’t for the community, itself. Its for libraries, museums and
collectors. Its archival quality. The online
version is for the community. There is an
issue with the PDF. The higher the resolution the slower the downloads. The online
version is 72 dpi, and is sort of slow as it
is. The print version is 300 dpi, about 16
times as much data.
— MTW
Thanks for what you’re doing
Beautiful magazine
Tom Kamrath
Pablo y Carolina
Good luck to you and your staff on this venture.
I thought your NYC issue was first class.
Walt Tashnick
The magazine s amazing!
M. Kalogera & K.Nika
Awesome! Thank you
Cesar Flores
I subscribed to Modern Tango World today and
friended you on Facebook. But... I can’t figure out
how to create an account so I can log in. Can you
help me please?
- Walt Tashnick
Right now the login doesn’t work. We are
still working on how to provide on-line
subscriber benefits.
A template of the catalog has jsut been
posted on our website. When we get
it flushed out a bit more we will ssue
Subscriber ID numbers. Then, subscribers will be able to use that number to get
discounts. — MTW
http://moderntangoworld.com/catalog.php
Thanks, just love it.
Braaaaaavoo
- Sheree Hook
- Mela Lenoir
Go Libedinsky brothers !! Sensitive creators of musical and cinematic art !!, Argentine figures in the
world, double pride !!!
- Dora Galin
So many achievements.
I received my copies of the NY issues today,
love it! great job!
Simone Ferrari
— 50 —
- Luis Lucha
— 51 —
— 52 —

Alexandru Eugen Cristea

Transcription

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