Argentine Tango School

Buenos Aires at night

Tango in Buenos Aires

Blas Catrenau, great Maestro milongueroBy Alvaro Dominguez

I began learning to dance Tango about three and a half years ago.

I live in the San Francisco Bay Area and when I started I had no idea how large the Tango community here was, and was impressed by the number of classes, teachers and events.

Recently I learned that the Bay Area Tango community is the oldest and perhaps the largest in the US.

Despite the mass and history of the Tango community in Bay Area I heard repeatedly that “the experience of dancing Tango in Buenos Aires is amazing”.

I left the Rio de la Plata almost four decades ago, without ever going to a Milonga on either side of the river; and thus, needless to say, I was skeptic about the greatness of the Tango seen in Buenos Aires; a cultural trait I guess.

About two years into my Tango experience I met Marcelo Solis.

I had many conversations with Marcelo about Tango, the music, its history, anecdotes, and tales he shared about the Tango community in Buenos Aires and the Milongas.

Through these conversations I learned that Marcelo’s love for Tango is indisputable and contagious, and I confess that they began to spark my curiosity and interest.

However, my sense of scarcity, financially and in my dancing abilities, was big enough to prevent me from even dreaming on going to Buenos Aires to dance Tango.  Nevertheless, an opportunity to go on Marcelo’s Tango Tour to Buenos Aires materialized last November.  I took it.

Buenos Aires Tango

It is undeniable that in Argentina Tango is a well-developed and sophisticated industry, particularly in Buenos Aires; and not only in La Boca, a neighborhood where some say Tango was born; even though its well established that Tango originated on both sides of the Rio de la Plata sometime during the second half of the nineteenth century.

I am not a stranger to Buenos Aires, its people or its culture; in fact I have friends and family there.

Though I had never been to a milonga in Buenos Aires I went without preconceived ideas on the Tango Tour, other than I’m going to have the time of my life.  I wasn’t disappointed.

During the Tour I got to meet, dance, and hang out with some of the best known milongueros in Buenos Aires, such as Alicia Pons, Blas Catrenau, Enriqueta Kleinman, Marta Famá, Monica Paz and Néstor La Vitola, among others.

I learnt a lot; from their instruction, from watching them dance, and from their tales and appreciation for Tango that each shared with us.

Friday was our first night at Buenos Aires, and the first milonga we went to with the Tango Tour was at Confiteria La Ideal, a Buenos Aires icon in operation since 1912.  We arrived at around 7.00 pm.  I believe that secretly the group experienced a sense of anxiety, with each of us thinking “How will my dance skills measure in the Mecca of Tango?”

La Ideal is located in the Centro de Buenos Aires area; it has sumptuous high ceilings supported by columns and a décor that takes you back to the beginning of the past century.

We were greeted at the door by the host and promptly escorted to a set of tables arranged next to the Bar for our group.  Our table was at a vantage point from where we could see the complete dance floor, and after ordering a drink I took a deep breath and began contemplating my surroundings.

Who was there?  How are they dancing?  Who would I like to dance with?

The Friday crowd at La Ideal is a mixture of locals and tourists.

Although it’s not the most renowned milonga all the patrons observe the milonga codes.

Everyone there was appropriately dressed and groomed, nothing fancy.

People sat at their tables socializing with their party while attentively looking for a potential dance partner.

From the distance and from afar people would exchange head-nods (cabeceo) to express interest in dancing.

Couples flocked to the dance floor at the beginning of a tanda.

Two lines of dance were clearly defined, and you could sense the room moving and vibrating at an unstructured though coordinated rhythm.  After dancing a couple of Tandas I realized I had received the right training; I knew the rules of the game and my skills were good enough to get out there and play; or better yet, to Tango.

Going to La Ideal was a great introduction to what a Milonga in Buenos Aires is all about, but the best was still yet to come.   At around midnight we left La Ideal as a group.  Most went back to the hotel but I was ready for more so I jumped into a cab and headed to Salon Canning.   Buenos Aires, here I am.

Cabeceo

On Saturday we went to one of Buenos Aires most prominent Milongas; Cachirulo at Villa Malcom.

We arrived early, around 8.30 pm, and there were a good number of people already there.  At the door we were greeted by Cachirulo who arranged tables and chairs for our group.

Our tables were on the hall adjacent to the rectangular dance floor.

Tables and chairs framed the dance floor, with women occupying two adjacent sides and men occupying the opposite two.  After ordering drinks and some food I began to sink into the Tango atmosphere at Malcom, watching the dynamics in and out of the dance floor.  I observed women dancing and admired their ease of movement, inherent beauty and grace.  From the distance I caught the attention of a pair of eyes in a body I had been gazing at; I nodded and received a head nod in return.

I was on my way to dance with ‘Salmon’, a tall slender woman wearing a beautiful salmon colored dress (thus the nickname) that danced like an angel.  She was from Madagascar.

Something that caught my attention was how, during the cortina, women were extra attentive in search of a dance partner they wished to dance with.  I was also on the prowl for dancing and noticed that many of those attentive eyes would look away or just look through me when I glanced intently at them.

Yikes, completely invisible, but that is what cabeceo is all about; it’s a basic code that frames a safe environment for accepting or declining a dance invitation.

In the Bay Area I hear followers and leaders whine about practicing cabeceo, and unfortunately many resist recognizing that practicing the code of cabeceo is essential in promoting better Tango dancing.

As the night progressed, and considering the times I was invisible to many of the women there, I had several good dances.  At around 1.30 am the group went back to the hotel, but I remained.

Noticing I was alone and that the crowed had thinned, Cachirulo offered me a Table by the dance floor.  Sitting in my new vantage point I looked attentively for potential dancers…but it seemed I was even more invisible; and yes, it was frustrating.  It took a while until I got an accepting nod during the second song of a Tanda.

During the small talk that takes place in between songs my dance partner shared that she decided to ‘risk’ dancing with me for half a tanda because she did not know me and had not seen me dance.

She was Argentenian and I realized that she was the first Argentenian I had danced with that night.  Inadvertently, this woman conveyed the essence and function of cabeceo and I am grateful for that.

The experience gave me confidence that all the drilling about the embrace and musicality I received from Marcelo had given me the tools to swim the waters of the Milongas in Buenos Aires, and I was grateful for that too.

The Embrace

One night, hanging out with Marcelo and Blas Catrenau, Blas shared his thoughts and feelings about how Tango is usually taught now days.

Paraphrasing Blas, he said something like, …because Tango begins in your ears, when you start hearing the music.  Then it goes to the eyes, as you search for and find the woman you want to dance with.

Then you feel the music and the moves it provokes in your body as you walk towards her; when you reach her you offer a gentle but firm left hand and you establish connection by completing her embrace; and then, and only then you move your feet.

Now days most Tango instructors teach Tango in the opposite order, they start with the feet and usually omit the music, the embrace, and the connection.

While listening to Blas I began to associate his account with the experiences I’ve had as an incipient Tango dancer, and I agreed.  While many Tango instructors in the Bay Area talk about musicality, my experience is that most focus on teaching (or performing) steps (believed by many to be the selling points) and pay little or no attention to the connection involved and required for dancing Tango.

Experience Tango in Buenos Aires

Buenos Aires is a vibrant City, particularly at night.

November is spring in the southern hemisphere and people of all ages hit the streets way into the night hours.  For many the night begins after 11 pm and for some it does not end until dawn, or later.

I found men and women of a wide age range in the Milongas I went to.  Although age is not a factor determining dance skills, some of the best dancers I saw were into their sixties and beyond, and in the 10 days I spent in Buenos Aires many of these geezers were at most of the Milongas I went to.

No coco and TV for these guys; they were out dancing the night away every night.

At one of the Milongas Marcelo pointed out a short thin man with few white hairs, he suggested me look at him dance.

His name is Ricardo and he was amazing; elegant, musical, subtle, and about 89 years old.

Needless to say that I got distracted with the many allures at hand, however my admiration for Ricardo solidified later, at a Milonga in El Beso.

That night at El Beso, I had been dancing for a while when Ricardo showed up; Blass introduced us and I received a warm and firm hand shake.  Soon thereafter I began dancing a milonga on the packed dance floor.

I was kneading my moves with the music and the crowd when I spotted a woman glancing with a mischievous smile at someone on the dance floor right in front of me.

Her look was as hot as she was and my curiosity was sparked, so I paid attention to the dancers she had her attention on…and there was Ricardo Suarez, dancing with a statuesque European amazon (I had danced with her earlier) that was melting of joy as her ass jiggled rhythmically to Ricardo’s lead.

Did I mention my admiration for Ricardo?  Caramba, I want to learn to lead that kind of jiggling, I want to provoke that sense of joy.

Epilogue

I had a great experience with Marcelo’s Tango Tour to Buenos Aires and I am thankful to him for sharing with us his beloved Buenos Aires, his friends and instructors, and his passion for Tango.

I look forward to going back, and this time I’ll remember to enjoy more the warmth and the experience of the milongueros, watch more how they dance, and dance when I can.

In the meantime, I’ll do my best to share and recreate my Tango experience in Buenos Aires with the men and women in the Bay Area Tango community.

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On learning to dance Argentine Tango

 in Buenos Aires, includes transportation and personal assistance.

By Álvaro Dominguez.

Several years ago, drawn by my love for and interest in Tango music, I began pursuing learning how to dance Tango.

Little did I know about the experiences this new practice would bring me or the paths it would take me through.

Like most incipient Tango dancers of the twenty first century, I thought dancing was a sequence of steps requiring a great level of mastery.

Consequently, I sought popular instructors that gave the impression of doing graceful moves across the floor on their dance studios.

These wonderful instructors showed me do a bunch of steps; the ocho, the cross, the rock-step, the boleo, the molinete… all off course with Tango music in the background.

Although I had the steps under my belt I did not feel I was dancing…something was missing and I had no clue of what that was.

Pursuing the feel of dancing I began going to all the Milongas I found within a 20 miles radius.

In doing so I soon noticed that none of the popular teachers were at the Milongas.

At the time I did not think much of it, I was a novice after all, but time it made me wonder.

Over a year after I began my Tango adventure a friend invited me to join her to a class.

I had heard of the teacher but I had not met him.

The class was small and the exercises were different. No steps. The emphasis was exclusively on musicality and connection.

Following the lead of our instructor we moved, weighing the beat of the music and keeping engaged with our dance partner.

Such approach was radical compared to previous Tango instruction I had received, and I confess that initially, the relevance and importance of being fully engaged when playing the game of dancing Tango passed way over my head…but eventually I came around as I began to realize and accept that the right attitude is essential for truly dancing Tango.

A person’s attitude towards Tango is reflected in many aspects of his or her behaviors:  our posture, how assertively and in synchrony with the music we move (or not), how we emphasizing the beat with our steps (or not), and even how we choose to dress when going out to the Milonga depict and reflect our attitude towards Tango and our dance partners.

Tango is an experience, it’s an experience of engagement with the music and with our dance partner; and once I began to realize this I began to experience Tango for what it is, when you dance Tango you experience connection.

It’s been funny to realize that I’ve learned as much Tango by talking with seasoned Milongueros about the dance, the music, and the curious or funny anecdotes of singers, players, or orchestra directors as I’ve learned from dance instructors.

During these conversations I learned and began to accept that, first and foremost, Tango dancing is an act of self-expression; I learnt that Tango lives and develops at the Milonga; and I learnt that for many, dancing Tango is sacred.

The Embrace

Repeatedly I’ve heard that the embrace is the most important aspect of Tango dancing.

Being in close physical proximity to another person brings to surface many emotions; that may explain why many dancers don’t pay attention to their embrace, as if tightly holding a body you chose to embrace was a chore and not a pleasure.

Tango is connection, connection with ourselves (we must be fully present to dance), connection with our partner, and connection with the music; the embrace is where followers rest and how leaders provide assurance and guidance, and the music is the excuse for dancers to keep embraced; intermittently for about three minutes at a time; moving through the dance floor, or barely not.

A good embrace holds many paradoxes; it is firm and flexible, it gives structure and freedom of movement; a good embrace allows two to become one, only if each part is accountable for its own.  When dancing closely embraced I juggle many emotions; I want to allow and fully enjoy the sensations that arise embracing my dance partner, and at the same time I want to provide her with comfort and assurance while she is in my arms.

The Tango embrace represents the juice of human relations, we offer ourselves to our dance partner and to the dance floor, and whether we like it or not, part of our emotional being comes out naked.

Thus, if we believe this and the embrace brings to surface so many emotions; how do we choose who to dance with?

Seasoned milongueros and milongueras agree that when they are not engaged dancing or socializing at the Milonga they pay attention to the dancers on the floor: who is moving gracefully?  Who is musical? Who is having a good time? Is their dance partner having a good time?

All this information is processed consciously and unconsciously, and the result is our decision of who we want to dance with…or not.

The Milonga and its Codes

The Milonga is a social event where people gather to dance Tango.

The Milonga provides more than the physical structure, such as the quality of the dance floor, the way tables and chairs are arranged around the dance floor, or the music played by the DJ.  Like Tango, the Milonga is about attitude, and a good Milonga fosters an attitude that promotes safe dancing rendezvous.

This attitude is determined by big and minuscule details; from how you are greeted by the host to the venue’s seating arrangements; from the lighting of the space to the way the patrons dance, their social skills, and the way they cared for themselves for the occasion.

On top of all that, another essential aspect of a Milonga is the adherence to the codes of the Milonga.

The codes of the Milonga are simple – music is organized in Tandas of three or four songs by the same orchestra, tandas are separated by cortinas (a non sequitur song), and dancers dance in the line of dance, counter clock wise.

Another important code is ‘cabeceo’.  Cabeceo, or head nod, is the way you indicate another person you are interested in dancing with them.  Unfortunately, this etiquette protocol is often overlooked locally; in fact, many local dancers (San Francisco Bay Area) resist this cultural aspect of the Milonga, and refuse to accept that cabeceo is essential because it promotes better dancing.

How does cabeceo promote better dancing? You may ask; the answer is simple.

Cabeceo:

Establishing eye contact with a potential dance partner and nodding your head indicates you are asking that person to dance.

If the person being nodded wants to decline the invitation, he or she discretely stops or avoids establishing eye contact; instead if the person wants to accept the invitation, he or she maintains eye contact and gives head nod in-turn to confirm.

Once the willingness to dance has been established, the leader walks towards the follower, looking for her sight and maintaining eye contact when possible.

The follower remains on her seat, once the leader has approached and has nodded again she gets up and proceeds to accept the dance.

Let’s say you are a seasoned Tango dancer at a Milonga.

A new Tanda starts with one of your favorite songs, “Te aconsejo que me olvides” played by Troilo and sang by Fiorentino.

You know this song by heart, and you start feeling the melody slowly creeping inside your body and you start looking for the right dance partner.

Who is the right dance partner?

Is it the first available follower at sight? Is it the first leader that nods you?

Well, maybe.

Sometimes those are our best options and we take them; however, more seasoned dancers usually don’t.

The Milonga is a social event, not a practice, and in general we want to dance with partners of our own dancing level, a partner that we are confident will understand how we move and respond accordingly.

When there is a big gap between dance partners’ abilities, it is likely that one is enjoying it more than the other, and this gap means that degree of self-expression is distorted.

Although we learn much by dancing with a more experienced dancer, the Milonga is not a practice.

Going back to you, seasoned dancer, at the Milonga where “Te aconsejo que me olvides” just opened the Tanda; you look around and see followers and leaders scaning the room for potential dance partners.

So, who do you want to dance this Tanda with…maybe someone with whom you’ve already enjoyed dancing Troilo with, maybe a leader with a melting embrace, maybe a soft and sensitive follower that is like a cloud flowing with the slightest breeze.

The beauty of cabeceo is that it clearly sets the difference between a practica and a Milonga; it allows dancers to respectfully decline an invitation, or to accept without uttering a word.

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Dancing at milongas.

Seven tips for women who want to dance more in the milonga.

Written by Marcelo Castelo and published in ArgenTango magazine #2.

Translated by Olga Matveeva

Dancing at milongas | Argentine TangoThroughout the years, milonga organizers have heard continuous complaints from women: “Tonight I danced very little”, “There are no men”, or “I am not asked to dance”.

The reality is, in general, in many milongas the quantity of women is larger than men.

Adding that the men also take breaks between tandas to get a drink or perhaps smoke a cigarette lowers the women’s possibility of getting a dance. However, women also wonder: what do they contribute from their part to the fact that they dance less or more?

To help all those women, here are some suggestions that, albeit obvious, are worth repeating and would perhaps increase their possibility of dancing in the milonga.

1) Learn to look

It is known that in the traditional milonga, the invitation is made by the man employing cabeceo.

So it is essential for the woman to learn to observe and notice these looks and gestures.

Sometimes we see women at the beginning of the tanda getting distracted, not paying attention to the man’s signals, so the latter changes his mind and invites someone else.

In other cases, for shyness or intimidation, women refuse to look directly at men and end up sitting. Hence, stay alert under the men’s glances, especially at the beginning of each tanda.

2) Put on your best face

A milonga is a place where people want to relax and forget their everyday problems.

For that reason, men will keep away from a woman with a sour facial expression.

Your most attractive feature is your smile.

Be in a happy mood; others will perceive it. A good moment to show your cheerful disposition would be a salsa break. In my personal opinion, this is the most critical advice.

3) Care where you sit in the room

Often women ask to be seated in places far from being the best to get more dances.

Being in the first row, closest to the dance floor is not always the best.

When no men are on the sides or in front within a reasonable distance, women will have to wait until someone walks closer to their table.

Once you get a seat, study the best angle to direct the glances at prospective partners.

4) Do not always expect the best

That one illustrates very well the paradox of the dancer: the better one learns to dance, the fewer possibilities occur to apply it for the lack of suitable partners.

It is inevitable one wishes to dance with somebody better than him/her, but if it were always the case, nobody would ever dance with anyone!

Try to go to the milonga with no expectations beyond having some good time, and do not get super selective with the occasional partners.

Also, dancing is not everything; let’s not reject the opportunity to meet interesting people just because they do not fulfill our expectations as dancers.

5) Improve your dance level; take lessons

A recurrent saying among milongueros is that everyone believes to be a better dancer than he or she is.

It does not matter what you think about your dance level; it matters what your partners think.

When one dances better, she gets invited more. Therefore, take lessons!

6) To be and to appear

Any woman who frequents the milongas cannot help but notice: when a well-dressed man enters, wearing an elegant dark suit, and impeccable shoes, he always attracts women’s attention.

The same goes for women. Hence, if you go to a milonga where people don’t know you, the better your look, the chances are that someone will invite you to dance.

Dressing with elegance, carrying yourself with poise, behaving like a milonguera will secure you a number of invitations to the dance floor.

Of course, all that has to come with a decent level of dance.

7) Become a regular

If you jump a lot from one milonga to another, know that you always have to pay “the floor due” before people start recognizing you.

Men tend to invite partners they know, otherwise they wait for someone else to ask a woman, so they can observe her dance level.

Upon entering the milonga, greet the men you had danced with in other places.

Becoming a regular in a place is the most convenient way of securing dance invitations (providing you pay attention to all the above-mentioned advice).

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“Códigos”, “Cabeceo”, “cortinas”, “tandas”, and line of dance

“Códigos”, “cabeceo”, “cortinas”, “tandas”, and line of dance

Argentine Tango with Marcelo Solis

“Cortinas” & “tandas”

“Cortinas” are small pieces of non-tango songs that separate different sets of tangos, milongas or valses (“tandas”).

Each “tanda” contains four tango songs, four or three valses, or three milongas, in general played by the same orchestra and recorded in the same time period. In this way, you know that after the “cortina” a new set, played by a different orchestra, is coming, usually a different rhythm and style than the set played right before, and by listening to the first song you know what to expect for that tanda.

The “cortinas” are also a call to the dancers to go back to seat and clear the dance floor. The etiquette requires to dance with the same partner until the end of the “tanda”. So, when the “cortina” starts to play you can say “Thank you” and accompany your partner back to her table -if you are a leader- or let your partner accompany you back to your place -if you are a follower.

The “cortina” makes clear that the “tanda” is over. You will have to wait for the next “tanda” to begin before to ask any other partner to dance.

Milonga in Buenos Aires photo

“Cabeceo”: eye contact

Asking someone to dance

Facing the fact that to be rejected is always painful, the Porteños (people from Buenos Aires) developed the “cabeceo” (making eye contact) as the proper way to ask someone to dance. They look at the person they want to dance with.

This applies either for men a women.

If a person wants to dance with someone, one will let the other know by looking at that person and nodding the head when the other person looks back, making it a clear invitation to dance.

If that person wants to dance, she or he will answer back with an assenting sign with the head. After these subtle signs, the leader will go to the follower’s table (or where she is) and offering his hand, take her to the dance floor.

If the other person does not want to dance (man or woman), when the “eye contact” occurs, he/she will simple not respond.

This is a very simplified way to describe it. Reality is more subtle and complex. In any case, it is a good start if you are new to Tango.

Tango is a SOCIAL dance. The milonga is a place not only to dance, but also to meet new people, chat with friends, etc. It is seeing as a very inconsiderate attitude that someone comes to where you are to invite you to dance. It will be almost like saying: “I just want to dance with you and I don’t really care about you”.

While Tango is a dance that requires a situation of intimacy between the partners, asking to dance from a distance shows respect for the other person and her or his right to choose if that person wants to share the intimacy that Tango requieres with you.

There are many benefits of these “códigos”. One is that it takes in consideration the feelings of both partners, so when the dance finally happens, they both know they are where they want, which is an important requirement to have a good dance. They are not dancing because they have to.

Dancing Argentine Tango at milongas photo.

Line of dance

The line of dance existed from before Argentine Tango.

The line of dance was already in the European dances in fashion of that time (1800’s). The counter clockwise direction was already used in waltz, the most popular dance before the appearance of Tango, and was used in other dances as well.

The Argentine Tango dancers just adopted it.

In Argentine Tango the line of dance is an expression of the dance itself, understanding it as a way of walking.

Also, it is the result of an agreement that shows the respect among the dancers on the dance floor. Seeing it from a practical point of view and making analogy: it is like traffic on the freeway, without the speed, but everyone is going in the same direction in your lane of traffic.

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Dancing at milongas.

On learning Argentine Tango. Starting out in milongas.

Dancing at milongas.by Olga Matveeva on Tuesday, January 25, 2011

In my opinion, starting Argentine Tango should not be different from entering any social community for the first time.

Before traveling abroad, we try to find out about some specific local rules and customs that, if not observed, paid attention to, could put us in trouble. When we begin at a new job, we do not start by saying that things had been done wrong (even if it seems so at times), and by teaching everyone new ways.

When we start socializing with any unfamiliar party, we listen, look around, pay attention, learn.

All teachers I have taken lessons from spoke about the rules, at least to certain extent. It might not be happening everywhere in every class people go to. I believe that instructor must speak about such matters as line of dance, navigation, social etiquette, in their classes. If your tango instructor never mentions that during lessons, then, perhaps, he or she is not qualified to teach tango, or does not intend to prepare the students to be social tango dancers. If your goal is to attend milongas, you better find another class.

Behaving as an adequate member of the tango community right from the start is more important for your success than knowing fancy steps.

Unfortunately, some people who take up lessons, attend milongas, are not interested in a social aspect of tango. For them tango means putting on a vintage dress with sparkles or a fedora hat, and become a passionate, exotic night creature that in real life they are not. Of course there is nothing wrong in dressing up and having fun per se. The problems begin when they bump into (pun intended) those for whom milonga is not a Halloween party, but a place where they open up, look for genuine connections, a social ritual where the codes of behavior are not arbitrary. The rules of etiquette are in place for good reasons.

They ensure that all the participants enjoy themselves in a safe environment, minimizing negative feelings and frustrations that may arise from social interactions in close quarters.

Understanding a culture, becoming part of it might be a fascinating journey, but it takes time and effort.

Tango is a culture, and as such, should be approached with sensibility and respect.

At Escuela de Tango de Buenos Aires we are committed to provide you with a complete Argentine Tango experience. Learn more about Argentine Tango.