Modern Tango World #3 (Argentina) by Neolonguita Syndicate

—1— To Subscribe, Click here

—2— To Subscribe, Click here

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 news and stories from around the international tango community. If you would like to join us, send us your stories and news from your tango group. We welcome your participation in this exciting adventure.

—3— To Subscribe, Click here

Modern Tango World

Publisher & Evangelist Raymond Lauzzana Publishing Guru & Mentor Randall Stickrod Designer-in-Chief Fré Ilgen

EDITORIAL CALENDAR Romania Edition SPRING, 2016

Special Edition Editor Buenos Aires Martin Delgado

Mexico Edition SUMMER, 2016

Psychology, Spirituality & Health Christa Eichelbauer Books & Movies Renaissance Steed Music Reviews Arndt Büssing

Arabian Penninsula Edition AUTUMN, 2016

English Language Editor Raymond Lauzzana German Language Editor Annmarie Deser

Montreal Edition WINTER, 2016

CELEBRITY INTERVIEWS Venice Marco Buso Correspondents Athens Thanos Kasidis Barcelona Jordi Bruña Buges Berlin Violet Starr Bucharest Eugen Cristea Constanta Steve Lorenzo Doha Anil Kumar Dubai Oliver Krstic Geneva Jean-Marc Vandel Kobe Yutaka Katayama Mainz Annmarie Deser Mälmo Ingela (Morrica) Arvidsson Milan Giacoma Giaquinta New York Barbie Griser Réunion Sébastien Séry Rosario Martin Delgado Saigon Phuong (Alice) Nguyen Thi Thanh Winnipeg Kathleen Donnelley Zagreb Quinn Saab WebMaster Raymond Lauzzana

COVER PRICE EU ............................... €15. 00 Elsewhere ................... $17. 00 ONLINE subscription (one year) EU ............................... €18. 00 Elsewhere ................... $20. 00 PRINT Single Issue (mailed) EU ............................... €12. 50 Elsewhere .................... $13. 50 Single Issue Shipping & Handling EU ................................. €9. 00 Elsewhere .................... $13. 00 PRINT Subscription (4 issues) EU ............................... €45. 00 Elsewhere .................... $50. 00 Subscription Shipping & Handling EU ............................... €35. 00 Elsewhere .................... $50. 00

Subscribe Now

We need your support to make this happen

PRICES

email: editors@moderntangoworld.com Facebook: https://www.facebook.com/moderntangoworld

—4— To Subscribe, Click here

printed by

SIA Drukätava

Spilvas 9, Märupe Latvia, LV-2167 http://www.drukatava.lv/

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— To Subscribe, Click here

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— To Subscribe, Click here

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— To Subscribe, Click here

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— To Subscribe, Click here

—9— To Subscribe, Click here

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 — To Subscribe, Click here

— 11 — To Subscribe, Click here

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 — To Subscribe, Click here

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 weâ&#x20AC;&#x2122;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.

â&#x20AC;&#x201D; 13 â&#x20AC;&#x201D; To Subscribe, Click here

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 —

To Subscribe, Click here

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. â&#x20AC;&#x201D; 15 â&#x20AC;&#x201D; To Subscribe, Click here

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 Av. Independencia 572 Av. Raúl Ortiz 1331 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 Av. Entre Ríos 1056 Alsina 2540 Venezuela 2937 Saraza 951 Riobamba 416

Villa Mitre Centro San Cristóbal Centro Centro Chacabuco Balvanera

— 16 — To Subscribe, Click here

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. Independencia 572 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. Raúl S. Ortiz 1331 Av. Sáenz 459 Humberto Primo 1783 Alsina 1465 Gral. Rodríguez 1191 La Papa 1781 Av. San Juan 3330 Av. Entre Ríos 1056 Venezuela 2937 Tres de Febrero 55 Av. Gral. Iriarte 2290 Loyola 828 Vera 574 Perú 571 Av. Cordoba 5064 Av. Independencia 572 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 Av. Gral. Iriarte 2290

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 Av. Raúl Ortiz 1331 Sarmiento 4006

Villa Crespo San Telmo Almagro Almagro Palermo Almagro

— 17 — To Subscribe, Click here

Buenos Aires Tango Guide 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. Entre Ríos 1056 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 Av. Independencia 572 Av. Raúl Ortiz 1331 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 Centro Región Leonesa 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 Av. Entre Ríos 1056 Vera 574 Humberto Primo 1783 Suipacha 921 Av. San Martin 2288 Riobba 416 Loyola 828 Av. Independencia 572 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

Asociación Genovesa

Venezuela 2943

Buenos Balvanera

23:00 - 04:30 A Puro Tango

Salon Canning

Av. Raúl S. Ortiz 1331

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

To Subscribe, Click here

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 — To Subscribe, Click here

Buenos Aires Tango Guide 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 ZĂĄrate 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 ValentĂn 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/events/1440774692888262/ facebook.com/festivalbailemosmastango facebook.com/groups/204379659610811/ facebook.com/events/1541571849406975/ 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 Asociación Genovesa Bar Los Laureles Bella Vista Tango Club Buenos Ayres Club Casa de Galicia Casa Paraguaya Centro Región Leonesa 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 Av. Gral. Iriarte 2290 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 Av. Independencia 572 San Telmo Unidos Saraza 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 Av. Entre Ríos 1056 San Cristóba Carlos Calvo 3745 Centro Armenia 1353 Palermo Av. Raúl S. Ortiz 1331 Palermo Av. Sáenz 459 Nueva Pompeya Tborini 6157 Villa Pueyrredón Lugones 3161 Villa Urquiza — 21 — To Subscribe, Click here

+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 facebook.com/groups/1526948670888917/ — 22 —

To Subscribe, Click here

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 — To Subscribe, Click here

+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. Juliaâ&#x20AC;&#x2122;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. â&#x20AC;&#x201D; 24 â&#x20AC;&#x201D; To Subscribe, Click here

— 25 — To Subscribe, Click here

— 26 — To Subscribe, Click here

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 — To Subscribe, Click here

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 — To Subscribe, Click here

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 — To Subscribe, Click here

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 — To Subscribe, Click here

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 —

To Subscribe, Click here

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 — To Subscribe, Click here

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

â&#x20AC;&#x201D; 33 â&#x20AC;&#x201D; To Subscribe, Click here

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 — To Subscribe, Click here

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 — To Subscribe, Click here

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 — To Subscribe, Click here

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 — To Subscribe, Click here

— 38 — To Subscribe, Click here

Our Advertisers Amy’s Shop ....................................................... Ann Leon .......................................................... Assassination Tango ........................................ Astor Piazzolla ................................................. Bajofondo ......................................................... Beginning Argentine Tango ............................ Belmar Hotel ................................................... Carlos & Alison ............................................... Club des Belugas ............................................. Electrocutango ................................................. Gotan Project .................................................. Gustavo Santaolalla ......................................... In-Grid ............................................................... Ines Muzzopappa ............................................. Last Tango in Paris ........................................... London Tango Boutique ................................. Mercedes Sosa ................................................. MariMasha ........................................................ Montana Tango Uprising ................................ NeoTango ......................................................... NeoTango Marathon Roma .......................... Otros Aires ...................................................... Quartango ........................................................ Richard Galliano ..............................................

p.38 p.20 p.45 p.41 p.27 p.45 p.11 p.38 p.39 p.48 p.38 p.27 p.39 p.12 p.45 p.09 p.41 p.35 p.13 p.41 p.06 p.27 p.30 p.45

Sabados de Milonga ........................................ San Telmo Lounge ........................................... Tango ................................................................. Tango, Argentine Love Story ......................... Tango Argentina Finlandia ............................. Tango Bar .......................................................... TangoBiathlon Munich .................................... Tango Etudes .................................................... Tango Fatal ........................................................ Tangothic .......................................................... Tango Fireworks Dehli ................................... Tango for Teachers .......................................... Tango, History of Obsession ........................ Tango, Our Dance ........................................... Tango Stories ................................................... Tango, Structure of the Dance ..................... Tango, the book ............................................... The Tango Dance ............................................ Trio Hugo Diaz ................................................ Trio Garufa ....................................................... Tucson Tango Festival ..................................... Two to Tangp .................................................... Why Tango ........................................................ Zona Tango .......................................................

— 39 — To Subscribe, Click here

p.11 p.10 p.49 p.45 p.44 p.49 p.07 p.38 p.38 p.30 p.11 p.49 p.49 p.38 p.39 p.45 p.38 p.45 p.45 p.48 p.33 p.38 p.11 p.48

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 — To Subscribe, Click here

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 — To Subscribe, Click here

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 — To Subscribe, Click here

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 — To Subscribe, Click here

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/ lueders@gmail.com

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 — To Subscribe, Click here

— 45 — To Subscribe, Click here

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 — To Subscribe, Click here

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 — To Subscribe, Click here

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 — To Subscribe, Click here

— 49 — To Subscribe, Click here

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.