Modern Tango World #8 (Moscow, Russia)

Modern Tango World

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Moscow Tango Guide 15€

Milonga Chicque Evgeny Morozow

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Daniel Pereyra

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Magnolias on the Snow Andrey Klimovich The Other Night at La Viruta

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Interview

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Quartango M

Number 7 - Winter 2016

Jonathan Goldman

Special Editor Polina Yegurnova —1—

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Editorial This is has been a challenging and exciting few months. As many of you know, I have been on a tour of milongas in Europe and North America. I expect to continue to the West Coast of the USA and Canada, this year, before returning to Europe. While on this tour many people have suggested that I should organize trips for others to visit the milongas that I have been to.

Well, we we tried.

Together with co-host, Anne Marie Desser, we tried to organize a fiv-day tango tour of Manhattan. It turns out that tours are very different from milongas, festivals, marathon or encuentroa. They have their own unique character and economics.

The concept is to immerse the guests into the local tango scene and environment, by introducing the to the milongas, schools and instructors in the area. Pur intention is to customize the tour to the needs of the attendees, by finding them classes and.or instructors that are suited to their needs. This is in addition to attending seven milongas in five days, as well as an outdoor morning practica to get you going. And, all of this will be happening in Manhattan. We will try again, some day when we can find a less expensive way to do it.

We have long wanted to produce a special edition of MTW dedicated to tango in Moscow. Polina Yegurnova has offered to edit this edition. She has been living in Moscow since 2011. Educated in advertising and graphic design, she has worked as a fashion illustrator, journalist and editor.

She began studying tango in 2012, and dances both as a leader and as a follower. In 2015, she made her first visit to Buenos Aires, and found boundless world of tango — the literature, the music, the rhythm of tango have their meaning in the tango culture, not just dance. In Moscow, they had lost this most important side of tango, its sense and spirit, Muscovites had been concentrating on how to step, how to hold the back and how to dress.

So, she studied the history of tango in Russia and in Argentina. She found the great world of historical studies in this sphere – monographs, essays, memoirs of the famous researchers of tango — Carlos Vega, Horacio Ferrer, and Pavel Pichoogin. In 2016, she and Andrey Klimovich, compiled this information and created a website, Tango Moskva, that contains this history of tango music and tango creators It is located at: http://www.tangomoskva.com We hope that you enjoy reading this issue, and thank you for your ongoing support.

rlauzzana@penrosepress.com

Cover photo by Nicolás Fernández —2—

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Modern Tango World: Autumn, 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 Moscow Special Edition Editor

Polina Yegurnova Table of Contents

Moscow Special Features Magnolias on the Snow Andrey Klimovich .........................................................03 Milonga Chique Evgeny Morozow .......................................................................10 The New Moscow Polina Yegurnova ....................................................................14

G u i d e to Ta n g o i n M o s c o w ......................................................................................18

Sunset Tango Collages Denise Mumm ......................................................................22 Interview with Jonathan Goldman Marco Buso ...............................................26 The Other Night at La Viruta Daniel Pereyra.......................................................31 Book Review: Tango Awareness Alexandru Eugen Cristea ..............................34 Why There is so Little Dance in Dancing Tango Veronica Toumanova.....35 New Tango Music Arndt Büssing ................................................................................38 Tango Moves: Boleos (Voleos) Raymond Lauzzana ............................................42 Letters to the Editor ........................................................................................................46

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.

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Modern Tango World

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Publisher & Evangelist Raymond Lauzzana Designer-in-Chief Fré Ilgen

Rome Edition

SPRING, 2017

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Taiwan Edition

AUTUMN, 2017

Psychology, Spirituality & Health Christa Eichelbauer Motion Picture Reviews Alexandru Eugen Cristea Music Reviews Arndt Büssing English Language Editor Irena Levicar German Language Editor Annmarie Deser Spanish Language Editor Joel de la O

Paris Edition WINTER, 2018

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Magnolias on the Snow

Andrey Klimovich Vera Kholodnaya Russian tango dates from the days of Czar’s winter palace to the present. The rhythm of the tango reached Moscow when it was first heard in the 1910s. Many very popular tangos were produced in Russia during the 20th Century. This article reviews Russian tango from its earliest days through the fall of the Soviet Union. By the 1960s, tango music and dance had lost their popularity, to be reborn at the end of the century.

Muscovites were fond of everything fashionable, from the early cameras, exotic imports from Africa and Asia, the Art Nouveau style. Moscow culture was very progressive and international. For example, the ballet Russian Seasons by Sergei Diaghilev was performed. in Paris Europeans were stunned by the artists Lev Bakst and Roman Tyrtov.

Tango, was something exotic that instantly gained popularity among the Moscow bourgeoisie. In 1911, the Russian Emperor Nicholas II, discovered this new passion among the aristocracy, and allowed dancing tango in the Winter Palace. But, the tango was unknown to the general public. It was a dance for the elite. Tango was brought to the masses by performing artists and comedians. By 1914, this new dance found the way to the cafes of Moscow.

The theatrical actor and singer, Alexander Vertinsky, presented in Moscow a comic performance entitled Tango. Two dancers simulated the dance of love, and Vertinsky recited a parody monologue, talking about Argentina and the passions that were storming there. The name of Vertinsky then was not known to anyone, at the timwe. He will later become the greatest singer of Russian tangos in the 1920s and 1930s.

Another artist, Izabella Kremer. the opera singer, performed romances in Russian and Yiddish, before the Second World War in support of resistance forces.

No tango recordings with her voice exist now. But, many sources name her as the first singer to popularize tango in Russia. Exotic Argentina and this new dance of embrace, caused many artists to reconsider their repertoire. For example, in 1913, Kremer performed on stage the new Tango of Death. The song was, in fact, the artistic translation of the lyrics El Choclo. But in the musical terms, it sounded like a classical romantic ballad.

In far off, sultry Argentina, Where the southern sky is so blue, Where any woman is like a picture, There Joe fell in love with Clo ...

When she lit the evening lamp, She danced with him in the tavern For a drunk and roaring mob teasing tango.

Tango of Death, 1914. from the repertoire of Iza Kremer This lyrics became so popular that the story became a plot for a silent movie, with starring actress Vera Holodnaya.

This was a bohemian period of Russian tango. It was performed mainly by self-taught artists, and orders for new tangos were made by the aristocracy. However, in 1917 the situation began to change rapidly. During the revolution the old aristocracy ceased to exist, and many of the artists emigrated abroad.

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Latvia played a major role in preserving the Russian romancitc ballad. It was here, in the cities of Riga, Libava and Jurmala, where Moscow artists lived, performed and made concerts shortly before the Second World War. Oskar Strok, the King of Russian Tango. is a Soviet composer, who was born in a Jewish family in Latvia.

In his youth, Strok graduated from the St. Petersburg State Conservatory, where he studied piano. In 1922, together with his wife, he moved to Riga. After some time, he becam infatuated with a girl from Paris, so much so that he left everything and moved to France.

Strongilla Irtlach Nevertheless, Russian tango continued to develop. It already won some sympathy in society, and in the first years of Soviet power the state did not interfere with the freedom of expression. However, several years later, the Scientific and Technical Committee of the Supreme Council of Physical Culture (STC SCPC) created a commission to determine which dances should be recommended to Soviet citizens and young people, and which adversely affect the life of a Soviet citizens.

The outcome of the proceedings turned out to be sad for tango. On October 23, 1926, the plenum of the STC SCPC prohibited tango by decree. In addition to tango, the foxtrot was also banned. They considered to be associated with the bourgeoisie. Fortunately, the ban did not last long. Four years later. in 1930, STC SCPC was disbanded. As a result, the prisoners foxtrot and tango were set free. Despite some disapproval by the public, music collectives gathered in Moscow and played tango and jazz.

Many talented artists on the Russian stage left for Europe in the 1930s. As a result, there were a huge number of Russian tangos in the period of 1931-1939 was recorded in the recording studios of Columbia Records.

Vera Kholodnaya in the role of Argentine woman

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After a while, their love faded and Strok returned to his family in Latvia. During this period, he wrote his most famous tangos — When Spring comes again, My Last Tango and Oh, those Black Eyes.

The success of Oscar Strock’s tango was underscored by the London Symphony Orchestra under the leadership of Marek Weber. This orchestra recorded Strok’s tangos at the famous firm Victor Gramaphone Company, also known as HMV or His Master’s Voice. Around 1930, Strok’s friendship with a singer and dancer Petr Leshchenko began, when the latter came to perform at private closed evenings and in restaurants in Riga.

The composer was inspired by the voice and manner of Leshchenko’s performance and invited him to take part in his jazz and tango project.

Petr Leshchenko was an artist of Ukrainian roots who had participated in musical ensembles and survived the First World War in his youth. He toured Latvia and developed a friendship with Strok led to his enormous popularity. In the 1930s, more than 80 recordings were made of his tangos, foxtrots and ballads, including Senorita, Tatiana, Lola, and of course, the famous Dark Eyes (Ochi Chornya). This last tango turned out to be so popular all over the world that Strok and Leshchenko were invited to tour not only throughout Europe, but also Japan.

The fate of another popular Russian performer of tangos and ballads, Vadim Kozin, was cast in the 1930s. During the 1920s, Kozin, who had a gypsy roots, became known for his vivid romantic ballads, combining the seemingly impossible the gypsy passion with the intellectual dreaminess of the Russian aristocracy. When tango recordings became popular in Russia, Kozin recorded such works as Autumn, Forgotten Tango, and reinterpreted Tango of Death, originally performed by Iza Kremer.

In 1929, Alexander Vertinsky recorded his Palestinian Tango, dedicated to emigration and a sad journey into that unknown country. In 1931, while in Bessarabia, he produced the famous tango Magnolia which begins with the words In banana-lemon Singapore. This tango is almost comically ironic, but it has a lyrical overtones and symbols of the unattainable dream of the Russian aristocracy — to travel to a distant country, in happiness and safety.

This theme of emigration continued in 1934, when Vertinsky wrote a another tango The Yellow Angel about the inglorious life of an artist performing in a jazz cabaret far from his native country.

AlexanderTsfasman Another phenomenon in the history of Russian tango is Alexander Tsfasman’s orchestra. He began his band in 1926 as a jazz ensemble. But by the 1930s, when tango reached the peak of its popularity, the orchestra began to play tangos together with other foreign genres. After a while the tango I’m Infinitely Sorry became the signature calling card of the group. The authorship of this melody was mistakenly attributed to Tsfasman himself, but it was only his arrangement. Its origins are France. Nevertheless, rumors only contributed to its popularity.

Another tango hit was The Wearied Sun, which is probably the best known than all other Russian and Soviet tangos. This melody came to Russia from Poland, its author was Jerzy Petersbursky, the first lyrics was written by Zenon Friedwald. The name given by the author was This Last Sunday. People later began to call it Suicide Tango. The song instantly won the Polish popularity and became famous in neighboring Russia. Since the Polish lyrics could not be performed in Russia, three variants of lyrics were written in Russian: the author of the first was Asta Galla — Song of the South, and a second by Alexandr Volkov — Leaves are falling from the Maple. However, certainly the most popular version was by Joseph Alvek — The Wearied Sun.

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The Wearied Sun gently parting with the sea at this hour you confessed there was no love I was saddened only slightly without anguish, without sorrow At this hour your words resound.

As we part, I will not be angry The fault is ours, yours and mine.

The composition was recorded by the Tsfasman orchestra in 1937, and became an instant hit. The original title was Parting. But, th public quickly turned it into Wearied Sun. The original singer was Pavel Mihailov. Later, Leonid Utyosov sang this tango, and once again regaining popularity.

Another sad and sarcastic tango is the song Na Boasyanovskoy Otkrilasya Pivnaya (On Bogasyanovskaya Street, A New Drinking Saloon Opened), was produced in the mid30s by Strongilla Irtlach, Russian-speaking singer of Turkish origin. She had not sung tangos. She was a professional singer of Roma and Russian ballads. Her brilliant artistry allowed her to experiment with genres of tango and jazz. Obviously, On Bogasyanovskaya ... was recorded unofficially, by chance, and perhaps at a home concert. The music of this tango is by the Argentine composer Angel Villoldo, and it was originally called El Choclo. The Russian lyrics were written around 1912. The lyrics of these ballads, and chansons are street slang stories of criminal life, often using Fenya slang language, a Russian equivalent to Lunfardo, A closer examination shows that the song sung

by Strongilla is derived from songs by the Jewish songwriters, Yasha Yadov or Miron Yampolsky. Despite the jargon, tango is a mockery of Fenya. It was laughed at by lovers of ballads in educated aristocratic circles. Here is a brief retelling of the events, described in this marvelous tango — On Bogasyanovskaya The story is about one evening in a drinking saloon on Bogasyanovskaya street. The storyteller, was in the saloon and that it was the place for criminals. There were some girls with their companion Vas’ka, the pimp. One of the prettiest girls, Rosa, enters the saloon, accompanied by Vas’ka, She is as pretty as a Dionysus maiden. Vas’ka is holding Rosa’s arm like a handle of a streetcar. He begs her to dance with him this last tango. At exactly this moment another man, Aronchik, a foreigner, invites her to dance in very gentle manner.

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Lolita Torres announcement in Russian

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Being offended, Vas’ka suggests, that Aronchik probably should better “moor to Vera”.

To stop the quarrel, a pool player comes over to the table and advises to them that as poets say, preserve your own portraits to remember them better. But Aronchik was a man of passion. He smashes a bottle on the head of pool player. The waiter says, he occasionally finds a fork in his leg,.

This is how saloon tango ends It doesn’t look like Argentina, anymore.

— the storyteller notes.

He and his friend also take part in the fight and are thrown out of the saloon. When they were already lying in street, they see Aronchik crawl to Rosa and offered her everything he has, promising, among other things, to take her to his city Batumi, where she could go to sauna four times per year. He promises to guard her body as a dog, and when she wanted to go to sleep, he would even undress her himself.

This is how the story of that old drinking saloon ends concludes the storyteller, wondering where the girls may be now with their usual companion Vas’ka-the Pimp.

The lyrics of the song has slang words, like smarovoz (pimp) and bandersha (bordelo mistress) But, it also has a lot of literary references and metaphors, Clearly, the lyrics were written by a well-educated, intelligent person., for example, Rosa as Dionysus maiden.

The tragic events of the 1940s, the war and post-war years forever changed Russia. By the end of World War II, waltzes and marches played on the radio. They no longer sounded like the music of the bourgeoisie. The exception was two tangos — the instrumental ­­ Splashes of Champagne and Wearied Sun. Many composers of the 30’s, returning to Russia, changed their repertoire. For example, composer Alexander Vertinsky turned to many patriotic compositions. Composer Oscar Strok wrote only instrumental works in those years.

The singer Isabella Yuryeva, who had recorded many tangos in the 30s, performed for the Soviet Army.

Oskar Strok —9—

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Lolita Torres

Russian ballads and patriotic songs dominated the reper toire. Tango was almost never performed, during the 1940s. However, there was one tango that was very popular.

This song was written specially for a great Soviet singer, who was the first to get the rank of People’s Artist of USSR, Leonid Utesov.The song was written by Isaac Dunaevsky and Vasily Lebedev-Kumach and is called Serdtse (Heart). It became the soundtrack for the first Soviet musical comedy Veselilye Rebyata (Jolly Fellows). The song was first performed in Russian ballad form. But soon after, versions in Argentinean tango fashion were made.

In 1935, Pyotr Leshchenko sang the song in Argentine tango fashion and this version beame very famous in Russia. Though later USSR versions were made more in the style of a Russian ballad, the song became so popular. Its fame spread beyond the state border. It is quite curious that everywhere in the world the song is thought of only as an Argentinean tango. Quite often, this song is named as Kak khorosho na svete zhit! (How great it is to be alive!).

Heart, you do not want peace, Heart, how great it is to be alive, Heart, how good that you are like this.

Thank you, heart, that you can love so much.

According to the plot of the film, the song is performed by the shepherd musician Kostya Potekhin, in whose role Utyosov was shot. This song now is more than eighty years old. The film. Jolly Fellows, was shot in 1934, while the song was written before the shooting. The film became legendary in the Soviet Union. It is not surprising that when fame came to the film, the songs from film also became very popular. For decades, Russian musicians have reincarnated them many times.

The 1950s were a period of intensive industrialization of Soviet Union. For the first time, foreign films began to appear on the screens of Soviet cinemas. Many of these films were shot in friendly countries, such as Argentina. One of the most famous Argentine actresses seen on these screens in the Soviet Union, was Lolita Torres, whose films were translated into Russian. In these films, she portrays Spanish folklore, in particular with some demonstrations of Argentine tangos and milongas. Torres came to the Soviet Union fourteen times, beginning in 1959.

Throughout the 60s, she gave numerous concerts in Moscow. At that time, she was the only one to represent the Argentine tango in Moscow and could only present this music from the stage. The Soviet people did not dance and did not listen to tango, except for the Wearied Sun.

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But, tango did not enjoy the interest of young people. In the 1960s, like all over the world, it was possible to find records with rock and roll in Moscow, but tango was not in demand, However, just before Perestroika, there was an interesting episode in the history of Russian tango which Argentine dancers remember with great pleasure. There was a science-fiction film in 1973 about aliens who come to earth, and are surprised by all the joys of earthly life. In the film, legendary Argentine dancers Gloria & Eduardo Arquimbau dance. However, their appearance in the movies did not popularise tango dance or music.

Tango will need to wait until the mid-90s to display its new colors and possibilities, when the first tangp schools opened in Moscow. Nowadays, there are more than sixty schools in Moscow. Today, the Russian tango community is one of the largest in the world.

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Milonga Chique Evgeny Morozow Milonga Chique provided first alternative dance floor in Moscow. On February 20, 2017, it celebrated its first anniversary. Milonga Chique is the only milonga in Moscow, where the dancers have a choice of two dance floors — one for the traditional music and a second floor for alternative music.

The alternative dance floor is located on the second floor, for the tangueros, who prefer tango nuevo, neotango, alternative, tango rarities, non-Argentinian tango, or orquestas moderna. The design of the milonga also has its differences. For example, there is a light projections and a smoke machine.

The second floor in Milonga Chique is visited by a as many as twenty-five couples, simultaneously on the dance floor. The most popular time is from 22:00 to 01:30 in the morning. During the evening, dancers freely change between the dance floors. Dancers always have the opportunity to go to the first floor for a traditional dance to one of the famous and beloved tangos of La Guardia Nueva. The choice of music and atmosphere is very important! Dancers can always refresh their memories.

Audio recordings of classical tango are now widely available to Moscow DJs. The efforts of many Russian and foreign enthusiasts have created a catalog of classical tango music. Moscow DJs freely exchange information about records. They each have large collection of tangos. There are many new faces, with a healthy competition among DJs and motivation to improve the quality of their work. The dancers have several choices of traditional milongas where you can hear many good tandas..

It should be noted that the Moscow tango community has been and remains quite conservative in terms of music. Mostly milongas are traditional Argentine tango of the Golden Age (La Guardia Nueva), from time period between 1935 and 1955. Some DJs insert in the one or two unusual or modern tandas into their playlests, usually near the end of the milongas.

In Europe, milongas of different formats existed, giving more freedom to DJs. For example, at one of the milongas in Budapest, apart from tango-waltz-milonga sequence of tandas, a fourth tanda was introduced with non-traditional music. The classics successfully went together with nuevo, electronics, ambience, latin, blues, French waltzes and completely different music.

All this was absolutely easy to dance with the use of biomechanics of tango. It was well and skillfully arranged. The milonga usually had about a hundred of participants, which is quite a lot for such a format. It was clear that such a format could work in Moscow also. Therefore, I began to try to promote this idea among the organizers.

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In Moscow, there is what is called Alternative Practice on Sundays. The people, who attend, bring their own music and dance it. There is no real management of the music playlist.The event does not have a milonga format.

This is a very interesting place that helps to expand the musical, emotional and dance scope of the participants.

But I had wanted to raise it to another level with a fullfledged alternative milonga, with a unique atmosphere, sound quality and so on. The first milonga of this type appeared in Moscow on February 20, 2016. The organizers of Milonga Chique invited me to implement this on one of their two dance floors. As it turns out, this format works fine.

It is worth noting that the word Nuevo in Moscow had acquired a negative, and even threatening sense in tango circles. It is usually understood as either monotonous electronic tango music, or heavy, chaotic and dramatic compositions of late Osvaldo Pugliese, or Astor Piazzolla. Nuevo was understood as very complex music that cannot be danced. There were some different, not very successful, experimental nuevo milongas in which rare, electronic, non-danceable music was played. It was clear that the DJ’s intention was to enlighten the people, opening them new music. It became clear that was inappropriate for particular audiences. It was often reduced to a chaotic, disorganized, unbalanced event with limited musical and emotional flow. Of course, it was stressful for people who came to dance. People associated this stress with the concept of nuevo.

As practice has shown that a good tango-DJ, using only traditional tango, can create almost any mood on the dance floor, without using the alternative, modern, or nuevo music. It depends on the taste and ability to feel the dance floor, from empathy, emotionality, sound quality, and many other factors.

However, the important point is that the expansion of the musical range is itself very interesting. It can open up new opportunities, ideas, inspiration and emotions for both the DJ and the dancers. This opens a completely different domain introducing other flows and energies! Currently, there are not too many people at milongas who can dance well to this music. Most people use traditional movements and combinations. But, the music inspires improvisation, and this is very important!

Here is a good example from classical music. No doubt, that Bach, Beethoven, Tchaikovsky all represent classical music. But, these composers are very different! If you ask a person if they likes classical music, their answer will depend on whether they knows something about composers, years of their activity, genres within classics, and so on. But many people do not know anything about this. Their knowledge may be limited to the Moonlight Sonata, Fugue in D minor and Waltz of Flowers. Knowing only these few works, they form an opinion about all classical music. The situation is the same with the concept of Nuevo.. Some people think that it’s only Piazzolla, Gotan and Otros Aires. The word nuevo is translated as new. But, the genre includes a much larger range of music. Maybe, the term, NeoTango, used by foreign colleagues, is more viable.

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On the alternative dance floor, another reality is created. Unusual lighting, mirrors, projections cosmic and fractal images on all surfaces of walls and floor. Invitations without cabeceos are practiced here, ladies can invite gentlemen, many people go downstairs to look for partners, returning with them to join the dance and music fantasies.

Here you can hear modern tango orchestras, magnificent examples of the Guardia Vieja, canyengue, foxtrot, French and classical waltzes, blues, jazz, guitar milongas, lesser known jewels of traditional tango, rarities, nonArgentine tango, and of course, the best of nuevo and alternative tangos! There are a lot of musical experiments in playlists that are created, on the spot.

A DJ needs to experiment carefully, and always return to the basics, to the classics. This way it will always sound fresh, but familiar. Requests from the dancers can be very helpful. A lot of interesting music can be duscovered this way.

Now, many people regularly attend Milonga Chique, taking an interest in the music played there. There is now a Facebook group for NeoTango in Moscow, where information about Tango Nuevo, NeoTango, Alternative Tango events and music aew published.

Neotango milongas have a unique format that requires a particularly careful attention to the dancers.

The playlist should only songs that really have energy, and strong emotions. They must make the dancers really want to dance. Everything is put together and mixed in real time. Generally speaking, cor tinas are not used. Dancers very quickly begin to navigate and understand when one set ends and another begins.

Sets are similar to tandas, but they can be of different length. It is music of the moment. The music of the set have something in common that the DJ and dancers understand — something like a one whole emotional-physical organism, living its own magical life.

Currently, there are four Moscow DJs who regularly play on the alternative music — Evgeny Morozow, Anna Neum, Alexander Godyay and Valery Volkov.

Each of them have their unique styles and visions of the music, which adds interest to milongas. Hopefully, the future will be fill their ranks with new DJs, each bringing their own new colors.

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The New Moscow

Polina Yegurnova

The echoes of the word tango sounded in films and TV shows of the 70s and 80s. But, it had almost no influence on the interests of Muscovites. However, the 1990s changed the minds of many Russians.

After experiencing perestroika, young people rushed with double energy to study everything that had not available beforehand.

A boom of ethnic centers, martial arts clubs, choreographic studios and yoga centers began in Moscow in the late 1990s. Argentine tango was part of this explosion. It first appeared in a small studio for modern dance at the Maly Theater qith choreographer Valentina Ustinova introducing the rhythms and movements of tango She first met the tango during a visit to Amsterdam. After returning to Moscow, she she began her first classes of modern dance, including lessons in jazz-modern, contact improvisation and Argentine tango.

At this stage, the tango music was not of key importance. Most of what was played was the Ryssian tangos of the 20s and 30s. The main interest of these tango pioneers during the wave of the 90s was was primarily in choreography. and performance. Many people were simply fascinated by the form, and movement. And, in the possibility of sharing their interests.

After two years of Ustinova’s classes, advanced skills began to appear among her students. These students later opened their own schools, organizing more powerful tango associations. In 1998, one 29-year-old student, Alexander Vistgof, began teaching Argentine tango, in the empty halls of Soviet culture houses. By the early 2000’s, the first milongas in Moscow began to take place. At this time, the tango music played was from CDs, collected by enthusiasts during trips to foreign countries.

Around this time in Moscow and St. Petersburg began to appear the first tango-DJs. At that time, there were no rules for organizing the music. But, there were attempts to do something similar to the milongas of Buenos Aires. DJs selected music intuitively, without making cortinas, and the rules of movement on the dance floor were very conditional.

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By 2003, the number of tango dancers had grown from a handful to a few hundred. The first Argentinean tango festival, Nights of the Milongueros. was held by the teachers-enthusiasts. This festival continues to be held to this day.

During the first decade of the new millenium, most Moscow tangueros went to hangouts where first milongas and performances by Argentine teachers were held. At that time, it all seemed very exotic.

In the following years, the first wave of students became tango teachers. They opened several new tango schools. During htis same period, the first permanent foreign teacher of tango Diego Arizaga established himself in Moscow. He came from Buenos Aires to reside and work in Russia. His students formed a second branch, as they, in their turn, also became teachers. In this way, the number of tango schools grew to five, then seven, and then ten.

Early on, the teaching methods in Moscow were greatly influenced by the Argentine dancers, Carlos Gavito, Gustavo Naveira and Graciela Gonzalez. Later. the influence came from the lessons of Javier Rodriguez, Geraldine Rojas, Horacio Godoy and Sebastian Arce.

Around 2006, the phrase dancing in style Villa Urquiza, could be heard at Moscow milongas, for the first time.

The fascination with this idea is noticeable in magazine publications and flyers of that time. It should be noted that the eponymous district of Buenos Aires has not patented any special manner of dancing. The term Villa Urquiza style was coined by two teachers from the US and is not entirely meaningful. Except for the fact that in the 70s in the barrio Villa Urquiza there were large milongas and a recording studio operated there.

The economic situation in Russia gave an opportunity to start small business during the period 2005-2010.

As a result, more and more tango-schools opened.

The increase in the scope of teaching and the number of milongas that were conducted could also be explained by the trips of tangeros to Buenos Aires. The tango began to influence the private life of the dancers, encouraging some of them to live in Buenos Aires for a few years or for life.

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In 2013, the Moscow cultural center, La Milonga, received official permission to conduct an Argentine tango preliminary championship for the Tango BA Festival y Mundial del Baile.The winners of the championship in Moscow would receive tickets to Buenos Aires and were qualified to the semifinals of the world championship.

In addition, the European Tango Argentinean Championship was founded in 2010. This event had a significant influence on the careers of Russian tango teachers. In the first European championship, the first place was taken by the Moscow couple, Vladimir Khorev and Natalia Petrova.

These competitions combined with the growing popularity of Argentine tango in Russia and Europe attracted attention of international professional choreographers and dancers, who recognixed the opportunity for tours giving shows and classes.

There are some unique aspects to professional choreographic activities in Russia. Thanks to the strong traditions of teaching classical ballet and rhythmic gymnastics, there are several generations of young and active choreographers who and dancers who easily learn modern dance movements in the open studios for jazz-modern, yoga, body-ballet, contemporary, etc. Around 2010, the passion of Argentine tango reached this community.

Since then, tango in Moscow has changed under the influence of these schools. The earliest teachers were professional choreographers. In Argentina, there are practically no professionals among the old school teachers. In Moscow, a different situation has developed. Tango has become increasingly more technically sophisticated.The requirements for good tango have increased significantly, along with the number of teachers who organize escenario shows.

Attracting new people, who had never danced, is also becoming popular. Now,, it is possible to learn how to dance not only with a small circle of friends, but also in large sports centers and multi-dance schools. Moreover, students can buy a subscription for regular private and group classes, and get discounts for regular attendance.

At the time of the writing of this article, there are about 65 tango schools located in different parts of the city, offering social to high-tech tango.

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Moscow Tango Guide

Milongas Sunday Domingo Milonga Planetango Práctica Practica Alternative Tango Formación Practica Milonga Bomboncito Prischepov Milonga Monday El Gato Tango Tango Formación Práctica Planetango Práctica Desvan Milonga Milonga Casablanca Tuesday Rendevouz Milonga Tango Formación Práctica El GatoTango Práctica Milonga Prishepov Planetango Práctica Me Gusta Milonga La Milonga Practica B2 Wednesday Fernet Night Milonga El Gato Tango Práctica La Milonga Práctica Planetango Práctica Milonga El Abrazo Tangoformación Práctica AeroTango Thursday Tangoformación Práctica El Gato Tango Práctica Planetango Práctica La Milonga Práctica Medialuna Milonga

Planetango Club Planetango Club Club La Milonga Tretya Tretya Radio City

Ulitsa Nizhnyaya Krasnosel’skaya, 35 Alexandr Bolotov Ulitsa Nizhnyaya Krasnosel’skaya, 35 Alexandr Bolotov Zatsepskiy val, 4k1 Ulitsa Yamskogo polya, 2k3 Ulitsa Yamskogo polya, 2k3 Bolshaya Sadovaya st., 5 Alexander Prischepov

Tretya Planetango Club Cherdak Restaurant Alexey Ivashechkin

Armianskiy pereulok, 7 Ulitsa Yamskogo polya, 2k3 Ulitsa Nizhnyaya Krasnosel’skaya, 35 Kuznetskiy most, 7 Nikolskaya ulitsa, 25, fl. 4

Tretya Lookin Rooms Restaurant Planetango Club

Leninsky Prospekt, 6 Ulitsa Yamskogo polya, 2k3 Armianskiy pereulok, 7 Tverskaya st., 18

Olga Tverdokhlebova

Ulitsa Nizhnyaya Krasnosel’skaya, 35 18 Pavlovskaya street Alex Shamsutdinov

Club La Milonga Radio City

Zatsepskiy val, 4k1 Bolshay Sadovaya, 8

Planetango Club

Ulitsa Nizhnyaya Krasnosel’skaya, 35 Sergey Popov Armianskiy pereulok, 7 Zatsepskiy val, 4k1 Ulitsa Nizhnyaya Krasnosel’skaya, 35 Pestovsky pereulok,3 Alexey Ivashechkin Ulitsa Yamskogo polya, 2k3 Zhukovsky Sergey Schetinin

Club La Milonga Planetango Club Tretya

Tretya Planetango Club Club La Milonga

Ulitsa Yamskogo polya, 2k3 Armianskiy pereulok, 7 Ulitsa Nizhnyaya Krasnosel’skaya, 35 Zatsepskiy val, 4k1 Kalashniy Lane

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Sergey Maga

Milongas Friday Me Gusta Milonga Tango Formación Práctica El Calor Milonga El Gato Tango Práctica Planetango Práctica La Milonga Práctica Le Cafe Milonga Saturday Planetango Práctica Tango Formación Práctica La Milonga Práctica Chiqué Milonga Planetango Milonga Buena Onda Milonga Totango

Tretya

Planetango Club Club La Milonga Romanov Dvor Planetango Club Tretya Club La Milonga Vinzavod Planetango Club

Pavlovskaya street, 18 Ulitsa Yamskogo polya, 2k3 Orlikov pereulok, 1 Armianskiy pereulok, 7 Ulitsa Nizhnyaya Krasnosel’skaya, 35 Zatsepskiy val, 4k1 Romanov pereulok, 4

Alex Shamsutdinov Yuriy Alexeev Alex Shamsutdinov Alexandr Bolotov

Ulitsa Nizhnyaya Krasnosel’skaya, 35 Alexandr Bolotov Ulitsa Yamskogo polya, 2k3 Zatsepskiy val, 4, bldg 1 4 th Syromyatnicheskiy per., 1k6 Ulitsa Nizhnyaya Krasnosel’skaya, 35 Natalia Melnikova Leninskiy Prospekt, 6 Sergey Popov B. Levshinsky per bldg 8a

WebSites Go Tango RU................................. http://forum.gotango.ru/tango-calendar.php Milongas-in..................................... http://milongas-in.com/milongas-in-europe.php?c=Russia&city=Moscow Tango Center................................ http://tangocenter.ru/ TangoCity RU................................ http://tangocity.ru/uk.php Tangomania.................................... http://www.tangomania.ru/ Tango Moskva................................ https://tangomoskva.com/ Tango MSK..................................... http://www.tango.msk.ru/ Tango Portal.................................. http://tango-portal.com/milonga/Moscow Torito.............................................. https://www.torito.nl/ These are some of the Internet resources that were used to build this guide. The guide is a consolidation of information. Please, check these resources in the future, as we all know - things change.

Annual Events Summer Summer Autumn Winter Winter

Milonguero Nights Tango Festival El Huracan Tango Marathon Moscow Tango Marathon Moscow Tango Holidays Planetango Moscow Tango Festival

https://www.facebook.com/groups/milongueronightsmoscow/ https://www.facebook.com/groups/239900959483268/ https://www.facebook.com/groups/1458864771019618/ https://www.facebook.com/groups/238257592999087/ https://www.facebook.com/groups/165913640209469/

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Moscow Tango Guide Schools 5 Life Alma del Tango Arce Tango Academia ArgTango Autentico Tango Balance Club Boombox Bossa Nova House of Dance Casa del Tango Counter-clockwise D-Fusion Dance First Dance First Dance First Dance Studio Dancing Dancing

Leningradsky Prospekt, 12 Leninsky Prospekt, 6 Ulitsa Nikolskaya 25 Ulitsa Yubileynaya, 9 Holodilniy Pereulok, 3 Prospekt Vernadskogo, 95 Krivokolenniy Pereulok 14 Malliy Tatarskiy Pereulok, 8 Ulitsa Bolshaya Nikitskaya 47 Kalashniy Pereulok, 10 Ulitsa Novoslobodskaya 3 Ulitsa Novy Arbat 7 Leningradsky Prospekt, 7 Nastasinsky Pereulok 9 Khodynskiy Boulevard, 4 Khoroshevskiy Prospekt, 2 Prospekt Vernadskogo, 15

http://www.5life.net http://www.alma-tango.ru http://www.arcetango.ru http://www.argtango.ru http://www.autenticotango.com http://www.school.balanceclub.ru http://www.cubansalsa.ru http://www.bossanovaclub.ru http://www.casadeltango.ru http://www.урокитанго.рф http://www.dfusion.ru http://www.dancefirst.ru http://www.dancefirst.ru http://www.dancefirst.ru http://www.tdancestudio.ru http://www.танцквартал.рф http://www.танцквартал.рф

Edissa DNI Tango El Gato Tango El Tango El Tango de Plata El Tango de Plata El Tango de Plata Elcentro Escuela de Tango eTango GallaDance GallaDance GallaDance GallaDance GoTango!

Jetango KOtango La Luna Portenya La Milonga Lessons of Tango Libertango Studio Martae Maximum

Ulitsa Kozhevnicheskaya 14 Armyanskiy Pereulok 7 Bolshoy Ovchinnikovsky Per. 24 Bolshoi Ovchinnikovskiy Per. 53 Ulitsa Panfilova Prospect Mira, 43 Olimpiyskiy Prospekt, 16 Shelaputinskiy Pereulok, 6 Chistoprudniy Boulevard., 2 Krasnopresnenskaya Nab., 12 Olympic Pereulok, 16 Smolenskaya Square, 3 Michurinsky Pereulok, 21 Ulitsa Yubileynaya, 4k3 Ulitsa Novodmitrovskaya 5 Ogorodnaya Sloboda Per., 14 Ulitsa Dekabristov, 8 Ulitsa Zatsepskyy Val 4 Ulitsa Druzhinnikovskaya 30 Ulitsa Martenovskaya, 30 Ulitsa Bakuninskaya 14 Prospekt Vernadskogo, 29

http://www.edissa.ru http://www.elgatotango.ru http://www.eltango.ru http://www.tangodeoro.ru http://www.tangodeoro.ru http://www.tangodeoro.ru http://www.elcentro.ru http://www.edtango.ru http://www.etango.net http://www.galladance.com http://www.galladance.com http://www.galladance.com http://www.galladance.com http://www.gotangozel.ru http://www.jetango.ru http://www.kotango.ru https://www.facebook.com/groups/VIgorTango/ http://www.tangocenter.ru http://www.uroki-tango.ru http://www.libertango.studio http://www.marte.ru http://www.maximum-dance.ru

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Schools NeoTango

Ulitsa Sadovaya-Spasskaya, 19

NeoTango Open Dance Studio Otro Tango Otro Tango Planetango Step Tance Mania Tango Asi Tango Asi Tango Asi Tango Bravo Tango City Tango City Tango City Tango City Tango Formacion Tango Jam Moscow Tango Salon Tango Street Tango without rules Tangolife Tangolife Tangomagia TangoMio Tanz Kartal Theater Studio Theater Studio Argentine Tango Argentino Uno Tango VIgor Tango VIgor Tango VIgor Tango VIgor Tango VIgor Tango VIgor Tango

https://www.facebook.com/NeoTango-Школатанго-Москва-Королев-1101210159969309/ Ulitsa Komytetskaya 2 https://www.facebook.com/NeoTango-Школатанго-Москва-Королев-1101210159969309/ Duhovskoy Pereulok 12 http://www.odstudio.ru Ulitsa Krasnaya 90 http://www.otro-tango.ru Sretenskiy Pereulok 560 http://www.otro-tango.ru Ulitsa Krasnoselskaya 35 http://www.tangocenter.ru Yubileyniy Proezd, 6A http://www.step.su Ulitsa Kuusinen 9 http://www.tancemania.ru Ulitsa Povarskaya, 33 http://www.tangoasi.ru Ukrainian Boulevard, 15 http://www.tangoasi.ru Protochniy Pereulok,9 http://www.tangoasi.ru Ulitsa Zemlyanoy Val 27 http://www.tangobravo.ru Orlikov Pereulok 1 http://www.tangocity.ru Ulitsa Ostozhenka 7 http://www.tangocity.ru Ulitsa Arbat, 51 http://www.tangocity.ru Smolenskaya-Sennaya Square, 27 http://www.tangocity.ru Ulitsa Yamskogo Polya 3 http://www.tangoformacion.ru Ulitsa Bolshaya Ordynka, 53 http://www.tangojam-moscow.ru Leninsky Prospekt, 6 http://www.tangosalon.ru Granatny Pereulok 12 http://www.tangostreet.ru Ulitsa Semenovskaya, 42 http://www.tango-bez-pravil.ru Ulitsa Timur Frunze, 11 http://www.tango-life.ru Ulitsa Malaya Ordynka 25 http://www.tango-life.ru Krivokolenny Pereulok 5 http://www.tangomagia.ru Kalashnyy Pereulok 10 http://www.tangomio.ru Ulitsa Tikhvinskaya 9A http://www.танцквартал.рф Ulitsa Malaya Ordynka 25 http://www.tangostudio.ru Semenovskaya nab., 3 http://www.tangostudio.ru Ulitsa Sokolovo-mesherskaya, 29 http://www.tango-argentino.ru Shelaputinsky Pereulok 6c http://www.unotango.ru Ulitsa Kedrova 13 https://www.facebook.com/groups/VIgorTango/ Ul. Sharikopodshipnikovs, 15 https://www.facebook.com/groups/VIgorTango/ Ulitsa Glavnaya, 2k1 https://www.facebook.com/groups/VIgorTango/ Ulitsa Kirova, 19 https://www.facebook.com/groups/VIgorTango/ Ulitsa Stromynka, 11 https://www.facebook.com/groups/VIgorTango/ Ulitsa Tikhvinskaya 9A https://www.facebook.com/groups/VIgorTango/

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Sunset Tango Collages Denise Mumm

Denise Mumm creates her tango collages in a studio in her house in Staten Island, New York, where she has lived since 1982. She is a native of Sioux City, Iowa. She grew up with a watercolorist mother and a father who made ceramics. Denise earned both her BFA in painting and MA in metalworking and jewelry from the University of Iowa.

Denise Mumm’s tango imagery began, naturally enough, soon after a tango pilgrimage to Buenos Aires. As a srudent of tango, she travelled there un 2005. Frustrated by her shopping for paintings of tango dancers to take home, Mumm had a eureka moment. She realized that as an artist, she could make her own tango artwork and it would more satisfactorily express her experience of the dance.

As with the tango itself, creating these images has become a near obsession. Her collages focus on details of the dance that only a dancer knows, such as the embrace. the precision of the placement of the feet, and the variety in handholds.

Just as every tanda is different, there are endless variations. Each of Mumm’s pieces, from the smallestm measuring only four inchesm to the large collages on unstretched canvas that are six feet across..

Mumm’s technique for creating these collages was honed as a studio assistant in the 1980’s, working for the well-known feminist artist Miriam Shapiro . Shapiro and Faith Ringgold, for whom Mumm also worked became her mentors and role models. Both these artists also combine figures with bits of pattern, in vivid colors.

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The patterns in Mumm’s work sometimes refers to the fileteado and settings from Buenos Aires. But, there are also purely decorative elements and New York City references.

The dancers Mumm uses for models come from the New York City tango community. They are friends, teachers and dance partners. She sometimes includes herself.

Her continuing source of inspiration is a beloved and particularly unique New York City setting for tango. It is Volvo Tango, held in warm weather on Pier 45, alongside the cooling waters of the Hudson River at sunset. These dramatic shadows and highlights and the golden colors of the sunset have found their way into more than one collage. Along with the sloping curve of the pavilion that frames the dancers, these are a continuing inspiration. The peace and beauty of the setting and the effect it has on the dancers is apparent.

To find out more about Denise Mumm visit her website http://www.denisemumm.com and her Etsy store http://www.etsy.com/shop/DeniseMummArt.

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Jonathan Goldman — Quartango

interview by

Marco Buso

Quartango is a Canadian musical project born more than thirty years ago and still strong and healthy thanks to its wonderful musicians, who continue to this day to experiment a unique mix of tango, classical and jazz music, blending together three of the greatest musical traditions of our world in exciting new ways.We at Modern Tango World had the pleasure to talk with Jonathan Goldman, bandoneonist of Quartango MTW: Jonathan, first of all let me thank you very much for being here and talking a bit about Quartango with Modern Tango World.

Jonathan: Thanks to you Marco! A pleasure to be here.

MTW: Let’s start from scratch. We would like to know something about your musical background.

Jonathan: I was born in Toronto and studied piano at the Royal Conservatory of Music as a boy. In high school, like many teenagers, I taught myself to play the guitar and played the bass in a rock band. For university, I moved to Montreal and attended McGill University, studying philosophy and mathematics. I did find time however to make music: I composed and conducted the score of a student film while I was there.

After university, in 1995, I spent a year travelling, and had a formative experience when I heard two Moldavian accordionists performing in Jerusalem: I realized that their was a tradition of highly expressive and virtuosic accordion playing, something that many North Americans are not aware of. Later, I bought my first accordion, and found a wonderful teacher in the Romanian jazz accordionist Marin Nasturica, who lives in Montreal.

The accordion led me to the tango and to the music of Astor Piazzolla — a very conventional progression.

I’m not claiming any originality here! I fell deeply in love with tango music and yearned to learn the bandoneon. By that time, I was involved in intense graduate studies in musicology at the Université de Montréal, where I am now a professor of musicology. I thought that learning the bandoneon would distract me from my studies. However, in 2001, I did publish an arrangement of Piazzolla’s Double Concerto for bandoneon, guitar, piano and optional double bass. Around 2003, I founded a tango band: it was called Sweatshop Tango and was a Piazzolla-style tango quintet, except with accordion instead of bandoneon. In 2004, we put out a CD called De la Main á la Boca and we performed at the Montreal International Jazz Festival in 2007.

It was about a year or two before this that I began performing on the bandoneon, which is today the only instrument I perform with. At the same time, I started performing with Quartango, and went with them on a tour of the U.S. and Canada. Around the same time, I finished my PhD in Musicology and got a job on the west coast of Canada at the University of Victoria and had to leave Quartango. In 2011, I published a book about Pierre Boulez. I must be the only tango musician who has written a book about Pierre Boulez!

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While on the West Coast, I started performing with Linda Lee Thomas, wonderful pianist of the Vancouver Symphony Orchestra and tanguera. She has performed with bandoneon greats, like Daniel Binelli and Nestor Marconi. In 2013, I joined the faculty of the Université de Montréal, and began performing with Quartango once again. I have been a permanent member ever since.

MTW: How and when was the Quartango project born?

How did you meet, how did you start working together?

Jonathan: Quartango has a long and illustrious history in the Canadian tango world. It was established more than thirty years ago, around 1984, by three Argentinean and Uruguayan immigrants and one Canadian. Adolfo Bornstein (violin), Romulo Larrea (bandoneon), Ramon Pelinski (piano) and René Gosselin (double bass). René is the only founding member left today, and it is thanks to his energy and artistic integrity that it has lasted so long.Today, all four members of Quartango are Canadian-born. In addition to René, there is Stéphane Aubin (piano), Antoine Bareil (violin) and myself on bandoneon. Stéphane has tons of experience accompanying major French-language singers, like Lara Fabian and Charles Aznavour. Antoine is a much sought-after violinist who is, among other positions, concert master of the Laval Symphony Orchestra.

René, the founding member, is principle double bass of the Orchestre Métropolitain. Each of us found his own route to tango and contributes to the group as composer and arranger. Each also brings his own influences: Stéphane, for example, has so much experience with vocal music that he brings us extremely lyrical, melodious compositions. Antoine is a fan of progressive rock, Frank Zappa and American minimalist music, and you can hear those influences in his compositions. I am more of the tango purist. I idolize tango Masters and groups like Horacio Salgan, Juan d’Arienzo, Sexteto Tango, Quinteto Real, Leopoldo Federico, etc. I try to look back to older eras of tango in my compositions or arrangements.

MTW: How would you define Quartango in a musical way? Did you have any particular musical inspiration from other artists?

Jonathan: Quartango is known for blending styles in unusual, surprising ways. In the beginning, we would blend tango with a lot of classical music. In our arrangement of La Cumparsita, for example, arranged by our previous pianist and musical director, Richard Hunt, there is a prominent quotation of one of Chopin’s piano concerti.

Why? For fun!

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We have worked for over twenty years in particular with Roxana & Fabian Belmonte, a wonderful couple of dancers from Buenos Aires. We love working with dancers, and do occasionally perform at a milonga after our concerts.

However, most of our shows are purely instrumental: we usually perform in 300-400 seat theatres with a standard seating plan.

MTW: Where do you think tango is going in the future?

Jonathan: I am reluctant to be a futurologist. Usually, important new developments are unexpected. Who would have guessed that Gotan Project would have scored such a huge success at the beginning of the century? I am sure musicians and dancers will find ways to innovate.

In more recent music, we still make allusions to other genres, like French chanson and movie music. You can hear it on the album we made in 2014— Encuentro.This album won us a Juno Award, the Canadian Grammy.

You can also hear these allusions in our most recent album: J’aime les nuits de Montréal — a tribute to the golden age of jazz clubs and cabarets in Montreal during American Prohibition. The music is meant to evoke that era, including references to Edith Piaf and Alys Robi.

MTW: How do you approach composition?

Jonathan: We are quite traditional in our composition methods. We are all classically trained, and we arrive at rehearsal with entirely composed pieces, with parts written out and fully notated, etc. But, these parts become a starting point, and each of us plays around with them, transforming them, as our understanding deepens.

MTW: What are your current projects with Quartango, and what can you tell us about the future of the group?

Jonathan: We are currently busy promoting our album J’aime les Nuits de Montréal, and its accompanying concertspectacle Les Belles Années. For this show, we worked with stage director Alain Gauthier to develop its scenic aspects.

It is a show that uses sampled sounds, lighting, costumes and dialogues to create atmosphere and evoke a specific setting and historical period. We hope to perform it as much often possible, because it is a real departure for us: on the album, we only perform one Piazzolla tune out of fourteen!

MTW: And we at Modern Tango World can’t wait to see and hear it! Jonathan, thanks for sharing with us your amazing musical experience and for letting us know more about the fantastic blend of tango, classical and jazz music of Quartango!

MTW: From your point of view, is Quartango music meant to be danced, or at least danceable? Have you ever worked together with dancers?

Jonathan: I would say that of all the musicians in Quartango, I am the one with the most experience accompanying actual milongas. My old band, Sweatshop Tango, performed frequently in tango schools around Montreal.

That being said, Quartango often performs original choreographies with dancers, set to our music.

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The Other Night at La Viruta Daniel Pereyra

What better way to immerse yourself in the underground of La Viruta than on an evening created by the famous orchestra Otros Aires.

I began to go to La Viruta about six years ago, when the milongueros in my native Montevideo had repetedly recommended it. They had been going continuously to dance there. It made me curious. At the time, I was dancing and taking tango lessons.

So, one day I gave in. ... I went to the capital of Argentina. Although I lived in the north, I knew that at any moment, I would go to this gran milonga porteña. But, I did not know, and it was not in my plan, to fall in love with this night club.

On one Friday, I had the great opportunity to go inside.

Would be be all that they told me?

I entered a huge hall. Nothing indicated that there was a milonga and yet the sound came from below. I followed the sound where it went. Then, I saw the steep staircase.

With each downward step, the sound became more intense. really I enjoyed this. I began to feel that my night would fill my senses.

At that time, the box office presented you with a window full of tango CDs. The discs of Tanghetto, Narcotango, Ardit and others were prevelant. Well, here I was on the groundfloor. I was theirs forever. I began to hear her heartbeat, her percussion. I learned this woman’s name.

They called her Viru with great affection. She belonged to everyone’s, but I would make her mine.

I went down another staircase that left me at the level of la pista, the dance floor. I took the option to turn to the right. Custom or habit? Musical ritual? Kabbalah? A whim? I dont know. But, right was right, tonight.

Walking after going down steps with eyes acclimatizing in the darkness of the room, ears already full of tango music, my steps became shorter and walking between couples that were going and coming. Then I stop to help a waiter with a tray making it difficult to reach the end of the corridor that ends at the stairs to the women’s bathroom.

My eyes flick around looking for possible future dance partners for during night. The dance floor is full. It will remain so. But soon, I will be there, myself. I could not find a place to sit. All the chairs occupied. Every table was full of milongueros. But this did not matter that much.

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When standing there I also had some advantages. I could watch more of that world than the other milongueros.

And, I was able to move to see something interesting.

Here they were, the milongueros, the saloneros, the professionals, the new, all mixed and of different ages. I saw them with my eyes wide open, the most talented dancers that came along the edges of the dance floor turning and taking elegant steps, dressed for the occasion and without speaking. Serious dancers enjoying the pleasure of dancing, with a thousand colors in dim light and a thousand different styles of dancing.

Further inside were the newer layers of milongueros and future milongueros. All wrapped in music that seemed to enter through the chest because of the wonderful sounds emitted by the giant speakers. I was still outside the dance floor, the newest visitor to La Viruta. But, I knew that the evening was long and the orchestra had not yet reached the stage. I ordered a flavored citrus drink — a taste and smell that I will forver associate with La Viruta.

I stared at the long bar with all its benches occupied and behind it countless bottles lining on the mirrored shelves.

In the middle of the bar, a team wine stwards the gastronomic army that moved quickly to attend customers. In the background was the queen, her majesty, a giant silver coffeepot.This is what I could see as I moved it to the left.

The tango had begun. I could not wait for next cortina. It had already past twenty seconds ago. I did not know anyone, they did not know me, I could not receive a rejection. I wanted to dance before the singer began. I had to start before the singer to enjoy that tango.Then, I saw her standing like me, about ten meters away and looking at the dance floor. It was impossible to cabaceo.

Her outstanding stature and beauty could be seen in the dim lights. It was easy to see why I might choose her. And she was more than ready. She was moving her feet. It was visible as he moved on her tanned and uncovered shoulders. I moved closer. I would need to speak or nod if she just turned her head towards me.

But her eyes and mine did not meet until she was almost within a meter. My head made a gesture accompanied by a slight signal from my eyes, and I received a splendid smile from this woman, accepting my proposal.

When I got to the floor, I took her by the waist. I raised my hand to embrace her and closed the space between our bodies. With my left hand, I felt her soft hand as she leaned into me at the precise moment when the singer gave began to sing. That night, I found two loves, the second is named Maria.

I wanted to become a protagonist in this story. I wanted to dance had the perfect accomplice to match Aníbal Troilo and Alberto Marino. I waited for a piece of music that demanded that I must be on the dance floor — Así es Ninón. I searched around, without much time.

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Tango Book Review Tango Awareness

Alexandru Eugen Cristea

by Mauricio Castro

This is by far one of the books that have changed the way Argentine Tango is taught and understood around the world.

Born in Buenos Aires, Argentina, master Mauricio Castro has solid musical education. He attended Berklee College of Music in Boston, studying contemporary dance and movement techniques, like Laban Analysis, Bartenieff Fundamentals and the Skinner Releasing Technique. He then extended his studies into Human Sciences in Neuro Linguistic Programming, Human Engineering and Human Ecology.

Unhappy with the present approach of teaching tango and considering it old-fashioned and unreliable for the present day student, he has developed a coherent method that he called Tango Discovery. Although his personal way of dancing could be called tango nuevo, Tango Discovery is a method and not a dancing style. The method that can be successfully applied to teaching any particular style of tango such as milonguero or tango salon.

The Tango Discovery method of learning is based on three skills: tango awareness, organic structure and 100% improvisation.This first book introduces tango awareness, the way people lead and follow the basic movements in Argentine tango.

Considering that tension in the embrace reduces the pleasure for both partners and fixed sequence of steps are often too difficult and too ancient to learn for the modern, intelligent tango enthusiast, he has developed special exercises that boost tango skills after a few exercises.

The concepts described in the Tango Awareness book are clearly explained in a modern and funny language that will make you laugh and enjoy the book. Learning to enjoy leading and following with any partner is just the beginning of a wonderful journey in this book. Changing following from being a passive boring activity to a fun and enjoyable ride is very easy. Master Mauricio Castro says that this can be done by understanding the fusion points (gestures by the partner) and simply by enjoying the music.

The book also contains social and psychological exercises to improve your behavior and enjoyment of the milonga for both the man and women. Some of them may seem funny or strange, but as a person who has tried them all, I can definitely acknowledge their tremendous value.These practical exercises will also help you gain a more elegant, flexible and responsive posture. I recommend the book as a break-through in the present day teaching methodology. It is useful for beginners and advanced students, and it is a great help for the open-minded teacher of tango.

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Why there is so little dance in people dancing tango

Veronica Toumanova

The most difficult thing for a tango teacher is not teaching the correct movement, it is getting people to dance. So what is it that we teachers (and dancers) find so difficult? Common dictionaries define dance as moving rhythmically to music, typically following a set sequence of steps. On the surface this definition is correct and according to it every single person on the dancefloor is dancing. But soldiers marching to a military song are also moving rhythmically to music. Intuitively you always recognise people who are dancing and who are just moving rhythmically when you are in a milonga. You will always prefer to watch those who dance.

Let’s first see what it is not.

Dance is not technique. You don’t need the perfect technique to dance, it is actually the other way around. You need to dance to build a skill. Dance does not come from the understanding of shapes, balance and dynamics, nor from the physical ability to create those shapes, balance and dynamics. You need the technique to make your dance effortless and expressive, but even a small child can already dance. In great artists you admire the technique, but it is the dance that touches you emotionally.

Dance is not physical movement. Or, to be precise, it is not ONLY physical movement. A purely physical exercise is common in sports, for sports are about getting a result. Dance does not strive for a result, it strives for expression. Like pushing piano keys is not necessarily music, so moving in space is not necessarily dance.

Dance is not effort, either, it is effortlessness, which simply means effort that is adequate to the task.

Dance is not the embrace, the embrace is where dance is created. Tango is known as “the dance of passion” and historically shows a sensual play between a man and a woman. Sensual or sexual tension is not necessarily present between the dancers, it is merely expressed. A common confusion in tango is that this sensual connection, or in simpler terms a flirty attitude is the source of the dance. However, embracing a man or a woman sensually will not create a dance. The connection in tango goes much deeper than a sexual connection between a man and a woman, it is a profoundly human connection. Sensuality can enrich the dance, but not replace it. This is why tango is possible between two men or two women or between a female leader and a male follower.

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Dance is not your connection to the music, either,. Although your musicality is an important factor in creating a dance. Whether you are able to translate the way you hear the music into movement depends on many things, but like the embrace, music is only one of the ingredients for the creation of a dance.

Dance is about your energy using your body to express feelings and ideas that originate in how you hear the music, associated with a specific movement vocabulary and in connection to your partner’s movement. Every creative act, from cooking to telling a story, needs ideas, energy and ways of expression. In dance the way of expression is your body. Therefore dance is not something you DO, it is something you must BECOME. So, why is there so little dance in people dancing tango?

The specifics of tango is that it has two equally important components: the need to move yourself and the need to communicate with your partner (impulse exchange, or leading/following). You can work on your own movement, but for tango this is only half of the story. You need to spend almost as much time learning to communicate with your partner by very subtle, practically invisible movements and intentions. You dance embracing each other and even the slightest movement of your body is felt clearly by your partner. The embrace in tango is an extremely sensitive environment and can be a source of huge discomfort or profound joy.

When the teachers do the small stuff the students copy that, with the effect that they stiffle their desire to move in order to be quiet. They cannot yet move freely AND lead/follow subtly at the same time. By stifling the desire to move they block their energy from flowing, with tension as a result. The embrace becomes a rigidly fixed shape. Add to this the necessity to navigate a space full of other stressed-out couples and the picture is complete.

All over the dancefloors we see people stifling their natural desire to move, trying to remain “fixed” in this extremely sensitive environment of their jointed embrace. The desire to move is often also blocked by personal difficulties. Shyness, fear of exposure, fear of failure, fear of contact, inability to connect to the music and therefore to get the ideas and feelings to express.

We also see the opposite: people letting their energy run free, moving a lot inside the embrace, which does create a sort of a dance, but the communication between partners amounts to two people shouting at each other while standing only a foot apart.

Tango is a conversation and in order to have a conversation you need silence. To communicate by impulses with another person you need to create a quiet space so that the tiniest of intentions is transmitted.This is what makes tango such an introvert and a fulfilling dance emotionally, for we do not remember the steps, we remember the quality of the connection. We remember sensations.

People who start learning tango are confronted with the fact that they cannot just dance to the music. If they do, they disconnect from the partner. Tango classes are built on two levels, teaching people to communicate by subtle movements and to move expressively themselves, so that they can match the energy of the music. This is what you see in highly skilled dancers: they look calm, natural, often unmoving in the upper bodies, locked in the embrace, yet as a whole they can create most extreme dynamics and become infused with the music.

The teachers have the complex task of showing both the dynamic side and the stillness of tango.

What does a beginner imitate? That which is most visible to the eye. When the teachers show very dynamic dancing, the students naturally copy the big movements, to the detriment of the connection in the couple.

In order to learn tango you have to do it wrong before you can do it right, which means allowing your energy to move no matter what. It does not necessarily mean move A LOT, but sometimes this is what will inevitably happen. When children or puppies learn a new skill they start moving with a simple goal in mind and do it again and again, moving too much or too little, falling over and getting up, trying this way and that, until they get the right reflexes activated and the movement is stripped of everything it does not need to be effective.

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But to become like a child or a puppy is a very hard thing for adults. It is challenging for people to find themselves novices at something, especially when watched and judged by other people around them. Children do not mind doing it wrong, but adults want to do it right from the start. The quickest learners in tango are those who are not afraid to move, not afraid to lose themselves in movement and music, not afraid to look ridiculous.

Besides, most of us come to tango after having had a largely intellectual education. We live in our heads and our computers, not our bodies. We try to process intellectually what is happening to us. This is not effective when learning movement. Your body works in ways you cannot fully fathom, let alone fully control by your mind.

Do you control your digestion? Do you activate your heartbeat? Do you consciously push the blood through your veins? In your brain there are more neural connections than there are stars in our galaxy, and this is a fact, not a figure of speech. Are you controlling them? Or are they controlling you? Stiffness in a dancer is often the result of his or her conscious mind trying to understand and control every movement BEFORE it happens, which is simply not possible.Your mind is not running the show, it only helps you to understand the intention and the mechanics of the movement.This is why leaders implore their followers: Please stop thinking!

To be able to become dance you have to allow your whole being to abandon itself to the energy that you are generating yet stay fully present and aware of what is happening. Mere abandonment will lead to automatic movement. Aware abandonment will create true dance and the true bliss that we are all looking for in tango.

Dance is that special state of being called flow. It sounds difficult, but actually it is not. To flow is the most natural thing for a human being to do. It is what you do when you are not trying to control what happens, when you are not efforting. You need to become a dancer before you can become an advanced dancer, and to dance means to embody each movement fully. This way, no matter your skill, you can dance from your first tango day to the last.

Isn’t it good news?

Visit Veronica’s website at: http://www.verotango.com/

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New Tango Music

Arndt Büssing

Los Milonguitas: Los Milonguitas The Buenos Aires trio Los Milonguitas is composed of Pablo Murgier (piano), Simone Tolomeo (bandeneon) and Alessio Menegolli (bass).

Their stated goal is to attract the dancers to fill the milonga dancefloor. In this album, they present their tangos in the context three tandas. Each tanda is in the style of a traditional composer — Juan D´Arienzo, Miguel Caló and Anibal Troilo, with three cortinas containing recitations .of grand dame of tango, Adriana Varela.

There are two bonus tracks in which the trio invited additional musicians, two violins and one bandoneon to enhance their sound spectrum. Although, the trio is restricted in the range of its expression, they use their abilities as trained musicians and versatile arrangers to dynamically explore the musical richness of thirteen songs, plus three tandas using the same song.

The album presents the trio´s unique interpretations of songs such as the 1941 tango Mariposita by Anselmo Aieta or the 1919 tango Inspiración by Peregrino Paulos. They also present some of their own songs — Amelia and Milonga de la Torre by pianist Pablo Murgier and Elegante Sport by bandoneonist Simone Tolomeo, These songs have a particularly fresh vibe and cheerfulness. For me, Los Milonguitas have the convincing, clear feeling that dancers expect. Their music is a prerequisite for a perfect milonga under a beautiful evening sky.

Overall Scoring **** Dancer´s pleasure > Listener´s pleasure Duration: 40 min.

Artist´s website: http://www.losmilonguitas.com

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Javier Di Ciriaco: íntimo Argentine singer-guitar player Javier Di Ciriaco, the singer of the Sexteto Milonguero, lives all the words he sings. He seems to experience all these high emotions of the tango lyrics and makes the audience feel them. This is particularly true of his version of Nostalgia by Juan Cobián and Enrique Cadícamo. Often this may be too much, but he carefully keeps the balance.The singer says that many years ago, he began singing with all his senses beginning to feel the interconnection of body, soul, and the audience — Intimo.

He enthusiastically manages this wide range of thirteen different songs, including a foursong potpourri that deserves applause.

Apart from classical tangos, such as Carlos Gardel´s Volver and El dia que me quiera, he sings beautiful non-tangos such as Zamba para olvidar by Daniel Toro and Julio Fontana, and Gracias a la Vida by Violeta Parra, He also sings contemporary pop songs such as Maria Carey´s My All and Elton John´s Sorry that seem to be difficult with Spanish lyrics. But, it works fine.

Astor Piazzolla’s Oblivion with Horacio Ferrer’s lyrics surprises with an arrangement quite different from what tangophiliacs might expect. Two songs on the CD were written

by Javier Di Ciriaco, himself.These songs underline that he is not only an impressive interpret of other composers´ songs, but also a great songwriter. especially the rocking final song Miradas Perdidas.

His voice is in the forefront of the mix with the beautifully played piano by Burkhard Heßler that dynamically supports his interpretations. In some songs, he also plays a guitar. This is more than enough to convince the audience. I really like these recordings which are never intrusive. Both musicians have a very sensitive approach, with required pathos here and there. His live shows are a must.

Overall Scoring ***** Dancer´s pleasure < Listener´s pleasure Duration: 63 min.

Artist´s website: http://www.tanguentro.com

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Mosalini Teruggi Cuarteto: Chamuyo The Mosalini Teruggi Cuarteto is one of the outstanding ensembles of the contemporary tango scene.

Juanjo Mosalini (bandoneon), Sébastien Surel (violin), Romain Descharmes (piano) and Leonardo Teruggi (double bass) are brilliant musicians who make up the quartet. They play with a rich sense for dynamics and with all the tonal colours of a quartet. The twelve compositions on this second album are written by Juanjo Mosalini and Leonardo Teruggi. They are definitely worth a listen.

This is not easy-listening music to please the dancers. Instead, it is multifaceted narrative songs located somewhere between tango and chamber music. Virtuosity combines with temperate sensibility to produce a post nuevo music.

I prefer their ethereal pieces, such as the beautiful Mar y Sol and 777. But, Nada Casi also attracts me. Mosalini´s Code 18 and also Teruggi´s Era de esperar start with a strumming mandolin sound played on the violin, and a haunting melody dominated by the bandoneon and violin. The piano and double-bass give these compositions the necessary structure in the sense of the ensemble. Teruggi´s Milonga del Eco is a highly atmospheric piece of music dedicated to Astor Piazzolla. It starts slowly and thoughtfully, before unfolding to something quite fragile.

It is wonderful to hear how the four musicians carefully listen to each other and how they uncover the soul of each of these songs. They make them speak to their listeners´ heart.

Overall Scoring **** Dancer´s pleasure << Listener´s pleasure Duration: 61 min.

Artist´s website: http://www.mosaliniteruggi.com

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Tango Moves

Raymond Lauzzana

Boleos (Voleos) — Any number of leg whipping actions. Some of them are led[ others are unled. When

led. they are usually caused by a sudden change in direction. The lady’s free leg either awings behind or crossward. in frony. For medium height boleos, the lfollower keeps knees together, while swiveling on the supporting leg, throwing or whipping the free leg. Boleos may be low or high; linear or circular. Iy is sometimes called a Latigazo or Golpe Fuerte when led by the leader briskly reversing directions, causing the follower to kick a boleo. In all cases, it is important for the follower to keep the free leg as limp as possible, allowing the leader to flick or move it.

Circular Forward Boleo (Voleo Adelante) This is probably the most common form of boleo. It occurs when the follower’s forward circluar motion is interrupted or suspended, typically from a forward ocho. The follower’s forward leg lifts foot from the floor and flies to the side, wrapping around the standing leg in front of the knee to form a cuatro. or figure four.

Circular Back Boleo (Voleo Atrás) This occurs when the follower’s backward circluar motion interrupted or suspended. Typically, this is during a back ocho. when the follower is stepping backward. When the follower’s movement is interrupted, or reversed the follower’s

Linear Back Boleo (Voleo en Linea) When walking in a normal caminando, the leader may abruptly reverse directions and stop or walk backwards.This will interrupt the follower’s backward movement, causing the follower’s free leg to lift into the air behind. If done with great gusto, this may produce a voleo alto or high boleo. In a high boleo, the follower’s leg is raised to bring the thigh parallel with the floor. High boleos are banned from many dance floors because of the possibility of kicking other dancers.

Linear Forward Boleo (Voleo en Linea Adelante) This occurs when the leader stops the follower’s forward linear movement, causing in the follower’s leg to lift into the air in front. Since the leader rarely walks backward, this is a rather unusual move. It is usually combined with other movement, such as the beginning of calesita with a gancho or a follwer’s frontal golpe before a sacada.

Low Boleo (Voleo Bajo) Almost any boleo may be kept low by the follower. The concept is to restrain the effect of the boleo. In this case, the follower’s leg is raised only slightly above to the ankle.

Figure Four (Cuatro) A follower’s adornment that crosses and raises the free leg in front of the other leg, so that the shin is parallel to the floor and the toe pointing downward to form a figure four. The free leg may then waved back and forth, before returning to the floor.

Unfolding (Developé) Sometimes, during a parada, the follower steps cross behind with the foot. She then swivels 90°, then draws the leg slowly up so that the thigh is parallel to the floor. May follow other moves, such as a calesita, before recovering.

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Mutual Boleos (Voleo Mutuo) In a giro combined with a colgada or volcada, the dancers share a mutual axis, as they rotate. During this rotation, the dancers alternate boleos while they spin. This is not an easy move, and requires practice together to get timing and balance correct.

Kicks (Golpes) Any sudden exerted action that lifts the dancer’s foot off the dance floor. There is a huge variety of golpes that followers may employ as an adornment. Usually, these are performed during the interlude portion of the song when the leader pauses to allow the follower to express their interpretation of the song.

High Kick (Golpe Arriba) While softening the supporting knee, the follower kicks the free leg as high as possible, in any direction, straightening it and pointing the toe.

Kick Ball (Bola Golpe) Forward flick of the foot after touching the ball of the foot, to the floor and before changing weight.

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Fan Kick (Golpe de Artisande) After kicking forward, the follower extends the leg high and straght around in a circular, with a motion similar to develope.

Back Kick (Ruade) A short quick unled rearward kick by the follower. The leg is bent at the knee, similar to a boleo, but unled.

Mule Kick (Retroceso) A sudden straight backward movement by the follower’s free foot, followed by a slow recovery.

After, the leg is a fully rolled ot, the follower pushes out a rearward kick. She begins with a bent knee in the free leg and straightened it out so that the shin is parallel to the floor.

Kick Step (Paso Golpe) A step forward followed by a rebound with a light forward flick of the forward foot.

Knee Flick/Snap (Golpe de Rodilla) A slight, sharp sideways flick of the knees together, one knee against the other. Both together can be rather ugly.

Leg Drop or Heel Tap (Gota) An unled adornment by he follower in which the heel of the standing leg is raised in-place and lowered again sharply.

Fan (Artisande) Tracking the floor either forward or backward, skimming across the floor in a circular sweep.

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Knee Up/Stork (Rodilla/Cigüeña) Standing straight legged on supporting foot, with free foot against the supporting knee and toe pointed downward. This is an unled position that the follower may choose during an interlude in the music.

Calesita with Boleo As the follower is rotated counter clockwise, supported on the right foot, the leader rapidly reverses direction causing the free leg to be flung out. This will only work if the follower’s free leg is not locked with the supporting foot.

Round Fan (Planeo) The leader lowers the follower’s body so that the free leg is extended behind.The leader then rotates the follower on the standing leg, causing the leg to sweep the floor. The move is ended by the leader rising up and may be finished with a gancho or pasada.

Double Round Fan (Planeo Doble) The partners dance in parallel reflection, both partners on the same foot. For example, if both dancers are standing on their left foot, as they simultaeneously extend their right foot back 90° and then sweep the free leg as much as 270° to close and collect. The dancers standing feet should standing on insteps. Depending on the stance, different finish results are produced - pasada, boleo, cuatro.

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Letters So beautiful.

— Claire Colliard Great magazine!!!

— Evgeny Morozow Your magazine is beautiful.

— Lauren Bolshakov a GREAT idea!.

— Guido Mattiussi Awesome!

— Valecia Cigar Fantastic — Elisabeth Babarci Wow! ... I will gladly support this mission of yours with a subscription.

— Eric A. Naro A great magazine.

— Karen E. Lile

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39.Vlada Zakharova Theater-Studio....Malaya Ordinka, 25

38,VIgor Tango............................................Sharikopodshipnikovskaya, 15

37. Uno Tango.............................................Shelaputinsliy pereulok, 6k3

36.Tantskvartal...........................................Tikhvinskaya, 9

35.TangoMio...............................................Kalachniy pereulok, 10

34.Tangomagia............................................Krivokolenniy pereulok, 5k4

33.Tangolife..................................................Timura Frunze, 11k7

32.Tango Street..........................................Granatniy pereulok, 12

31.Tango Salon...........................................Leninsky prospect 6k7

30.Tango Lessons......................................Druzjinnikovskaya, 30k1

29.Tango Jam Moscow............................Bolshaya Ordinka, 53

28.Tango Formacion.................................Tretya uitsa Ya,skogo Polya, 2k3

27.Tango City..............................................Orlikov pereulok, 1

26.Tango Bravo..........................................Zemlyanoy Val, 27k3

25.Tango Asi................................................Povarskaya, 33

24. Protiv Chasovoy..................................Kalachniy pereulok, 10

23. Planetango.............................................Nizjnyaya Krasnosel’skaya, 35k59

22. Open Dance Studio...........................Dukhovskoy pereulok, 12

21. NeoTango.............................................Sadovaya-Spasskaya, 19k1

20. Martae....................................................Bakuninskaya, 14k1

19.La Milonga..............................................Zatsepskiy Val, 4k1

18. KOtango................................................Ogorodnaya Sloboda, 14

17. GallaDance...........................................Krasnopresnenskaya naberezjnaya, 12

16. eTango....................................................Chistoprudniy bulvar, 2

15. Escuela de Tango.................................Shelaputinsliy pereulok, 6k3

14. Elcentro..................................................Olimpiyskiy prospect, 16k1

13. El Tango de Plata..................................Bolshaya Ordinka, 53

12. El Tango..................................................Bolshoy Ovchinnikovsky pereulok, 24k5

11. El Gato Tango.......................................Armyanskiy pereulok, 7

10. Efecto Tango.........................................Ostozjenka, 7

09. Edissa DNI Tango................................Kozjevnicheskaya, 14k1

08. Dance First...........................................Noviy Arbat, 7

07. Casa del Tango.....................................Bolshaya Nikitskaya, 47k2

06. Bossa Nova House of Dance .......Malliy Tatarskiy pereulok, 8

05. Boombox..............................................Krivokolenniy pereulok, 14k2

04.Autentico Tango...................................Kholodilniy pereulok, 3k2

03.Alma del Tango.....................................Leninsky prospect 6/7k9

02.AD-Fusion.............................................Novoslobodskaya, 3

01. 5 Life........................................................Leningradskiy prospect, 12

Inner Moscow

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MODERN TANGO WORLD

:

Number Seven — Caribbean

:

Winter 2016

Outer Moscow

ISSN 2379-5174 (On-Line)

01 ArgTango...................Lubertsy, Jubileynaya 02 Balance Club............Prospekt Vernadskogo, 95k4 03 El Caminito..............Marshala Novikova, 7 04 GallaDance...............Michurinskiy Prospekt, 21k2 05 Jetango.......................Novodmitrovskaya, 5Ak3 06 La Luna Portenya....Korolev, Dekabristov, 8 07 Libertango Studio...Martenovskaya, 30 08 Maximum..................Prospekt Vernadskogo, 29 09 NeoTango.................Korolev, Komitetskaya, 2.

10 Step............................Khimki, Jubileyniy, 6А 11 Studia 707.................Tretia Mytischenskaya, 3k1 12 Tango Argentino......Kurkino, Sokolovo-Mescherskaya, 29 13 Tango Bez Pravil.......Bolshaya Semyonovskaya, 42k6 14 Tantsemainya............Kuusinena, 9k1 15 Tantskvartal..............Tretiy Khoroshevskiy proezd, 1k3 16 Traditsiya...................Krasnobogatirskaya, 2 17 VIgor Tango...............Kedrovaya, 13k2 18 Zakharova Studio....Semyonovsakya Naberezhnaya, 3/1k6

For Inner Moscow See IINSIDE COVER

ISSN 2379-5182 (In-Print)