we love the possibility tango creates to dance anywhere, with our without music, moved by the connection and the possibilities of the bodies.

here’s a video we call snowtango.

On January 11, we visited Queer Tango San Francisco. They have a monthly milonga. During our visit it was mostly women, but the guy who Duro danced with was fabulous. They are very friendly and welcoming and we recommend you go for a visit.  You can check the dates on Amy Little’s website, but they don’t have their own website yet:

Last night we attended Homo Revolution, a national tour of Queer hip hop artists. It’s interesting to reflect on the acts and meanings of queer hip hop as we think about building queer tango. Read more…

Here is a great guide to help you learn about tango music:

It’s written by a tango musician and musicologist who is very historically informed and clear thinking, Pablo Aslan. He is working on his own music, with his NY band Avantango. Check them out!

When you get a chance, please read our brand new guide to tango etiquette. It includes exciting topics like emotions and how to ask someone to dance…

We started with Tina Herreman’s excellent guide to tango manners, then we added to it and queerified it.

On the last day of the beginner’s series, we’ll practice using the queerified codigos.

(thanks to lexa’s blog for this post!)

Tango Tales radio show is not about playing music only - it is about educating the listeners about Argentine tango - music & dance.

The show is broadcasted on Saturdays 9:00-10:00am on Portsmouth Community Radio ( listen on line www.wscafm.org),

but you can DOWNLOAD the most of the episodes from the show’s site: www.tangotales.com.

WWW.TANGOTALES.COM HAS MORE FOR YOU:

- browse movie, book and music recommendations

- new CD releases

- read essays by other tango lovers

- sample the extensive list of alternative tango music (yes, sample - not just read the list of titles)

- browse links to the most informative sites & pages (not just links to more links!)

COMING SOON:

- podcasting via iTunes (just subscribe to the service and the new episode will be ready for you to download into your MP3 player - LISTEN ON THE GO)

- sampler of Argentine tango music by the modern musicians - for dancing and listening. The best of the best.

HERE ARE THE MOST POPULAR SHOW EPISODES:

Brief history of tango music. Told by the semi-professional pianist Max Valentinuzzi, who played during Golden Age

www.tangotales.com/archive/MaxTangoHistory.htm

Jorge Luis Borges: blindness.

Jorge Luis Borges: tango poetry

www.tangotales.com/archive/Borges.htm

Histories of old tangos: La Paloma, El Choclo, Caminito…

www.tangotales.com/archive/MoreOldTangos.htm

Understanding the genius of Astor Piazzolla (with Osvaldo Golijov, Yo-yo Ma, Carlos Prieto)

www.tangotales.com/archive/Piazzolla.htm

ABOVE ALL… TANGO is a COMMUNAL AFFAIR:

if you have something interesting to say - about music or dance - you are welcome to contact me!

Thank you for listening and contributing - Elmira

Elmira Cancelada
show host, Tango Tales

Portsmouth Community Radio 106.1 FM SATURDAYS 9:00-10:00 AM ET Internet:www.wscafm.org

Social dances are called “milongas”. It’s like a party or dance night. Usually it is at the same place every week (some are once a month). Every city has a website announcing the milongas. Usually there is a fee at the door (around $10) for 4 or 5 hours of dancing.

Some people dress up, others dress very casually. The milonga is a space in which you are welcome to express yourself flamboyantly with your clothing and be sexy.

We recommend that beginners attend a milonga along with a group of friends to make sure that you have people to dance with. at milongas, there is a code unique to tango which governs how people ask others to dance (these are discussed here)

Note that “milonga” has a second meaning, which is a type of music, a very fast and bouncy type of tango music.

Argentine Tango is not about flying legs and melodramatic performances of emotion. It is a social dance that anyone of any age can do, to any music or no music, to create an extraordinary level of connection with another person. It does not require previous dance experience or rhythm. (In fact one tango musican claims that tango dancers are often “atemporal”).

Practicas are an informal milonga. There is a DJ to play music and people show up to practice with whoever is there.

Some people come with a partner and do not change partners.

Many people come alone, in order to practice with various people.

Some people change partners after the tanda, others may dance together for a long time. It is more flexible than a milonga.

Unlike at a milonga, it’s ok to stop during the song and ask questions, practice a move over and over, or give feedback.

People dress up less for a practica, the lights are usually on, and it is cheaper $0-$5.

We require our students to learn both leading and following. There are several reasons for this.

1. We think it is important to dance with compassion for the difficulties of the other role.
2. It is very hard for leaders to learn if they cannot be led.
3. Some people may find themselves surprised to enjoy a different role than the one they expected to do.

All teachers focus on the fundamentals of tango, but have different ideas about what those fundamentals are. For us, the fundamentals are

• connection
• posture
• balance
• disassociation
• moving from the core (another way of talking about leading with the chest)
• musicality

We emphasize these aspects of connected moving which we believe are more fundamental than standard sequences of steps. We believe that it would be wonderful if students had the patience to just walk for one year to fully establish these aspects. However, we understand that is a bit boring, so we do continue with additional moves. We try to avoid sequences that require memorization, and we focus on quality of motion and connection.

How to ask someone to dance/the cabeceo

• The Argentine style of asking for a dance is that the leaders ask. They ask in a particular way, often from across the room, by seeking eye contact with followers. If eye contact is held, the leader nods toward the dance floor (or raises one or both eyebrows). If the follower wishes to accept the dance, they smile and return the nod slightly, maintaining eye contact. They can then meet, or the leader will come to get the follower. Having accepted a dance, the follower owes the next tanda to that leader.
• If the follower does not want to accept the dance, they look away. If a follower does not want to dance with a certain person, the follower is careful not to make eye contact with them. If a follower does not feel like dancing at all, they communicate unavailability by not making eyes available. They can watch the dancers or have a conversation.
• This method of asking and answering protects the leaders from public rejection.
• In the US, many dancers do not know or do not use the cabeceo. As a result, leaders walk up to followers and ask them verbally. Because we want to avoid making a public rejection, followers should and usually do accept a dance. To reject is to humiliate the leader. However, we encourage use of the cabeceo. So if someone asks you without using it, please make sure they know what it is and how to use it. You should expect them to use it with in the future, and don’t feel bad turning them down if they don’t.
• In some cities, followers ask leaders to dance. But this is not always accepted. There are reasonable reasons to allow the leaders to initiate dances. Since they have to structure the dance, they need to like the music, they need to feel comfortable with the crowdedness of the dance floor, and they need to be rested and feeling creative after their previous dance. It’s best to let them decide when they are ready. The dancing is better and it’s worth the wait!
• Of course this all gets a bit more complicated for people who both lead and follow. In mixed settings, men may assume all women are followers. In a gay setting, if followers ask for dances, the person they are asking may not be clear what they are asking for. For this reason, it may be best in queer settings to maintain the tradition of leaders asking for dances. If the askee does not wish to follow, they should not accept the dance. If two people who both lead and follow lock eyes, presumably the first to issue a cabeceo (nod), will be the leader for that tanda. If two followers lock eyes, there will be no cabaceo. If two leaders lock and one gives the cabeceo, the other may avert their eyes. Remember, if you accept another’s nod, you have agreed to follow.
• Once a cabeceo has been accepted you have a contract to dance the next song with each other. No matter what happens, you cannot change direction and dance with another partner. Even if someone stops to talk with you, you need to hustle to your partner. (Everyone understands this, so it’s not considered rude.)
• People who both lead and follow may swap the lead during a dance or tanda. However, in order to avoid an embarrassing and/or dangerous situation on the dance floor, they must negotiate a consensual change in leading before doing it.

We recommend that you dance with lots of different people, even if you have a main partner.

• Tango can be frustrating, and one of the best ways to reduce frustration between partners is to dance with other people.
• Also as you change partners, you must recalibrate your balance, clarify your lead, and focus your concentration. this is an aspect of practice which will improve your dancing.

At milongas and practicas we dance three or four songs with one person – this is called a “tanda”, sometimes separated with 15-30 seconds of contrasting music, called a cortina (curtain). If there is no cortina, you can just count four songs.

Tandas are usually songs of the same type. There are three types of tango music: tango, vals (waltz), and milonga. Milonga is the fast one. The tanda may also be a group of music by the same composer or in the same style or era. So you get a whole tanda of milonga music, or vals, or tango music with a certain feeling.

Leaders often wait to hear the type and style of music before deciding to dance and selecting a partner.

• Generally, once we have agreed to dance, we complete the tanda of four dances with that person. It is considered rude not to complete the tanda. We do not break the tanda because of the person’s dancing skill. There are, however, times when we do break the tanda despite the fact it is rude. That would be: if the person is running into people (or furniture) a lot and you feel unsafe or unprotected dancing with them; if they are groping you or making you very uncomfortable in a way that is not part of the common tango embrace; if they are drunk, which is considered unacceptable in tango. Generally, sweatiness and other discomforts that are simply a result of being close to another person is accepted in tango, and we do not break a tanda for these kinds of discomforts.

Close embrace tango involves touching another person with half or more of your body. This is very intimate. The codigos of tango are a set of “codes” that make some structure around this intimacy. The codes vary a little bit from milonga to milonga, city to city. We have not found a comprehensive list of the codigos in English. Although the codes are highly gendered, much of their intent is also relevant to queer people. Eventually a new set of codes will develop that incorporate the complexities and ambiguities that queer tango introduces.

We’ve written about the codigos that we encourage you to follow.