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Elena Pankey's
Tango
Column
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SOME SUGGESTIONS
and TECHNIQUE
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-Stretch the leg first. Check the space.
-Keep your upper body light and up.
-Send the energy of your body from the west line down.
-Keep your ribs up, your shoulders down.
-Step with the toes forward.
-Start with pressing your foot outside then rolling and pressing it inside.
-Keep your hips toward your partner or straight forward when you walk forward
inside your partner.
-Step back crossing your spine behind you.
-Before each step, brush the ankles.
-Stop any movements If your partner does not lead it.
-Check available space between woman's legs or next to her in 1/2 of the second
before moving your body there.
-Then, arrive with your body almost at the same time - trying to do it together with your
partner.
-Feel your partner energy.
-Care for your partner.
The Dance floor is the main universe of Tango dancer. While
sweeping and caressing the floor by the inner side of your shoe, keep
your feet connected with the floor. Paint on the floor what tango music saying.
Tango consists four measures : weight, flow, space and time.
You harmonize it with a partner and the music.
- Change the weight with your partner, having the whole energy of
the steps down, and growing your tango roots.
- Keeping your feet with the floor, stretching from the knees and
hips, crossing behind your spine.
- Circling around each other, finding the right time to move, or
change the weight together.
- Stretch the leg first. Check the space
- Keep your upper body light and up.
- Send the energy of your body from the waist line down.
- Keep your ribs up, your shoulders down.
- Step with the toes forward.
- Start with pressing your foot outside then rolling and pressing it
inside.
- Keep your hips toward your partner or straight forward when you walk
forward inside your partner.
- Step back crossing your spine behind you.
- Before each step, brush the ankles.
- Stop any movements If your partner does not lead it.
- Check available space between woman's legs or next to her in 1/2 of
the second before moving your body there. Then, arrive with your body
almost at the same time - trying to do it together with your partner.
- Feel your partners energy.
- Care for your partner.
Learn and experience it. Then a few of you with dancing background
and special talent might get a pretty good tango.
Have fun!
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visit www.TangoCaminito.com email
TangoCaminitoSchool@Yahoo.com
AllRightsReserved©2006
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IMPROVE YOUR DANCING SKILL
AND DANCE THE REAL STYLE OF BUENOS AIRES
ORLANDO BUDINI is holding a Seminars, Work-shops, Shows and Festivals
in
SAN TELMO, BUENOS AIRES
THE FOUR WEEKS OF APRIL 2008
Teaching sequences for advance students in Milonguero Style.
Reservations: in Buenos Aires: phone 155-601-0177
in U.S.A.: phone 832/723-6578
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Editor's
Choice |
I have listened to the DVD that Milan Entertainment
has just released and it was splendid. Being a fan of Piazzolla's it was twice
as nice to watch !
I recommend this DVD, you won't be disappointed. 
ASTOR PIAZZOLLA
LIVE AT THE MONTREAL
JAZZ FESTIVAL
For the first time, a live performance by the tango genius and his legendary
Quinteto is available in its entirety on CD and DVD. From the time he received
his first bandoneon until his death in 1990, Astor Piazzolla’s sixty-plus
years of musical legacy have driven many critics to extol his achievements not
only as being at the pinnacle of Tango performance and composition, but also
ranking among the greatest musical compositions of the 20th century. Drawing on
his influences, “The Father of Nuevo-Tango” took a genre that was relegated
to dance halls and elevated it to concert halls, not only in Argentina, but
throughout the world.
ASTOR PIAZZOLLA – LIVE AT THE MONTREAL JAZZ FESTIVAL serves as a
stunning testament to the virtuosity of Piazzolla and his Quinteto. This live
DVD captures the essence of a band and bandleader in top form. The audience
holds their breath as the band emanates passionate music, played with nuance and
precision. The music jumps and soars, staggers and lurches, and the audience
responds with thunderous applause after each musical excursion. From the
glorious “Resurreccion Del Angel” to the affectionate “Adios Nonino” (a
tribute to his late father). This performance, recorded on July 4th 1984 and
re-mastered for DVD and CD in 2007 showcases
some of the most poignant examples of Astor Piazzolla’s genius.
At an early age, Piazzolla’s father exposed his son to the music of Jazz
greats Cab Calloway and Duke Ellington, along with Tango legend Carlos Gardel.
It was later on, in the mid-forties and early fifties, that Astor Piazzolla’s
compositions began to reflect these influences as well as his training in
classical and modern composers, which included Stravinsky, Ravel, Rachmaninoff,
Bach, and Gershwin. Piazzolla’s ceaseless muse drove him to collaborate with
many musicians in different
configurations, some whom he had once looked up to, such as Carlos Gardel, Gerry
Mulligan, or Nadia Boulanger, and others who went on to great fame after
associating with him, such as Pablo Ziegler, Fernando Suarez Paz, Oscar Lopez
Ruiz, and Hector Console. The latter are all members of his famous Quinteto.
The soundtrack to the concert is available on CD from Milan Records on March
4th, 2008.
Quinteto
Astor Piazzolla Pablo Ziegler, Fernando Suarez Paz, Oscar Lopez Ruiz, and
Hector Console.
DVD Content (Full Concert Video)
1.Lunfardo
2.Muerte Del Angel
3.Resurreccion Del Angel
4.Tristeza De Un Doble A
5.Adios Nonino
6.Chin Chin
7.Otono Porteno (from The Four Seasons of Buenos Aires)
For CDs or DVDs, photos, biography, please contact Stefan Karrer at Milan
Entertainment, Inc.
CONTACT: Stefan Karrer
PHONE: 818-849-3349
EMAIL: stefan.karrer@milanrecords.com
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La
VidaTango E-zine
Mission
Statement:
Our
mission is to provide a virtual home where all tangueros, from
beginners to advanced,
can access
the rich culture of tango
and the many and varied
resources available to
them. Remain inclusive
and impartial with regard to styles, theories or
organizations.
Strive to help individuals raise their
level and understanding of the
dance. Inspire
tango lovers to have fun and enjoy their tango.
Our Advice:
VAYA PRONTO A UNA MILONGA !
Notice:
Views
expressed by reporters or
contributors are not always the views of the
publisher or staff. La
Vida tango is happy to give equal space to all
points of contention.
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Contact the
Publisher
Revised
April 06, 2008
LaVidaTango
E-zine
©
2004
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From Monterrey, Mexico . . .
THE
REGIOMONTANOS AND EL TANGO
Argentine Tango in Monterrey
I had to visit Monterrey, the City of the “Regiomontanos”
in Mexico and stay there for a full weekend, so I’
decided to make a phone call to Maestra Rita Rositas who
I knew by references and who was the coordinator of
tango work-shops at the UDEM (University of Monterrey),
the founder of the group “Tango 2000 of Monterrey”
and also involved in many of the Tango activities there.
When I called her and introduced myself I’ remember to
had said something like this: “Maestra Rita, I’m
Orlando Budini a teacher and producer of tango and I’
would like to teach a Seminar in your City…I do not
have the pleasure to know you personally, but I had
heard a lot of good things about you!”… and she
answered me: -“Well Maestro you are welcome any time
in my City… I do not have the pleasure to know you
personally either… but I had heard a lot of good
things about you too!”-
“Ancira” is a traditional hotel build in 1912.
Known as the most beautiful building of its times and
considered an important part of the national Mexican
legacy is located right in a middle of the “Zona Rosa”
(Pink Area) and very close to almost everything. So once
I checked in at its luxury lobby and after taking a hot
and long bath, it was very ease for me to relax walking
slow and ease to “La Cathedral” and the “Macro
Plaza” admiring once more the history of this City,
thinking very much about the amazing enthusiasm of its
people for el Tango and getting ready, after a good
dinner at “El Rey del Cabrito” that night (another
one of Monterrey’s institutions) to start teaching
milonguero style, the following day, to a very demanding
group of Students.
I heard about the Tango in Monterrey in my first “Metatango
Festival” in 2002 trough Raul Cadena, an Engineer that
took part with his wife Marissa in the 3 days festival.
This singular couple of tango dancers founded in 1998 an
organization called “El Rincon del Tango” and they
were able to pull together a group of local tango fans
in order to fulfill the main and most important chapter
of their organization: “The promotion and practice of
the Argentine Tango!” The group get together on
Wednesday of every week to dance their problems away and
to take tango lessons, holding a “graduation dinner”
once a year, where every one of the new couples must
dance and perform their own and personal choreography.
This notorious association published in their web page,
after the festival and under the title of “Three days
of Tango lessons in Texas”, a nice picture of all of
us together saying: -“El Rincon del Tango” took part
in the weekend Tango work-shops organized by Orlando
Budini where we danced in several milongas and practicas
and received instruction and tango lessons from
International teachers like Juan Carlos Copes, Johanna
Copes and others.
| Maestra
Rita was early to pick me up that morning taking
me to the Dance Saloon of “University of
Monterrey’ we got to the parking lot and when
I get out of the car, I cold not help to look a
those mountains that will be the magnificent
back ground of my 3 hours work-shop. We had a
very well attended class, the students were more
than enthusiastic and cooperatives getting very
quick to the insides of “ritmo and traspie”
of Milonguero style. |

Group of Students
at Milonguero Seminar (Center: Maestra Rita and
Orlando)
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Even when they had to work hard for 3 hours everybody
was happy and all the classes ran smooth and ease.
Maestra Rita, as a good teacher, was supervising, from
hers desk almost all the time and I’m sure that she
did not missed a single minute of my classes… even
when She seemed to be very busy writing or looking
trough out the windows!
Another vivid example of the enthusiasm that Tango
had brought to Monterrey and the Regiomontanos are the
permanent courses of Tango Dance offered by “Universidad
Autonoma de Nuevo Leon-extension cultural” (The
University of Nuevo Leon, Cultural Department) and, what
is even more amazing are the “Tango Singing auditions”
that “El Club Amigos del Tango” (Friends of el Tango
Club) organization founded in 1977, had been financing
and sponsoring for a long time. This “Tango Singers
School” holds… and this sounds incredible… weekly.
| “Tango
Singer Auditions” at el kiosco of Plaza “Santa
Isabel” at Avenida Madero and 20 de Noviembre
and… this is not all!… once a month they get
together at the “Metropolitan Museum” in
order to promote Tango singing and dancing
offering once a month, in the same place, a
work-shop of tango Salon for beginners!. This
unique “Club Amigos del Tango” is a 60
member’s organization that had been meeting
for years selecting the best tango singers of
the City. Last year they celebrated, with a
successful Tango concert at the Aula Magna of
“Monterrey University” its number 30th
anniversary! This is to say my friends that
these guys were singing and dancing Tango 30
years ago… long before Tango “exploded” in
Europe and The United States!!
Celebration
Poster of 30 years Anniversary > |
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Tired but happy that night, after the work-shop, I
was invited to a wonderful dinner and milonga at “Taqueria
Guadalajara”, but what it was more important for me
that night, was the fact that I had the invaluable
chance to intimate and to share my dance and my tango
with all this local fans and true milongueros. Carlos
Pfeifer for instance who, besides dancing tango with all
his hart and his energies, is the web site manager of
the group and the person who has the very important task
of keeping the contacts and the fluid communications
among all Monterrey’s tangueros. Carlos not only dance
tango in Monterrey he also enjoy dancing tango in USA
and he loves dancing in Rome. Juan Ney “the milonguero
photographer” was also there taking a lot of pictures
for theirs web page and, how can I ever forget the
pleasure of dancing with Africa Nunez a nice girl and a
very promising dancer, as well as Thai Morilllo, that
beautiful and swift Philippine girl that told me that
she stop being afraid to dance tango since she took my
work-shop. As usual in this occasions I was invited to
open the dance with Maestra Rita, the leader and teacher
of all this tangueros, with a sort of exhibition
followed by a couple of good tangos “bien, pero bien
Milongueros“. Still tired for the work-shop and
dancing after this wonderful milonga, everybody went to
sleep… except myself and a group of milongueros with
whom we decided to dance the rest of the night away…
at the Bar of my Hotel!
The dedication of these peoples is so incredible that….
While writing an article about Tango in Mexico in July
of 2005 in my column of “La Vida Tango”. when it was
time to mention Monterrey I wrote: “Monterrey is a
very important center of Tango in Mexico and another
vivid example of how much, some times and in some
places, “El Tango” is capable of doing for us men
and women and, what is much more important in this case
… How much Us, women and men are willing and capable
of doing for “El Tango!”
The following day after teaching a couple of private
classes to some of the students, it was time for me to
say good-by and on this particular occasion, it was also
time for me "To take my tanguero's Hat off"
(what I do not do very often) to salute with my respect
all this Tangueros Mexicanos for a job very well done!.
Even when in Mexico Regiomontanos are said to be "codos"'
(stingy) I must add and confess, before living , that
this is wrong they are not "codos" (stingy)
like they say they are. As a matter of fact they are
very, but very generous.... at least practicing and
Dancing the Argentine Tango!
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THE
MEPHISTOPHELEAN TANGO
by
Robert Osburne
email Robert at roberto@lavidatango.com
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| THE DUELISTS
"The Countess is a whore, a slut and a degenerate
nymphomaniac. Those were the words spoken at The Ambassador's Club
diner last night by that drunken young fool, Gaylord.
The handsome imbecile and the Countess had had a lover's quarrel,
and the Countess decided to cast him off," Jean-Claude reported
to the old Count. "SHE'S BEEN WHORING FOR YEARS! Monsieur Gaylord
shouted to the ensemble of diner guests, and the Count is the only one
who doesn't know it."
"I’m your closest friend, Maxim, and the only one who would
risk telling you these things. Your dear wife, the Countess, does
these things behind your back. You’re so trusting, and she knows it.
Now you’ve got to act. There is no other way."
"Yes. Yes, I must act," the Count replied. "You will
be my Second, Jean-Claude. You will please pursue the arrangements to
restore my honor. When Monsieur Gaylord has sobered up enough to
choose his seconds, you will present my card and request we meet in
the garden by the fountain at….let’s see….I’ve got an
appointment on Monday. So that’s no good. And I’ve got a fitting
at my tailors on Tuesday. So that’s out. Wednesday. Yes. Wednesday
will be good. No. That’s won't work. I have obligations Tuesday
night, and I most likely will not get to bed until after two. No Alors!
Arrange that we meet on Thursday. Early. Say five O’clock. So, let’s
meet Thursday, around five in the morning. Yes. That’s a good
time."
The old Count, his family and his aristocratic friends lived at the
center of a peculiar anachronism. Outwardly, they navigated the swift
currents of Twentieth Century society; however, within their own
circle, they cruised the carefree harbors of ‘La Belle Époche’,
their compass having been set long ago in ancestral drawing rooms. The
Countess liked to dress in long, turn-of-the-century gowns, with the
bodice cinched around her wasp waist so she appeared to be leaning
into a stiff breeze. And from her hat collection, she could choose
anything from a yellow, black-banded straw boater to an enormous,
frivolously flowered garden hat that she tied under her chin with a
violet scarf.
Other reminders of a bygone age could be seen about the château. A
larger than life portrait of the Count’s great grandfather hung from
the wall in the study. The curve of his long gray sideburns and the
sweep of his proud mustache did not hide the jagged dueling scar that
ran down his left cheek. Nor did he wish to hide it. As a youth,
during his year at Heidelberg, he had been honored with coveted
membership in the University’s most exclusive dueling club, where he
gained the envied status of premier rapier and was known widely as a
duelist extradinaire.
This tradition of settling a score on the dueling field has
remained a manly preoccupation in the family, except that now pistols
were the weapons of choice. Resting on the glass shelf of a cabinet in
the library, a beautiful, matched set of balanced, smooth bore,
flintlock dueling pistols bore testimony to this practice. Within the
Count’s antediluvian circle, duels were still the accepted and,
indeed, the obligatory way of settling irreconcilable differences
among men, particularly those involving slanderous remarks directed
against women of the sacred aristocracy.
Strictly speaking, the law prohibits duels, although the mandatory
death sentence, proclaimed by Henry IV for this offense, has since
been considerably relaxed. And the original set of 26 rules, specified
in The Duelist Code of Honor, has been amended. Now, no one gets hurt.
The distance between duelists is now regulated at an impossible 40
meters. And the challenger and the challenged are obliged to fire into
the trees, thus preserving honor while ensuring body integrity and
more or less lawful conduct.
Thursday. The day of the duel and the restoration of the Count's
sacred honor. The Count folded his copy of Le Figaro and sank lower
into the warm comfort of his bath. He heard the ‘slap-swish-slap’
of a straight razor being honed against a leather strap as his valet
prepared for the Count’s morning barbering. The maid knocked on the
bedroom door and entered with a breakfast tray loaded with grapefruit,
a soft-boiled egg, toast and coffee. This was more than the Count
normally ordered for breakfast, especially when several guests were
expected for a formal luncheon that afternoon. But this was the menu
recommended by the Count’s dueling master, who advised the Count
that croissants and coffee would not provide the necessary reserve of
energy when the Count faced his opponent on the field of honor.
Even though everyone understood the gentleman’s agreement to fire
above the head of one’s adversary, staring into the bore of a large
caliber pistol can be unnerving. The Count had had trouble, in the
course of previous duels, controlling his bladder and his cowardly
knee twitching, when it came time to lift his pistol from the ornate
teakwood gun case held by his Second. But with an effort of will he
had conquered this weakness and now controlled himself well,
relegating his nervousness to an indiscernible flicker of the eye that
barely rose above the background noise of his daily routine.
The count finished his breakfast. He allowed his valet to adjust
his long, black coat and the incline his white, formal bow-tie to the
requisite, careless angle. Four-forty-five. Time to set off for the
Field-of Honor in the grassy meadows behind the garden. But first, I
must have a last look in the nursery, the Count said to himself.
Young Carlyle was still peacefully asleep in his crib, when the
Count opened the door. His friends, as well as the Countess, had been
surprised when it was discovered he would sire a child. The chances of
starting a family at his age was unexpected. The birth of young Count
Carlyle had wakened joy in the old Count's heart and opened a door to
future years of unanticipated happiness.
Jean-Claude appeared at the door to the nursery. He wore formal
dress and held his white, silk gloves in one hand and the slim,
teakwood case, with its red velvet lining nesting the twin, flint-lock
pistols, in the other. "It's time, Maxim," he said in a low
voice.
| At the edge of the Field of Honor, the duelists, aided by their
seconds, shed their black formal coats. The Count’s opponent
selected his weapon from the proffered teakwood case. And, with a
steady hand, the count picked up the remaining flintlock pistol. The
ensemble of duelists and their seconds then walked onto the Field of
Honor, and the duelists took their places back-to-back
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"Gentlemen, do you wish to abrogate, or do you choose to
proceed?" shouted Count Barca's second. "Proceed,"
replied the challenged. "Proceed," echoed the challenger.
"Gentlemen, prepare to duel," the second shouted. Clackkkkk-click.
The duelists ratcheted back the stiff flintlock hammers and cocked
their weapons. A moment of silence, and then the second began to count
off the fateful twenty paces.
At the requisite forty meters, the duelists turned unhurriedly and
faced each other. Their pistols pointed upwards towards the pale
yellow moon hovering high in the early morning sky. After an
interminable two seconds, the count slowly lowered his pistol, until
it pointed to a tree above the head of his opponent, and squeezed the
trigger.
KA-POW! The pistol discharged. A flaming nucleus of burning cordite
exploded from the gun barrel and floated onto the dewy field of honor
in a ring of blue gun smoke. Forty meters from where the Count stood
on the field of honor, his adversary heard the ball snap through the
trees above his head and watched the severed leaves float to the
ground.
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Standing with feet apart and his left hand on his hip, young
Gaylord brought his pistol down and leveled it at the Count’s chest.
The Count stiffened. A look of incredulity crossed his face, and he
began backing away, slowly at first, then more rapidly when the pistol
in his adversary’s outstretched hand did not waver.
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He stumbled and
fell backwards onto the green lawn. Jean-Claude, accompanied by his
assistant, rushed to where the Count sat on the grass. "Get up,
Maxim. You must get up," they said in hushed tones to the Count.
"It’s not over. He wants to frighten you. You must face
him."
"Yes, yes," the count said, "the dear boy wants to
make a clown of me, so he can shout to his friends that I’m a
fool." The count allowed himself to be led back to his former
place on the field of honor and stood facing his opponent, waiting for
the big lead ball to whistle through the trees above his head. In the
distance, he saw a white puff of smoke belch from the pistol in his
adversary’s hand. A second later he heard the retort and felt the
blow of an invisible fist strike him hard in the chest.
The half-inch ball missed the Count’s heart, but it smashed
through three ribs. Bone fragments penetrated his heart and ripped
through his right lung. A look of surprise appeared on the Count's
face. His grip on the butt of his pistol relaxed; it slipped from his
hand and dangled by the trigger guard from his index finger for a
second, before sliding off and dropping to the ground. The Count
looked down at the hole in his ruffled white blouse and at the
expanding scarlet circle surrounding it. Jean-Claude, standing at the
edge of the field of honor, stared in disbelief at the grapefruit
sized hole at the back of the count’s shirt.
Pain rose against a barrier of shock, and a formidable bellow, like
the agonized bleating of a butchered cow, burst from the count’s
throat, growing louder with each agonized, rattle of breath. As he was
laid upon the ground, his body twitched uncontrollably. His
extremities grew cold, and his eyes grew round. With a final agonizing
scream that would be forever heard in the minds of those around him,
the Count sat up abruptly on the green grass of the Field of Honor,
stained bright red with his blood, and died.
I (To be
continued)
Other installments of The
Mephistophelean Tango can be found in the archives :
The
Masked Ball
The
Fortune-teller The
Secret Garden
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