MILONGA DEL CORAZÓN

Where are we?

2010-06-22T15:18:00.001+08:00

MDC with DJ Kitty

2010-01-02T05:14:00.001+08:00

Milonga del Corazon is glad to have DJ Kitty in the coming three milongas!

Kitty began her tango journey at the end of 1999 and started
playing music in 2003. She soon developed a serious interest in
the historical and cultural background of tango music. Since
then she became a regular DJ in the HK tango community and played in several milongas in Beijing and Shanghai. For Kitty,
no two milongas are the same. Her DJ preference includes primarily music from the Golden Age and an emphasis on variety, danceability, and sensitivity to the floor energy. She also prefers well structured tandas and cortinas, the latter she believes contributes as much to the mood of a milonga as the tandas. Recently Kitty devotes more of her time in promoting tango music an its culture in the hopes of enriching the tango community. She develops and coordinates the ARTango Cultural Series for TangoTang and occasionally DJs in practicas and milongas.

MDC with performance of Gustavo Lin and Weining Chen from Taiwan on 5 Sep

2009-08-16T12:55:00.006+08:00

Milonga Del Corazon, after Daniel and Annie, Hung Yut and Hwayi, we again have the honour to invite other couple of real great tango masters in Asia - Gustavo and Weining, to perform for us on 5 Sept (Sat). Price remains $80!!!

About Gustavo Lin and Weining Chen
Gustavo Lin started to promote tango in Taipei 9 years ago. To feel more about tango and learn with masters, he has visited B.A multiple times.
Weining Chen is a professional modern dancer & choreographer for 7 years. She started to tango in 2005.

Gustavo & Weining met each other in a milonga at 2006. Because of the warming embrace, they decided to partner and work together.
Now they teach and share their tango passion in Taipei and other cities in Asia . They wish more Asia people can enjoy tango more with the
embrace with the music with their friends.

More about the performers - http://www.tango-gustavo.tw/

Free guided practica on "The Attitude and Connection of Tango" with Hung Yut & Hwayi on 1 Aug 09

2009-07-21T21:48:00.005+08:00

After their successful and well-received performance in Milonga Del Corazon, we have invited Hung Yut and Hwayi again to have a free guided practica on Aug 1!

What is the Guided Practica about? "The Attitude and Connection of Tango

When? 1Aug, 2009 (Sat), 8.30 - 10.00pm (the free guided practica), 10.00 pm - 1.30 am (the milonga)

Where? Amico Studio, 2/F, 167-169 Hennessy Road, Wanchai

Who can attend? recommended to those who love dancing in a milonga, have at least 1-3 year dancing experience and basic knowledge about close embrace

How much? FREE! $80 for the entrance of Milonda del Corazón - with drinks and snacks always! No extra fee for the class.

I want to know more! Contact Coleman - (852) 9267 6627 / Emily - (852) 9406 0996 /email your question to milonga.corazon@gmail.com

Who are they? Hung-Yut (Leonel) grew up in Hong Kong but spent most of his adult life in the United States. He met Hwaiy (Florencia) in Korea in 2005, soon thereafter they began their partnership. Together they are very active in promoting Argentine Tango culture in Korea. They regularly teach, perform, and organize milongas in Seoul and other Korean cities. In May 2009 they started organizing the annual Seoul Tango Festival, which attracted over 200 Korean and 70 international dancers.For more information about them and their tango activities, please visit http://www.leoyflor.com/.

Hung-Yut and Hwayi understand the frustration of learning Argentine Tango. There are many great Argentinian masters, their dance is amazing, but they all tell us different things and sometimes they even contradict each other.
Hung-Yut and Hwayi understand because they went through the same process. They took classes from visiting teachers, they practiced in practicas, they watched videos and they stayed up late at night taking about tango with their friends. And like a good number of us, they learned Spanish and went to Buenos Aires multiple times.

Eventually they have arrived at a tango that they can comfortably enjoy with Argentinians and non-Argentinians alike. They have been sharing their experiences with the Korean tango community with success, and they would like to share the same with you.

MDC with performance of Hung Yut and Hwayi from Korea

2009-05-25T22:27:00.004+08:00

Milonga Del Corazon has invited one of the best tango teachers and performers in Asia to perform on 6 June (Sat). Price remains $80!!!

About Hung Yut and Hwayi

Florencia (Hwayi) studied ballet in high school and college, and subsequently worked as a professional musical actress for 8 years. In 2004, she participated in the World Tango Championship in Buenos Aires and won second prize in the stage section.

Leonel (Hung-Yut) grew up in Hong Kong but spent most of his adult life in the United States. In 2002, he won first prize at the USA Tango Contest in Los Angeles. He met Florencia in Korea in 2005, soon thereafter they began their partnership.

Together they are very active in promoting Argentine Tango culture in Korea. Besides teaching, performing, and organizing milongas, they have also invited Javier Rodriguez and Andrea Misse to Seoul for annual workshops since 2007.

Leonel is also a reputable DJ. He plays music regularly in Seoul, and has been invited to DJ at various Tango festivals inside and outside of Korea.

In 2009 they started organizing the Seoul Tango Festival.

Florencia (韓璄兒)中學和大學時期主修芭蕾舞，之後從事專業舞台音樂劇表演工作八年。開始其探戈生涯後，在2004年參加布宜諾斯艾利斯的世界探戈大賽並得到舞台組的第二名。

Leonel (陳行一)在香港出生長大，及後在美國工作生活。在2002年他得到洛杉磯美國探戈大賽第一名。2005年旅居韓國時他遇到 Florencia 旋即開始他們的合作關係。

在南韓他們致力發揚阿根廷探戈文化，除教學表演辦舞會外，亦連續兩年邀請 Javier Rodriguez 與 Andrea Misse 到首爾辦工作坊。

Leonel 亦是一位 DJ 能手，除了在首爾的週期性舞會播放音樂之外，亦時而在韓國或國外的大型活動擔任 DJ。

在2009年他們開始舉辦首爾探戈節。

Celebrate MDC Second Anniversary with Debut Perforamce of Daniel & Annie from Taiwan, 21 Feb 09 (Sat)

2009-02-12T23:53:00.005+08:00

Daniel Liu

Professional tango dancer and choreographer. Pioneer of argentine tango in Taiwan and leader of the Taipei Tango Association, founded back in year 2000 and the one and only organization in Taiwan exclusively devoted to the promotion of tango. Founder of the Taipei Tango Festival, which has become the most popular and one of the most important tango events in Asia, attracting over 300 tango lovers from all over the world.

Annie Tsai

Tango teacher and performer at Tanguisimo Tango Space in Taipei. Started dancing tango at the end of 2005 when a man asked her to dance and thus she fell in love with that man and with tango after dancing a tanda together. With the passion of tango, she went to Argentina for two times in 2007 in search of a deeper meaning and of tango skills. Whenever she feels hurt, she dances tango and then she can embrace the pain, which is actually beautiful and brings you closer with the people. Annie says: “I love tango because it is tragedy, and tragedy always has more mysterious meanings.”

Christmas MDC on 20 Dec

2008-12-09T14:12:00.000+08:00

MDC with Special Guest DJ Royce Chau on Oct 4

2008-10-02T21:23:00.007+08:00

Milonga Del Corazon has invited one of the best DJs in Asia - Royce Chau, as the guest dj on 4 October.

About Royce Chau

Royce has been dancing tango since 1999. From the early stage, she felt in love with tango music and since then, she collects tango music from all possible sources, including tango CDs from Argentine, Europe and Japan, LPs and even SPs. Now she owns one of the biggest tango music collections among DJs in Asia.

Royce DJed regularly for TangoTang’s practices and milongas since 2002. After she left Hong Kong, she DJed for her tango home whenever she visited her birthplace. She was also one of the organizers and DJ of the milonga “Las Ventanas del Corazón” in Singapore. During her last stay in Tokyo, she DJed occasionally for Zero Hour’s overnight milongas.

To know more about Royce, check out her website – http://www.loksze.com/

Tango Teaching? Tango Sharing!! -- by Coleman

2008-09-25T19:32:00.008+08:00

我有一種感覺，那就是不記得是從那一天開始我們「開班」教argentine tango後，以前在practica裡走來請教跳舞心得及經驗之朋友們便失蹤了，得到的是一群對我投以信心的Private Lesson學生。這無疑是對我們之認同，是一種很直接的鼓勵！

但這個現像不太是我們原先想爭取的…我猜是因為朋友們現在都對「唔交學費想問工課」感到不好意思吧！是嗎？那我們大埤兒都錯了！！！

那麼先不要想學費，先跳舞吧！

自己跳了5年Argentine Tango，看到阿根廷探戈在香港的成長和普及(主要有賴Tangotang一班義工之努力)，我仍然堅持只有來自阿根廷 Buenos Aires之舞者才是真正的「Tango老師」，只有操著純正阿根廷口音式西班牙語，一天到黑都鬧著要喝 yerba mate茶的舞者オ能感動我們這群亞洲人去愛上跳這種在地球另一邊誕生的舞，因為 argentine tango 不像ballroom dance，不單純是技巧及舞步，是一種文化，還包括對音樂的認識、與異性溝通技巧、衣著打扮、及舞池內及外的禮儀，只有一輩子都生活在阿根廷的老外舞者跳的和教的才算得上是「真正探戈」！ They are the real thing., man!

所以有時有人向朋友介紹我們時稱我們為「老師」真有點渾身不自然。我想我們最多只能被看成「補習先生」好了，真正的「老師」在阿根廷。

但我們不竟都跳了數年，亦跟了很多「真正探戈老師」學習，從中得到不多亦不少的領略，可以跟新加入argentine tango的朋友分享交流，我深信要argentine tango在香港繼續發展，一種無私的分享精神是必須的。

我跳tango之初期都是得到像 Billy、Loretta, Ann Geis及Kitty這些前輩的「免費」分享及鼓勵，才得以渡過放棄tango之「危險期」…

我看到你們很多都曾經投下不少金錢、時間、汗水希望能學會tango、希望在每天繁忙緊張的エ作後能陶醉於美妙音樂之中，為身心充電，但我亦看到你們很多都踏進了那個我亦經歷過的「危險期」，似乎對tango感到「老鼠拉龜」。請大家不要輕易放棄，自古以來，珍品一向得來不易，而argentine tango就是我們都市人心靈的「珍品」，它改變了我們亞洲人對「擁抱」的抗拒、tango的improvisaton及那亳不造作(與其他社交舞比較)的舞姿令習慣含畜的我們更勇於表達自己的情感，我以前亦已講過，「真正」的argentine tango不是為比賽、舞臺表演或專業舞蹈家而設的，它是真正屬於你和我這種平凡都市人的社交舞蹈，在地球的這邊過十幾億人口當中，只有很少數人能親身遇過 argentine tango，這是您跟它的緣份，是您的福氣，不要隨便讓它「刷身而過」！

我想說的是 : 請不用先想給我們學費吧，你們在Practica (請不要在 milonga內教跳舞，或對舞伴指指點點，那是不尊重舞會的禮儀傳統!!) 如有什麼問題，不論是有關音樂或技巧，請不用客氣的走到我們面前問吧，我想我們都有可以跟你分享的知識及經驗。

我仍會繼續專注教 Private Lesson，因為分享的深度及層次不同，看到的進步及我們得到的滿足感更大，不過你們都先不用考慮這個。

來問吧！

Javier Rodriguez, Geraldine Rojas, Lidia, Ofelia, Margarita's interview in documentary

2008-08-16T10:32:00.001+08:00

Film clip of "El último bandoneón" (The Last Bandoneón) by Alejandro Saderman.

Film Clip from "La Confiteria Ideal"

2008-08-04T15:47:00.001+08:00

Special Notice: We change the 31 May MDC to a Charity Milonga, raising money for the victim of the Szechuen earthquake

2008-05-15T16:51:00.007+08:00

After writing several passages about Javier, it is time to insert a special notice about our upcoming Milonga del Corazon on 31 May, Saturday evening.

Emily and I have decided to change the evening to a "Charity Milonga", we will donate all the entrance revenue we receive from you guys (after deducting for studio rental and food and drinks cost) to a recognised charity fund specially dedicated to the Szechuen earthquake victim. We are also now asking the studio owner to waive the rental charge for that night as a gesture of sincerity and appreciation for our effort. We hope this will allow us to donate a bit more. We will scan a copy of the bank deposit slip to put on our blog for you guys to check out.

The entrance fee will remain the same as HK$100 and you will be able to enjoy the same high quality classical tango music and romantic atmosphere as usual. We hope this small effort and initiative from us will create more repercussion in the rest of the tango community and we hope other organisers of other milongas will make similar or bigger effort together to help those who are suffering from this natural disastor.

"Milonga del Corazon" means "a tango party of the heart" and we hope that while all of you are enjoying the beautiful dancing that tango is, you will at the same think about those who are living in another part of this world needing our help.

I would also like to take this opporunity to appeal for the directors of Tangotang to make a sizeable donation to similar charity on behalf of the members. I am not sure what procedures would be needed to have this approved, probably it is just a matter of having the directors proposing this and an amount and have it approved by voting in a special meeting. We all know Tangotang is cash rich now after so many successful projects and many of us have been wondering how we can best use those money. Perhaps making some donation to the Szechuen earthquake charity is the best way to pull together the spirit of the tango community and to show that "tango brings people closer together".

Now we have taken the first step, we hope you will follow and do more!

Support us on 31 May MDC!

PS: Eventually we have donated totally $2900 to Red Cross via HSBC. Thank you very much for your kind support!

我接受 nuevo tango, 不過更愛 Javier ……(之三)

2008-05-09T10:55:00.001+08:00

上回我說到我不太認同一些極瑞「反nuevo」舞者不斷借用 Javier或一些老一代之”milonguero”老師之名不斷在舞池內打壓”tango nuevo”之老師及學生去美化自己學不懂nuevo technique…

一方面，這種心態及行為沒剎了眾多”tango Nuevo”老師的悉心教導及為推廣tango所付出的耐性及熱誠，因為假如10年前沒有了”tango Nuevo”之出現，argentine tango今天可能已經失傳，或只可以在Buenos Airesオ看得到。另一方面，這樣的利用Javier之名，會誤道新加入argentine tango大家庭的舞者，以為Javier便代表著「慢步」，令日後在學習道路上變得消極及保守。

Coleman在說什麼？由 pro-nuevo到有點反nuevo，而寫到這裡又忽然「挺」 nuevo?神經病乎？呵呵…

非也!

Argentine Tango美妙之處便是風格無邊無際，在argentine tango之歷史上從來沒有一個人走出來，或開一個 ”tango committee” 寫下規絛「阿根庭tango是這樣的‧‧‧」，更不像一些competitive dancing如ballroom dancing有syllabus可以「刨」。如果有人跟你說他可以借一些書給你看，你便可以跟著內裡的「腳印心法」學懂argentine tango，這人可能是特區政府經常在電視廣告叫大家提防之「全家祈福」騙子，要立刻話給警察叔叔聽！

說笑吧！

「和而不同」是Argentine Tango大同世界之精神…

假如舞池內的200人全部都跳同一種style、同一set舞步、穿同一套衫、穿一模一樣的一對 Comme Il Faut，你我可能已經再沒有興趣跳argentine tango了！

只是，我個人較喜歡跳得有creativity(適量的)之同時亦能令自己及舞伴看起來更Elegant，更美麗，令她的腳 (及她喜愛的 Comme Il Faut)顯得更性感，思想更能投入偉大的音樂中及享受到美妙的經典旋律。

而Javier & Andrea所推廣的一切都似乎與我想追尋的比”tango Nuevo”來得更接近(這是學了近4年tango nuevo後之感想。(今天有點累、明天待續)

我接受 nuevo tango, 不過更愛 Javier ……(之二) by Coleman

2008-05-05T03:38:00.003+08:00

上回講到我把Javier 之performance與Vladimir Horowitz之鋼琴表演作比較…

熟悉我深一點的朋友都知道我熱愛音樂，可惜我懶惰，曾經學過鋼琴、小提琴、saxophone但都不持久，沒有恆心，但因為喜歡音樂、因此迷上了Hi-Fi及argentine tango。聽音樂，除了「勁爛」的canto-pop外，基本什麼都聽，不過從小便特別愛上古典音樂，手上的CD大部份都是classical之chamber, concerto, piano virtuoso,symphony等等。

在收藏的CD中，最令我印象深刻的音樂家是原籍俄羅斯的Vladimir Horowitz，他被認為是有錄音以來最偉大的鋼琴大師，他差不多已被封神了。HMV古典部都有一大Horowitz之section。

把Javier跟Horowitz連在一起，並不是要說Javier在tango界有等同Horowitz在鋼琴界之崇高地位。這個我沒有資格品評。我想比較的是兩人演譯音樂的風格有些近似，何解？

初次接觸Horowitz之演奏CD，都是知道他是「神」，想聽聽他有多利害，買了一片 “Horowitz in Moskow”之現場錄音及幾片他彈Schumann、Chopin、Litz之CD，因內裡的曲目旋律比較優美，回家放入CD機，一聽便是兩小時，很好聽是必然的，但感覺很特別，同一首樂曲由其他不同演奏家interpret之版本我有不少，但Horowitz的很不同，整片CD由頭到尾都滲透著一種浪漫的氣氛。要更清楚明白我在講什麼的話，拿一片被中國人捧到上天的朗朗 Lang Lang CD，聽同一曲目，Lang Lang音準、指法當然都達到一等一，但你會覺得他好像想打爛個過百萬元Steinway & Sons琴一樣，你會覺得他很努力在弦耀超凡技巧，很努力的想您「看出」他是一級鋼琴家，很努力的想你「看出」他很投入的一副樣子，很努力的想你知道他一粒音也沒彈錯…我覺得「太努力」了！

Horowitz’s Lizt Hungarian Rhapsody No.2

http://www.youtube.com/watch?v=BHGnYQgLLzc

Lang Lang’s Liszt Hungarian Rhapsody No. 2

http://www.youtube.com/watch?v=ru84UVcPHDo

幸運地在 youtube也找到Horowitz及朗朗彈的同一曲目，你們自己聽聽及比較吧！

Horowitz之超然地位就是那同一種「駕卸在整篇樂章上，不被強烈的基本節奏所吞噬，快慢有序，有強弱、有層次的演繹出樂章的意境及氣氛」，有「泰山崩于前而色不改，麋鹿兴于左而目不瞬」之功力，聽他的演奏，你會感覺他在歌唱，你已不會再把注意力集中在他如魔鬼般的指法上，你會被他彈出來的「氣氛」所迷惑著。不信的可以今天去HMV隨便找片Horowitz CD回家欣賞，聽多些古典音樂或會對你的tango有幫助。

沒錯，我覺得Javier亦有這種魅力，我覺得Javier最擅長演譯的是所有Osvaldo Pugliese的舞曲，十分「對味」，Pugliese的曲目與其他composers的明顯不同，一首4分多鐘之樂曲內有齊浪漫、激昂的氣氛，而且對比強烈，跳Pugliese時之Javier就是「鐵漢柔情」。

上面之video是Javier 與前舞伴Geraldine其中一段在某年某地之end of class video，隨便的跳了一首Pugliese著名曲目，這卻是我的favourite!

回頭看當今各路 “tango Nuevo”之表演，感覺上都是花式多，招招新奇，有些什至古靈精怪，好像完全是為創新而創新，有些什至在跳舞中男方突然捉著女方的鞋，My God!有沒有想過舞伴花那麼多錢買對最新版Comme Il Faut就是要look good and elegant，為什麼要捉著她的腳呢？感覺上大部份Tango Nuevo之舞者都好像是背負著10年前”tango Nuevo精神所給他們帶來的壓力，不斷拿著”Nuevo”之key去開鎖、開路，要「不斷創新招」，才是不浪費所學的？或是基於要糊口的現實，要不斷靠「發明」新招來突圍而出？

Javier給我的感覺，是比較把注意力回到音樂的演譯，及舞伴的感覺上。

但我亦不太認同有小部份極端 “anti-nuevo”之舞者，因為身手不太靈活，學不懂tango nuevo，便把自己的不靈活美化成一種style、什至借Javier之名來不斷為自己的缺點包裝，不斷的跟跳過的每一位舞伴說自己跳的是” Javier style”，這未免有些污褥了Javier的造藝。Javier不是只「行左行右」、不是停在line of dance久不久動一動的，Javier絕對身手敏捷，請看這個吧！ (待續)

More about Javier and Andrea

2008-05-01T10:58:00.002+08:00

After reading Coleman's post, I also want to add a little bit. I want to clarify the style that they dance - I once asked Andrea how would she describes the style of tango, and what she says they dance "Salon tango". She says "villa urquiza" is just a famous place where there are many good salon dancers. I believe that this term is widely used by Ney Melo, who want to promote Salon in the US with an attractive name on youtube...you know, it's like a marketing strategy.

Javier once told me, "there are only two types of tango, one is good, and one is bad." He then told us a story. They had a chance to meet a nuevo tango dancer, who is one of the most famous one (i don't want to dispose their name, so do Javier). In one performance, he danced with a new partner whom he is not used to dance with. After his performance, he told Javier that he didn't like his performance at all, cos it was not as satisfactory as those with his previous partners. but Javier thinks the performance was his best, in a way that he never saw this nuevo dancers cared his partner so much, like a gentleman cares a lady. For Javier, to dance good tango is not to show off the steps and technique, one of the essence of tango is how you feel and care the woman, and how you let her dance beautifully. If you really understand Javier's teaching, you would realize that his way of walking and embrace are made for the woman, to make them feel warm and comfortable, as what he says "tango is a woman's dance".

I think that makes Javier different, and so to many milongueros in BsAs.

我接受 nuevo tango, 不過更愛 Javier ……(之一) by Coleman

2008-05-01T03:14:00.003+08:00

(以下純是個人觀點)

Tangotang 又再次邀得 Javier & Andrea 來香港，Richard 問我們本地老師可否撰文推介。我直認 Javier 是我最欣賞的舞者，當然 Richard 唔問我都會寫。誰不知我末動筆，所有的class已於首兩小時登記便售出了。我很高興，因為我感覺到本地的tango智慧步向較成熟的方向，何出此言？Coleman 不是很 “pro-nuevo” 嗎？呵呵！

是的，過去4年， Tangotang引入了很多新一代的老師，世界興起了一片 “Nuevo 風”所影響，十居其九都是 “Nuevo” style。 Pablo & Dana, Matias & Kara (我的恩師及好朋友), Gaston & Mariela, Gonzalo & Mariel, Pablo & Noelia 等。每年來港的5對中便有3、4對 “Nuevo 風” 舞者。我亦因此學了4年多的nuevo technique。亦曾經認為 “nuevo” 是最好的…

4年前我首次參加 Taipei Tango Festival，第一次上了 Javier & Geraldine (J 的前舞伴)….印象不太深刻…..不是他們不好……他們絕對是一級棒的舞蹈家……只是我完全不明白他們上堂講什麼………J&G 在堂上完全用西班牙語授課……間中須要organiser Daniel 以普通話翻譯……可是對我來講沒太大意義…….因我的普通話聽力不比西班牙語好很多。結果上 J & G的幾堂都是跟近50人迫在一起不斷「狂操」steps, 有時只能從舞室內的鏡子看到 Javier的腳在「搞」乜東東….有些掃興，沒法， Javier & Geraldine 是 Salon Tango之明星，人人爭著一睹他們的風采。

過去兩年，Youtube上多了很多 Argentine Tango的video，關於 Javier & Gerladine 及 Javier & Andrea 也有很多，而不只有 Nuevo 的如 Chicho, Sebastian & Mariana, Pablo & Dana。我因此可以欣賞到不同風格的表演。

你今天問我喜歡那一種style，我會答你…..不是什麼 “villa urquiza”、”salon”、”Nuevo”、”tango fantasia”、”close embrace”、”milonguero”…..這些只是名稱而已、每一種style都有跳得很出色的舞者、同時亦有跳得很「爛」的。

我會跟你說「就像是 Javier那樣！」。

我不是要否定 “Nuevo style”，起碼過去10年間 “Nuevo” 的興起有助 Argentine Tango reach more people。”Nuevo tango” 是一個tango史上的革命動力多於是一種舞風。Nuevo的老師一般都很年青‧很有活力，超級友善、丁點兒架子都沒有、授課時非常有耐性。”Nuevo style”比較科學化，每種動作都要找出 core concept去support and explain，尤其對我們一眾自以為授過高等教育，每樣事物都要用羅緝去justify，而前一輩子都沒有跳過舞的人來說，”Nuevo tango” 的確很吸引、因上課時只要你的腦袋跟你說「lead 這個voleo的core concept」很合羅緝，大家便很有滿足感，立時覺得自己已學會跳舞、覺得”argentine tango”原來很易跳。”Nuevo tango” teachers are very friendly, and “Nuevo tango” is very user friendly，making tango more popular than ever。

但又如何呢？雖然 “Nuevo tango” 有這麼多「優點」、promises，但看了無數 video and live performance, 沒有幾多次令我真正感動。看了一些 Nuevo performers的表演，我會 …..高聲歡呼「利害!!」、「好野!」、「有創意！」、「很有趣！」、「他真是敏捷!」….

但看過 Javier 的表演，我沒話可說，真的是找不到貼切的句子來形容。我只覺得他用身體來唱歌、把自己溶化在樂章中。從 Javier 的表演、我深深體會好的 “musicality” 不只是 follow the beat (sense of rhythm) 那麼膚淺，不是只在一兩個bar內玩一些特別的拍子，而是駕卸在整篇樂章上，不被強烈的基本節奏所吞噬，快慢有序，有強弱、有層次的演繹出樂章的意境及氣氛。

你沒有看錯！我不是在說Choreography，我是在講Javier improvisation的能力…

很多人喜歡 argentine tango就是因為 “improvisation”一詞，誤以為等於不用花時間聽音樂，以為只要「識lead」很多「花」便能跳好argentine tango，以為只要跟到beat便足夠了….完全沒留意旋律變化、沒留意整首舞曲想營造的情緒高低起復。看過個Javier 後，你可能有新的體會。

若我告訴你，有無數次我看完Javier 跟partner perform 後，我被感動得差點哭起來，請不要笑。

我真的有哭。

簡簡單單的walking，畢廷神氣的posture，緊密的embrace，乘巧而不經意的adornment，加上一對好耳朵，便比別人跳得更震憾，更悅目…

若你還認為跳好argentine tango便是要懂十八般武藝，首首音樂都要拿你的partner來做齊全套high, low, linear, circular, back and front voleo, 什麼什麼colcada，什麼什麼volcada，什麼什麼soltadas….無數個前後左右 rebounce，只講opposite energy, dynamics and impulse…或你發覺跳了3年後仍然覺得自己像在與舞伴搏擊一樣的感覺，而從未有一次感受過自己身體、舞伴、音樂及舞池上其他couples連在一起的浪漫感覺，那便是時候看看Javier那一派。

看Javier之 performance與新一派Nuevo之對比，令我聯想起被喻為過去一世紀最偉大的鋼琴大師 Vladimir Horowitz 霍洛維茲之演奏…. (待續)

Tips of dancing in a crowded milonga - Emily

2008-02-11T13:44:00.001+08:00

I wish all of you enjoyed Milonga del Corazon at Xperience last saturday. I always recalled New York New York in Taiwan and even El Beso in Buenos Aires when I danced in Xperience for its cosy space. Dancing in an atmospheric bar or restaurant is always nice - but one problem may occur in this occasion. The dance floor, like that of Xperience, may not be as big as those of a dance studio or a dance hall, and people have to squeeze themselves on a crowded dance floor. This may end up leaders have less intention to invite ladies for a dance since the floor seems not to have enough room. But I think all of us, including leaders and followers, can make an effort to make a small and crowded dance floor a heaven to enjoy the music and dance with your partner. Being a dj, who always have a full observance of the dance floor’s traffic, I would like to share some tips of dancing in a crowded dance floor that I got from crowded floors in BsAs and my tango teachers. These are not golden rules of no reasons - all are originated from our considerations to other dancers on the same floor and our care to your partners.

General Etiquette
1. Line of Dance
Line of dance is always one of the key factors defining a good and a bad milonga. While Nino Bien and Salon Canning getting the fame of the most popular and crowded milongas in BsAs, they also become notorious for bad traffic and bumpings. One reason, that many people believe, is that more and more tourists, who usually have less awareness to the importance of traditional dance etiquette in milongas of BsAs, are attracted to these popular milongas, making the dance floors lacking good discipline. Milongas of good traffic in most of the time, like El Beso, are always my favourite. As you can observe from the video showing a regular milonga at El Beso, there are actually roughly two lines of dance - one is around the boundary of the dance floor, and one in the inner circle. Thanks to the interior design of El Beso, having huge column in the middle of dance floor, dancers who favour fancy steps can hardly enjoy themselves in the middle, making the dance floor one of the best in BsAs. Dancers should keep moving in a dance floor at the exterior circles, maintaining a smooth traffic. The middle of the dance floor should be remained to beginners who have less experience of following the line of dance or those stubborn dancers who are obsessed with fancy steps.

2. Type of Embrace
Credits should also give to the milongueros in El Beso who prefer close embrace, which allows more rooms to dance in a smaller dance floor. If the floor is already quite crowded, it is absolutely unwise to show off the steps of nuevo style which demands open embrace and bigger space. Even you really make sure your steps cause no disturbances to other dancers, your steps may scare other dancers who want to squeeze in away.

3. Steps
It is always wise for leaders to avoid big steps or any steps that may let the ladies kicking people around you both, like gancho and high boleos. I am sure most ladies would enjoy more with the leaders’ smaller steps of good musicality, then the heels of her elegant Comme il faut being forced to kick the chair leg behind her! Leaders should also avoid back steps unless you make sure no one is behind you, since back steps would interrupt the smoothness of the line of dance. I think leaders should take more responsibility on this since the ladies have less control about the steps while they may have their eyes closed in the embrace. Turning on the same space and doing hero in close embrace would also help yourself getting away from a traffic jam.

4. Embellishment
Ladies can try to keep their embellishment smaller to avoid kicking your leg to the people at your back. I make this fault sometimes too… = (

5. Cortina
Cortina is a good chance to reshuffle the traffic of the dance floor. It is always good to leave the dance floor when cortina is played. Invite your favourite partner once again later, chance is there!

Celebrating Milonga del Corazón First Anniversary with Norberto "Pulpo" Esbrez & Luiza Paes on 2 Feb & 9 Feb

2008-01-06T09:33:00.001+08:00

Thank you very much for your long support...MDC is just one year old and we are celebrating its birthday in February. It is really not easy to have a themed milonga for more than a year. We can't grow without you! Please come and share the joy with us, since you are one of the most important motivation for me to get more good music from BsAs! Please keep supporting our milonga and our passion of classic tango music!

Welcome Milonga Including mini-performance, soft drinks and biscuits
Date: Saturday 2 February 2008, 9.30pm-1.30am
Venue: Amico Studio, Amico Studio, 2/F, 167-169 Hennessy Road, Wanchai, HK
Tickets: $120

Grand Milonga to Welcome the Year of the Rat
Including buffer dinner and performance
Date: Saturday 9 Feburary 2008, 9pm-3am
Venue: Xperience, G/F, 33 Lockhard Road, Wanchai, Hong Kong
Tickets: $180 in advance; $220 on the door

Dj: Emily

To book tickets, visit http://www.hktangolab.com/ and download a booking form, or contact:

Hong Kong Tango Lab Simon Cartledge, scartledge@bigbrainsltd.com / 852 - 9746 5279 / http://www.hktangolab.com/
Milonga del Corazón milonga.corazon@gmail.com/ /Coleman - 852-92676627 / Emily - 852-94060996

Get the Secrets of Milonguero Style from Hsueh-tze Lee - 5 Secrets for Dancing Close -- Ssh!

2007-11-18T13:12:00.001+08:00

Who teach? Hsueh-tze Lee

When? 1 Dec, 2007 (Sat), 8.00 - 9.30pm (the class), 9.30 pm - 1.30 am (the milonga)

Where? Amico Studio, 2/F, 167-169 Hennessy Road, Wanchai

Who can attend? Everyone can benefit from the class if you never try milonguero style. What you need is your curiosity about the milonguero embrace. You will learn the spirit and essence of tango, not the steps!

How much? FREE! $80 for the entrance of Milonda del Corazón - with drinks and snacks always! No extra fee for the class.

I want to know more! Contact Coleman - (852) 9267 6627 / Emily - (852) 9406 0996 /email your question to milonga.corazon@gmail.com

Who is Hsueh-tze Lee? Hsueh-tze Lee, known for her musicality and innovative approach, has been invited to teach internationally North America, Europe and Asia. Dancing tango since 1990, she is one of the pioneers of tango in North America, and inspired the growth of close embrace communities in many areas, including Boston, Denver, Halifax and Singapore. Hsueh-tze's musical cadence comes from dancing with milongueros of Buenos Aires over many extended visits. Her tango is enriched with both traditional and novel qualities. In addition to her experience as a life-long dancer, Hsueh-tze is appreciated for her expertise in physiology and biomechanics, her insightful comments and radiant enthusiasm. She teaches tango as a richly textured interchange between partners, ranging from sublime subtlety to powerful intensity. Her students are widely appreciated for their musical dynamics and responsive connection. Hsueh-tze also hosts and DJs Boston's popular monthly Blue Milonga. (www.bluetango.org)

Feedback on her teaching: http://www.ixidanza.com/the-art-of-tango-workshop/testimonials

P.S. Thank you for those who join the class and for Hsueh-tze's fabulous sharing!

....用7-11紙杯享用 Petrus一樣可憐......

2007-10-13T18:28:00.000+08:00

我一向鼓勵對美麗的事物最好能保持一種 “passionate ownership”的態度。

尤其是 Argentine Tango 如此美麗至極的舞蹈…..

昨天晚上在舞會 “milonga” 中跟一位剛剛接觸「阿根廷探戈」不久的女生 (一位漂亮的年青醫生) 講起一些關於這種舞的歷史故事….

我們講到「她」的起源，例如這種舞於上世紀初並不是傳言般在妓院內由妓女跟客人跳出來的，而由男人跟男人跳出來….

我們講到一些「她」的 “etiquette” 「禮節」，例如正式來說女生主動請男生跳舞是「不禮貌」的，例如在阿根廷的舞會中男女生都要靠「眼神接觸」”cabezio”來作為邀請/答應對方的訊號，男生萬萬不能在女生未示意前便走到面前….

我們亦講到一個正規的tango舞會，DJ不能亂播音樂的，應有系統地運用 “tanda” 「歌節」及 "cortina” 「間場短曲」來控制舞池的秩序….

我們也講到1930-1950’s 年的探戈音樂是最具代表性的，因此被喻為 “Golden Age”，大部份的探戈舞步都是在這時期的音樂下成形的….

我們更講到男女間如何「活用」每節 ”tanda” 內固定歌曲數目來「策略性」拒絕或接受邀請，從而保持大家良好之感覺….

最後我跟這位可愛的女生說了一個比喻，形容我學習「阿根廷探戈」的態度……「學探戈，就像是學飲紅酒一樣，不能只學那一堆堆生硬的味度形容，什麼fruity、full-bodied、acidic、tannic…..等等。亦要學習了解年份、產區、葡萄品種對酒味的影響….亦了解為什麼要用不同形狀、不同厚薄的玻璃的酒杯去品嚐不同種類的餐酒……因此學探戈只學舞步，有如用7-11紙杯享用 Petrus一樣可憐….」。

這就是我上面所指的 “passionate ownership”!

這亦是我和Emily堅持辦一個以1930-1950’s年代經典探戈音樂為主題的定期 “milonga”的目的，因為只有在孕育探戈成長的傳統音樂下跳舞，才更能培養出一種蜀於探戈獨特的心情及氣質…….

這亦是為什麼我們的milonga 叫 “Milonga del Corazon” --意譯「心之舞會」。

Coleman
www.romanticotango.com

Javier Rodriguez y Andrea Misse

2007-08-01T14:20:00.001+08:00

Simply breathe-taking..

The 1st movie with sound in the history of Argentinian films

2007-07-16T11:05:00.001+08:00

This is simply amazing. You can see how milonga looked like in the 30s. See the line of dance and the traffic of the dance floor and how people embraced and imvited lady to dance with cabecio!!!

Emily

The 30 secs that kill everybody

2007-07-16T10:12:00.001+08:00

How can we be able to talk after watching this?

New!! Tangotang Tango Preface for Beginners - by Coleman and Fiona

2007-07-12T19:51:00.000+08:00

很久已沒有寫blog 了，主要原因是工作忙，第二原因是手寫板似乎還未太熟悉我的寫法，太幸苦了、第三是忙於學習set-up 我和 Fiona 的 blog http://tangoromantico.blogspot.com/

我相信我是古代的人，父母亦給了我一個「古」姓，因此電子媒體對我來說仍然是新科技 (!!!) 知道嗎？還有我的職業是賣來自三億五千萬年前的鑽石，我最愛用1953年德國製造的喇叭........

Anyway, 有重要事要宣佈，我和 Fiona 會再次幫 Tangotang 教 Tango Preface (Beginner's course), details 請參考 http://www.tangotang.com/

一共6課，第一課於8月4日開始，每課 1.5 hours, 全部於 Amico Studio 舉行，全部在晚上8pm-9:30pm, 價格非常優惠....HK$750 include one year Tangotang membership fee!!!!

我與Fiona 都是義務幫 Tangotang, 連 transportation 都是自付的，全因我們熱愛 Argentine Tango，亦欣賞 Tangotang 之宗旨，希望各位可以盡力宣傳一下，讓更多新力軍加入「阿根廷」探戈！！

Coleman

Want to have a look of how Francisco Canaro conducted?

2007-06-15T16:33:00.001+08:00

I just wish I were there - what can be more attractive than watching the live show of Canaro with dance at the same time?

The Sound of a Milonga

2007-06-06T00:35:00.001+08:00

Salon CanningSuddenly I want to write about the sound of a milonga, mainly because I received a few complains during Javier and Andrea's grand milonga. Actually, not only that milonga, but in J&A's guided practica too. "Emily, your music is great, but would you please turn the volume down a bit? It's too loud."

Every time I received this kind of complain, I always have one of the following response,

(1) "Well, the teachers say this volume is just perfect." (I didn't make this up, this was really true, when Javier & Andrea/Pablo & Dana were here.)

(2) "Ok, will do." (Then I would turn down a little bit, then after a few mins, I would just turn to the "normal" volume gradually without causing others' attention.

(3) "This is exactly the volume in the milongas of Buenos Aires," I said only to my closer friends.

In my memory, Salon Canning has the best sound system. The Salon has very high ceiling, hanging speakers from the above, along the shape of the dancefloor. No matter how crowded the dance floor was, and how noisy the people were, I could always indulge myself into the music in a man's embrace. Since the music is loud enough to overwhelm me - what I conscious about is only - the music, and the bodies. As I remember, Nino Bien has similar sound system too.

Actually a milonga, is similar to a disco - a place of music and dance. Yes, a milonga should be more elegant, calm and romantic, but we have to admit that this is a place mainly for dance, not exclusively for eating nor chatting.

I'm sure some people may feel annoyed by this - but really, this is the authentic culture of BsAs too. Some argentinean teachers told me, "just ignore those people. This is what a real milonga should be."

I have to admit that almost all milongas and practica space in HK don't have a sound system like Salon Canning. The speakers are always put aside of the dance floor, so the sound is always louder at one side of the dance floor, and less loud on the other side.

It is really hard to make a balance.

Samantha Dispari y Andres Laza Moreno

2007-06-04T23:01:00.001+08:00

Other...simple bravo!

Andres Laza Moreno y Samantha Dispari

2007-06-04T22:56:00.001+08:00

I'm so happy that they are still dancing together!!! I thought Samantha has changed her partner!

Emily

Guided Practica by Javier Rodriguez y Andrea Misse - jiaotong

2007-05-25T13:25:00.000+08:00

Thank you very much for jiaotong for allowing us to publish her article here. - Emily

第一次見Javier Rodriguez，我還以為他會像其他的老師一樣，在Guided Practica示範難度高的舞步，然後在學生旁邊點撥一下。出乎意料，他請男女生分開來坐，然後跟Andrea Misse一起，告訴學生一些應當知道的舞會的規矩和社教禮貌。
**以下文字，可能跟老師的原意不盡相同，如有出入，以本文為準。
男生如何請女生跳舞?
首先是眼神接觸，不論兩人是咫尺距離，還是天各一方，先要透過眼神接觸，這是含蓄的暗示，如果你喜歡對方，可以回應默許的眼光，否則，假裝看不見就是了。
男生有什麼是不應該做呢?
例如出其不意走到女生面前邀舞，「她大概不會不給面子吧。」
我已經望著她，但她好像沒有注意我，「還是直接走向她，漂亮的女生比較搶手。」
拉著對方的手臂，「老兄，人家有權選擇耶，你不要強人所難。」(女生)
雙手拉起女生，「我跟你好像不太熟，不用太熱情吧!」(女生)
得到女生的默許了，當你差不多走到她前面的時候，忽然有另一位女生站起來，誤會你想請她跳舞，這個時候該怎麼辨?首先我們要明白，近視眼，焦距模糊的人比比皆是，若你不想令對方尷尬，可以將錯就錯，跟她跳舞，或者可以跟屬意的女生先跳，再禮貌地請她。不過遇上膽小的男生，可能會裝著看不見，繞路就走。假若事情真的發生，女生用不著太難過，畢竟這是令男人想破頭的哲學問題!
在跳舞的時候，男士們，請務必使出你的風度和耐性，跟隨舞場的方向和路線。打個譬喻，你跟心儀的女性約會，正在公路上開車，剛巧前面有位不爭氣的仁兄，以蝸牛爬行的車速，一直擋在前面，你會怎麼樣?你可以用靈活的技巧越過他，或者繼續忍耐。相同的情況，發生在舞場上，你也可以用高明的技巧，越過前面的舞者，不過搞不好，對方可能誤會你很的莽撞，又或者，你可以從容自若，與女伴享受細膩的每一步。
你有超凡的舞技，不在眾人面前炫耀就太可惜了，縱然如此，亦請認清環境，三思而後行。例如，在擁擠的舞池，或旁邊有其他人，大動作的bolero，實在不適宜，別忘記你的女伴穿著心愛的comme il faut，被尖細的鞋跟踩踏了，可不是開玩笑。套用Andrea的講法，跟粗魯的男生跳舞而踩著別人，覺得很沒面子。
這時有人提出，我可以在第三首tango的時候，請女生跳舞嗎?我先說出自己心裡的想法，如果你很喜歡某女生，為何讓伊人等到憔悴?應該在第一首音樂響起的時候，就馬上請她。Andrea說出另一種看法，「第三首音樂才請我跳舞，是out of pity」，意思是出於好心或憐憫，不想見我坐冷板凳，所以請我跳舞。坐了整夜冷板凳的女生，心情一定不好，難免自怨自艾，覺得自尊心受損。
cortina響起了，男生應該帶領女生返回原來的座位。如果各人有固定的座位，就最好不過了，至少男生知道心儀的女生在那裡，否則也不應該佔去別人的座位。然後趁短暫的過場音樂，尋覓另一位舞伴。
「我很喜歡她，可否連續跳兩set音樂?」
以下四個方案，你認為哪一個比較可行?
一、可以，不過先要領她返回座椅，得到同意，再返回舞池。二、可以，兩人約定，晚一點再跳舞。三、可以或不可以，因為可能有特殊的暗示。四、不可以，你只顧跟某一人跳舞，其他人就不會再請你。
萬一男生有任何不合體統的行為，Andrea給女生的提議，最好是以退為進，「你跳得太好了，讓我不好意思，不如我練習一下，有機會再跟你跳舞吧!」說罷，離開。如果那不知好歹的傢伙，繼續死纏，就要發揮girls power，提醒同場的好姊妹，謹慎提防。
基本上男女雙方，基於禮貌都會接受邀請，Javier說，「不過如果我心裡不願意，會跳得很差，對方也不會好受。」
後來我看到他跟一位女士跳舞，舞步很溫柔，沒有花巧的動作，像謙謙君子護照懷裡的舞伴。我見過太多超卓的舞者，他們跟任何人跳舞，都是使出慣用的舞台動作，好像在告訴對方，我就是這樣，你想跟我跳舞，得看你的本領。當看到Javier專注和誠實的態度，就特別值得欣賞。
我想起有些老師說，舞場其實是人生的縮影，你跟某人跳舞，是一種愛和關懷的表達，有些人只會跟幾個要好的朋友跳舞，雖然玩得開心，但對其他人卻視若無睹。 cortina的出現，大概是出於好心慷慨而建立的社交秩序，使你有機會認識不同的朋友，跟他們跳舞，不想跳的時候，也可以互相交談。因此，如果男生坐了很久，都不出去跳舞，特別是旁邊也有女生坐著，就算是不禮貌。再說，這份互相傳遞的關懷，會能tango社群發展得更成熟，人們的相處更輕鬆和諧。
PS Javier幾次提到星期六的milonga，我沒有出席，不知道有什麼令他看不順眼的事情，因而要在guided practica花了近兩小時，解釋舞場上的禮儀，或者是做人的道理。
我以前覺得阿根廷的探戈舞會，規矩繁多，阿根廷人真太迂腐，這樣的舞會讓人很沒趣吧!我最近改變了想法。

The essense of a milonga

2007-05-21T11:30:00.000+08:00

"A good milonga needs two things - one, the atmosphere, and another, the music," said Andrea.

"La musica, es el corazon (para una milonga),"Javier said. (The music, is the heart. (for a milonga) )

That is what they told me in the Grand Milonga last Sat. What they said really gives me more energy to keep djing... millions thanks for them...

Emily

A site listing tango videos on youtube - Emily

2007-05-11T11:36:00.000+08:00

http://eng.tango.info/videos/

This site offers a list of tango videos (I'm not sure if it is a complete one) on youtube, listing by the names of performers. You can also get the names of the song that them performed with. But mind you, the names of the songs are not always accuate. It is a good reference though.

Emily

ladies dancing excellent milonga...

2007-05-01T22:29:00.001+08:00

Coleman asked me to put this...I feel stunned! i recall the old days when I danced with Royce!!

Emily

Pensalo Bien - Think it well - Emily

2007-04-24T16:02:00.000+08:00

I guess many of you may have heard D'Arienzo's "Pensalo Bien", which became popular after Sally Potter's "Tango Lesson" using it as part of the soundtrack.

The lyrics of this song, I think, is very touching...and it means so much for me, as a tango lover.

Think it well,

before taking that step,

that perhaps tomorrow may be you may not go back.

Think it well,

I have loved you so much

and you have sent me into the past perhaps for another love.

My little thoughts on Close embrace - by Emily

2007-04-10T17:21:00.000+08:00

Otros Aires DOS is finally released! Otros Aires is always regarded as one of the rare electro musicians who mix traditional tango and milonga music with modern lyrics or melody in an interesting way. Unlike many electro musicians who completely deconstruct the rules and sequences of traditional sound (it doesn’t mean that their music is bad though), Otros Aires definitely draws more on the traditions and seems to have a happy marriage with it. It is even regarded as an “electronic-archaeological tango band”! They are very well received in Europe and BsAs, and their albums are always the top sellers in Zivals. (visit http://www.otrosaires.com/ for their website and the cd cover)

The claim of their archaeological mission sounds valid to me when I see their cover design of their second album. There is a couple embracing closely in milonguero style, on a funky electro music album!

May be the graphic sounds nothing special to you. But the design carries a lot of meanings to me. Because nowadays the role of close embrace (not to mention milonguero style particularly) gradually become less and less important as it was with the tango evolution in the recent decade– the new technique, music style…etc. My feeling on this grows even stronger after I watched the wonderful performance of Esteban and Evelyn on their website- they don’t have any forms of embrace but simply connected by their holding hands! (go to http://www.eyetango.net/video1.htm for the video)

The “new style” has become a big hit in many places including Hong Kong, and many dancers (I was one of them actually) are easily attracted by the technique like opposite energy and many other fancy steps. At the same time, I hear some people talking about their conceptions about close embrace. “It is old fashioned, “it is boring”, “I can’t even turn when I’m embracing”, “I can’t play with steps at all”, “I don’t do close embrace because it is totally different from the style that I learn”, etc. Gaston told me that Buenos Aires actually encounters the same phenomenon, where new dancers tend to appreciate the embrace less than the older generation does.

Then I start to wonder – don’t we really need the close embrace from now on? Has the embrace, perhaps, gone with Gavito?

I still remember in one of the writings of Daniel’s blog – he was asking Miguel Angel Zotto about his perception about the recent changes in tango. Daniel quotes from M. Zotto, "En el escenario se puede entrar y salir del abrazo, pero siempre hay que volver a la esencia." Daniel translates in Chinese, “舞台上可以在舞姿上面做變化，但總是要回到探戈的本質。“本質是什麼呢？應該指的就是“擁抱“吧（abrazo，也就是阿根廷對於探戈舞姿的稱呼）。(for the full writing, please visit: http://www.wretch.cc/blog/tanguero&article_id=4752078)

I am very touched by Daniel’s comment. What make tango different from other dances after all? Tango is the only dance who requires a man and a woman embracing each other (please correct me if there is other) But now more and more people seem underestimate the importance of close embrace of all styles, having no interest of feeling it and knowing how it works. Now, one can easily tell others that he or she knows how to tango – without experiencing the intimate embrace of tango and its magical energy behind.

It is undeniable that embrace closely is never a Chinese culture. We seldom embrace each other in every day’s life, unlike many westerners do. But we also can’t deny that that embrace is one of the most important elements in tango. If you want to have a fuller picture of tango, I think everyone, no matter what style you like, should at least have a taste of it and experience different styles of close embrace, and have a basic understanding of how the embrace works. Nowadays many people adore some masters like Pablo and Dana or Gaston and Mariela and want to dance like them. If you know them well and observe carefully how they dance, you will find out the way they dance is different with some younger dancers who have never had traditional dance training. These masters have a sense of unspeakable elegance underneath their footwork and technique, that they benefit from the so called “boring and old-fashioned” way of dance.

Many teachers, like Dana Frigoli, dances with close embrace in social dancing. These masters seem to have a clear distinction the difference between performance and social dancing. They know that dancing in a milonga with their friends is not the same as performance - it is not the time to show off. Since the milongas in BsAs (especially those famous one in peak seasons) are always full, you will be easily annoyed by bumping if you don’t embrace your partner closely. Actually it is rather easy to understand why we need close embrace in tango – cos we simply don’t have enough space to dance if everyone doesn’t embrace closely with each other! The embrace, in this sense, can be regarded as a form of manners which is used to respect other dancers on the same dance floor. Of course in BsAs nowadays there are milongas like La Viruta where you are have more freedom for fancy steps. But the dance floors in Hong Kong is far less crowded than those in BsAs, but we still always encounter bumpings (of course it is solely because of the style of embrace but also the lack of traffic too…)

When people praise the new elements in tango, shall we also respect the treasures of the traditions – regardless you like to dance with it or not? Sometimes I feel frustrated when people criticize about something before they really have experienced what it really it. Can you imagine someone says he hates chocolate given that he never has a taste or it?

I always think we should learn tango like those masters who can have the flexibilities to handle different forms of embrace – just like Pablo and Dana, Julio and Corina or Javier and Andrea. They change their form of embrace regarding different dance environments, partners, steps, mood or music. Very often, they tend to dance with both open and close embrace with the same song. Indeed, the change of embrace can add colors and variations to the dance.

Totally denial of other styles, I believe, would only limit our understanding of tango. That is why I always appreciate those young dancers like Matias who devotes to study the embrace again after years of Nuevo tango training.

To be a good follower, as Corina de la Rosa told me, should be well-prepared to leaders of different embraces. She should know how to adjust her embrace with different leaders.

I still remember before I went to Buenos Aires, I knew very little about the different styles of close embrace. I was annoyed when teachers like Fernanda Ghi, Leandro and Andrea asked me to lean my chest forward – I didn’t feel comfortable cos I was new to the technique and I couldn’t handle it.

But I told myself I should not give up when I saw how elegant they dance, especially when I cannot enjoy dancing with milonga music with open arms as much as with close embrace. Since the rhythms of milonga music require us to move fast with the music, I realize I just cannot enjoy the milonga if I sense the lead in a less prompt and less efficient way without the close embrace.

Two years ago, I got a chance to spend 5 weeks in Buenos Aires. At one night in Salon Canning, I saw a very old and famous couple dancing milonguero style – I was so touched and moved! I wish one day I can still dance like them when I’m as old as them. Cos I know I cannot jump and move like I can now when I’m 60 years old.

Then I told myself, I should learn, seriously, how to embrace.

I ended up spending 4 weeks studying milonguero style in BsAs. It was not only because Royce recommended me very good teachers, but simply, I want to learn something that I knew nothing about it. For me, the embrace of milonguero style is the trickiest one among all kinds. When I started to manipulate the technique, gradually I started to enjoy the movements and the postures that Fernanda and Andrea taught me before (their technique is not totally milonguero, but having similar logic) - something that I once felt strange and uncomfortable with. Once I can handle the logic of close embrace, I find myself enjoy tango in a different way – I start to feel the subtle signals and energy that I receive from the leader’s chest, and the magic of merging with other’s body in tango with my eyes closed. I start to feel that tango can really combine two units into one. The embrace also demands me to polish every steps that I walk, helping me to be a better dancer.

I wish, for those who really love tango, can have a taste of all different elements of this sophisticated dance.

Leandro y Andrea Misse dancing Milonga

2007-04-01T21:33:00.001+08:00

I think this is the best interpretation of Canaro's "De Mis Tiempos" so far!

Emily

Blacklist "Magenta"! - by Emily

2007-03-19T22:47:00.000+08:00

Yes, I always know that "Magenta" is a problematic tango label. It offers wrong song descriptions, saying their music is from famous orquestra XXX but is actually not. Yes, I know it! But I always believe there may be exceptions...like Magenta's collection on Canaro. But as a music collector + a tanturi lover - I really couldn't stop myself to buy the final two Tanturi commencial cds that I still did't have...Then eventually I received these two dXXm cds saying Tanturi on the cover but I can't find a single trace of Tanturi's style of any period in any of these music. (though the singer does sound like Enrique Campos...)

So, please, with my wasted money and frustration........"Blacklist Magenta"!

Argentine Tango 真正意義之隨想 (一) by Coleman

2007-03-09T18:33:00.000+08:00

這次是我第二次在網誌上與其他人分享我對 Argentine Tango 之感想。上一次已是2006 年12月30日的事。

但這次卻是我第一次用中文，我不懂中文輸入法，工作了十多年都是用英文，即使是MSN 及 email 都一向以英文溝通。但是，即使是甚為崇洋的我，到了2007年的今天，都要承認用中文更user-friendly，接觸面更廣，同時亦由於工作上越來越須要多用中文，因此最近買了手寫板回來，順便利用寫blog來當練習。

我的中文水準自20 年前的中學畢業後便一直退步至今，因此請大家指教指教!!!

最近義務幫香港Tangotang 主持了一次Tuesday Guided Practica 及 Intensive Leaders Workshop，在準備工作時，想到究竟在我的tango知識及體會裡，有那些是我最希望能與新加入argentine tango之舞者分享，及即時能帶來一些改變呢？與他們分享一些新奇有趣的招式? 還是一些技術上之解構?這些似乎其他本地及外來之老師們都做得很足夠，甚致開始有些吃不消似的……..

想啊想……想對了!

一個好像很簡單的哲學 –“ Tango 是一種舞蹈!”

但越簡單的道理似乎越容易被忽略。被忽略的原因可能是大家在學習的道路上都只被一些新奇有趣、古靈精怪、令人目瞪口呆的招式吸引著，被一個個發音非常酷的西班牙語舞步名稱如 Colgadas, barridas, Volcadas, boleo, secada, parada, planeo, abrazo, gancho, nuveo, milonguero…etc 弄過頭昏眼花。

回想自己，一跳argentine tango便4年，那是2003年2月的一個晚上，一位朋友想學tango，想找多一個人陪她，便帶我到 Helena May的 Tangotang參觀。當時做了近30年人都從來不喜歡跳舞的我，甚致討厭去disco，但我卻被當晚所看見及聽見的深深打動著。那時的師兄師姐，舞步簡單而優美，沒有什麼踢上天的腿、沒有360度10次大回環 giro, 沒有八爪魚腳…..有的都是良好的embrace、充滿音樂感的身體擺動，舞者面上流露出正在享受親密而溫暖的擁抱(abrazo)及細嚐浪蔓感人的音樂的表情。一個月後，SARS襲港，一直到5月底，香港跳tango的人少了近一半，我卻在這時正式加入argentine tango之journey。自始之過去4年內，我幾乎沒有一個星期是沒有tango 的，而且….似乎跳得越來越密，真的有些不好意思 :P

這4年內，幾乎都是不斷重覆著「上課 – 去milonga – 去practica – 上課 – 看表演」及最近多了「看youtube」。當中看live performance 及 youtube給了我很好的機會去用第三者的angle欣賞來自世界各地tango大師的舞風。在欣賞之同時，我亦能靜下來用理智assess一下自己對argentine tango的理解，從而找對方向。對的，我是喜歡思巧求真的那類人，相信凡事總有「理性」及「感性」兩面、工作如是、待人處世如是、家庭如是、要tango跳得好亦如是，必須「感、理」兼顧。「感性」是指我們對學習tango之熱誠、在享受跳tango時之忘我、及對超越自己的追求。沒有了這種「感性」一面，我們會失去向前進步的推動力。但與此同時，我們亦耍對學習階段中遇到的每一樣事以羅緝分柝，定期檢討方向，把自己從舞池中抽出來，觀察別人、大師的舞風、多跟訪港的老師聊天、多閱讀網上有關tango之literature，從而獲得更全面資訊，用「理性」去更了解tango文化之意義。

在看過了無數個不同大師表演後的一天，下了一個簡單結論 : 「tango是一種兩個人一起跳的couple dance，leader的舞步必須與音樂緊密結合，才能令follower產生投入感及享受tango獨有之connection。優秀的leader要讓follower跳得「舒服」及「漂亮」。弦耀自己技巧的同時，必須同時照顧partner之感覺!」

信不信由你，這正是nuevo tango之精神所在。真正Nuevo tango不是指跳得那些新奇有趣及funky誇張的舞步，這些只是nuevo tango發展歷史上出現的by-product，但卻常常被初學者曲解為nuevo tango之真締。Nuevo tango並不是一種突然誕生的發明，而是由一群資深舞者(當中有的本身是當律師的，呵呵!)在跳了多年tango後的一種體會，他們走在一起，研究tango之起源及自19世紀初以來的發展，分柝各舞步動作中出現的mechanical structure，然後有系統的歸納出一套工具，及其運用的方法和condition等。Nuevo tango之起源其實似一套經羅緝分折而成的研究報告，但重點是這份「研究報告」的結論卻開拓了argentine tango在後來日子發展之無限可能性，影響深遠，有好的、亦有不好的……

(待續)

A Beginner's Guide to D'Arienzo By Emily

2007-02-15T17:47:00.000+08:00

Juan D’Arienzo is one of the most important names in tango history. His music is highly danceable, and it’s hard to imagine a milonga where it won’t be heard. Since he made around 1,000 recordings in his 50-year career, it is not easy to find a small selection of CDs to represent his music. The four disks selected here, however, all have my seal of approval.
The best jumping off point is D’Arienzo’s music from the late 1930s to early 1940s. His music of this period carries a very distinctive rhythm – its mission: to lure dancers to the floor. The piano has a very important role, particularly when played by Rodolfo Biagi, another famous tango musician, who was D’Arienzo’s pianist until he went off to form his own orchestra in 1938.

“Sus Primeros Exitos Vol.1” in the Tango Argentino Series collects almost all of D’Arienzo’s most classic instrumental works from 1935 to 1939. I remember hearing this CD played repeatedly by a group of street tango performers in a flea market in Buenos Aires for nine hours every Sunday. All the tracks are “super-classics”, but especially strong are “9 De Julio”, “La Cumparsita”, “La Viruta” and the famous milonga “Milonga, Vieja Milonga”. If you only want to own one or two D’Arienzo CDs, this should be one of them.

If you prefer music with singing, try “Sus Primeros Exitos” or “Tango Bravo”, also in the Tango Argentino series. Vocals tend not to play the key role in D’Arienzo’s music (very different from Di Sarli’s lyrical pieces, where the vocals almost always carry the whole melody, dominating the flow of the song). The melody of D’Arienzo’s music typically comes from an interplay of voice, piano and violin, making the singer as just one of a trio of elements embellishing the rhythm.

D’Arienzo worked with several tango singers. Héctor Mauré is certainly one of the most important. Although D’Arienzo and Mauré worked together for less than four years, they together created several of tango’s most classic songs. “Sus Primeros Exitos” features such greats as “Amarras”, “Dime Mi Amor”, “Infamia”, “Uno” and “Tango Brujo”.

“Tango Bravo” collects the classic songs of D’Arienzo with Alberto Echagüe and Armando Laborde – possibly the orchestra leader’s two favourite singers. Both Echagüe and Laborde recorded more than a hundred pieces with D’Arienzo. Since the album collects recordings made from 1938 to 1954, it offers a taste of D’Arienzo’s pieces from a period when his music became more dramatic than in his earlier days. Again, most pieces are extremely popular, but with the standouts (in my view) being “Trago Amargo”, “Corrientes Y Esmeralda”, “Mandria”, “Olvídame” and a vals called “En Tu Corazón”.

For milonga lovers, I recommend “Milongueando Con Juan D'Arienzo 1935/1962” released by Euro Records. Since D’Arienzo music’s style is very rhythmical, his interpretation of milongas tends to up-tempo compared with most other tango orchestras. This album has an excellent selection of 21 pieces recorded between 1935 to 1962. Particularly worth listening to are “La Cicatriz”, “Meta Fierro”, “Milonga Del Recuerdo” and “Silueta Porteña”. This CD is also the perfect option for anyone who simply wants a collection of milongas.

If you are a serious collector or a DJ, then consider the “El Rey Del Compas/70 Años” collection released by Sony BMG. This series, consisting altogether of 15 CDs, collects about 300 of D’Arienzo’s recordings, in chronological order, from 1935 to 1975. You will find many beautiful pieces not released on any of the Tango Argentino or Coleccion 78 RPM series.

Exploring Fresedo by Emily

2007-02-05T12:34:00.000+08:00

Osvaldo Fresedo may not be as famous as other orchestra leaders such as Carlos Di Sarli, but Di Sarli might well have remained unknown if Fresedo had never existed. Di Sarli’s music, especially his early pieces from the late 1920s, were very much modelled on the style of Fresedo, who first formed his own orchestra in 1918.

Fresedo’s music, especially in the 1930s and early 1940s, is characterised by soft rhythms supporting elegant melodies to evoke a totally romantic atmosphere. Many DJs, myself included, like to play his music towards the end of a milonga when dancers, possibly a little weary after dancing for a good few hours, are looking for something a little softer and less demanding.

Fresedo’s most representative pieces come from between 1933 and 1941, with many of them featuring the singing of either Roberto Ray or Ricardo Ruiz.

Ray started working with Fresedo in 1933. Ray’s way of singing – soft and delicate, almost feminine – became a benchmark Fresedo’s later lyrical tunes. “Tangos De Salon” in the Reliquias series collects the most popular pieces of Fresedo with Ray, among them such classics as “Vida Mia”, “Yo No Se Llorar”, “Canto De Amor” and “El Mareo” One rarity is “Isla De Capri”, a tangoable foxtrot rarely featured on other albums that is also noteworthy for featuring a harp to ornament the melody.

Osvaldo Fresedo con Cantores” in the Solo Tango series has many of the same tunes as “Tangos De Salon”, but it also features some songs with Ruiz. Ruiz, who had a similar tenor range as Ray, was chosen by Fresedo to replace Ray after the latter left Fresedo in 1939. Ruiz’s voice is even softer and more feminine than Ray’s – quite easily mistakable for a woman’s. The highlights of this CDs include “Mas Alla”, “Niebla Del Riachuelo”, “Rosarina Linda” and “Vida Querida”; my favourite is Ruiz singing “Despues Del Carnaval” – a piece also adored by many other Hong Kong milongeros after they watched Javier and Geraldine perform to it in Taiwan.

To hear some of Fresedo’s finest instrumental pieces, try “1933/1948”, released last year as part of the Colección 78 RPM series. This album collects many previously unreleased tunes, many of which are popular with DJs in Buenos Aires who previously only owned poor quality bootleg recordings. Fresdeo’s instrumentals are similar in style to his sung tangos, witness his recordings of “La Clavada” and “Firulete”. Also worth listening out for is the subtle sound of the vibraphone in “Mariposita”.

Since the album collects recordings made from 1933 to 1948, it also offers a taste of Fresedo’s pieces from the late 1940s when he experimented with a more grandiose and dramatic sound than in his earlier days. Adding drums and other percussion, however, is not to everyone’s taste; certainly it makes for less tranquil, more abrupt sounding style of tango. For those looking to try a disk from this period, “Y La Perdí” is recommend.

For those looking to sample Fresedo through a single CD, “Años ’33 Al ’48” in the Buenos Aires Tango Club series features something in just about all of his different styles. The album collects instrumentals and lyrical pieces with a number of different singers. Its stand-out tunes – for me at least – are “Tigre Viejo”, “Cuartito Azul” and “Buscandote”.

Editted by Simon Cartledge © 2006 Hong Kong Tango Lab

Starting with Di Sarli - by Emily

2007-01-25T23:27:00.000+08:00

When beginners start to explore tango music, they often ask “Which kind of music is the best for me to try first?” Of course there is no perfect answer, but almost always I recommend the music of Carlos Di Sarli, an orchestra leader often referred to as “El Señor De Tango”. His highly danceable music, especially his recordings of the mid-1940s to mid-1950s, is very popular in many tango classes. So when people who have just started dancing tango go to milongas and hear pieces such as “Bahía Blanca”, “A La Gran Muñeca” or “El Once”, they usually recall them as the songs played by their tango teachers as they attempted their first steps. The reason this music is a favourite for teaching is because of its slow but strong beat and an elegant melody – an ideal combination to train the ears of all newcomers to tango.

The Carlos Di Sarli title in the “RCA Victor 100 Años” series is an all-round excellent album. This CD collects many of Di Sarli’s classics from the 1950s, among them “Bahia Blanca” (which should be familiar to many people after featured as the soundtrack of a Heineken television advertisement), “A La Gran Muñeca”, “El Choclo”, “Comme Il Faut” and “La Cumparsita” (the song usually played at the end of a milonga). The recordings on this CD have had noise-reduction treatment to remove the hiss and crackle of their original recordings. This gives them a sense of newness. Indeed, listening to them it is easy to wonder if the music was recorded a lot more recently rather than around half a century ago.

To hear an older sounding recording, try “Carlos Di Sarli–20 Grandes Exitos” from RCA’s “Inolvidables” (unforgettables) series. It features a similar collection to the RCA Victor 100 Años disk, but has more pieces recorded in the 1940s, among them “La Racha”, one of Di Sarli’s most elegant songs.

Both the RCA Victor 100 Años and the Inolvidables disk comprise mostly instrumental pieces. If you prefer his pieces with singing, then try “Carlos Di Sarli – Sus Primeros Exitos Vol. 1”, “Sus Primeros Exitos Vol. 2” and “Porteño Y Bailarín”, all part of the “Tango Argentino” series issued by RCA.
“Sus Primeros Exitos Vol. 1 ” collects the classics of Di Sarli sung by Roberto Rufino. The combination of Di Sarli and Rufino was one of the great pairings in tango history. Many of their productions are classics, admired as much today as when they were recorded. Among the highlights of this CD are Rufino’s first recording with Di Sarli in 1939, “Corazón”. Vals-lovers are certain to like “Alma Mia” and “Rosamel”. Rufino worked with Di Sarli from 1939-1944, a period when the latter’s beat was faster and more rhythmic than in his lusher, more grandiose works of the 1950s.

“Sus Primeros Exitos Vol. 2” collects lyrical pieces sung by another renowned singer, Alberto Podestá (who, incidentally, is still alive and performing in Buenos Aries). He started as a Di Sarli vocalist before reaching the age of 18. This album includes many classics recorded between 1944 and 1947, among them “Nada”, “La Capilla Blanca”, “Vamos!”, “Junto A Tu Corazón” and “Tu! ... El Cielo Y Tu!”. These songs are as good as guaranteed to pull dancers on to the floor when played at a milonga.

“Porteño Y Bailarín” is a collection of Di Sarli’s music with Jorge Duran as vocalist. Its best-known tracks include “Porteño Y Bailarín”, “Que No Sepan Las Estrellas” and “Tus Labios Me Dirán”. The album also has a few famous instrumental pieces, among them “Marianito”, “El Ingeniero” and “El Pollito”. As the album collects recordings ranging from 1945 to 1958, it has a more varied style than the Rufino and Podestá CDs.

For anyone wondering how best to lay the foundations for a tango CD collection, or simply wanting to have some great music to listen and dance to, any – or all – these five CDs are an excellent place to start.

Tango MV - Angel D'Agostino con Angel Vargas

2007-01-12T12:02:00.001+08:00

An interesting montage of the old and new. The music, "Tres Esquinas" is one of the best in tango history.

Royce's article on Cortina - must read! - by Emily

2007-01-12T00:55:00.000+08:00

Royce has just posted an excellent article on cortina, please also read my comments too. = )

http://www.loksze.com/thoughts/2007/01/09/why-do-i-love-cortina/

100 % agree with her, she's like the worm of my stomach!

Emily

Tanda - Why and How to make use of it - by Emily

2007-01-08T14:40:00.000+08:00

Tanda is a set of tango music, usually consisted of 3-5 pieces. A serious tango dj usually selects songs of the same orchestra, same period, same pace or even the same quality sound for a tanda. I am not going to discuss how to make a tanda here, as my friend, Royce (my first tango teacher and the one who inspired me to be a tango dj) has written on this. For those who want to know more about this area, I highly recommand her article, "The Making of a Tanda" on her blog - http://www.loksze.com/thoughts/2006/11/

We all know about tanda. Most of you may have heard how I make a tanda in Milonga del Corazon and have danced to it. Then, why do we need songs to be arranged in tandas in a milonga? Do we simply mimic the tradition of the milongas in Buenos Aires? Do we really need it? And why? How can we manipulate the tanda and benefit from it?

Imagine a milonga without the use of tanda - one simply plays the music ramdomly without considering the genre, the orchestra, the year of recording, the pace and the sound quality- probably a modern milonga after a traditional vals, an up-tempo electro tango after a lyrical traditional tango...or of any combinations that can be made. For me, it is like having a meal without considering when differernt dishes should be served, like having a starter after enjoying a dessert. Would your enjoy having a light salad after having a rich chocolate cheese cake? I am sure you cannot enjoy the meal in the same level as in the way that the dishes are served in a better timing, even given that the dishes are nicely cooked. Of course this also very much depends on personal taste, but why don't we request more if we can have a better atmosphere where most people can dance in a more comfortable way? In Milonga del Corazon, we aim at being a serious french chef, carefully arrange a sophisticated 9-courses-meal for all of you, while your stomach can comfortably enjoy all the delicious dishes!

Playing tango music with the use of tanda is a trick to help creating an atmosphere or a kind of mood, which allows one can dance more comfortably. Our psychological status can be affected by the music that we hear. That is the reason why we are adviced to listen to some calm, relax and slow pace music if we suffer from insomnia, and there are many psychologists heal their patients with music. Our mood also varies when we hear differernt kinds of tango music.

Let's take milonga as an example. When you hears a piece of milonga, especially when you like that pieces of music, your mind will natually move with the energetic and up-tempo music. This status of mind will not ceased in just about 3 minute time (most tango /vals/milonga lasts around 2 mins more to 3 mins), especially if you hear some real good milongas like those of Canaro and D'arienzo and you have a good partner who dances milonga very well!. You become excited with the pace of milonga, and may expect to hear/dance to one or two more after the first one. Of course, your body will be exhausted after dancing 3 or 4 milongas. You may want to take a break (this is the time when a cortina should be played), and to dance to some music which is less demanding comparing with the milonga. This happens the same when you hear tango or vals.

In this case, the use of tanda in fact helps creating a smooth and comfortable atmosphere for dancers. Offering too much changes of music, either frequent changes of orchestra, genre, pace, time period or sound quality, will create creating a lot of interventions to the dancers. I am sure your ears do not welcome too much disturbances when you are embracing / holding hands of a lovely partner!

Tanda also helps beginners to dance in a milonga, since most tango songs are new to them, it will be just too much for them if their ears have to adapt to every pieces being played, without any idea of which kind of music will be played next.

The use of tanda helps one enjoys a milonga better also because dancers can choose their partners in a more efficient way. For example, in A's mind, B is a very good dancer dancing to energetic and rhythmic music. When A hears D'arienzo's music, A thinks of B immediately and approaches B for a dance. Imagine in a milonga without tanda, after A danced to one rhythmic pieces of D'arienzo with B , the dj plays a dramatic piece of pugliese! Unfortunately, A is a is not a fan of pugliese and is not good at dancing to emotional and melodic music at all! Both A & B suffers because it is just too impolite to reject each other after dancing only one song together!

If the dj plays music according to the rules of tanda, when you hear a piece of D'arienzo's after the cortina, it is guarenteed that the coming three or four pieces will also be D'arienzo's pieces, (even recorded in more or less the same period of time and of the same sound quality if the dj is a serious one). It is a lot more convenient for you too choose the most appropriate partner to dance to the music that you like.

Since tanda usually consists of 3-5 songs, you can choose to invite a partner that you don't feel confident with in a better timing. For example, if you are a beginner, you always want to invite an advanced dancer for a dance. Nevertheless, you are very timid because you are always afraid to be rejected. Then you can invite him/her after the first or the second song of the tanda has been played. Very often, many advanced dancers will not reject their less preferred partners if they don't have to dance the whole tanda with them(unless he/she is really picky and snob!) Some of you may feel sad to read this, but I'm sorry to tell you that this is very true in many tango communities! Sometimes, when an advanced dancer is invited by their less preferred partners for a dance when the first song of a tanda is played, they may reply, "how about if we dance after this song?" To avoid hearing this, you can seize the correct timing to invite your desired partner in a milonga where tanda is arranged. I know some leaders will only invite unknown followers when the 2nd and the 3rd song of a tanda is being played, so it is less risky for them if later they find out that don't like to dance with them...(poor followers....) Of course if they like dance with you, I'm sure he will dance with you for more tandas!

I know that some real good followers in Buenos Aires, they will wait for their favourite leaders to invite them when the tanda just begins. They will only accept the invitation from their less favourite partners if no one invites them after the first song is played!

Some of you may say, "I'm a buffet lover and enjoy hearing differernt sorts of music at any time and don't want any rules at all!" Well, my response to this is, a milonga is a dancing space for a lot of people of differernt levels and styles, and I need to concern the needs for all of them! Since tanda is a generic way of arranging music in major milongas of many well-established tango communities all over the world (like those in BsAs, Italy, Spain, U.S....), most visiters and local dancers who have danced in other cities can easily enjoy themselves in a milonga where tanda is used. It also helps most local dancers to get used to this generic form of djing, so they won't feel strange at all when they have to dance to a tanda when they are in BsAs one day! So, why not tanda if it helps dancers in many ways? (though it requires a lot more time, effort and money........)

I wish you now have a better understanding of the importance of having tandas in a milonga. Hope all of you can enjoy as much as you can in Milonga del Corazon! If this happens I will be more than happy to spend my time and effort!

Traditional tango music vs alternative music -- by Coleman

2006-12-30T16:45:00.000+08:00

This is my first time writing on a blog about my feeling towards tango, the dance and the music, something that I have been practicing almost weekly since the first day I picked this up from Helena May of Tangotang. Time really flies for the last 3 1/2 years.

This is also a good place for me to polish up my rusty english writing.

It is an exciting idea to start our own regular milonga that pays the greatest respect to traditional tango culture such as "tanda", "cortina", "golden age music". It is my very own opinion and feeling that dancing tango is not merely about going to classes and learn the steps, but also, more importantly, to learn about the music, its structure and its colourful history. That's why we decided to call our milonga "Milonga del Corazon" meaning, "the milonga of the heart". My first tango instructor from Argentina once told me that "tango is danced by the heart not by the feet", and I am able to realise this more and more day by day.

I have my own theory about and attitude towards tango, both the dance and the music. To put it in one sentence "golden age music from 30s to 50s are the best of the batch". I like dancing to nuevo/electronic/alternative/funky tango music (whatever name you want to give them), but only once in a while. They are fun and sometimes adrenaline pumping, but to me they don't feel like tango at all, and they don't make me feel like I am dancing tango neither. This is a very personal feeling and may not be true to so many other people who seem to enjoy these kind of music more than I do. Tango is more than just dancing to the 2x4 beats, a structure which some alternative music also share, but more about dancing to the melodic arrangement of the whole piece which I find unique to traditional tango music. I am not a scholar in music theory, so I am only speaking from the perspective of a music lover. I generally can't feel the tango steps fit well in the nuevo/electronic/alternative music. May be one can still get the beats and rhythm right, but surely I can't feel my heart is being touched by the music at all.

Three and a half years ago, on a Thursday evening, a friend of mine brought me to Helena May to find out what Argentina Tango was about. Before this, I was not a dancer of any kind, and I only visited any a disco once in a few years, for drinks and not for dancing. And who would know that I had a crush on tango from that night onwards. What captured me first was not the dancers alone, but an overall ambience that was created together by the music, the decoration of the venue and the dancers dancing.

The first piece of music which struck me so much that kept me coming back week after week, and eventually had me making the decision to learn tango was a very old "Bahia Blanca" by Carlos di Sarli, still one of my favourite today. To a classical music fan like me, golden age tango music has a unique attraction--they are almost like classical music that one can not only listen to but also dance to.

A few years have passed since then and the tango community has really been growing. What I notice also is that more people are fascinated by dancing to alternative music. I would like to use the word "alternative" because many of them are in fact not tango at all, they dont have the traditional 2x4 rhythmic structure, some of them are just Rock 'n Roll, Samba, Jazz or even Hip-Hop. I would only reserve the term "nuevo tango" for works created by Astor Piazzolla who truly revolutionizes the tango music. I admit my feet want to move to anything that sound good to my ears, but I don't think my dancing would have improved if I have been dancing to alternative all the time. Many famous nuevo maetros who are loved by the world today like Chicho, Sebastian Arce, Pablo y Dana etc have had their profound training in traditional tango music like those of Di Sarli, D'Arienzo, Biaggi, Osvaldo Pugliese and not the like of Gotan Project, Otros Aires etc. This is like a case of classical music vs jazz too. Many famous Jazz pianist have also had their traning in classical before they are good enough to find their place and soul in the jazz arena.

This is also the reason we start our Milonga Del Corazon. We hope we can provide a place where traditional tango music are given more respect that they deserve, as well as a place where the local community can mature their dancing into the next level by using more "heart" than just their "feet".

Coleman

Grand Opening of Milonga del Corazón - 23 December 2006

2006-12-07T00:16:00.000+08:00

Please click the invitation card to see the details.

Enjoy Yourself Tonight Milonga - 2 December 2006

2006-12-06T23:25:00.000+08:00

First of all I would like to say thank you for those who went to EYT Milonga, and also our special guests Hung Yut and Hwayi, Pablo and Noelia. Without you all, we cannot have such an unforgetable night. Actually, EYT Milonga is like the mother of Milonga del Corazon. When Coleman and I knew about Hung Yut and Hwayi's plan coming to Hong Kong and there was not any tango events during their stay, we suddenly came up an idea - why don't we organize a milonga for them? Then during the time when we were preparing EYT milonga, we both share similar thoughts about milongas in Hong Kong, the importance of music, etc...then we started to have an idea of a continuation- a regular milonga in Hong Kong on the saturaday evening. Again, thank you for all your supports. Please leave your comments about our milonga and we will try our best to offer you all a better place of dancing tango in Hong Kong.

Emily