Learning to lead is easier if you know how to follow tango

Many women I work with notice that they are learning to lead much faster than beginning male dancers. Why is this?

First, you already know the moves in tango. For example, if you have followed walking to the cross (the cruzada) five thousand times, it is not a new step. Even if you have trouble turning steps around in your head, the fact that you have been on the receiving end of the cruzada means that you already have data to plug into that move as a leader.

Second, you know what you DON'T like in a leader. If it annoys you that leaders push with their left hand, or don't use a solid marca to help you do the step they have in their mind, you are less likely to attempt to lead a step that way. Furthermore, you know what moves don't feel comfortable for the follower, and you can avoid those steps as a leader, even if they are fun for the leader; that triple boleo leg wrap thing is out! You have a checklist in your head of what a good leader does that you can follow as you learn to lead.

Third, you have prior experience dancing to the music. You already have favorite orchestras, or favorite songs. You are not building an understanding of the music from scratch, as a new leader would who does not have tango following experience. This seems to be true for milonga and vals especially, since many women admit to me that they are learning to lead so that they don't have to sit out milonga and vals tandas :-)

Fourth, you already know the other ladies at the milongas. Unlike a beginning male leader, you have friends who are willing to dance with you because they are your friends, right from the start. You have already done your "wait until they can recognize you" time in the community. Because many women start leading when they are advanced intermediate or advanced dancers, they already know the more advanced followers; this also speeds up learning time, as dancing with beginners is just harder.

Three out of four of these conditions were ALSO met for men, back when my teachers such as Tete (we miss him!) learned to dance.  In an interview, he told me about learning to dance with the other boys, and following for about a year and a half (the time changed the different times he told me this story) until he got tired of it and insisted on being allowed to lead.

The Argentine men who learned to dance this way, already knew what the move felt like as a follower. They had an understanding of what felt good (or didn't feel good) as a follower.  They knew the music from growing up around it. They didn't have instant access to lots of good followers, however: their friends had to beg dances as favors from the more advanced women, or they had to do the long wait for acceptance by the women in the community--until they were acknowledged to be a good dancer.

That means that a woman learning to lead today (unless she is starting both roles as a beginner, as I did), has many advantages. And, guys, perhaps you might consider working more on your following skills, right from the beginning: it may speed up your learning process! We can't be Argentine, but we can be good tango leaders!

Building stronger technique in the tango community (teaching to the weak spots)

Trying new things as a teacher

I have taught Argentine tango since 1996, and taught in Portland, Oregon since 2008. During that time, I have addressed many issues that arose in my community's dance technique. Each time I have focused on something that seems lacking in our dance, that weak spot has either disappeared, or at the very least, started to improve.

I began to teach my Body Dynamics class two years ago.  I realized that we needed to focus more on technique, and less on combinations, if we wanted to have a better level of dancing in Portland. With stretching and drills--instead of combinations--that class has helped my students arrive at a higher level of dance, faster than their peers, no matter what level of my other classes they attend.

I have hesitated to expand my new style of teaching into my other classes because I was afraid that folks would say, "But that's not how a tango class is supposed to be!" However, I cannot ignore how much faster the Body Dynamics students improve. Even if this is not the "traditional" way to teach tango, I need to push my comfort envelope as a teacher, and apply what I've learned the past few years to my classes.

I find it difficult to find enough time to revamp all of my lesson plans! Somehow, teaching 25 hours a week and being a mom of a child who needs an alternative school, medical visits, occupational therapy, a personal trainer for social skills, etc. does not leave a lot of time to plan. However, my new session that is starting this week (and early next week for my more advanced classes) will be a bit different.

The plan

What is changing:

• a bit of stretching and focusing on the body in each class, not just in Body Dynamics
• a small chunk of drills for each class, so that the combinations work better
• more focus on musicality: THIS is our community's weak spot at the present
• finding more energy in each step of the dance/combination by using the body correctly
• improving connection between partners, so that each part of the dance feels better
• dancing more vals and milonga in my classes; we need more practice in these dances
• working on making space for adornos and pauses in the dance; more dialogue between partners

I am practicing each day myself, and reviewing videos of my personal lessons from Oscar and Georgina. If my students see how hard I am working, I think they will feel empowered to work hard, too. After all, with Argentine tango, you will never get bored, because you can never dance perfectly: there is always more you can learn/practice/do in the dance. For me, that is why I am still doing this dance.

Class descriptions

Top Ten Tango Moves (Fundamentals)

I don't have a dedicated "beginner" tango class because we ALL need to work on our tango fundamentals. My class usually has some complete beginners, as well as intermediates reviewing, and folks learning "the other role" who already are advanced at leading or following. Class is at the Om (14 NE 10th in Portland) on Thursdays at 7 PM.

This class covers (depending on the level of the folks who show up):

• basic anatomy info for dancing tango
• easy warmup exercises to make learning work better
• walking
• walking to the cross in parallel and crossed systems
• walk variants for more/less space
• 1-3 versions of ocho cortado (linear, lateral, circular)
• front ochos
• back ochos
• turns to the right and left
• basic paradas
• tango, vals and milonga musicality basics
• axis, posture, balance
• using "the marca" (chest, arm, hand) to lead clearly
• adornos and pausas for the follower to play
• navigation and dancing in small spaces, right from the beginning
• cultural info (tandas, cabeceo practice, etc.) to help navigate going out dancing

Next 10 Tango Moves

This class is aimed at intermediate dancers, and is more fluid in content.  Most people who take it have danced at least six months, up to about three years. However, some folks have danced for many years, but like to take a class Thursdays before the milonga that is a block away. Class is at the Om (14 NE 10th, Portland) at 8 PM on Thursdays.

The plan for the next few months:

• warming up the body quickly to improve dancing
• improving mental focus for the dance and for learning
• Romantic tango musicality and moves
• vals focus (we did milonga last year, but not vals)
• turns: new entrances and exits
• calesitas
• boleos
• pauses and adornos to make the dance more dramatic/express the music better
• front & back ochos (and new variants)
• basic quebradas & enrosques for turns and deep ochos
• pivot and turn work for followers
• understanding syncopation better, and using it :-)
• creating your own combinations from what you know: personalizing your tango

Take It To The Next Level (advanced, minimum 2+ years dancing)

My advanced class is a one-room schoolhouse, with dancers who have done Argentine tango for anywhere between two and ten years. Many of them have come to me from other styles of tango, and are re-learning/polishing/adjusting their dance, as well as moving up to an advanced level. This class has an extremely varied range of topics during the course of the year. Luckily, many people take Body Dynamics for the hour before class, so many are already warmed up by the time class starts (Mondays at 8 PM at the Om, 14 NE 10th in Portland).

Most of what I teach in my advanced class comes out of Oscar Mandagaran and Georgina Vargas' repertoire, as they have been my main teachers since 2000. However, I also draw on Chicho Frumboli's teacher training classes for tango; Omar Vega's milonga traspie classes; and Tete Rusconi's vals classes, all of which I took in Buenos Aires over the years.

For the next chunk of time, here is the plan:

• light warmup, using the music for the day (different orchestras, different moods)
• musicality: vals, milonga and tango (romantic and rhythmic styles), and different "flavors" of tango
• leading technique: working on using "the marca" well, in order to have a broader range of material that works
• following technique: adornos, deep pivots for turns, boleos, etc., fabulous turns, you name it!
• exploring personal style: using the moves we work on to put together your own combinations, rather than just getting out on the dance floor and copying what I taught that week
• a new combination every week that focuses on the theme of the six-week session (I have a chunk of turns from Oscar and Georgina with quebradas, enrosques, lapices for the leaders; combos with pauses and adorno space for the followers; gorgeous moves for vals and tango; and probably playing with volcadas, although that may be in the New Year, depending on how fast we get through material...
• putting more sensuous, dynamic energy into the dance, so that EVERY step rocks: moving like a panther, like a lion
• more input from students about what topics we cover, as this is more of a master class with folks working on different aspects of a move, depending on level

Body Dynamics

Body Dynamics is not changing: this class is designed the way I would like to have ALL of my tango levels! Class is Mondays at 7 PM at the Om, 14 NE 10th in Portland.  Here is the current setup:

• 20 minutes of stretching
• 20 minutes of basic drills for balance, posture, pivoting, energy
• 20 minutes of targeted work on specific moves that will be used in my intermediate and advanced classes during the six-week session
• lots of peer coaching and working one-on-one, but not in designated lead-follow couples, so women get to know the other women and men get to know the other men: community-building!
• mix of traditional and alternative music

Hope to see some of you there!

What is this "marca" thing?

When I started Argentine Tango in 1995, my first teacher told us that we didn't need to use our arms and hands to lead, just the chest.  He demonstrated by dancing around without using an embrace. We took this to heart, and copied him.

When I first went to Argentina in 1999, I noticed that a lot of the older milongueros DID use their hands and arms to lead me. When I asked some of the nuevo tango folks with whom I was studying whether this was right, they said the older guys didn't have good technique--and that's why they used their hands to help lead. I enjoyed following the older guys, and switched to going to afternoon milongas on my third visit to Buenos Aires, in order to dance with the older generation, but I didn't change much about how I led. It's funny that I didn't make any connection between the ease of following them and their technique!

I started studying with Oscar Mandagaran in 2000 while in Buenos Aires. He advocated an embrace that used chest, arms and hands as a unit, the "marca," to lead ("la marca" means "the lead"). However, it wasn't until 2008 that I converted to teaching people how to use the entire body to lead, not just the chest. When I organized for him and Georgina Vargas in the USA, he took me aside and demonstrated how much easier it was to follow complex moves if he helped me with a clear marca, rather than just moving his chest. The difference was so clear that I had to start relearning tango to dance better.

As a follower, I am sold on this precision that allows me to "let myself be led" rather than trying to figure out what the leader MIGHT want me to do.  As a leader, I like having the ability to help the follower arrive at the same place I do, with less work. To quote Oscar, "You don't want to use your hands and arms? Fine! Keep doing your four or five moves! If you want to do more, you need to help the woman understand what you want her to do!" There is a delicacy and a sublety about this way of leading that appeals to me, because it allows the fine details of tango music to come out, along with the improved connection between the dancers.

While new leaders (or leaders new to using this method of leading) can sometimes feel like the scarecrow in the Wizard of Oz, pointing several directions at once, the end result is worth waiting for! It takes a while to figure out how to use the hands and arms to HELP the torso lead, rather than to have them take over, which is NOT a good marca. For those of you who are sure I am wrong, don't knock it until you give it a fair trial!

Heels down or heels up?

A Facebook discussion going on about whether you should have your heels down or up for dancing tango made me decide to tell my pain-to-no-pain story about why I changed my technique to using my heels on the floor for Argentine Tango.

When I started dancing tango in 1995, no one told us what to do with our heels. Many of the teachers who came through were men who focused on teaching combinations of fancy steps. Although I was studying and taking notes every workshop I took, I have no notes on what to do with my feet from those first few years, except for Luciana Valle's advice to "lick the floor with your feet" which focused on articulating your step, but we seemed to mostly practice it walking forward, so again, I had few notes on how to walk backwards.

My first few visits to Buenos Aires in 1999-2001, I spent a few months dancing and trying different techniques.  I studied with Tete and Silvia, Omar Vega, Chicho Frumboli, Gustavo and Giselle, Luciana Valle, Jose Garafolo, Chiche and Marta, the Puglieses, Graciela Gonzalez, and Oscar Mandagaran. As usual, no two teachers said exactly the same thing, as many of them danced different styles. I ended up with a lot of material to teach in terms of patterns and steps, but no clear path in terms of walking technique.

Dancing in the milongas, I learned to get my heels down, so that I didn't spike other people, and so that I had better balance. This helped cut down on the toe pain and lower back pain that I got when dancing for long periods of time. However, I didn't really start changing my technique until I brought Oscar Mandagaran and Georgina Vargas to Portland and Eugene, Oregon, for workshops in 2008.

I started my private lessons with them telling them all the things in their technique that I wasn't going to do (not a very flexible student!). They patiently took their time to explain WHY they did each thing that I had been told not to do, and to dance it with me.

One of the things they changed about my dance was how I used my feet. They had me articulate through my foot, using natural walking movement, so that I was not tensing my foot, or popping up on my heels, or rolling out, but rather moving efficiently. When you walk backwards in "real life," you roll over your heel, letting your toes relax off the floor. Not only does this give you better balance and less work for each step, it allows you to really MOVE when you step, in a much more powerful way than pushing off your poor toes.

This new approach to walking removed my foot pain on the dance floor: I can now work an 8-hour teaching day and end up with tired, but not painful, feet. When I dance at the milongas, my feet hold up better than the rest of me: I go home because I am sleepy, not sore!

Another benefit to rolling through my heels and working my feet correctly was that people immediately commented on how much better my technique looked. Now when I go dancing in Buenos Aires, women touch me on the arm on the way back to my seat, and say, "Pretty feet!" and "Who is your teacher?"

 It took a grueling six months to start to retool my dance after dancing tango on a daily basis for thirteen years, but it was worth it! I constantly try to improve my dance, and study with Oscar and Georgina as much as possible, so that I can teach the technique as clearly as possible.

Shoe repair in the Portland/Vancouver area

After trying several repair places in my neighborhood, I found that many places would not repair my stiletto heels because they "didn't have that size heel tip" available. Could I bring one with me? How frustrating!

Luckily, several of my students have found repair shops with more intelligent repair folks. I have not tried all of them yet, but so far, so good!

Vancouver area:

Corner Cobbler Shoe Repair, 608 Devine Rd., Vancouver

(360) 693-0921

Hours: M-F 9-6 and Sat. 9-3

SW Portland area:

Hillsdale Shoe Repair, 6311 SW Capitol Hwy., Portland, OR

(503) 344-3153

Hours: Tues.-Fri. 10-6 and Sat 10-4

NE Portland area:

JD's Shoe Repair, 728 N. Alberta St., Portland, OR

(503) 287-7078

Hours: Tues.-Sat. 10-6

I will be back to posting more regularly, about the Portland community and about anatomy, posture and all my favorite topics, as soon as I get my taxes squared away!

Current Class Schedule

The interlaced embrace: energy and connection

Coming back from Buenos Aires to dance in the USA is always difficult. It's not the level of technique: in some cases, that is comparable with the dancers in Argentina. Why are dancers here different? One Argentine teacher told me that he was glad HE didn't have to teach North Americans tango every day: "They don't like touching each other!"

To me, it's not the physical touching that is lacking, but the emotional connection. Most dancers I dance with in Buenos Aires are more open. I can feel their energy open up to me, rather than block my energy. It is rare to feel that with dancers I don't know in the USA, and sometimes even with folks I know well.

I think this might be true for North America, rather than only for dancing tango. Dancing last night (West Coast Swing), I could feel my partners going through the motions, but not DANCING with me. One man kept putting my hands on his body and gyrating, but never connected in energy: it was a solo act! In fact, I was struck by the connection that was established with one dancer from Los Angeles (Latino), because all the other dancers--with the exception of my sweetie--did not connect.

There is a social component in what I experience as the connection in Buenos Aires. There, I have discussions about relationships, work, politics, love--in between dances in a tanda. In some cases, we started up conversations from the year before and continued them! When the dancing is REALLY good, we tend to talk about how good the dancing and connection feels, and often discuss the orchestra or the singer and how that is working to our advantage in the tanda. I don't experience that very much in the USA, except with established friends; and then we shy away from deep conversations, as if that would interfere with the dancing.

Is it more accepted to open to another person emotionally outside of white American culture (most of the dancers here would fit in that category). The Argentines I spoke with certainly think so, but there are cultural sterotypes about North Americans there, so perhaps that is not a valid observation.

What I try to accomplish in my teaching tango, is to establish a deep, interlaced embrace that allows for movement for both people, and allows for maximum balance and comfort. I think that aids in allowing emotional and energetic connection. That is one reason I've moved away from the square, stuck-to-your-sternum embrace I was taught years ago: if I am struggling for balance, how can I relax enough to allow a real connection to happen? When your body relaxes, your center relaxes, and you can allow energy flow to form a unified couple. It will take a bit more work to get our North American comfort zones small enough to let vulnerability in enough to really connect with others.

What do you think will help us open up to our partners and let our vulnerability out to play?

Food for thought: how can we improve the tango dance experience in our communities?

My last two nights of dancing in Buenos Aires are not happening: I caught a cold, and stayed home last night and tonight. I decided it was more important to try to get well than to squeeze more dance time out of my visit; especially as I don't like to give colds to other people!

Most people take vacations to relax. I usually come home from Buenos Aires more exhausted than when I left. Perhaps this time, I will be ready to jump back into life.

I always come home with a list of things that I want to change about my teaching, about my practica, and about the Portland tango community. As I have a young son, I don't travel much in the U.S. tango community, so I don't know whether these problems exist in other communities or not.

1.  Guys, let's dance with the women who aren't getting dances!

Maybe they are shy, or new, or lack the confidence to really accept a cabeceo (or don't know how to cabeceo!). What I've noticed this time in Buenos Aires that I never noticed before: There are nice guys here who dance with people who have been sitting down a long time. They are good dancers, but more importantly, they are GENTLEMEN. These guys don't just dance with their favorites, and they don't peacock around, showing off. They quietly make the milonga experience better, just by being nice. We could use more of this in our community.

2.  Ladies, let's accept at least one cabeceo from someone below our dance level every time we go dancing.

Although the foreigners I met were obsessed with getting good dances, the Argentine women with whom I sat, danced with their friends, no matter what level they were, and they had a lot more fun. I would like to see more of this friendliness towards the men in Portland, rather than the snooty attitude that occurs when women try to demonstrate how good they are by rejecting lower-level male dancers.

3. Let's get to know each other as people!

There was less of a feeling of competition between women when I sat at tables of Argentine women. Instead of trying to intercept cabeceos (and yes, I sat at a table of competitive foreigners who would lean in front of others to cut off their view of the men), Argentine women chatted with me. They directed my attention to better dancers with whom I might like to dance, and my best tanda of the entire visit came out of my table partner digging me in the ribs and saying, "Hey! Look! That guy who is a really good dancer, is looking at you! Look at him!!" I am happy to see that the women in my community are starting to meet outside of tango, and to make friendships, so that there is more camaraderie at the milongas. This is a good start.

4.  Let's introduce new people to our friends and ask our friends to dance with them!

As a teacher, I feel this is part of my duty to my students, but shouldn't everyone try to expand the feeling of community by including the new people more? That person might not dance well now, but maybe they will in the future. Or, perhaps they will never dance well, but they are a wonderful person who we want to stay in our community. Or, perhaps that person will become your best friend! Someone recently told me about a very difficult time in their live, when coworkers were unsupportive, but their tango community reached out to them. 

I guess my main point is: let's spread that tango love! We have a choice as to how we act, so let's start the New Year with a resolution to be better community members!

La Feria de Mataderos

Today I went to the Feria de Mataderos with a friend (thanks, Sarah!). Like the other artesanal fairs, this has a bunch of imported, Chinese cheapo stuff around the edges, handmade things at the heart of the fair, and various other amusements.

The fair is open from Easter until Christmas, more or less. As next week is the last week for this year, it appeared that some of the folks had already stopped coming. Sarah was looking for certain booths that were not there.

We found a booth selling tango shoes at VERY reasonable prices. The vendor said that her prices will have to go up next year, but they were much cheaper than in the store. She and her husband make all the shoes: nice leather and well-sewn!

I found goat's milk dulce de leche for my son, who does not eat cow dairy! I also bought artesanal pan dulce as a gift for my hosts and whole wheat bread for myself. Add a few pretty trinkets for presents (as they are surprises, I am not putting them in here), and choripan, and that was pretty much it for the day.

The folk dancing hadn't started yet when we left, but the music stage was set up and they were singing and playing music. It was too hot to dance anyway: 33 degrees Celsius. I got burnt to a crisp: one of the guys in the milonga tonight said I had white circles where my glasses had protected my face!

By the way, if I hadn't had Sarah along, it would have been hard to see the fair from where the bus stopped. However, if you look for the big fountain, that helps. I am not sure if it was amusing or alarming to see a fountain that had signs posted: High voltage! with people swimming in it! The fountain is that industrial, mini-nuclear-reactor-looking thing in the foreground.

La Gran Milonga Nacional 2012

I took my dance class today, spent two hours doing a photo shoot, and then ate a LOT of home-cooked meat and a glass of wine: no milonga tonight!

However, instead of a milonga review, I have the first of the videos from the Gran Milonga Nacional ready! I danced with Santiago Asencio, another student of my teachers, Oscar Mandagaran and Georgina Vargas. Considering this is the first time we ever danced with each other (or met, for that matter), we did pretty well on a plywood stage where pivoting was difficult!

[youtube http://www.youtube.com/watch?v=Ppcq5lbMrLU?fs=1&feature=oembed] 

Stay tuned (someday) for the video that was taken of me dancing with Oscar!

Tomorrow, I am thinking of visiting the Feria de Mataderos with a friend. I promise lots of pictures if the weather is good and we go!

A few more milongas: branching out

El Maipu (La Casa de Galicia, San Jose 224, 1st floor)

Although I always go to Mondays at La Nacional, I had not been to Lucy and Dany's other milonga before. I had planned to go to Plaza Bohemia like last Friday, but I decided to experiment because I was given a discount coupon for this milonga last Monday at La Nacional. That means that I don't know the the actual price for this milonga. I paid 20 pesos (water cost 12 pesos).

My friends had told me that, even though the milonga supposedly starts at 6 PM, when they went at 6:30 PM, there was no one there. I went at 7 PM, and it was not very full. I stayed until 10 PM, and it never filled up all the way, but gradually improved in possible choices of partners. This would be a good place for intermediate dancers to get out on the dance floor (or brave beginners), at least early in the evening, because there was plenty of room to dance, with a lot of space between couples.

The level is pretty good, although not quite as good as La Nacional. You can see several of the regulars dancing in this YouTube video, which also gives you a sense of the space available.

I didn't dance with anyone amazing, but I didn't have any bad dances--except one. Someone asked me to dance, and then, part-way through the tanda, he wanted my arm hanging around his neck. I finished that dance with him, deciding to say "Gracias" after it; he was spared by the cortina. Luckily, I had some decent tandas after that that got me out of my foul mood.

Here is the lovely Lucy; Dany was busy with something, but I promised I'll take their picture together on Monday.

Flor de Monserrat (Aires Tangueros, Av. Rivadavia 1392)

As Flor de Monserrat is only a few blocks from El Maipu, I showed up at 10 PM, when the milonga supposedly started. There was a class going on, and the guy at the door said the milonga starts at 10:30 PM. I went out to eat and came back around 11 PM.

Usually, I don't go to two milongas in the same night, but I had told a milonguero that I'd be at the first milonga he was going to, and I didn't go; so I decided to go to the second milonga he attends, at least for a little bit. This milonga costs 30 pesos. No waiter came by, so I never ordered water, as I was stuffed from dinner.

Without a reservation, I was socked in the corner where I could barely see across the (too dark) dance floor. I wasn't too worried, as I was already tired from a class, three hours of dancing, and too much food.

The level of folks I have danced with this visit reached a new low here. A man from Brazil dragged me around the dance floor mercilessly. Thank goodness the tanda was short and we started one dance into it: I was waiting for that third dance to be over in order to be polite. Hmm, I sound much less charitable than usual today. I think I reached the end of my patience with people who think they are good, but are not. I am always happy to dance with beginners who know they are beginners.

I danced with more people who ran into each other here than anywhere else so far. The floor here is very narrow, with room for one lane of dancers, and a middle space occupied by the less-skilled-at-navigation dancers. There is almost no way to avoid collisions if more than one leader on the dance floor does not navigate well (there were about three). I found it easy to navigate when I led here a few days ago, but I learned to lead at Torquato Tasso, where the milongueros tried to push me off the dance floor because I was a female leading. This is NOT a good milonga for beginners, and it is too dark to cabeceo easily.

Here is a video that shows the size of the space.

I danced a technically interesting tanda of Pugliese with the guy who taught the class before the milonga (I don't know his name), and two nice tandas of valses with guys who had a medium level of technique, but nice groove with the music.

I left around 12:45 to call my son before bedtime. People were still coming in, although the milonga ends at 2 am.

My vote so far

So far, although I love La Nacional, I vote for Sala Siranush/Siranoush (depends on which guide to tango you look at) BECAUSE I had my absolute most wonderful tanda so far this year there. Best compliment so far this year: "You dance as if you were born here in Palermo!" also belonged to that tanda.

La Nacional, you get another chance Monday!

Out and about

The weather today was so perfect that it's almost impossible to remember how awful it was yesterday. It's sunny, with medium temperatures, low humidity, a bit of a breeze: is this the same city??

Neotango visit #2

I bought another pair of shoes and dropped them off at the shoe repair I used last year, in order to compare quality of work with the other place I used this year. The shoes will be ready tomorrow: beautiful, black suede with cut-out details in the heels. Neotango strikes gold again!

By the way, those of you who don't like high, high heels, rejoice! Apparently, there is less of a demand for 9 cm heels (the high ones like I wear) because people have trouble dancing well in them. There is now more of a demand for 8.5 cm heels and lower heels. I must have looked alarmed, because I was assured that they would keep making the high ones for those of us who like them.

Really, the salespeople there are some of the nicest I have met! I am not sure how to spell Ariel's name, but he is the one who usually helps me.

Cheap clothes

Summer here can be a lot hotter than you think it will be. Although prices everywhere are higher than before, there are still some bargains around. One place I like to go for capris and summer T-shirts is Basicos Buenos Aires (Av. Rivadavia 2297). You can't try things on, as it's mostly a wholesale place where you can buy retail at a slightly higher price. It's all synthetic, but I use capris from that store at least every other day when I teach and it's warm. I bought a pair of capris for 50 pesos, and a sleeveless top for 30 pesos. At official prices, that's not too bad, and at "alternative market" prices, it's quite a deal.

Books in English

I go to Rincon 9 (new location, Junin 44) because they have a great selection of children's books in Spanish, and I am still clinging to the hope that my son will not lose all his Spanish now that he is in English-language school. However, Rincon 9 has an excellent selection of books in English as well. I don't know if they speak English there; I should have asked.

Nice person who rents rooms

I danced with a very nice man today at El Maipu who rents rooms in San Telmo. He has lived in San Telmo for 40 years! I have not seen his place, but I have heard of it from several people. Unlike a lot of people who are dancing in order to get students or provide other services, he didn't tell me about it until after we had discussed a bunch of other things.

The best ice cream I have had so far

I went back to Victoria Cafe (Av. Entre Rios 114, on the corner of Hipolito Yrigoyen, across the street from the Congreso building. We ate there quite a bit last year, so I went to see how it was this year. The waiter, Sergio, remembered me and asked after my friend; I took his picture for her.

I ordered the special of the day (58 pesos), an amazing lasagna with spinach, sweet peppers, mushrooms, ham and some unidentified "meat" with "Parisian sauce" that came with homemade ice cream for dessert. I chose lemon, as it's my favorite flavor: WOW! I didn't remember artesanal ice cream from the year before, and the waiter told me that they had only begun making it a few months ago. Yummy, yummy, yummy! I just wish there had been less lasagna: I couldn't finish my ice cream!

I am walking everywhere this year, but I don't think I'm losing weight.

Tango en la calle: dancing on the Avenida de Mayo

Last Saturday night was one I don't think I will ever forget: I got to dance to three live tango orchestras, on the Avenida de Mayo! There was a man filming who films at the milongas. What he told us was that he likes to put up videos to show HOW to dance at the milongas. His video of us dancing will be up on his webpage in a few weeks. This five-minute  Aires de Milonga is a montage of things that were happening the night of the open-air milonga, along Avenida de Mayo. At 4:07, there is ONE second of me dancing :-)

A plug for Carlos Neuman, the videographer: this guy really loves tango, and he really wants folks to dance well. Also, since he regularly films in the milongas, he has some good footage for those of you who have not been here and want to see what it is "really" like. I don't usually take my camera along with me, and I usually just dance, so I am not very helpful in this category; he is.

There were 8000 square meters of dance space along the Avenida, according to the news (sorry if you don't speak Spanish). There were people everywhere, strolling, sitting and listening to music, dancing in flipflops, eating . . . I have never seen an area as stuffed with humans as the areas around the stages.

There was a pride and an energy surrounding the event that I have not felt before here. Dancers were discussing it days before. When I bought shoes, the saleswoman was talking with a guy buying shoes about their plans to dance. The tango world buzzed with excitement, and the the news coverage also had a tone that I usual hear reserved for futbol games!

Strikes, accidents and floods affect even tango-crazed tourists

Strikes and demonstrations

There was another rolling strike scheduled for today, so each subte line was supposed to be closed for three hours. On Sunday, I took the subte without paying because no one was at the ticket windows, and all the "emergency" gates were open for free access. Monday, there was a strike as well.

In addition to that, there are demonstrations going on for all sorts of things. I have been reading the papers, but I am not 100% up on everything going on in the judicial system re: free speech. A very impassioned woman at the milonga was telling me that a big demonstration had been cancelled for today, as the judges had decided to postpone a deadline for rights for two months.

On the way home from the milonga tonight, there was a gathering of youth on Avenida Callao near Congreso, that seemed to consist of large banners that I couldn't read (draped the wrong way); loud drums; beer-swigging young people; and shouting young people. Something about solidarity.

The toxic cloud

This morning, the news reported that a toxic pesticide from a Chinese ship at the port had burned, creating a toxic cloud of gas, headed for Buenos Aires. Since it was going to rain, we assumed that it would still probably be safe to go out. However, when I headed out for lunch, they sent us out of the subway and closed the doors. The downpour started at about the same time, and every taxi in sight was taken. After walking about six blocks and getting soaked, I finally found a taxi. Because of the traffic, it took forever to go just twenty or so blocks.

Later, the news reported that it was NOT a pesticide, that it was relatively not dangerous, and people should stop panicking. Frankly, I don't know which story to believe. My skin felt prickly when I was out, but that might just have been all the chemicals in the air here, added to the rain.

Flooding in Belgrano

We had over 111 millimeters of rain today in an hour (I was unfortunately outside for part of that), and Belgrano flooded. The news had pictures of people wading across streets, with police helping old ladies cling to lines stretched across the street, so that they were not swept away. There were videos of cars being swept down the street. I also saw footage of a guy canoeing down a street.

Even here, where there was no flooding, the streets were so full that it was impossible to avoid getting soaked at least to the knees when buses and cars went past, or from puddles that were too big to jump. I took a towel with me to the milonga to dry off enough to put my dance shoes on.

Low attendance at Lujos (El Beso, Riobamba and Corrientes)

I assumed that a lot of people would stay home because of the awful weather and consequently awful traffic; I was right. This footage shows a night with a LOT more people at the dance (this is what you normally see at El Beso).

Today, the milonga started at six. Since last week, I went later and had to sit in the second row, I went around 6:45ish. There were a total of eight people there, plus the wait staff. Even one of the organizers hadn't made it there yet, so the flustered person helping to seat me asked me what seat I wanted: that must be a first.

Eventually, the milonga filled up a bit. I danced until 10:15. At that point, I had danced with almost every guy in the place at least once. Interestingly, the rain seemed to have kept the male tourists away! I danced with Manuel, who is Spanish but lives here, and another guy who didn't look familiar, but who spoke Spanish. However, until about 10, I didn't see any foreign men come in (there were a few women who were obviously not Argentine).

I've noticed that, each year I come here, I go dancing earlier. Yes, I'm getting older. Yes, I like to call my son before his bedtime. Yes, I am happy to dance for three or four hours, instead of the whole night. However, I think this year there are more good afternoon dances AND since I get to dance pretty much every tanda, I get tired faster than the years when I sat out more.

Rejoicing that the rain had stopped at least for a while, I walked home, detouring to La Americana for my favorite tarta pascualina.

Milongas: Flor de Milonga and La Milonguita

Tuesday: Flor de Milonga (Aires Tangueros, Rivadavia 1392)

This was a new milonga for me. La Flaca Lucia and her partner, Gerry (an Irish guy) run this milonga.They are very friendly, comfortable folks. It was nice to be greeted with, "I saw you dance last night at La Nacional. You are good!"

The dance space is quite small, with barely room for the row of tables for "singles" on one side, but more room on the other side. Most people ordered food, and looked like they enjoyed it, so this would be a good place to eat and dance. I had already eaten, so I can't give a food review/prices.

This was the first day this milonga started at 7 PM, rather than at 10 PM. I decided to go early because it was free until 8 PM: probably a mistake. It was almost completely tourists (Lucia's students) for a while. Most of them were good enough dancers to be enjoyable. Only one was "Boy Scout" duty, but we should all do our community duty, right? Paybacks for all those milongueros who have danced with me in the past.

Things picked up when no one wanted to dance milonga, and the Italian woman next to me started bouncing around to the milonga. I invited her to dance, and she assumed she had to lead! We switched lead and follow, and had a BLAST! I hate to say it, but she was the best leader I've danced with who was a foreigner, and she was better than a lot of the Argentine men, as well. We did a vals set later. The nice thing was that this milonga is very relaxed, and the guys still danced with us. Later, I was told that one of the gay-friendly milongas happens at this place, so the regular milonga rules are relaxed here in terms of gender.

The evening continued to improve. I danced with one Argentine guy who was turned out to be a stage dancer: nice and dynamic, with fancier moves, but still paying attention to navigation and safety. When his friend showed up, he watched me and then pounced for the next tanda. Both of them danced well, and I did two tandas with each of them. It was the first time this trip that I could use all the turn technique and adorno technique I've been working on with Oscar and Georgina.

I had just changed my shoes to go home when they did the chacarera set, but I danced anyway.

Wednesday: La Milonguita (Sala Siranoush, Armenia 1353)

Sala Siranoush is part of a large structure with several buildings, which you reach by a gate at the street. You pay for the milonga right at the entrance (35 pesos), and there is a security guard as well.

The dance hall is beautiful, large, and air-conditioned. The room was not very full when I arrived at about 7:45, but by 8:30, it was pretty full. When I left around 11 PM, it was just starting to thin out a bit. On the whole, there was a good feeling in the room, with tables of men and tables of women alternating around the dance floor. It was pretty much impossible for me to even see the folks at the other end, but I dance all but two tandas; one of them was a choice not to dance because the music was a bit strange.

Although I have danced many times at La Viruta across the street, this was a new venue for me: two new places in two nights! This was the first time I went dancing where I had to take a taxi home. It cost 40 pesos, but it was worth it!

I had the best tanda of my visit so far. I think he said his name was Horacio. Two of the three women at my table went home, and the other woman said, "Quick! That guy across the room is looking at you! He is REALLY good!" And he was. Wow! There was feeling in every step. There was no "get used to each other" part of the first dance: it just worked immediately. We were in the zone. After the first dance ended, we just grinned stupidly at each other for a moment before starting to talk. Lovely, lovely, lovely!

Shoe repair, pedicures, and an easy way to use the bus if you are done walking

Cromo for shoes

After buying shoes the other day, I waited to go to the shoe repair. I had used one I liked last year, but my friends said her prices had doubled (40 to 80 pesos per pair of shoes) for putting suede (cromo) on the bottom of the soles. So, I waited to try out their new guy, who reportedly charges only 50-60 pesos per pair.

No such luck: he is now charging exactly the same price as the other lady. He was fast, efficient, but not friendly. Still, it's useful to have more than one choice:

1. Ayacucho 284 (the one I used this year)
2. Sarmiento 1882 (the one I used last year)

Given the prices, I think I'm going to try to find the shoe repair one of my students recommended in Portland: it couldn't cost that much more, could it?

Pedicure

I went back to the same place I used last year, Claudio Zapulla Peinados (Ayacucho 57). The same woman did the same fabulous job on my feet. They feel no fear of the razor here: my person at home would never shave that much dead skin off my feet! It cost 100 pesos, up 25 pesos from last year.

City buses

Although I have been mostly walking places, I just found an awesome site that replaces the ancient bus map that I carry around: City Buses in Buenos Aires. What used to take 10-15 minutes to look at two different pages, compare bus routes, and then look up the route to figure out what street it went down, took less than a minute online. Yay!

Milongas: Lujos on Sunday, El Maipu on Monday

Although it is getting hotter and hotter, the milongas are air-conditioned, making them feel cool, despite the press of humans inside.

Lujos (Plaza Bohemia), Alsina 2540

Yes, I am sticking to my neighborhood a lot this year. Notice that I've been to two different milongas at Plaza Bohemia; two different Lujos milongas (Plaza Bohemia and El Beso), and now have wandered a few blocks down Alsina. Tonight I will probably to over to Nuevo Chique, which is only a block or two from La Nacional. With taxis costing almost 10 pesos just to put the flag up, I am walking a lot more. Plus, there are great milongas in my neighborhood!!

The dance floor at Plaza Bohemia lists towards the door. After a dance or two, you can feel that there is a definite tilt. However, the dancers accept it, grimace, and readjust; if not, we'd all be in a heap at the one edge!

The tables are arranged all around the floor, with a "guys" side, a "ladies" side (more or less), the most-populated side a mix of male and female tables, with a few larger groups; and most of the tables for couples on the other side or in the back.

Sunday, I had a table one back from the edge, and didn't get as many dances as the other night when I have a ringside seat. On the other hand, I felt exhausted, and I have noticed that the days I don't really feel like dancing, I apparently send off some kind of signal that says, "Leave me alone!" I still got to dance enough to make me happy, with a few breaks to make a list of "guys to avoid" and "guys to cabeceo" in my head. For the first time, I had someone thank me for looking at them! He was Argentine, but obviously more of a beginner. I now do what I call "Boy Scout" dances wherever I go: I dance with almost anyone once, even if they are not very good. After all, they will never get better if all the women avoid them!

Yes, the fans are back! Men, women--everyone--has a fan. Garish fans are everywhere, especially on the men's tables. Perhaps the women pick theirs to go with an outfit, and the guys just grab a fan? As I passed his table, I noticed that one guy I tend to dance with for valses was using the same hot-pink fan that I bought last year. I love that everyone uses a fan. Too bad they are all from China!

El Maipu (La Nacional), Alsina 1465

It felt great to be back at La Nacional. It is a popular milonga, as is always very crowded. This time, I remembered to call for reservations. Even so, we were at the second table back at the end of the room (they have redesigned how the tables are arranged, so there are fewer tables at the side and more at the end.

The only problem I had with that space last year, was the slippery floor. This year, the floor feels wonderful. Someone told me that they had a new floor put in, imported from Slovenia. I don't know if this is true, but it is a new floor, and it is nice!

I met up with Sarah, who had been living in Portland this fall. We went to the milonga together, so I actually have teeny clips of me dancing! Thank you Sarah! It is pretty much impossible to see down the line of dance, even to get a cabeceo for dancing; so it was not possible to follow me dancing :-)

[youtube http://www.youtube.com/watch?v=cGGLPUh8I5g?fs=1&feature=oembed] 

Here is another one, also very short (the video and the guy!):

[youtube http://www.youtube.com/watch?v=tdK3gO3hnas?fs=1&feature=oembed] 

Guys: this is why I keep working on having you dance in small spaces! Practice, practice, practice!

Although the length of the room made it impossible to cabeceo a few guys I usually dance with who were at the opposite end of the room, there were plenty nearby. I sat out the first tanda of milongas, but otherwise, danced the entire time we were there.

Music day!

Today I went in search of music. Where? Lavalle 2039, Piso 1. Buenos Aires Tango Club. You need to ring the bell, and a voice mumbles something. Ask for Euro Records or Buenos Aires Tango Club, and they will open two sets of doors via buzzer. They are open M-F, 11-6ish.

These folks at Buenos Aires Tango Club/Euro Records are a treasure trove of information--and that's with the director on vacation! Plan time into your schedule to visit, especially if you like to learn about tango music. I never make it out of there in under an hour (it was almost two hours today, I think). They are extremely helpful and knowledgible, and I emerge with my head stuffed with new information. Sometimes, I even remember some of it!

I remembered my list for some friends: a lot of Canaro with Maida singing, some Rodriguez, some d'Arienzo. I forgot my own list, and ended up with a completely different bunch of CDs than I had planned. Now that I have found my list, I will probably go over next week again and pick up a few more.

What did I get?

• More Lomuto, a favorite of mine. 
• Canaro with Maida singing: after listening to the songs I was buying for a friend, I bought some myself. However, a guy came in while I was there and wanted one CD: the one I'd just bought, and there were no more copies. I earned karma points: I handed over my copy.    
• Some great d'Arienzo from the early 1940s.
• Di Sarli with Podesta and Rufino singing. 
• Pugliese from the early-mid-40s.
• A CD of "forgotten" orchestras: Today I met Cayetano Puglisi; Luis Petrucelli; Juan Guido; Carlos Marcucci; Juan Canaro; Roberto Zerrillo; Juan Carlos Cobian; and Francisco Lauro.
• Alfred de Angelis with Oscar Larroca singing. I heard this at Plaza Bohemia on Sunday evening, and asked the DJ what he had played. I had never heard the songs, and they were really intense. Thus, a new CD and perhaps a new favorite tanda for a while!

The main thing I forgot to get was Fresedo. I am enjoying his music more than I ever have before, and I want some more to play. Ah, well, their office is only a few blocks away.

Teatro Colon, Recoleta and a beer: a perfect, sunny Sunday!

Today is perfect: blue sky, breezy, almost hot: heaven!

Teatro Colon

One of my students scolded me for never doing anything "cultural" when I am in Buenos Aires, so I walked down to Nueve de Julio, and strolled over to Tucuman. I took the guided tour of the Teatro Colon (Tucuman 1171). It costs 110 pesos for the tour, which is offered in several languages. The one in English was the next in line when I got there, so I took the tour in English.

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What a beautiful building! There are four or five different kinds of marble: white, yellow, red, green . . . all from different places in Europe. Gilt, statues and stained glass are everywhere. When we went upstairs to the Grand Hall (the place the rich used to socialize before and after the opera), I thought, "Wow! this looks like the old Paris Opera building!" and then the guide said it was modeled after that building. I felt very cultural and smug.

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After the tour, I wandered around the Gardens behind the theater, which have a photo installation of the history of the opera house, along with photos of famous stars who have danced/acted/sung here. There is classical music playing; the last jacaranda blossoms are finishing; and lavender bloomed everywhere.

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Recoleta Cemetary

I took the subway to Pueyrredón and Santa Fe, and then walked the rest of the way to Recoleta Cemetary (15-20 minutes). If you don't like walking, I'd suggest taking the bus or a taxi from here.

I don't know why I like the cemetary so much, but I do. I like to wander around, then sit and think in the quiet that surrounds the area, even with tourists and songbirds flying around. I saw one mausoleum opened up, and an old man wandered by with a vase of flowers and water. I like that not all the dead are forgotten.

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Lunch at Buller Brewing Company (Pte. Roberto M. Ortiz 1827)

I have never been a fan of Argentine beer, as most are pilsners, and I am not a lover of pilsner. However, I wandered past a brewpub facing Recoleta Cemetary, and decided to see how it stood up to the brewpubs in my neighborhood in Portland, Oregon. The verdict: not bad!

I had a half pint of their IPA (25 pesos), and it tasted great on a hot, sunny, late spring day. If I were not such a lightweight, I would have tried their sampler of six beers (50 pesos): stout, honeybeer, hefeweizen, IPA, pilsner and I forgot what the sixth one was. I had a plate of luscious, squash and spinach (and nut?) filled ravioli (49 pesos), covered in bolognese sauce (18 pesos). The whole meal cost about what I pay in my local brewpub at home for a glass of beer and some pasta.

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Changing prices and Buenos Aires

Despite huge changes in the price of living in the past two years, people are surviving. I have seen fewer street people, and folks seem less upset than last year. The Abasto mall was stuffed with families shopping. The stores alongCorrientes were full. The sidewalks were full. It was great to see so many people out enjoying their city. I walked for about two hours, shopping and strolling to get back into my big city mode (I LOVE Buenos Aires: have I mentioned that recently?).

Many items that used to be cheaper here now seem to cost more than in the United States. For example, I am shopping for a watch, having lost mine a week before coming to Buenos Aires. The cheapest watch I have seen so far cost about $30 US, with most costing $50-500. The self-winding watch I have been coveting at Sears for $150 seemed high, but a woman in a watch shop here quoted me about $400 for that kind of watch. Wow.

Shoes

Shoes have gone up slightly in price. Two years ago, most of the shoes cost about $110. Last year, they were $140ish. Today, I paid between $130 and $150something a pair. However, some stores have posted very good prices for paying in dollars (either 4.84 pesos to the dollar officially, or up to 6 pesos, which is almost up to the "alternative" money market price), so it makes sense to bring cash.

I bought shoes at Artesanal (Jean Jaures 465) and Neotango (Sarmiento 1938).

Artesanal has a new shop, but it's only about a block away from where it was before: right near the Abasto subte stop. The woman there is friendly and truly awesome about finding shoes for people who are not in the shop. Bring her the outline of a foot, and she has never failed me yet (cross your fingers!) in finding shoes that will fit that person well. The stock is small, but the shoes are well-made and last a long time.

At Neotango, the folks recognized me. I was surprised that they remembered, although between us, Gayle and I probably bought ten pairs of shoes there last year (or more). What nice people! They deal all day with uppity shoppers, and still smile. There was a very rude lady complaining that they had told her the wrong price and needed to speak more clearly (she didn't speak Spanish), and they were very nice to her. Nice salespeople go a long way with me.

Stay tuned for the new shoe repair place. I am told it's much more reasonable in price than last year's place, but I haven't been there yet.

Clothing

I stopped by Tango Imagin (Tomas de Anchorena 606). The people who run it also make the clothing, so they are very helpful about fabric, colors, etc. Also, if you have time, they can custom-make stuff for you and/or alter the clothing in the store. I had planned to buy something there this year, but none of the halter tops were available in a 3 that day (let's just say that a size 2 looks like a sausage on me), and the skirts, while very beautiful, didn't flatter my shape. I would check here first if you were looking for performance gear: beautiful, flowy things!

Right next door to Tango-Imagen is Tango Ocho. I didn't go there this year, but in the past, I have bought a lot of things here. The attitude amongst the sales staff varies from somewhat friendly to completely disinterested. Unlike all the other stores I've been to in Buenos Aires, the shopgirls have no opinions, no ideas to improve your tango image, and don't want to help. On the other hand, there is one man who works there who is wonderful with fitting shoes.