What Is Tanda Etiquette?

What Is Tanda Etiquette?

Let us first understand what a Tanda is in terms of it’s significance at a Milonga. The Tanda is a group of musical pieces, normally three or four, played together, which are of similar timing, structure, and most often from the same orchestra.

The DJ plays the music in these sets to give the dancers clear choices of styles or preferences and to allow them time to dance together and create a connection. In between the Tandas the DJ will traditionally play a short, approximately, thirty-second clip of music that is completely irrelevant to signal the end of the Tanda. This gives the dancers a chance to change partners, or have conversations, etc.

What role then do we have that is proper in terms of etiquette? We do have definitive ways of engaging a partner to the dance, floor that I have covered in previous Blogs. In Tango we call this “La Cabeza”. 

Since a Tanda is three or four songs it is respectful to invite someone on the first song. This gives the couple a proper time to feel comfortable and enjoy the connection, which sometimes takes a song or two to bloom. Perhaps the second song is acceptable depending on circumstances. Asking on the third or last song may appear to be more of an obligation, and a quick way to get your dance with that partner out of the way.

During the Cortina the polite thing to do is walk off the floor with your partner and give others a chance to enjoy your dancing prowess, as well as allowing your partner freedom to make their decisions. There are always more Tandas together if they are meant to be. Most importantly enjoy each other, the music and celebrate the dance.

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When To Embellish

When To Embellish

I am often asked to teach embellishments, which are normally the expressive foot or leg movements used by the dancer to express an interpretation of a musical element felt in a moment between the couple and the music.

There are many beautiful and elegant drawings we can create with our feet, kicks and jumps we can seamlessly do while our partner pauses and gives us the space and time to demonstrate our artistry, but without the proper ingredients they can look like a fish out of water.

So when would those magical moments occur? Certainly I may do a quick slight enhancement anytime I hear or feel I have a chance, but I may not linger unless there are ample signs and enticements.

My partner may pause and give me space or hold a position, which would indicate an invitation to express myself with some artwork. He may even try to lead me into an exaggerated version, but this may be felt as more of an imposition.

Truthfully the embellishment should be a movement that is an individual expression of the music, the couple, and the moment. It should be done spontaneously, and

seamlessly. It should be something that feels personal and right for your body and your level.

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Dancing To The Music

Dancing To The Music

There has been a lot said lately about dancing to the music. In Tango we have many options, and that can cause some people great trepidation. The main thing is to listen to and peruse a great library of orchestras so you know and understand the music. The more subtleties you know, the more comfortable you are to interpret the music into your dance.

Each orchestra has a different style, and each seasoned dancer whom has chosen their style, may prefer one rather than the other because they fit their movements, or tastes. For example, a more rhythmic orchestra may be preferred over a more melodic, or dramatic ensemble.

Without getting to technical, what are our choices of dancing to a piece of music? I like to break it down as follows. First the beat, which should be obvious, but may need further explanation at a later time. Another would be the melody or phrasing of the music. Some may call this the musical structure, or sentencing of the piece. We may also dance to the lyrics or poetry. If we do not understand the language this can be difficult. There are ways to overcome this problem. We do have resources to look up any piece, and get a translation of the words to your native language. Without that, you may be able to feel the sentiment of the words or the emotion of the singer. Another avenue to consider when interpreting the music to your style is the instrumentation. For example, if the violin is crying out to you, what would it move you to do? How about a run of the piano, or the breathing of the Bandoneon?

Whatever it is that you dance to, there must be a musical choice in each step you take, you must allow the music to move through your body in some way and convey it to your partner. If this is intimidating at first, perhaps you are too focused on the steps. Make the music a priority. You, the music, your partner all become the dance.

What Happened To Tango

What Happened To Tango

I have watched the dance I love, and have given up so much for become something different, something for me, watered down, sometimes something I don’t recognize.

I will never forget that first year I went to Buenos Aires, 1994. Things were so different then. The Culture, the ambiance, the codes were still pure. There was very little tourism and the Milongas were more of a neighborhood establishment. I would travel back every year growing my understanding of the subtleties, and making connections with the older Milongueros, loving their ways more and more each time, thinking it could not get any better. Then it happened, change came. More and more tourists ventured with the decline of the financial structure of Argentina and the popularity of the dance. Everyone started to look for ways to capitalize on the new market. New dances and fusions, young new shinny, flashy for sale signs on every dancer.

I read an article about an Argentine lady who danced Tango from the time she was a child, but wanted to stop due to the tourists whom she claimed ruined the dance for her. I am unsure I agree, the tourism can be good, but I would like to see more respect for purity, depth and knowledge than for shinny new things that are meant for the stage being sold as an experience, or something meant for everyone.

I am told in Argentina they are leaving the new styles, letting them fade and holding their honor to the pure, with evolution. Growth is always good, development, towards perfection, which really means reaching for something man can not obtain as one of my ballet masters once said. As always, what starts in Argentina will travel the world of Tango. I feel given time the world will love the pure ways of the Tango, and will allow it to evolve into something beautiful and pure.

Making Ones Pathway On The Dance Floor
 
It seems interesting that there is no road rage on the dance floor. At least we have held our tempers in check, but the complaints are many. 
When we glide across the floor in dancers bliss, we must still pull our immersion in each other apart slightly to pay attention to our surroundings. There is a code to follow when traveling down the dancers highway. We must all go in the same direction at all times. That is counter to the great clock on the wall. It is also the same as a crowded highway. Try to stay behind the couple in front of you at a polite distance, only pass on the left, and do not sit still in traffic, unless you come equipped with emergency lights. If you are always bumping into people, please realize it is not their fault and take your eyes from the floor, to pay attention and avoid problems. This is a gentle tip that will get you many more pleasant reactions to your tour around the floor. 
“It Takes You To Tango”
Lori Burton-Kassin
http://www.argentinetangodetroit.com

What makes a good Tango DJ?

What makes a good Tango DJ….

First and foremost, this is a personal choice. It is impossible to please every Tango dancer in any venue. There are some should and should not’s, but when artistic, creative efforts are involved, do we really want to limit the DJ?

Yes, it is nice to have tandas and cortinas, they make the evening flow and are the traditional enhancements that we all follow and appreciate. They can make the transition from one partner to the next easy and graceful.

To play Nuevo, alternative, or non-traditional music is really the DJ’s choice. Everyone has preferences, and if the DJ takes the peoples input into consideration, he may change the evenings dynamics for best, or worse, but it is his choice and artistic freedom we ultimately value.

The good DJs go to a lot of preparation for an event. They organize, collect, and study the atmosphere of the venue. It is sometimes exhaustive work and study. When a dancer flows by and makes a request, it is difficult for the DJ to interrupt a program and instantly change direction. Perhaps requesting some “type” of music for another evening is more appreciated.

Regardless of your tastes and experience, we should all tip our sombreros to these wonderful people whom we couldn’t dance without, who are sometimes playing and working just for our simple dancing pleasure. They deserve our kindness and respect.

Shall we dance.....

What makes one choose a partner for that 9-12 minute Tanda or set on the dance floor? We enter the room and scan to see the dancers. Their flow, grace and abilities. In our mind we choose and dream who will be a special partner tonight.... The reality is we can grow from dancing with each and everyone of them. If they exceed our abilities, the process is obvious, with osmosis we gain experience. But what about those we may consider beneath our skill level? How about learning to adapt to your partner? We can not control others, but learning to adjust and control your movements to enhance the partnership is one of the most important gains on the dance floor. Let us also look at your "dance bank" shouldn't you make deposits into your account by dancing with lower level dancers to earn the right to dance with the others above you? Not to mention helping the community by making the evening enjoyable for all, encouraging the new dancers to continue, so the floor eventually becomes an oasis of experienced, lovely, and gracious dancers.