Edition XXIV

April 6, 200

Elena Pankey's

Tango 
Column

SOME SUGGESTIONS 
and TECHNIQUE

-Stretch the leg first. Check the space.

-Keep your upper body light and up.

-Send the energy of your body from the west line down.

-Keep your ribs up, your shoulders down.

-Step with the toes forward.

-Start with pressing your foot outside then rolling and pressing it inside.

-Keep your hips toward your partner or straight forward when you walk forward inside your partner.

-Step back crossing your spine behind you.

-Before each step, brush the ankles.

-Stop any movements If your partner does not lead it.

-Check available space between woman's legs or next to her in 1/2 of the second before moving your body there.

-Then, arrive with your body almost at the same time - trying to do it together with your
partner.

-Feel your partner energy.

-Care for your partner.

The Dance floor is the main universe of Tango dancer. While sweeping and caressing the floor by the inner side of your shoe, keep your feet connected with the floor. Paint on the floor what tango music saying.

Tango consists four measures : weight, flow, space and time.
You harmonize it with a partner and the music.

- Change the weight with your     partner, having the whole energy of the steps down, and growing your tango roots.
- Keeping your feet with the floor, stretching from the knees and hips, crossing behind your spine.
- Circling around each other, finding the right time to move, or change the weight together.
- Stretch the leg first. Check the space
- Keep your upper body light and up.
- Send the energy of your body from the waist line down.
- Keep your ribs up, your shoulders down.
- Step with the toes forward.
- Start with pressing your foot outside then rolling and pressing it inside.
- Keep your hips toward your partner or straight forward when you walk forward inside your partner.
- Step back crossing your spine behind you.
- Before each step, brush the ankles.
- Stop any movements If your partner does not lead it.
- Check available space between woman's legs or next to her in 1/2 of the second before moving your body there. Then, arrive with your body almost at the same time - trying to do it together with your partner.
- Feel your partners energy.
- Care for your partner.

Learn and experience it. Then a few of you with dancing background and special talent might get a pretty good tango.

Have fun!

enjoy . . . http://www.youtube.com/watch?v=
FZchLhk8iag&mode=related&search=

And watch Caminito Tango's video. 

visit  www.TangoCaminito.com  email TangoCaminitoSchool@Yahoo.com  AllRightsReserved©2006

IMPROVE YOUR DANCING SKILL AND DANCE THE REAL STYLE OF BUENOS AIRES

ORLANDO BUDINI is holding a Seminars, Work-shops, Shows and Festivals in 
SAN TELMO, BUENOS AIRES
THE FOUR WEEKS OF APRIL 2008

Teaching sequences for advance students in Milonguero Style.

Reservations: in Buenos Aires: phone 155-601-0177

in U.S.A.: phone 832/723-6578


Editor's 

 Choice

 I have listened to the DVD that Milan Entertainment has just released and it was splendid. Being a fan of Piazzolla's it was twice as nice to watch ! 
I recommend this DVD, you won't be disappointed. 

ASTOR PIAZZOLLA 
LIVE AT THE MONTREAL 
JAZZ FESTIVAL

For the first time, a live performance by the tango genius and his legendary Quinteto is available in its entirety on CD and DVD. From the time he received his first bandoneon until his death in 1990, Astor Piazzolla’s sixty-plus years of musical legacy have driven many critics to extol his achievements not only as being at the pinnacle of Tango performance and composition, but also ranking among the greatest musical compositions of the 20th century. Drawing on his influences, “The Father of Nuevo-Tango” took a genre that was relegated to dance halls and elevated it to concert halls, not only in Argentina, but throughout the world.

ASTOR PIAZZOLLA – LIVE AT THE MONTREAL JAZZ FESTIVAL serves as a stunning testament to the virtuosity of Piazzolla and his Quinteto. This live DVD captures the essence of a band and bandleader in top form. The audience holds their breath as the band emanates passionate music, played with nuance and precision. The music jumps and soars, staggers and lurches, and the audience responds with thunderous applause after each musical excursion. From the glorious “Resurreccion Del Angel” to the affectionate “Adios Nonino” (a tribute to his late father). This performance, recorded on July 4th 1984 and re-mastered for DVD and CD in 2007 showcases some of the most poignant examples of Astor Piazzolla’s genius.

At an early age, Piazzolla’s father exposed his son to the music of Jazz greats Cab Calloway and Duke Ellington, along with Tango legend Carlos Gardel. It was later on, in the mid-forties and early fifties, that Astor Piazzolla’s compositions began to reflect these influences as well as his training in classical and modern composers, which included Stravinsky, Ravel, Rachmaninoff, Bach, and Gershwin. Piazzolla’s ceaseless muse drove him to collaborate with many musicians in different
configurations, some whom he had once looked up to, such as Carlos Gardel, Gerry Mulligan, or Nadia Boulanger, and others who went on to great fame after associating with him, such as Pablo Ziegler, Fernando Suarez Paz, Oscar Lopez Ruiz, and Hector Console. The latter are all members of his famous Quinteto.

The soundtrack to the concert is available on CD from Milan Records on March 4th, 2008.

Quinteto

Astor Piazzolla Pablo Ziegler, Fernando Suarez Paz, Oscar Lopez Ruiz, and Hector Console.

DVD Content (Full Concert Video)

1.Lunfardo
2.Muerte Del Angel
3.Resurreccion Del Angel
4.Tristeza De Un Doble A
5.Adios Nonino
6.Chin Chin
7.Otono Porteno (from The Four Seasons of Buenos Aires)

For CDs or DVDs, photos, biography, please contact Stefan Karrer at Milan Entertainment, Inc.

CONTACT: Stefan Karrer
PHONE: 818-849-3349
EMAIL:
stefan.karrer@milanrecords.com


La VidaTango E-zine 

Mission Statement:
Our mission is to provide a virtual home where all tangueros, from beginners to advanced, can access the rich culture of tango and the many and varied resources available to them. Remain inclusive and impartial with regard to styles, theories or organizations.
 Strive to help individuals
raise their level and understanding of the dance. Inspire tango lovers to have fun and enjoy their tango.

Our Advice: 
 
VAYA PRONTO A UNA MILONGA !

Notice: Views expressed by reporters or contributors are not always the views of the publisher or staff. La Vida tango is happy to give equal space to all points of contention.

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Revised
April 06, 2008
LaVidaTango
 E-zine

© 2004

From Monterrey, Mexico . . .

THE REGIOMONTANOS AND EL TANGO

Argentine Tango in Monterrey

I had to visit Monterrey, the City of the “Regiomontanos” in Mexico and stay there for a full weekend, so I’ decided to make a phone call to Maestra Rita Rositas who I knew by references and who was the coordinator of tango work-shops at the UDEM (University of Monterrey), the founder of the group “Tango 2000 of Monterrey” and also involved in many of the Tango activities there. When I called her and introduced myself I’ remember to had said something like this: “Maestra Rita, I’m Orlando Budini a teacher and producer of tango and I’ would like to teach a Seminar in your City…I do not have the pleasure to know you personally, but I had heard a lot of good things about you!”… and she answered me: -“Well Maestro you are welcome any time in my City… I do not have the pleasure to know you personally either… but I had heard a lot of good things about you too!”-

“Ancira” is a traditional hotel build in 1912. Known as the most beautiful building of its times and considered an important part of the national Mexican legacy is located right in a middle of the “Zona Rosa” (Pink Area) and very close to almost everything. So once I checked in at its luxury lobby and after taking a hot and long bath, it was very ease for me to relax walking slow and ease to “La Cathedral” and the “Macro Plaza” admiring once more the history of this City, thinking very much about the amazing enthusiasm of its people for el Tango and getting ready, after a good dinner at “El Rey del Cabrito” that night (another one of Monterrey’s institutions) to start teaching milonguero style, the following day, to a very demanding group of Students.

I heard about the Tango in Monterrey in my first “Metatango Festival” in 2002 trough Raul Cadena, an Engineer that took part with his wife Marissa in the 3 days festival. This singular couple of tango dancers founded in 1998 an organization called “El Rincon del Tango” and they were able to pull together a group of local tango fans in order to fulfill the main and most important chapter of their organization: “The promotion and practice of the Argentine Tango!” The group get together on Wednesday of every week to dance their problems away and to take tango lessons, holding a “graduation dinner” once a year, where every one of the new couples must dance and perform their own and personal choreography. This notorious association published in their web page, after the festival and under the title of “Three days of Tango lessons in Texas”, a nice picture of all of us together saying: -“El Rincon del Tango” took part in the weekend Tango work-shops organized by Orlando Budini where we danced in several milongas and practicas and received instruction and tango lessons from International teachers like Juan Carlos Copes, Johanna Copes and others.

Maestra Rita was early to pick me up that morning taking me to the Dance Saloon of “University of Monterrey’ we got to the parking lot and when I get out of the car, I cold not help to look a those mountains that will be the magnificent back ground of my 3 hours work-shop. We had a very well attended class, the students were more than enthusiastic and cooperatives getting very quick to the insides of “ritmo and traspie” of Milonguero style.


Group of Students at Milonguero Seminar (Center: Maestra Rita and Orlando)

Even when they had to work hard for 3 hours everybody was happy and all the classes ran smooth and ease. Maestra Rita, as a good teacher, was supervising, from hers desk almost all the time and I’m sure that she did not missed a single minute of my classes… even when She seemed to be very busy writing or looking trough out the windows!

Another vivid example of the enthusiasm that Tango had brought to Monterrey and the Regiomontanos are the permanent courses of Tango Dance offered by “Universidad Autonoma de Nuevo Leon-extension cultural” (The University of Nuevo Leon, Cultural Department) and, what is even more amazing are the “Tango Singing auditions” that “El Club Amigos del Tango” (Friends of el Tango Club) organization founded in 1977, had been financing and sponsoring for a long time. This “Tango Singers School” holds… and this sounds incredible… weekly.

 “Tango Singer Auditions” at el kiosco of Plaza “Santa Isabel” at Avenida Madero and 20 de Noviembre and… this is not all!… once a month they get together at the “Metropolitan Museum” in order to promote Tango singing and dancing offering once a month, in the same place, a work-shop of tango Salon for beginners!. This unique “Club Amigos del Tango” is a 60 member’s organization that had been meeting for years selecting the best tango singers of the City. Last year they celebrated, with a successful Tango concert at the Aula Magna of “Monterrey University” its number 30th anniversary! This is to say my friends that these guys were singing and dancing Tango 30 years ago… long before Tango “exploded” in Europe and The United States!!

Celebration Poster of 30 years Anniversary >

Tired but happy that night, after the work-shop, I was invited to a wonderful dinner and milonga at “Taqueria Guadalajara”, but what it was more important for me that night, was the fact that I had the invaluable chance to intimate and to share my dance and my tango with all this local fans and true milongueros. Carlos Pfeifer for instance who, besides dancing tango with all his hart and his energies, is the web site manager of the group and the person who has the very important task of keeping the contacts and the fluid communications among all Monterrey’s tangueros. Carlos not only dance tango in Monterrey he also enjoy dancing tango in USA and he loves dancing in Rome. Juan Ney “the milonguero photographer” was also there taking a lot of pictures for theirs web page and, how can I ever forget the pleasure of dancing with Africa Nunez a nice girl and a very promising dancer, as well as Thai Morilllo, that beautiful and swift Philippine girl that told me that she stop being afraid to dance tango since she took my work-shop. As usual in this occasions I was invited to open the dance with Maestra Rita, the leader and teacher of all this tangueros, with a sort of exhibition followed by a couple of good tangos “bien, pero bien Milongueros“. Still tired for the work-shop and dancing after this wonderful milonga, everybody went to sleep… except myself and a group of milongueros with whom we decided to dance the rest of the night away… at the Bar of my Hotel!

The dedication of these peoples is so incredible that…. While writing an article about Tango in Mexico in July of 2005 in my column of “La Vida Tango”. when it was time to mention Monterrey I wrote: “Monterrey is a very important center of Tango in Mexico and another vivid example of how much, some times and in some places, “El Tango” is capable of doing for us men and women and, what is much more important in this case … How much Us, women and men are willing and capable of doing for “El Tango!”

The following day after teaching a couple of private classes to some of the students, it was time for me to say good-by and on this particular occasion, it was also time for me "To take my tanguero's Hat off" (what I do not do very often) to salute with my respect all this Tangueros Mexicanos for a job very well done!. Even when in Mexico Regiomontanos are said to be "codos"' (stingy) I must add and confess, before living , that this is wrong they are not "codos" (stingy) like they say they are. As a matter of fact they are very, but very generous.... at least practicing and Dancing the Argentine Tango!


THE MEPHISTOPHELEAN TANGO

by Robert Osburne

email Robert at roberto@lavidatango.com

THE DUELISTS

"The Countess is a whore, a slut and a degenerate nymphomaniac. Those were the words spoken at The Ambassador's Club diner last night by that drunken young fool, Gaylord.

The handsome imbecile and the Countess had had a lover's quarrel, and the Countess decided to cast him off," Jean-Claude reported to the old Count. "SHE'S BEEN WHORING FOR YEARS! Monsieur Gaylord shouted to the ensemble of diner guests, and the Count is the only one who doesn't know it."

"I’m your closest friend, Maxim, and the only one who would risk telling you these things. Your dear wife, the Countess, does these things behind your back. You’re so trusting, and she knows it. Now you’ve got to act. There is no other way."

"Yes. Yes, I must act," the Count replied. "You will be my Second, Jean-Claude. You will please pursue the arrangements to restore my honor. When Monsieur Gaylord has sobered up enough to choose his seconds, you will present my card and request we meet in the garden by the fountain at….let’s see….I’ve got an appointment on Monday. So that’s no good. And I’ve got a fitting at my tailors on Tuesday. So that’s out. Wednesday. Yes. Wednesday will be good. No. That’s won't work. I have obligations Tuesday night, and I most likely will not get to bed until after two. No Alors! Arrange that we meet on Thursday. Early. Say five O’clock. So, let’s meet Thursday, around five in the morning. Yes. That’s a good time."

The old Count, his family and his aristocratic friends lived at the center of a peculiar anachronism. Outwardly, they navigated the swift currents of Twentieth Century society; however, within their own circle, they cruised the carefree harbors of ‘La Belle Époche’, their compass having been set long ago in ancestral drawing rooms. The Countess liked to dress in long, turn-of-the-century gowns, with the bodice cinched around her wasp waist so she appeared to be leaning into a stiff breeze. And from her hat collection, she could choose anything from a yellow, black-banded straw boater to an enormous, frivolously flowered garden hat that she tied under her chin with a violet scarf.

Other reminders of a bygone age could be seen about the château. A larger than life portrait of the Count’s great grandfather hung from the wall in the study. The curve of his long gray sideburns and the sweep of his proud mustache did not hide the jagged dueling scar that ran down his left cheek. Nor did he wish to hide it. As a youth, during his year at Heidelberg, he had been honored with coveted membership in the University’s most exclusive dueling club, where he gained the envied status of premier rapier and was known widely as a duelist extradinaire.

This tradition of settling a score on the dueling field has remained a manly preoccupation in the family, except that now pistols were the weapons of choice. Resting on the glass shelf of a cabinet in the library, a beautiful, matched set of balanced, smooth bore, flintlock dueling pistols bore testimony to this practice. Within the Count’s antediluvian circle, duels were still the accepted and, indeed, the obligatory way of settling irreconcilable differences among men, particularly those involving slanderous remarks directed against women of the sacred aristocracy.

Strictly speaking, the law prohibits duels, although the mandatory death sentence, proclaimed by Henry IV for this offense, has since been considerably relaxed. And the original set of 26 rules, specified in The Duelist Code of Honor, has been amended. Now, no one gets hurt. The distance between duelists is now regulated at an impossible 40 meters. And the challenger and the challenged are obliged to fire into the trees, thus preserving honor while ensuring body integrity and more or less lawful conduct.

Thursday. The day of the duel and the restoration of the Count's sacred honor. The Count folded his copy of Le Figaro and sank lower into the warm comfort of his bath. He heard the ‘slap-swish-slap’ of a straight razor being honed against a leather strap as his valet prepared for the Count’s morning barbering. The maid knocked on the bedroom door and entered with a breakfast tray loaded with grapefruit, a soft-boiled egg, toast and coffee. This was more than the Count normally ordered for breakfast, especially when several guests were expected for a formal luncheon that afternoon. But this was the menu recommended by the Count’s dueling master, who advised the Count that croissants and coffee would not provide the necessary reserve of energy when the Count faced his opponent on the field of honor.

Even though everyone understood the gentleman’s agreement to fire above the head of one’s adversary, staring into the bore of a large caliber pistol can be unnerving. The Count had had trouble, in the course of previous duels, controlling his bladder and his cowardly knee twitching, when it came time to lift his pistol from the ornate teakwood gun case held by his Second. But with an effort of will he had conquered this weakness and now controlled himself well, relegating his nervousness to an indiscernible flicker of the eye that barely rose above the background noise of his daily routine.

The count finished his breakfast. He allowed his valet to adjust his long, black coat and the incline his white, formal bow-tie to the requisite, careless angle. Four-forty-five. Time to set off for the Field-of Honor in the grassy meadows behind the garden. But first, I must have a last look in the nursery, the Count said to himself.

Young Carlyle was still peacefully asleep in his crib, when the Count opened the door. His friends, as well as the Countess, had been surprised when it was discovered he would sire a child. The chances of starting a family at his age was unexpected. The birth of young Count Carlyle had wakened joy in the old Count's heart and opened a door to future years of unanticipated happiness.

Jean-Claude appeared at the door to the nursery. He wore formal dress and held his white, silk gloves in one hand and the slim, teakwood case, with its red velvet lining nesting the twin, flint-lock pistols, in the other. "It's time, Maxim," he said in a low voice.

At the edge of the Field of Honor, the duelists, aided by their seconds, shed their black formal coats. The Count’s opponent selected his weapon from the proffered teakwood case. And, with a steady hand, the count picked up the remaining flintlock pistol. The ensemble of duelists and their seconds then walked onto the Field of Honor, and the duelists took their places back-to-back

"Gentlemen, do you wish to abrogate, or do you choose to proceed?" shouted Count Barca's second. "Proceed," replied the challenged. "Proceed," echoed the challenger. "Gentlemen, prepare to duel," the second shouted. Clackkkkk-click. The duelists ratcheted back the stiff flintlock hammers and cocked their weapons. A moment of silence, and then the second began to count off the fateful twenty paces.

At the requisite forty meters, the duelists turned unhurriedly and faced each other. Their pistols pointed upwards towards the pale yellow moon hovering high in the early morning sky. After an interminable two seconds, the count slowly lowered his pistol, until it pointed to a tree above the head of his opponent, and squeezed the trigger.

KA-POW! The pistol discharged. A flaming nucleus of burning cordite exploded from the gun barrel and floated onto the dewy field of honor in a ring of blue gun smoke. Forty meters from where the Count stood on the field of honor, his adversary heard the ball snap through the trees above his head and watched the severed leaves float to the ground.

Standing with feet apart and his left hand on his hip, young Gaylord brought his pistol down and leveled it at the Count’s chest. The Count stiffened. A look of incredulity crossed his face, and he began backing away, slowly at first, then more rapidly when the pistol in his adversary’s outstretched hand did not waver.

He stumbled and fell backwards onto the green lawn. Jean-Claude, accompanied by his assistant, rushed to where the Count sat on the grass. "Get up, Maxim. You must get up," they said in hushed tones to the Count. "It’s not over. He wants to frighten you. You must face him."

"Yes, yes," the count said, "the dear boy wants to make a clown of me, so he can shout to his friends that I’m a fool." The count allowed himself to be led back to his former place on the field of honor and stood facing his opponent, waiting for the big lead ball to whistle through the trees above his head. In the distance, he saw a white puff of smoke belch from the pistol in his adversary’s hand. A second later he heard the retort and felt the blow of an invisible fist strike him hard in the chest.

The half-inch ball missed the Count’s heart, but it smashed through three ribs. Bone fragments penetrated his heart and ripped through his right lung. A look of surprise appeared on the Count's face. His grip on the butt of his pistol relaxed; it slipped from his hand and dangled by the trigger guard from his index finger for a second, before sliding off and dropping to the ground. The Count looked down at the hole in his ruffled white blouse and at the expanding scarlet circle surrounding it. Jean-Claude, standing at the edge of the field of honor, stared in disbelief at the grapefruit sized hole at the back of the count’s shirt.

Pain rose against a barrier of shock, and a formidable bellow, like the agonized bleating of a butchered cow, burst from the count’s throat, growing louder with each agonized, rattle of breath. As he was laid upon the ground, his body twitched uncontrollably. His extremities grew cold, and his eyes grew round. With a final agonizing scream that would be forever heard in the minds of those around him, the Count sat up abruptly on the green grass of the Field of Honor, stained bright red with his blood, and died.

I(To be continued)

Other installments of The Mephistophelean Tango can be found in the archives :

           The Masked Ball         The Fortune-teller        The Secret Garden