Modern Tango World #8 (Moscow)

Modern Tango World
Moscow
Tango
Guide
W odern Tango World
15€
Milonga Chicque
Evgeny Morozow
Number 7 - Winter 2016
Magnolias on the Snow
Andrey Klimovich
The Other Night at La Viruta
Daniel Pereyra
Interview
Jonathan Goldman
Quartango
— 1 —
Moscow Special Edition
Special Editor
Polina Yegurnova
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Editorial
This is has been a challenging and exciting few months. As many of you know, I have
been on a tour of milongas in Europe and North America. I expect to continue to the
West Coast of the USA and Canada, this year, before returning to Europe. While on
this tour many people have suggested that I should organize trips for others to visit
the milongas that I have been to.
Well, we we tried.
Together with co-host, Anne Marie Desser, we tried to organize a fiv-day tango tour
of Manhattan. It turns out that tours are very different from milongas, festivals, marathon
or encuentroa. They have their own unique character and economics.
The concept is to immerse the guests into the local tango scene and environment, by
introducing the to the milongas, schools and instructors in the area. Pur intention is
to customize the tour to the needs of the attendees, by finding them classes and.or instructors
that are suited to their needs. This is in addition to attending seven milongas
in five days, as well as an outdoor morning practica to get you going. And, all of this
will be happening in Manhattan. We will try again, some day when we can find a less
expensive way to do it.
We have long wanted to produce a special edition of MTW dedicated to tango in Moscow.
Polina Yegurnova has offered to edit this edition. She has been living in Moscow
since 2011. Educated in advertising and graphic design, she has worked as a fashion
illustrator, journalist and editor.
She began studying tango in 2012, and dances both as a leader and as a follower. In
2015, she made her first visit to Buenos Aires, and found boundless world of tango —
the literature, the music, the rhythm of tango have their meaning in the tango culture,
not just dance. In Moscow, they had lost this most important side of tango, its sense
and spirit, Muscovites had been concentrating on how to step, how to hold the back
and how to dress.
So, she studied the history of tango in Russia and in Argentina. She found the great
world of historical studies in this sphere – monographs, essays, memoirs of the famous
researchers of tango — Carlos Vega, Horacio Ferrer, and Pavel Pichoogin. In 2016,
she and Andrey Klimovich, compiled this information and created a website, Tango
Moskva, that contains this history of tango music and tango creators It is located at:
http://www.tangomoskva.com
We hope that you enjoy reading this issue, and thank you for your ongoing support.
rlauzzana@penrosepress.com
Cover photo by Nicolás Fernández
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Modern Tango World: Autumn, 2015 — Neolonga Syndicate, Via Maestra Riva 124, Riva da Pinerola, Italy
Table of Contents
Moscow Special Features
Magnolias on the Snow Andrey Klimovich .........................................................03
Milonga Chique Evgeny Morozow .......................................................................10
The New Moscow Polina Yegurnova ....................................................................14
Guide to Tango in Moscow ......................................................................................18
Sunset Tango Collages Denise Mumm ......................................................................22
Interview with Jonathan Goldman Marco Buso ...............................................26
The Other Night at La Viruta Daniel Pereyra.......................................................31
Book Review: Tango Awareness Alexandru Eugen Cristea ..............................34
Why There is so Little Dance in Dancing Tango Veronica Toumanova.....35
New Tango Music Arndt Büssing ................................................................................38
Tango Moves: Boleos (Voleos) Raymond Lauzzana ............................................42
Letters to the Editor ........................................................................................................46
We are always looking for tango
news and stories from around the
international tango community. If
you would like to join us, send us
your stories and news from your
tango group.
We welcome your participation in
this exciting adventure.
Modern Tango World
Moscow Special Edition Editor
Polina Yegurnova
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Modern Tango World
Publisher & Evangelist Raymond Lauzzana
Designer-in-Chief Fré Ilgen
Special Edition Editor
Moscow Polly Plummer
Psychology, Spirituality & Health Christa Eichelbauer
Motion Picture Reviews Alexandru Eugen Cristea
Music Reviews Arndt Büssing
English Language Editor Irena Levicar
German Language Editor Annmarie Deser
Spanish Language Editor Joel de la O
EDITORIAL CALENDAR
Rome Edition
SPRING, 2017
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CELEBRITY INTERVIEWS
Venice Marco Buso
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Correspondents
Athens Thanos Kasidis
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Barcelona Jordi Bruña Buges
Berlin Violet Starr
Bucharest Alexandru Eugen Cristea
Caribbean Percell St. Thomass
Cleveland Ted Howard
Dubai Oliver Krstic
Geneva Jean-Marc Vandel
Havana Maria Roumpalou
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Kobe Yutaka Katayama
København Ralph Fehderau
Mainz Annmarie Deser
Mexico Mauricio Salvador
Milan Giacoma Giaquinta
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Moscow Polina Yegurnova
New York Barbie Griser
Paris Phillipe Levu
Réunion Sébastien Séry
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Magnolias on the Snow
Andrey Klimovich
Vera Kholodnaya
Russian tango dates from the days of Czar’s winter palace to the present. The rhythm of the tango reached
Moscow when it was first heard in the 1910s. Many very popular tangos were produced in Russia during the
20th Century. This article reviews Russian tango from its earliest days through the fall of the Soviet Union. By
the 1960s, tango music and dance had lost their popularity, to be reborn at the end of the century.
Muscovites were fond of everything fashionable, from
the early cameras, exotic imports from Africa and Asia,
the Art Nouveau style. Moscow culture was very progressive
and international. For example, the ballet Russian
Seasons by Sergei Diaghilev was performed. in Paris
Europeans were stunned by the artists Lev Bakst and
Roman Tyrtov.
Tango, was something exotic that instantly gained popularity
among the Moscow bourgeoisie. In 1911, the Russian
Emperor Nicholas II, discovered this new passion
among the aristocracy, and allowed dancing tango in
the Winter Palace. But, the tango was unknown to the
general public. It was a dance for the elite. Tango was
brought to the masses by performing artists and comedians.
By 1914, this new dance found the way to the
cafes of Moscow.
The theatrical actor and singer, Alexander Vertinsky,
presented in Moscow a comic performance entitled
Tango. Two dancers simulated the dance of love, and Vertinsky
recited a parody monologue, talking about Argentina
and the passions that were storming there. The
name of Vertinsky then was not known to anyone, at
the timwe. He will later become the greatest singer of
Russian tangos in the 1920s and 1930s.
Another artist, Izabella Kremer. the opera singer, performed
romances in Russian and Yiddish, before the
Second World War in support of resistance forces.
No tango recordings with her voice exist now. But,
many sources name her as the first singer to popularize
tango in Russia. Exotic
Argentina and this new dance of embrace, caused many
artists to reconsider their repertoire. For example, in
1913, Kremer performed on stage the new Tango of
Death. The song was, in fact, the artistic translation of the
lyrics El Choclo. But in the musical terms, it sounded like a
classical romantic ballad.
In far off, sultry Argentina,
Where the southern sky is so blue,
Where any woman is like a picture,
There Joe fell in love with Clo ...
When she lit the evening lamp,
She danced with him in the tavern
For a drunk and roaring mob
teasing tango.
Tango of Death, 1914.
from the repertoire of Iza Kremer
This lyrics became so popular that the story became a plot
for a silent movie, with starring actress Vera Holodnaya.
This was a bohemian period of Russian tango. It was performed
mainly by self-taught artists, and orders for new
tangos were made by the aristocracy. However, in 1917
the situation began to change rapidly. During the revolution
the old aristocracy ceased to exist, and many of the
artists emigrated abroad.
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Latvia played a major role in preserving
the Russian romancitc
ballad. It was here, in the cities of
Riga, Libava and Jurmala, where
Moscow artists lived, performed
and made concerts shortly before
the Second World War. Oskar
Strok, the King of Russian Tango.
is a Soviet composer, who was
born in a Jewish family in Latvia.
In his youth, Strok graduated from
the St. Petersburg State Conservatory,
where he studied piano. In
1922, together with his wife, he
moved to Riga. After some time,
he becam infatuated with a girl
from Paris, so much so that he left
everything and moved to France.
Strongilla Irtlach
Nevertheless, Russian tango continued to develop.
It already won some sympathy in society,
and in the first years of Soviet power the state
did not interfere with the freedom of expression.
However, several years later, the Scientific
and Technical Committee of the Supreme
Council of Physical Culture (STC SCPC) created
a commission to determine which dances
should be recommended to Soviet citizens
and young people, and which adversely affect
the life of a Soviet citizens.
The outcome of the proceedings turned out to
be sad for tango. On October 23, 1926, the plenum
of the STC SCPC prohibited tango by decree.
In addition to tango, the foxtrot was also
banned. They considered to be associated with
the bourgeoisie. Fortunately, the ban did not
last long. Four years later. in 1930, STC SCPC
was disbanded. As a result, the prisoners foxtrot
and tango were set free. Despite some disapproval
by the public, music collectives gathered
in Moscow and played tango and jazz.
Many talented artists on the Russian stage
left for Europe in the 1930s. As a result, there
were a huge number of Russian tangos in the
period of 1931-1939 was recorded in the recording
studios of Columbia Records.
Vera Kholodnaya in the role of Argentine woman
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After a while, their love faded and Strok returned to his
family in Latvia. During this period, he wrote his most famous
tangos — When Spring comes again, My Last Tango
and Oh, those Black Eyes.
The success of Oscar Strock’s tango was underscored
by the London Symphony Orchestra under the leadership
of Marek Weber. This orchestra recorded Strok’s
tangos at the famous firm Victor Gramaphone Company,
also known as HMV or His Master’s Voice. Around
1930, Strok’s friendship with a singer and dancer Petr
Leshchenko began, when the latter came to perform
at private closed evenings and in restaurants in Riga.
The composer was inspired by the voice and manner of
Leshchenko’s performance and invited him to take part
in his jazz and tango project.
Petr Leshchenko was an artist of Ukrainian roots who had
participated in musical ensembles and survived the First
World War in his youth. He toured Latvia and developed
a friendship with Strok led to his enormous popularity.
In the 1930s, more than 80 recordings were made
of his tangos, foxtrots and ballads, including Senorita, Tatiana,
Lola, and of course, the famous Dark Eyes (Ochi
Chornya). This last tango turned out to be so popular all
over the world that Strok and Leshchenko were invited
to tour not only throughout Europe, but also Japan.
The fate of another popular Russian performer of tangos
and ballads, Vadim Kozin, was cast in the 1930s. During
the 1920s, Kozin, who had a gypsy roots, became known
for his vivid romantic ballads, combining the seemingly
impossible the gypsy passion with the intellectual dreaminess
of the Russian aristocracy. When tango recordings
became popular in Russia, Kozin recorded such works
as Autumn, Forgotten Tango, and reinterpreted Tango of
Death, originally performed by Iza Kremer.
In 1929, Alexander Vertinsky recorded his Palestinian
Tango, dedicated to emigration and a sad journey into
that unknown country. In 1931, while in Bessarabia, he
produced the famous tango Magnolia which begins with
the words In banana-lemon Singapore. This tango is almost
comically ironic, but it has a lyrical overtones and symbols
of the unattainable dream of the Russian aristocracy — to
travel to a distant country, in happiness and safety.
This theme of emigration continued in 1934, when Vertinsky
wrote a another tango The Yellow Angel about the
inglorious life of an artist performing in a jazz cabaret far
from his native country.
AlexanderTsfasman
Another phenomenon in the history of Russian tango is
Alexander Tsfasman’s orchestra. He began his band in
1926 as a jazz ensemble. But by the 1930s, when tango
reached the peak of its popularity, the orchestra began
to play tangos together with other foreign genres. After a
while the tango I’m Infinitely Sorry became the signature
calling card of the group. The authorship of this melody
was mistakenly attributed to Tsfasman himself, but it was
only his arrangement. Its origins are France. Nevertheless,
rumors only contributed to its popularity.
Another tango hit was The Wearied Sun, which is probably
the best known than all other Russian and Soviet
tangos. This melody came to Russia from Poland, its author
was Jerzy Petersbursky, the first lyrics was written
by Zenon Friedwald. The name given by the author
was This Last Sunday. People later began to call it Suicide
Tango. The song instantly won the Polish popularity and
became famous in neighboring Russia. Since the Polish
lyrics could not be performed in Russia, three variants of
lyrics were written in Russian: the author of the first was
Asta Galla — Song of the South, and a second by Alexandr
Volkov — Leaves are falling from the Maple. However,
certainly the most popular version was by Joseph
Alvek — The Wearied Sun.
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The Wearied Sun
gently parting with the sea
at this hour you confessed
there was no love
I was saddened only slightly
without anguish, without sorrow
At this hour your words resound.
As we part, I will not be angry
The fault is ours, yours and mine.
The composition was recorded by the Tsfasman orchestra
in 1937, and became an instant hit. The original title
was Parting. But, th public quickly turned it into Wearied
Sun. The original singer was Pavel Mihailov. Later, Leonid
Utyosov sang this tango, and once again regaining
popularity.
Another sad and sarcastic tango is the song Na Boasyanovskoy
Otkrilasya Pivnaya (On Bogasyanovskaya Street, A
New Drinking Saloon Opened), was produced in the mid-
30s by Strongilla Irtlach, Russian-speaking singer of Turkish
origin. She had not sung tangos. She was a professional
singer of Roma and Russian ballads. Her brilliant artistry
allowed her to experiment with genres of tango and
jazz. Obviously, On Bogasyanovskaya ... was recorded unofficially,
by chance, and perhaps at a home concert. The
music of this tango is by the Argentine composer Angel
Villoldo, and it was originally called El Choclo. The Russian
lyrics were written around 1912. The lyrics of these ballads,
and chansons are street slang stories of criminal life,
often using Fenya slang language, a Russian equivalent to
Lunfardo, A closer examination shows that the song sung
by Strongilla is derived from songs by the Jewish songwriters,
Yasha Yadov or Miron Yampolsky. Despite the jargon,
tango is a mockery of Fenya. It was laughed at by lovers
of ballads in educated aristocratic circles. Here is
a brief retelling of the events, described in this
marvelous tango — On Bogasyanovskaya
The story is about one evening in a drinking saloon
on Bogasyanovskaya street. The storyteller,
was in the saloon and that it was the place for
criminals. There were some girls with their companion
Vas’ka, the pimp. One of the prettiest girls,
Rosa, enters the saloon, accompanied by Vas’ka,
She is as pretty as a Dionysus maiden. Vas’ka is
holding Rosa’s arm like a handle of a streetcar. He
begs her to dance with him this last tango. At exactly
this moment another man, Aronchik, a foreigner,
invites her to dance in very gentle manner.
— 8 —
Lolita Torres announcement in Russian
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Being offended, Vas’ka suggests,
that Aronchik probably
should better “moor to Vera”.
To stop the quarrel, a pool
player comes over to the table
and advises to them that
as poets say, preserve your own
portraits to remember them
better. But Aronchik was a
man of passion. He smashes
a bottle on the head of pool
player. The waiter says, he occasionally
finds a fork in his leg,.
This is how saloon tango
ends It doesn’t look like
Argentina, anymore.
— the storyteller notes.
He and his friend also take part
in the fight and are thrown
out of the saloon. When they
were already lying in street, they see Aronchik crawl to Rosa
and offered her everything he has, promising, among other
things, to take her to his city Batumi, where she could go to
sauna four times per year. He promises to guard her body as
a dog, and when she wanted to go to sleep, he would even
undress her himself.
Lolita Torres
This is how the story of that old drinking saloon ends concludes
the storyteller, wondering where the girls may be
now with their usual companion Vas’ka-the Pimp.
The lyrics of the song has slang words, like smarovoz (pimp)
and bandersha (bordelo mistress) But, it also has a lot of
literary references and metaphors, Clearly, the lyrics were
written by a well-educated, intelligent person., for example,
Rosa as Dionysus maiden.
The tragic events of the 1940s, the war and post-war years
forever changed Russia. By the end of World War II, waltzes
and marches played on the radio. They no longer sounded
like the music of the bourgeoisie. The exception was two
tangos — the instrumental Splashes of Champagne and
Wearied Sun.
Many composers of the 30’s, returning to Russia, changed
their repertoire. For example, composer Alexander Vertinsky
turned to many patriotic compositions. Composer
Oscar Strok wrote only instrumental works in those years.
The singer Isabella Yuryeva, who had recorded many tangos
in the 30s, performed for the Soviet Army.
Oskar Strok — 9 —
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Russian ballads and patriotic songs dominated the
repertoire. Tango was almost never performed, during
the 1940s. However, there was one tango that was
very popular.
This song was written specially for a great Soviet singer,
who was the first to get the rank of People’s Artist of
USSR, Leonid Utesov. The song was written by Isaac Dunaevsky
and Vasily Lebedev-Kumach and is called Serdtse
(Heart). It became the soundtrack for the first Soviet
musical comedy Veselilye Rebyata (Jolly Fellows). The song
was first performed in Russian ballad form. But soon after,
versions in Argentinean tango fashion were made.
In 1935, Pyotr Leshchenko sang the song in Argentine
tango fashion and this version beame very famous in Russia.
Though later USSR versions were made more in the
style of a Russian ballad, the song became so popular. Its
fame spread beyond the state border. It is quite curious
that everywhere in the world the song is thought of only
as an Argentinean tango. Quite often, this song is named
as Kak khorosho na svete zhit! (How great it is to be alive!).
Heart, you do not want peace,
Heart, how great it is to be alive,
Heart, how good that you are like this.
Thank you, heart, that you can love so much.
According to the plot of the film, the song is performed
by the shepherd musician Kostya Potekhin, in whose
role Utyosov was shot. This song now is more than
eighty years old. The film. Jolly Fellows, was shot in 1934,
while the song was written before the shooting. The
film became legendary in the Soviet Union. It is not
surprising that when fame came to the film, the songs
from film also became very popular. For decades, Russian
musicians have reincarnated them many times.
The 1950s were a period of intensive industrialization
of Soviet Union. For the first time, foreign films began
to appear on the screens of Soviet cinemas. Many of
these films were shot in friendly countries, such as Argentina.
One of the most famous Argentine actresses
seen on these screens in the Soviet Union, was Lolita
Torres, whose films were translated into Russian. In
these films, she portrays Spanish folklore, in particular
with some demonstrations of Argentine tangos and
milongas. Torres came to the Soviet Union fourteen
times, beginning in 1959.
Throughout the 60s, she gave numerous concerts in
Moscow. At that time, she was the only one to represent
the Argentine tango in Moscow and could only
present this music from the stage. The Soviet people
did not dance and did not listen to tango, except for
the Wearied Sun.
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But, tango did not enjoy the interest of young people. In
the 1960s, like all over the world, it was possible to find
records with rock and roll in Moscow, but tango was not
in demand,
However, just before Perestroika, there was an interesting
episode in the history of Russian tango which Argentine
dancers remember with great pleasure. There was
a science-fiction film in 1973 about aliens who come
to earth, and are surprised by all the joys of earthly
life. In the film, legendary Argentine dancers Gloria &
Eduardo Arquimbau dance. However, their appearance
in the movies did not popularise tango dance or music.
Tango will need to wait until the mid-90s to display its
new colors and possibilities, when the first tangp schools
opened in Moscow. Nowadays, there are more than
sixty schools in Moscow. Today, the Russian tango community
is one of the largest in the world.
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Milonga Chique
Evgeny Morozow
Milonga Chique provided first alternative dance floor in Moscow. On February 20, 2017, it celebrated
its first anniversary. Milonga Chique is the only milonga in Moscow, where the dancers have
a choice of two dance floors — one for the traditional music and a second floor for alternative music.
The alternative dance floor is located on the second floor, for the tangueros, who prefer tango nuevo,
neotango, alternative, tango rarities, non-Argentinian tango, or orquestas moderna. The design of the
milonga also has its differences. For example, there is a light projections and a smoke machine.
The second floor in Milonga Chique is visited by a
as many as twenty-five couples, simultaneously on the
dance floor. The most popular time is from 22:00 to
01:30 in the morning. During the evening, dancers
freely change between the dance floors. Dancers always
have the opportunity to go to the first floor for
a traditional dance to one of the famous and beloved
tangos of La Guardia Nueva. The choice of music and
atmosphere is very important! Dancers can always
refresh their memories.
It should be noted that the Moscow tango community
has been and remains quite conservative in terms of
music. Mostly milongas are traditional Argentine tango
of the Golden Age (La Guardia Nueva), from time period
between 1935 and 1955. Some DJs insert in the
one or two unusual or modern tandas into their playlests,
usually near the end of the milongas.
Audio recordings of classical tango are now widely
available to Moscow DJs. The efforts of many Russian
and foreign enthusiasts have created a catalog of classical
tango music. Moscow DJs freely exchange information
about records. They each have large collection
of tangos. There are many new faces, with a healthy
competition among DJs and motivation to improve
the quality of their work. The dancers have several
choices of traditional milongas where you can hear
many good tandas..
In Europe, milongas of different formats existed, giving
more freedom to DJs. For example, at one of the
milongas in Budapest, apart from tango-waltz-milonga
sequence of tandas, a fourth tanda was introduced with
non-traditional music. The classics successfully went together
with nuevo, electronics, ambience, latin, blues,
French waltzes and completely different music.
All this was absolutely easy to
dance with the use of biomechanics
of tango. It was well and
skillfully arranged. The milonga
usually had about a hundred of
participants, which is quite a lot
for such a format. It was clear
that such a format could work
in Moscow also. Therefore, I began
to try to promote this idea
among the organizers.
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In Moscow, there is what is called Alternative Practice
on Sundays. The people, who attend, bring their own
music and dance it. There is no real management of the
music playlist. The event does not have a milonga format.
This is a very interesting place that helps to expand the
musical, emotional and dance scope of the participants.
But I had wanted to raise it to another level with a fullfledged
alternative milonga, with a unique atmosphere,
sound quality and so on. The first milonga of this type
appeared in Moscow on February 20, 2016. The organizers
of Milonga Chique invited me to implement this
on one of their two dance floors. As it turns out, this
format works fine.
It is worth noting that the word Nuevo in Moscow had
acquired a negative, and even threatening sense in tango
circles. It is usually understood as either monotonous
electronic tango music, or heavy, chaotic and dramatic
compositions of late Osvaldo Pugliese, or Astor Piazzolla.
Nuevo was understood as very complex music
that cannot be danced. There were some different, not
very successful, experimental nuevo milongas in which
rare, electronic, non-danceable music was played. It was
clear that the DJ’s intention was to enlighten the people,
opening them new music. It became clear that was inappropriate
for particular audiences. It was often reduced
to a chaotic, disorganized, unbalanced event with limited
musical and emotional flow. Of course, it was stressful
for people who came to dance. People associated this
stress with the concept of nuevo.
As practice has shown that a good tango-DJ, using only
traditional tango, can create almost any mood on the
dance floor, without using the alternative, modern, or
nuevo music. It depends on the taste and ability to feel
the dance floor, from empathy, emotionality, sound
quality, and many other factors.
However, the important point is that the expansion of
the musical range is itself very interesting. It can open
up new opportunities, ideas, inspiration and emotions
for both the DJ and the dancers. This opens a completely
different domain introducing other flows and
energies! Currently, there are not too many people at
milongas who can dance well to this music. Most people
use traditional movements and combinations. But, the
music inspires improvisation, and this is very important!
Here is a good example from classical music. No doubt,
that Bach, Beethoven, Tchaikovsky all represent classical
music. But, these composers are very different! If you
ask a person if they likes classical music, their answer will
depend on whether they knows something about composers,
years of their activity, genres within classics, and
so on. But many people do not know anything about
this. Their knowledge may be limited to the Moonlight
Sonata, Fugue in D minor and Waltz of Flowers. Knowing
only these few works, they form an opinion about all
classical music. The situation is the same with the concept
of Nuevo.. Some people think that it’s only Piazzolla,
Gotan and Otros Aires. The word nuevo is translated
as new. But, the genre includes a much larger range of
music. Maybe, the term, NeoTango, used by foreign colleagues,
is more viable.
— 13 —
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On the alternative dance floor, another reality is created.
Unusual lighting, mirrors, projections cosmic and
fractal images on all surfaces of walls and floor. Invitations
without cabeceos are practiced here, ladies can
invite gentlemen, many people go downstairs to look
for partners, returning with them to join the dance and
music fantasies.
Here you can hear modern tango orchestras, magnificent
examples of the Guardia Vieja, canyengue, foxtrot,
French and classical waltzes, blues, jazz, guitar milongas,
lesser known jewels of traditional tango, rarities, non-
Argentine tango, and of course, the best of nuevo and
alternative tangos! There are a lot of musical experiments
in playlists that are created, on the spot.
Neotango milongas have a unique format that requires
a particularly careful attention to the dancers.
The playlist should only songs that really have energy,
and strong emotions. They must make the dancers
really want to dance. Everything is put together and
mixed in real time. Generally speaking, cortinas are
not used. Dancers very quickly begin to navigate and
understand when one set ends and another begins.
Sets are similar to tandas, but they can be of different
length. It is music of the moment. The music of the set
have something in common that the DJ and dancers
understand — something like a one whole emotional-physical
organism, living its own magical life.
A DJ needs to experiment carefully, and always return
to the basics, to the classics. This way it will always
sound fresh, but familiar. Requests from the dancers
can be very helpful. A lot of interesting music can be
duscovered this way.
Now, many people regularly attend Milonga Chique,
taking an interest in the music played there. There is
now a Facebook group for NeoTango in Moscow,
where information about Tango Nuevo, NeoTango, Alternative
Tango events and music aew published.
Currently, there are four Moscow DJs who regularly
play on the alternative music — Evgeny Morozow,
Anna Neum, Alexander Godyay and Valery Volkov.
Each of them have their unique styles and visions of
the music, which adds interest to milongas. Hopefully,
the future will be fill their ranks with new DJs, each
bringing their own new colors.
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The New Moscow
Polina Yegurnova
The echoes of the word tango sounded in films and TV shows of the 70s and 80s. But, it had almost
no influence on the interests of Muscovites. However, the 1990s changed the minds of many Russians.
After experiencing perestroika, young people rushed with double energy to study everything that had
not available beforehand.
A boom of ethnic centers, martial arts clubs, choreographic
studios and yoga centers began in Moscow in
the late 1990s. Argentine tango was part of this explosion.
It first appeared in a small studio for modern dance
at the Maly Theater qith choreographer Valentina Ustinova
introducing the rhythms and movements of tango
She first met the tango during a visit to Amsterdam. After
returning to Moscow, she she began her first classes
of modern dance, including lessons in jazz-modern, contact
improvisation and Argentine tango.
At this stage, the tango
music was not of key
importance. Most of
what was played was
the Ryssian tangos of
the 20s and 30s. The
main interest of these
tango pioneers during
the wave of the
90s was was primarily
in choreography. and
performance. Many
people were simply
fascinated by the form,
and movement. And,
in the possibility of
sharing their interests.
After two years of Ustinova’s classes, advanced skills began
to appear among her students. These students later
opened their own schools, organizing more powerful
tango associations. In 1998, one 29-year-old student, Alexander
Vistgof, began teaching Argentine tango, in the
empty halls of Soviet culture houses. By the early 2000’s,
the first milongas in Moscow began to take place. At this
time, the tango music played was from CDs, collected by
enthusiasts during trips to foreign countries.
Around this time in Moscow and St. Petersburg began
to appear the first tango-DJs. At that time, there were
no rules for organizing the music. But, there were attempts
to do something similar to the milongas of Buenos
Aires. DJs selected music intuitively, without making
cortinas, and the rules of movement on the dance
floor were very conditional.
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By 2003, the number of tango dancers had grown
from a handful to a few hundred. The first Argentinean
tango festival, Nights of the Milongueros. was held
by the teachers-enthusiasts. This festival continues to
be held to this day.
During the first decade of the new millenium, most
Moscow tangueros went to hangouts where first
milongas and performances by Argentine teachers
were held. At that time, it all seemed very exotic.
In the following years, the first wave of students became
tango teachers. They opened several new tango
schools. During htis same period, the first permanent
foreign teacher of tango Diego Arizaga established
himself in Moscow. He came from Buenos Aires to reside
and work in Russia. His students formed a second
branch, as they, in their turn, also became teachers. In
this way, the number of tango schools grew to five,
then seven, and then ten.
Early on, the teaching methods in Moscow were greatly
influenced by the Argentine dancers, Carlos Gavito,
Gustavo Naveira and Graciela Gonzalez. Later. the
influence came from the lessons of Javier Rodriguez,
Geraldine Rojas, Horacio Godoy and Sebastian Arce.
Around 2006, the phrase dancing in style Villa Urquiza,
could be heard at Moscow milongas, for the first time.
The fascination with this idea is noticeable in magazine
publications and flyers of that time. It should be noted
that the eponymous district of Buenos Aires has not
patented any special manner of dancing. The term Villa
Urquiza style was coined by two teachers from the US
and is not entirely meaningful. Except for the fact that
in the 70s in the barrio Villa Urquiza there were large
milongas and a recording studio operated there.
The economic situation in Russia gave an opportunity
to start small business during the period 2005-2010.
As a result, more and more tango-schools opened.
The increase in the scope of teaching and the number
of milongas that were conducted could also be explained
by the trips of tangeros to Buenos Aires. The
tango began to influence the private life of the dancers,
encouraging some of them to live in Buenos Aires
for a few years or for life.
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In 2013, the Moscow cultural center, La Milonga, received
official permission to conduct an Argentine tango preliminary
championship for the Tango BA Festival y Mundial del
Baile. The winners of the championship in Moscow would
receive tickets to Buenos Aires and were qualified to the
semifinals of the world championship.
In addition, the European Tango Argentinean Championship
was founded in 2010. This event had a significant influence
on the careers of Russian tango teachers. In the first
European championship, the first place was taken by the
Moscow couple, Vladimir Khorev and Natalia Petrova.
These competitions combined with the growing popularity
of Argentine tango in Russia and Europe attracted
attention of international professional choreographers
and dancers, who recognixed the opportunity for tours
giving shows and classes.
There are some unique aspects to professional choreographic
activities in Russia. Thanks to the strong traditions
of teaching classical ballet and rhythmic gymnastics,
there are several generations of young and active choreographers
who and dancers who easily learn modern
dance movements in the open studios for jazz-modern,
yoga, body-ballet, contemporary, etc. Around 2010, the
passion of Argentine tango reached this community.
Since then, tango in Moscow has changed under the influence
of these schools. The earliest teachers were professional
choreographers. In Argentina, there are practically no
professionals among the old school teachers. In Moscow,
a different situation has developed. Tango has become increasingly
more technically sophisticated. The requirements
for good tango have increased significantly, along with the
number of teachers who organize escenario shows.
Attracting new people, who had never danced, is also
becoming popular. Now,, it is possible to learn how to
dance not only with a small circle of friends, but also in
large sports centers and multi-dance schools. Moreover,
students can buy a subscription for regular private and
group classes, and get discounts for regular attendance.
At the time of the writing of this article, there are about
65 tango schools located in different parts of the city, offering
social to high-tech tango.
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Moscow Tango Guide
Milongas
Sunday
Domingo Milonga Planetango Club Ulitsa Nizhnyaya Krasnosel’skaya, 35 Alexandr Bolotov
Planetango Práctica Planetango Club Ulitsa Nizhnyaya Krasnosel’skaya, 35 Alexandr Bolotov
Practica Alternative Club La Milonga Zatsepskiy val, 4k1
Tango Formación Practica Tretya Ulitsa Yamskogo polya, 2k3
Milonga Bomboncito Tretya Ulitsa Yamskogo polya, 2k3
Prischepov Milonga Radio City Bolshaya Sadovaya st., 5 Alexander Prischepov
Monday
El Gato Tango Armianskiy pereulok, 7
Tango Formación Práctica Tretya Ulitsa Yamskogo polya, 2k3
Planetango Práctica Planetango Club Ulitsa Nizhnyaya Krasnosel’skaya, 35
Desvan Milonga Cherdak Restaurant Kuznetskiy most, 7
Milonga Casablanca Alexey Ivashechkin Nikolskaya ulitsa, 25, fl. 4
Tuesday
Rendevouz Milonga Leninsky Prospekt, 6 Olga Tverdokhlebova
Tango Formación Práctica Tretya Ulitsa Yamskogo polya, 2k3
El GatoTango Práctica Armianskiy pereulok, 7
Milonga Prishepov Lookin Rooms Restaurant
Tverskaya st., 18
Planetango Práctica Planetango Club Ulitsa Nizhnyaya Krasnosel’skaya, 35
Me Gusta Milonga 18 Pavlovskaya street Alex Shamsutdinov
La Milonga Practica Club La Milonga Zatsepskiy val, 4k1
B2 Radio City Bolshay Sadovaya, 8 Sergey Maga
Wednesday
Fernet Night Milonga Planetango Club Ulitsa Nizhnyaya Krasnosel’skaya, 35 Sergey Popov
El Gato Tango Práctica Armianskiy pereulok, 7
La Milonga Práctica Club La Milonga Zatsepskiy val, 4k1
Planetango Práctica Planetango Club Ulitsa Nizhnyaya Krasnosel’skaya, 35
Milonga El Abrazo Pestovsky pereulok,3 Alexey Ivashechkin
Tangoformación Práctica Tretya Ulitsa Yamskogo polya, 2k3
AeroTango Zhukovsky Sergey Schetinin
Thursday
Tangoformación Práctica Tretya Ulitsa Yamskogo polya, 2k3
El Gato Tango Práctica Armianskiy pereulok, 7
Planetango Práctica Planetango Club Ulitsa Nizhnyaya Krasnosel’skaya, 35
La Milonga Práctica Club La Milonga Zatsepskiy val, 4k1
Medialuna Milonga
Kalashniy Lane
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Milongas
Friday
Me Gusta Milonga Pavlovskaya street, 18 Alex Shamsutdinov
Tango Formación Práctica Tretya Ulitsa Yamskogo polya, 2k3
El Calor Milonga Orlikov pereulok, 1 Yuriy Alexeev
El Gato Tango Práctica Armianskiy pereulok, 7 Alex Shamsutdinov
Planetango Práctica Planetango Club Ulitsa Nizhnyaya Krasnosel’skaya, 35 Alexandr Bolotov
La Milonga Práctica Club La Milonga Zatsepskiy val, 4k1
Le Cafe Milonga Romanov Dvor Romanov pereulok, 4
Saturday
Planetango Práctica Planetango Club Ulitsa Nizhnyaya Krasnosel’skaya, 35 Alexandr Bolotov
Tango Formación Práctica Tretya Ulitsa Yamskogo polya, 2k3
La Milonga Práctica Club La Milonga Zatsepskiy val, 4, bldg 1
Chiqué Milonga Vinzavod 4 th Syromyatnicheskiy per., 1k6
Planetango Milonga Planetango Club Ulitsa Nizhnyaya Krasnosel’skaya, 35 Natalia Melnikova
Buena Onda Milonga Leninskiy Prospekt, 6 Sergey Popov
Totango
B. Levshinsky per bldg 8a
WebSites
Go Tango RU.................................http://forum.gotango.ru/tango-calendar.php
Milongas-in.....................................http://milongas-in.com/milongas-in-europe.php?c=Russia&city=Moscow
Tango Center................................http://tangocenter.ru/
TangoCity RU................................http://tangocity.ru/uk.php
Tangomania....................................http://www.tangomania.ru/
Tango Moskva................................https://tangomoskva.com/
Tango MSK.....................................http://www.tango.msk.ru/
Tango Portal..................................http://tango-portal.com/milonga/Moscow
Torito..............................................https://www.torito.nl/
These are some of the Internet resources that were used to build this guide. The guide is a consolidation
of information. Please, check these resources in the future, as we all know - things change.
Annual Events
Summer Milonguero Nights Tango Festival https://www.facebook.com/groups/milongueronightsmoscow/
Summer El Huracan Tango Marathon https://www.facebook.com/groups/239900959483268/
Autumn Moscow Tango Marathon https://www.facebook.com/groups/1458864771019618/
Winter Moscow Tango Holidays https://www.facebook.com/groups/238257592999087/
Winter Planetango Moscow Tango Festival https://www.facebook.com/groups/165913640209469/
— 21 —
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Moscow Tango Guide
Schools
5 Life Leningradsky Prospekt, 12 http://www.5life.net
Alma del Tango Leninsky Prospekt, 6 http://www.alma-tango.ru
Arce Tango Academia Ulitsa Nikolskaya 25 http://www.arcetango.ru
ArgTango Ulitsa Yubileynaya, 9 http://www.argtango.ru
Autentico Tango Holodilniy Pereulok, 3 http://www.autenticotango.com
Balance Club Prospekt Vernadskogo, 95 http://www.school.balanceclub.ru
Boombox Krivokolenniy Pereulok 14 http://www.cubansalsa.ru
Bossa Nova House of Dance Malliy Tatarskiy Pereulok, 8 http://www.bossanovaclub.ru
Casa del Tango Ulitsa Bolshaya Nikitskaya 47 http://www.casadeltango.ru
Counter-clockwise Kalashniy Pereulok, 10 http://www.урокитанго.рф
D-Fusion Ulitsa Novoslobodskaya 3 http://www.dfusion.ru
Dance First Ulitsa Novy Arbat 7 http://www.dancefirst.ru
Dance First Leningradsky Prospekt, 7 http://www.dancefirst.ru
Dance First Nastasinsky Pereulok 9 http://www.dancefirst.ru
Dance Studio Khodynskiy Boulevard, 4 http://www.tdancestudio.ru
Dancing Khoroshevskiy Prospekt, 2 http://www.танцквартал.рф
Dancing Prospekt Vernadskogo, 15 http://www.танцквартал.рф
Edissa DNI Tango Ulitsa Kozhevnicheskaya 14 http://www.edissa.ru
El Gato Tango Armyanskiy Pereulok 7 http://www.elgatotango.ru
El Tango Bolshoy Ovchinnikovsky Per. 24 http://www.eltango.ru
El Tango de Plata Bolshoi Ovchinnikovskiy Per. 53 http://www.tangodeoro.ru
El Tango de Plata Ulitsa Panfilova http://www.tangodeoro.ru
El Tango de Plata Prospect Mira, 43 http://www.tangodeoro.ru
Elcentro Olimpiyskiy Prospekt, 16 http://www.elcentro.ru
Escuela de Tango Shelaputinskiy Pereulok, 6 http://www.edtango.ru
eTango Chistoprudniy Boulevard., 2 http://www.etango.net
GallaDance Krasnopresnenskaya Nab., 12 http://www.galladance.com
GallaDance Olympic Pereulok, 16 http://www.galladance.com
GallaDance Smolenskaya Square, 3 http://www.galladance.com
GallaDance Michurinsky Pereulok, 21 http://www.galladance.com
GoTango! Ulitsa Yubileynaya, 4k3 http://www.gotangozel.ru
Jetango Ulitsa Novodmitrovskaya 5 http://www.jetango.ru
KOtango Ogorodnaya Sloboda Per., 14 http://www.kotango.ru
La Luna Portenya Ulitsa Dekabristov, 8 https://www.facebook.com/groups/VIgorTango/
La Milonga Ulitsa Zatsepskyy Val 4 http://www.tangocenter.ru
Lessons of Tango Ulitsa Druzhinnikovskaya 30 http://www.uroki-tango.ru
Libertango Studio Ulitsa Martenovskaya, 30 http://www.libertango.studio
Martae Ulitsa Bakuninskaya 14 http://www.marte.ru
Maximum Prospekt Vernadskogo, 29 http://www.maximum-dance.ru
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Schools
NeoTango Ulitsa Sadovaya-Spasskaya, 19 https://www.facebook.com/NeoTango-Школатанго-Москва-Королев-1101210159969309/
NeoTango Ulitsa Komytetskaya 2 https://www.facebook.com/NeoTango-Школатанго-Москва-Королев-1101210159969309/
Open Dance Studio Duhovskoy Pereulok 12 http://www.odstudio.ru
Otro Tango Ulitsa Krasnaya 90 http://www.otro-tango.ru
Otro Tango Sretenskiy Pereulok 560 http://www.otro-tango.ru
Planetango Ulitsa Krasnoselskaya 35 http://www.tangocenter.ru
Step Yubileyniy Proezd, 6A http://www.step.su
Tance Mania Ulitsa Kuusinen 9 http://www.tancemania.ru
Tango Asi Ulitsa Povarskaya, 33 http://www.tangoasi.ru
Tango Asi Ukrainian Boulevard, 15 http://www.tangoasi.ru
Tango Asi Protochniy Pereulok,9 http://www.tangoasi.ru
Tango Bravo Ulitsa Zemlyanoy Val 27 http://www.tangobravo.ru
Tango City Orlikov Pereulok 1 http://www.tangocity.ru
Tango City Ulitsa Ostozhenka 7 http://www.tangocity.ru
Tango City Ulitsa Arbat, 51 http://www.tangocity.ru
Tango City Smolenskaya-Sennaya Square, 27 http://www.tangocity.ru
Tango Formacion Ulitsa Yamskogo Polya 3 http://www.tangoformacion.ru
Tango Jam Moscow Ulitsa Bolshaya Ordynka, 53 http://www.tangojam-moscow.ru
Tango Salon Leninsky Prospekt, 6 http://www.tangosalon.ru
Tango Street Granatny Pereulok 12 http://www.tangostreet.ru
Tango without rules Ulitsa Semenovskaya, 42 http://www.tango-bez-pravil.ru
Tangolife Ulitsa Timur Frunze, 11 http://www.tango-life.ru
Tangolife Ulitsa Malaya Ordynka 25 http://www.tango-life.ru
Tangomagia Krivokolenny Pereulok 5 http://www.tangomagia.ru
TangoMio Kalashnyy Pereulok 10 http://www.tangomio.ru
Tanz Kartal Ulitsa Tikhvinskaya 9A http://www.танцквартал.рф
Theater Studio Ulitsa Malaya Ordynka 25 http://www.tangostudio.ru
Theater Studio Argentine Semenovskaya nab., 3 http://www.tangostudio.ru
Tango Argentino Ulitsa Sokolovo-mesherskaya, 29 http://www.tango-argentino.ru
Uno Tango Shelaputinsky Pereulok 6c http://www.unotango.ru
VIgor Tango Ulitsa Kedrova 13 https://www.facebook.com/groups/VIgorTango/
VIgor Tango Ul. Sharikopodshipnikovs, 15 https://www.facebook.com/groups/VIgorTango/
VIgor Tango Ulitsa Glavnaya, 2k1 https://www.facebook.com/groups/VIgorTango/
VIgor Tango Ulitsa Kirova, 19 https://www.facebook.com/groups/VIgorTango/
VIgor Tango Ulitsa Stromynka, 11 https://www.facebook.com/groups/VIgorTango/
VIgor Tango Ulitsa Tikhvinskaya 9A https://www.facebook.com/groups/VIgorTango/
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Sunset Tango Collages
Denise Mumm
Denise Mumm creates her tango collages in a studio in her house in Staten Island, New York,
where she has lived since 1982. She is a native of Sioux City, Iowa. She grew up with a watercolorist
mother and a father who made ceramics. Denise earned both her BFA in painting and MA in metalworking
and jewelry from the University of Iowa.
Denise Mumm’s tango imagery began,
naturally enough, soon after a tango pilgrimage
to Buenos Aires. As a srudent of
tango, she travelled there un 2005. Frustrated
by her shopping for paintings of
tango dancers to take home, Mumm had
a eureka moment. She realized that as
an artist, she could make her own tango
artwork and it would more satisfactorily
express her experience of the dance.
As with the tango itself, creating these images
has become a near obsession. Her
collages focus on details of the dance
that only a dancer knows, such as the
embrace. the precision of the placement
of the feet, and the variety in handholds.
Just as every tanda is different, there are
endless variations. Each of Mumm’s pieces,
from the smallestm measuring only
four inchesm to the large collages on unstretched
canvas that are six feet across..
Mumm’s technique for creating these collages
was honed as a studio assistant in
the 1980’s, working for the well-known
feminist artist Miriam Shapiro . Shapiro
and Faith Ringgold, for whom Mumm also
worked became her mentors and role
models. Both these artists also combine
figures with bits of pattern, in vivid colors.
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The patterns in Mumm’s work sometimes refers to the fileteado
and settings from Buenos Aires. But, there are also
purely decorative elements and New York City references.
The dancers Mumm uses for models come from the New
York City tango community. They are friends, teachers and
dance partners. She sometimes includes herself.
Her continuing source of inspiration is a beloved and particularly
unique New York City setting for tango. It is Volvo
Tango, held in warm weather on Pier 45, alongside the cooling
waters of the Hudson River at sunset. These dramatic
shadows and highlights and the golden colors of the sunset
have found their way into more than one collage. Along with
the sloping curve of the pavilion that frames the dancers,
these are a continuing inspiration. The peace and beauty of
the setting and the effect it has on the dancers is apparent.
To find out more about Denise Mumm visit her website
http://www.denisemumm.com
and her Etsy store
http://www.etsy.com/shop/DeniseMummArt.
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Jonathan Goldman
— Quartango
interview by Marco Buso
Quartango is a Canadian musical project born more than thirty years ago and still strong and healthy thanks to its
wonderful musicians, who continue to this day to experiment a unique mix of tango, classical and jazz music, blending
together three of the greatest musical traditions of our world in exciting new ways. We at Modern Tango World had
the pleasure to talk with Jonathan Goldman, bandoneonist of Quartango
MTW: Jonathan, first of all let me thank you very
much for being here and talking a bit about Quartango
with Modern Tango World.
Jonathan: Thanks to you Marco! A pleasure to be here.
MTW: Let’s start from scratch. We would like to know
something about your musical background.
Jonathan: I was born in Toronto and studied piano
at the Royal Conservatory of Music as a boy. In high
school, like many teenagers, I taught myself to play the
guitar and played the bass in a rock band. For university,
I moved to Montreal and attended McGill University,
studying philosophy and mathematics. I did find time
however to make music: I composed and conducted
the score of a student film while I was there.
After university, in 1995, I spent a year travelling, and
had a formative experience when I heard two Moldavian
accordionists performing in Jerusalem: I realized
that their was a tradition of highly expressive and virtuosic
accordion playing, something that many North
Americans are not aware of. Later, I bought my first
accordion, and found a wonderful teacher in the Romanian
jazz accordionist Marin Nasturica, who lives in
Montreal.
The accordion led me to the tango and to the music
of Astor Piazzolla — a very conventional progression.
I’m not claiming any originality here! I fell deeply in love
with tango music and yearned to learn the bandoneon.
By that time, I was involved in intense graduate
studies in musicology at the Université de Montréal,
where I am now a professor of musicology. I thought
that learning the bandoneon would distract me from
my studies. However, in 2001, I did publish an arrangement
of Piazzolla’s Double Concerto for bandoneon,
guitar, piano and optional double bass. Around 2003, I
founded a tango band: it was called Sweatshop Tango
and was a Piazzolla-style tango quintet, except with
accordion instead of bandoneon. In 2004, we put out
a CD called De la Main á la Boca and we performed
at the Montreal International Jazz Festival in 2007.
It was about a year or two before this that I began
performing on the bandoneon, which is today the only
instrument I perform with. At the same time, I started
performing with Quartango, and went with them on
a tour of the U.S. and Canada. Around the same time,
I finished my PhD in Musicology and got a job on the
west coast of Canada at the University of Victoria
and had to leave Quartango. In 2011, I published a
book about Pierre Boulez. I must be the only tango
musician who has written a book about Pierre Boulez!
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While on the West Coast, I started performing with
Linda Lee Thomas, wonderful pianist of the Vancouver
Symphony Orchestra and tanguera. She has performed
with bandoneon greats, like Daniel Binelli and Nestor
Marconi. In 2013, I joined the faculty of the Université
de Montréal, and began performing with Quartango
once again. I have been a permanent member ever since.
MTW: How and when was the Quartango project born?
How did you meet, how did you start working together?
Jonathan: Quartango has a long and illustrious history
in the Canadian tango world. It was established more
than thirty years ago, around 1984, by three Argentinean
and Uruguayan immigrants and one Canadian. Adolfo
Bornstein (violin), Romulo Larrea (bandoneon),
Ramon Pelinski (piano) and René Gosselin (double
bass). René is the only founding member left today, and
it is thanks to his energy and artistic integrity that it has
lasted so long. Today, all four members of Quartango are
Canadian-born. In addition to René, there is Stéphane
Aubin (piano), Antoine Bareil (violin) and myself on
bandoneon. Stéphane has tons of experience accompanying
major French-language singers, like Lara Fabian
and Charles Aznavour. Antoine is a much sought-after
violinist who is, among other positions, concert master
of the Laval Symphony Orchestra.
René, the founding member, is principle double bass
of the Orchestre Métropolitain. Each of us found his
own route to tango and contributes to the group as
composer and arranger. Each also brings his own influences:
Stéphane, for example, has so much experience
with vocal music that he brings us extremely lyrical, melodious
compositions. Antoine is a fan of progressive
rock, Frank Zappa and American minimalist music, and
you can hear those influences in his compositions. I am
more of the tango purist. I idolize tango Masters and
groups like Horacio Salgan, Juan d’Arienzo, Sexteto
Tango, Quinteto Real, Leopoldo Federico, etc. I try to
look back to older eras of tango in my compositions or
arrangements.
MTW: How would you define Quartango in a musical
way? Did you have any particular musical inspiration
from other artists?
Jonathan: Quartango is known for blending styles in unusual,
surprising ways. In the beginning, we would blend
tango with a lot of classical music. In our arrangement
of La Cumparsita, for example, arranged by our previous
pianist and musical director, Richard Hunt, there is a
prominent quotation of one of Chopin’s piano concerti.
Why? For fun!
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We have worked for over twenty years in particular with
Roxana & Fabian Belmonte, a wonderful couple of dancers
from Buenos Aires. We love working with dancers, and
do occasionally perform at a milonga after our concerts.
However, most of our shows are purely instrumental: we
usually perform in 300-400 seat theatres with a standard
seating plan.
MTW: Where do you think tango is going in the future?
Jonathan: I am reluctant to be a futurologist. Usually, important
new developments are unexpected. Who would
have guessed that Gotan Project would have scored such
a huge success at the beginning of the century? I am sure
musicians and dancers will find ways to innovate.
In more recent music, we still make allusions to other
genres, like French chanson and movie music. You can
hear it on the album we made in 2014— Encuentro. This
album won us a Juno Award, the Canadian Grammy.
You can also hear these allusions in our most recent
album: J’aime les nuits de Montréal — a tribute to the
golden age of jazz clubs and cabarets in Montreal during
American Prohibition. The music is meant to evoke that
era, including references to Edith Piaf and Alys Robi.
MTW: How do you approach composition?
Jonathan: We are quite traditional in our composition
methods. We are all classically trained, and we arrive
at rehearsal with entirely composed pieces, with parts
written out and fully notated, etc. But, these parts become
a starting point, and each of us plays around with
them, transforming them, as our understanding deepens.
MTW: What are your current projects with Quartango,
and what can you tell us about the future of the group?
Jonathan: We are currently busy promoting our album
J’aime les Nuits de Montréal, and its accompanying concertspectacle
Les Belles Années. For this show, we worked with
stage director Alain Gauthier to develop its scenic aspects.
It is a show that uses sampled sounds, lighting, costumes and
dialogues to create atmosphere and evoke a specific setting
and historical period. We hope to perform it as much often
possible, because it is a real departure for us: on the album,
we only perform one Piazzolla tune out of fourteen!
MTW: And we at Modern Tango World can’t wait to
see and hear it! Jonathan, thanks for sharing with us your
amazing musical experience and for letting us know more
about the fantastic blend of tango, classical and jazz music
of Quartango!
MTW: From your point of view, is Quartango music
meant to be danced, or at least danceable? Have you
ever worked together with dancers?
Jonathan: I would say that of all the musicians in Quartango,
I am the one with the most experience accompanying
actual milongas. My old band, Sweatshop Tango,
performed frequently in tango schools around Montreal.
That being said, Quartango often performs original choreographies
with dancers, set to our music.
— 32 —
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The Other Night at La Viruta
Daniel Pereyra
What better way to immerse yourself in the underground of La Viruta than on an evening created by the
famous orchestra Otros Aires.
I began to go to La Viruta about six years ago, when
the milongueros in my native Montevideo had repetedly
recommended it. They had been going continuously
to dance there. It made me curious. At the time,
I was dancing and taking tango lessons.
So, one day I gave in. ... I went to the capital of Argentina.
Although I lived in the north, I knew that at any
moment, I would go to this gran milonga porteña. But, I
did not know, and it was not in my plan, to fall in love
with this night club.
On one Friday, I had the great opportunity to go inside.
Would be be all that they told me?
I entered a huge hall. Nothing indicated that there was a
milonga and yet the sound came from below. I followed
the sound where it went. Then, I saw the steep staircase.
With each downward step, the sound became more intense.
really I enjoyed this. I began to feel that my night
would fill my senses.
At that time, the box office presented you with a window
full of tango CDs. The discs of Tanghetto, Narcotango,
Ardit and others were prevelant. Well, here I was
on the groundfloor. I was theirs forever. I began to hear
her heartbeat, her percussion. I learned this woman’s name.
They called her Viru with great affection. She belonged to
everyone’s, but I would make her mine.
I went down another staircase that left me at
the level of la pista, the dance floor. I took the
option to turn to the right. Custom or habit?
Musical ritual? Kabbalah? A whim? I dont
know. But, right was right, tonight.
Walking after going down steps with eyes acclimatizing
in the darkness of the room, ears
already full of tango music, my steps became
shorter and walking between couples that
were going and coming. Then I stop to help a
waiter with a tray making it difficult to reach
the end of the corridor that ends at the stairs
to the women’s bathroom.
My eyes flick around looking for possible
future dance partners for during night. The
dance floor is full. It will remain so. But soon,
I will be there, myself. I could not find a place
to sit. All the chairs occupied. Every table
was full of milongueros. But this did not matter
that much.
— 33 —
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When standing there I also had some advantages. I could
watch more of that world than the other milongueros.
And, I was able to move to see something interesting.
Here they were, the milongueros, the saloneros, the
professionals, the new, all mixed and of different ages. I
saw them with my eyes wide open, the most talented
dancers that came along the edges of the dance floor
turning and taking elegant steps, dressed for the occasion
and without speaking. Serious dancers enjoying the
pleasure of dancing, with a thousand colors in dim light
and a thousand different styles of dancing.
Further inside were the newer layers of milongueros
and future milongueros. All wrapped in music that
seemed to enter through the chest because of the
wonderful sounds emitted by the giant speakers. I was
still outside the dance floor, the newest visitor to La
Viruta. But, I knew that the evening was long and the
orchestra had not yet reached the stage. I ordered a
flavored citrus drink — a taste and smell that I will forver
associate with La Viruta.
I stared at the long bar with all its benches occupied and
behind it countless bottles lining on the mirrored shelves.
In the middle of the bar, a team wine stwards the gastronomic
army that moved quickly to attend customers. In
the background was the queen, her majesty, a giant silver
coffeepot. This is what I could see as I moved it to the left.
The tango had begun. I could not wait for next cortina. It had
already past twenty seconds ago. I did not know anyone,
they did not know me, I could not receive a rejection. I
wanted to dance before the singer began. I had to start before
the singer to enjoy that tango. Then, I saw her standing
like me, about ten meters away and looking at the dance
floor. It was impossible to cabaceo.
Her outstanding stature and beauty could be seen in
the dim lights. It was easy to see why I might choose
her. And she was more than ready. She was moving
her feet. It was visible as he moved on her tanned and
uncovered shoulders. I moved closer. I would need to
speak or nod if she just turned her head towards me.
But her eyes and mine did not meet until she was almost
within a meter. My head made a gesture accompanied
by a slight signal from my eyes, and I received a splendid
smile from this woman, accepting my proposal.
When I got to the floor, I took her by the waist. I raised
my hand to embrace her and closed the space between
our bodies. With my left hand, I felt her soft hand as she
leaned into me at the precise moment when the singer
gave began to sing. That night, I found two loves, the second
is named Maria.
I wanted to become a protagonist in this story. I wanted to
dance had the perfect accomplice to match Aníbal Troilo
and Alberto Marino. I waited for a piece of music that demanded
that I must be on the dance floor — Así es Ninón. I
searched around, without much time.
— 34 —
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— 35 —
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Tango Book Review
Tango Awareness
by Mauricio Castro
Alexandru Eugen Cristea
This is by far one of the books that have changed the way Argentine Tango is taught and understood around the world.
Born in Buenos Aires, Argentina, master Mauricio Castro has
solid musical education. He attended Berklee College of Music
in Boston, studying contemporary dance and movement techniques,
like Laban Analysis, Bartenieff Fundamentals and the
Skinner Releasing Technique. He then extended his studies into
Human Sciences in Neuro Linguistic Programming, Human Engineering
and Human Ecology.
Unhappy with the present approach of teaching tango and considering
it old-fashioned and unreliable for the present day student,
he has developed a coherent method that he called Tango Discovery.
Although his personal way of dancing could be called tango
nuevo, Tango Discovery is a method and not a dancing style. The
method that can be successfully applied to teaching any particular
style of tango such as milonguero or tango salon.
The Tango Discovery method of learning is based on three skills:
tango awareness, organic structure and 100% improvisation. This first
book introduces tango awareness, the way people lead and follow
the basic movements in Argentine tango.
Considering that tension in the embrace reduces the pleasure for
both partners and fixed sequence of steps are often too difficult
and too ancient to learn for the modern, intelligent tango enthusiast,
he has developed special exercises that boost tango skills after
a few exercises.
The concepts described in the Tango Awareness book are clearly explained in a modern and funny language that will
make you laugh and enjoy the book. Learning to enjoy leading and following with any partner is just the beginning of
a wonderful journey in this book. Changing following from being a passive boring activity to a fun and enjoyable ride
is very easy. Master Mauricio Castro says that this can be done by understanding the fusion points (gestures by the
partner) and simply by enjoying the music.
The book also contains social and psychological exercises to improve your behavior and enjoyment of the milonga for
both the man and women. Some of them may seem funny or strange, but as a person who has tried them all, I can
definitely acknowledge their tremendous value. These practical exercises will also help you gain a more elegant, flexible
and responsive posture. I recommend the book as a break-through in the present day teaching methodology. It is useful
for beginners and advanced students, and it is a great help for the open-minded teacher of tango.
— 36 —
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Why there is so little dance in people dancing tango
Veronica Toumanova
The most difficult thing for a tango teacher is not teaching the correct movement, it is getting people to
dance. So what is it that we teachers (and dancers) find so difficult? Common dictionaries define dance
as moving rhythmically to music, typically following a set sequence of steps. On the surface this definition is
correct and according to it every single person on the dancefloor is dancing. But soldiers marching to
a military song are also moving rhythmically to music. Intuitively you always recognise people who are
dancing and who are just moving rhythmically when you are in a milonga. You will always prefer to watch
those who dance.
Let’s first see what it is not.
Dance is not technique. You don’t need the perfect technique
to dance, it is actually the other way around. You
need to dance to build a skill. Dance does not come from
the understanding of shapes, balance and dynamics, nor
from the physical ability to create those shapes, balance
and dynamics. You need the technique to make your
dance effortless and expressive, but even a small child can
already dance. In great artists you admire the technique,
but it is the dance that touches you emotionally.
Dance is not physical movement. Or, to be precise, it is
not ONLY physical movement. A purely physical exercise
is common in sports, for sports are about getting
a result. Dance does not strive for a result, it strives
for expression. Like pushing piano keys is not necessarily
music, so moving in space is not necessarily dance.
Dance is not effort, either, it is effortlessness, which simply
means effort that is adequate to the task.
Dance is not the embrace, the embrace is where dance
is created. Tango is known as “the dance of passion”
and historically shows a sensual play between
a man and a woman. Sensual or
sexual tension is not necessarily present
between the dancers, it is merely
expressed. A common confusion in
tango is that this sensual connection, or
in simpler terms a flirty attitude is the
source of the dance. However, embracing
a man or a woman sensually will not
create a dance. The connection in tango
goes much deeper than a sexual connection
between a man and a woman, it is a
profoundly human connection. Sensuality
can enrich the dance, but not replace
it. This is why tango is possible between
two men or two women or between a
female leader and a male follower.
— 37 —
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Dance is not your connection to the music, either,. Although
your musicality is an important factor in creating
a dance. Whether you are able to translate the way you
hear the music into movement depends on many things,
but like the embrace, music is only one of the ingredients
for the creation of a dance.
Dance is about your energy using your body to express
feelings and ideas that originate in how you hear the
music, associated with a specific movement vocabulary
and in connection to your partner’s movement. Every
creative act, from cooking to telling a story, needs ideas,
energy and ways of expression. In dance the way of expression
is your body. Therefore dance is not something
you DO, it is something you must BECOME.
So, why is there so little dance in people dancing tango?
The specifics of tango is that it has two equally important
components: the need to move yourself and the need
to communicate with your partner (impulse exchange,
or leading/following). You can work on your own movement,
but for tango this is only half of the story. You need
to spend almost as much time learning to communicate
with your partner by very subtle, practically invisible
movements and intentions. You dance embracing each
other and even the slightest movement of your body is
felt clearly by your partner. The embrace in tango is an
extremely sensitive environment and can be a source of
huge discomfort or profound joy.
When the teachers do the small stuff the students copy
that, with the effect that they stiffle their desire to move
in order to be quiet. They cannot yet move freely AND
lead/follow subtly at the same time. By stifling the desire
to move they block their energy from flowing, with
tension as a result. The embrace becomes a rigidly fixed
shape. Add to this the necessity to navigate a space full of
other stressed-out couples and the picture is complete.
All over the dancefloors we see people stifling their
natural desire to move, trying to remain “fixed” in this
extremely sensitive environment of their jointed embrace.
The desire to move is often also blocked by
personal difficulties. Shyness, fear of exposure, fear of
failure, fear of contact, inability to connect to the music
and therefore to get the ideas and feelings to express.
We also see the opposite: people letting their energy
run free, moving a lot inside the embrace, which does
create a sort of a dance, but the communication between
partners amounts to two people shouting at
each other while standing only a foot apart.
Tango is a conversation and in order to have a conversation
you need silence. To communicate by impulses with
another person you need to create a quiet space so that
the tiniest of intentions is transmitted. This is what makes
tango such an introvert and a fulfilling dance emotionally,
for we do not remember the steps, we remember the
quality of the connection. We remember sensations.
People who start learning tango are confronted with
the fact that they cannot just dance to the music. If they
do, they disconnect from the partner. Tango classes are
built on two levels, teaching people to communicate by
subtle movements and to move expressively themselves,
so that they can match the energy of the music. This is
what you see in highly skilled dancers: they look calm,
natural, often unmoving in the upper bodies, locked in
the embrace, yet as a whole they can create most extreme
dynamics and become infused with the music.
The teachers have the complex task of showing both
the dynamic side and the stillness of tango.
What does a beginner imitate? That which is most visible
to the eye. When the teachers show very dynamic
dancing, the students naturally copy the big movements,
to the detriment of the connection in the couple.
In order to learn tango you have to do it wrong before
you can do it right, which means allowing your energy
to move no matter what. It does not necessarily mean
move A LOT, but sometimes this is what will inevitably
happen. When children or puppies learn a new skill they
start moving with a simple goal in mind and do it again
and again, moving too much or too little, falling over and
getting up, trying this way and that, until they get the right
reflexes activated and the movement is stripped of everything
it does not need to be effective.
— 38 —
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But to become like a child or a puppy is a very hard thing
for adults. It is challenging for people to find themselves
novices at something, especially when watched and
judged by other people around them. Children do not
mind doing it wrong, but adults want to do it right from
the start. The quickest learners in tango are those who
are not afraid to move, not afraid to lose themselves in
movement and music, not afraid to look ridiculous.
Besides, most of us come to tango after having had a
largely intellectual education. We live in our heads and
our computers, not our bodies. We try to process intellectually
what is happening to us. This is not effective
when learning movement. Your body works in ways you
cannot fully fathom, let alone fully control by your mind.
Do you control your digestion? Do you activate your
heartbeat? Do you consciously push the blood through
your veins? In your brain there are more neural connections
than there are stars in our galaxy, and this is a fact,
not a figure of speech. Are you controlling them? Or are
they controlling you? Stiffness in a dancer is often the
result of his or her conscious mind trying to understand
and control every movement BEFORE it happens, which
is simply not possible. Your mind is not running the show,
it only helps you to understand the intention and the
mechanics of the movement. This is why leaders implore
their followers: Please stop thinking!
To be able to become dance you have to allow your
whole being to abandon itself to the energy that you
are generating yet stay fully present and aware of what
is happening. Mere abandonment will lead to automatic
movement. Aware abandonment will create true dance
and the true bliss that we are all looking for in tango.
Dance is that special state of being called flow. It sounds
difficult, but actually it is not. To flow is the most natural
thing for a human being to do. It is what you do when you
are not trying to control what happens, when you are
not efforting. You need to become a dancer before you
can become an advanced dancer, and to dance means to
embody each movement fully. This way, no matter your
skill, you can dance from your first tango day to the last.
Isn’t it good news?
Visit Veronica’s website at:
http://www.verotango.com/
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Ali Khattab..............................................................43
Bailarinas Tango Festival.......................................09
Baltic Sea Tango Festival.......................................40
Chambao.................................................................47
Cicada Rhythm.......................................................47
Cumparsita Festival..............................................28
Hindi Zahra............................................................47
Isadora Paz..............................................................29
Double HH.............................................................33
Elba World Tango Paradise..................................17
Espace Pasteur Arbois..........................................29
Guts..........................................................................47
Horacia Salgan.......................................................48
Kayah & Bregovic..................................................47
Lara Fabian..............................................................48
Las Pampas..............................................................15
Latin Dance Camp................................................40
Mad Manoush.........................................................48
Malena Muyal..........................................................43
Milonga Chique......................................................06
Milonga (R)evolution............................................17
Modena Tango Marathon.....................................08
Mutar.......................................................................33
Lara Rosalia de Souza...........................................48
Rupa & the April Fishes........................................48
San Telmo Lounge.................................................33
Seoan.......................................................................43
Souvlaki Tango Festival.........................................13
Stella Mary..............................................................45
Tango by the Bay...................................................13
Tango Experiential.................................................13
Tango Festival in Puglia.........................................09
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Tango Rico..............................................................15
Tango Today............................................................28
Unchained Salon....................................................28
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New Tango Music
Los Milonguitas: Los Milonguitas
Arndt Büssing
The Buenos Aires trio Los Milonguitas is composed of Pablo Murgier (piano), Simone Tolomeo
(bandeneon) and Alessio Menegolli (bass).
Their stated goal is to attract the dancers
to fill the milonga dancefloor. In this
album, they present their tangos in the
context three tandas. Each tanda is in
the style of a traditional composer —
Juan D´Arienzo, Miguel Caló and Anibal
Troilo, with three cortinas containing
recitations .of grand dame of tango,
Adriana Varela.
There are two bonus tracks in which
the trio invited additional musicians,
two violins and one bandoneon to enhance
their sound spectrum. Although,
the trio is restricted in the range of its
expression, they use their abilities as
trained musicians and versatile arrangers
to dynamically explore the musical
richness of thirteen songs, plus three
tandas using the same song.
The album presents the trio´s unique
interpretations of songs such as the 1941 tango Mariposita by Anselmo Aieta or the 1919 tango
Inspiración by Peregrino Paulos. They also present some of their own songs — Amelia and Milonga
de la Torre by pianist Pablo Murgier and Elegante Sport by bandoneonist Simone Tolomeo, These
songs have a particularly fresh vibe and cheerfulness. For me, Los Milonguitas have the convincing,
clear feeling that dancers expect. Their music is a prerequisite for a perfect milonga under a beautiful
evening sky.
Overall Scoring ****
Dancer´s pleasure > Listener´s pleasure
Duration: 40 min.
Artist´s website: http://www.losmilonguitas.com
— 40 —
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Javier Di Ciriaco: íntimo
Argentine singer-guitar player Javier Di Ciriaco, the singer of the Sexteto Milonguero, lives all the
words he sings. He seems to experience all these high emotions of the tango lyrics and makes the
audience feel them. This is particularly true of his version of Nostalgia by Juan Cobián and Enrique
Cadícamo. Often this may be too much, but he carefully keeps the balance. The singer says that many
years ago, he began singing with all his senses beginning to feel the interconnection of body, soul, and the
audience — Intimo.
He enthusiastically manages this wide range
of thirteen different songs, including a foursong
potpourri that deserves applause.
Apart from classical tangos, such as Carlos
Gardel´s Volver and El dia que me quiera, he
sings beautiful non-tangos such as Zamba
para olvidar by Daniel Toro and Julio Fontana,
and Gracias a la Vida by Violeta Parra,
He also sings contemporary pop songs such
as Maria Carey´s My All and Elton John´s
Sorry that seem to be difficult with Spanish
lyrics. But, it works fine.
Astor Piazzolla’s Oblivion with Horacio Ferrer’s
lyrics surprises with an arrangement
quite different from what tangophiliacs might
expect. Two songs on the CD were written
by Javier Di Ciriaco, himself. These songs underline
that he is not only an impressive interpret
of other composers´ songs, but also
a great songwriter. especially the rocking final
song Miradas Perdidas.
His voice is in the forefront of the mix with the beautifully played piano by Burkhard Heßler that dynamically
supports his interpretations. In some songs, he also plays a guitar. This is more than enough
to convince the audience. I really like these recordings which are never intrusive. Both musicians have a
very sensitive approach, with required pathos here and there. His live shows are a must.
Overall Scoring *****
Dancer´s pleasure < Listener´s pleasure
Duration: 63 min.
Artist´s website: http://www.tanguentro.com
— 41 —
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9th ARGENTINE TANGO & LATIN DANCE CAMP
September 6 - 10, 2017 St. Anthony Hotel San Antonio Riverwalk
REGISTERATION OPEN
www.dancekinesis.com
— 42 —
4 Days of Fun
Learning and Dancing
18 Hours of
World Class Instruction
2 World Renown
Maestros
Championship Latin
Adjudicator
7 Milonga/Latin Mix
Dances
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Mosalini Teruggi Cuarteto: Chamuyo
The Mosalini Teruggi Cuarteto is one of the outstanding ensembles of the contemporary tango scene.
Juanjo Mosalini (bandoneon), Sébastien Surel (violin), Romain Descharmes (piano) and Leonardo
Teruggi (double bass) are brilliant musicians who make up the quartet. They play with a rich sense for
dynamics and with all the tonal colours of a quartet. The twelve compositions on this second album
are written by Juanjo Mosalini and Leonardo
Teruggi. They are definitely worth a listen.
This is not easy-listening music to please
the dancers. Instead, it is multifaceted narrative
songs located somewhere between
tango and chamber music. Virtuosity combines
with temperate sensibility to produce
a post nuevo music.
I prefer their ethereal pieces, such as the
beautiful Mar y Sol and 777. But, Nada Casi
also attracts me. Mosalini´s Code 18 and
also Teruggi´s Era de esperar start with a
strumming mandolin sound played on the
violin, and a haunting melody dominated
by the bandoneon and violin. The piano
and double-bass give these compositions
the necessary structure in the sense of the
ensemble. Teruggi´s Milonga del Eco is a
highly atmospheric piece of music dedicated
to Astor Piazzolla. It starts slowly and
thoughtfully, before unfolding to something
quite fragile.
It is wonderful to hear how the four musicians carefully listen to each other and how they uncover
the soul of each of these songs. They make them speak to their listeners´ heart.
Overall Scoring ****
Dancer´s pleasure

Tango Moves
Raymond Lauzzana
Boleos (Voleos) — Any number of leg whipping actions. Some of them are led[ others are unled. When
led. they are usually caused by a sudden change in direction. The lady’s free leg either awings behind or crossward.
in frony. For medium height boleos, the lfollower keeps knees together, while swiveling on the supporting leg,
throwing or whipping the free leg. Boleos may be low or high; linear or circular. Iy is sometimes called a Latigazo
or Golpe Fuerte when led by the leader briskly reversing directions, causing the follower to kick a boleo. In all cases,
it is important for the follower to keep the free leg as limp as possible, allowing the leader to flick or move it.
Circular Forward Boleo (Voleo Adelante)
This is probably the most common form of boleo.
It occurs when the follower’s forward circluar
motion is interrupted or suspended, typically
from a forward ocho. The follower’s forward
leg lifts foot from the floor and flies to the side,
wrapping around the standing leg in front of the
knee to form a cuatro. or figure four.
Circular Back Boleo (Voleo Atrás)
This occurs when the follower’s backward circluar
motion interrupted or suspended. Typically,
this is during a back ocho. when the follower is
stepping backward. When the follower’s movement
is interrupted, or reversed the follower’s
Linear Back Boleo (Voleo en Linea)
When walking in a normal caminando, the leader
may abruptly reverse directions and stop or walk
backwards. This will interrupt the follower’s backward
movement, causing the follower’s free leg
to lift into the air behind. If done with great gusto,
this may produce a voleo alto or high boleo. In
a high boleo, the follower’s leg is raised to bring
the thigh parallel with the floor. High boleos are
banned from many dance floors because of the
possibility of kicking other dancers.
Linear Forward Boleo (Voleo en Linea Adelante)
This occurs when the leader stops the follower’s
forward linear movement, causing in the follower’s
leg to lift into the air in front. Since the leader
rarely walks backward, this is a rather unusual
move. It is usually combined with other movement,
such as the beginning of calesita with a gancho
or a follwer’s frontal golpe before a sacada.
Low Boleo (Voleo Bajo)
Almost any boleo may be kept low by the follower.
The concept is to restrain the effect of
the boleo. In this case, the follower’s leg is raised
only slightly above to the ankle.
Figure Four (Cuatro)
A follower’s adornment that crosses and raises
the free leg in front of the other leg, so that the
shin is parallel to the floor and the toe pointing
downward to form a figure four. The free leg
may then waved back and forth, before returning
to the floor.
Unfolding (Developé)
Sometimes, during a parada, the follower steps
cross behind with the foot. She then swivels
90°, then draws the leg slowly up so that the
thigh is parallel to the floor. May follow other
moves, such as a calesita, before recovering.
— 44 —
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Mutual Boleos (Voleo Mutuo)
In a giro combined with a colgada or volcada, the
dancers share a mutual axis, as they rotate. During
this rotation, the dancers alternate boleos while
they spin. This is not an easy move, and requires
practice together to get timing and balance correct.
Kicks (Golpes)
Any sudden exerted action that lifts the dancer’s
foot off the dance floor. There is a huge variety of
golpes that followers may employ as an adornment.
Usually, these are performed during the
interlude portion of the song when the leader
pauses to allow the follower to express their interpretation
of the song.
High Kick (Golpe Arriba)
While softening the supporting knee, the follower
kicks the free leg as high as possible, in any direction,
straightening it and pointing the toe.
Kick Ball (Bola Golpe)
Forward flick of the foot after touching the ball of
the foot, to the floor and before changing weight.
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Fan Kick (Golpe de Artisande)
After kicking forward, the follower extends the
leg high and straght around in a circular, with a
motion similar to develope.
Back Kick (Ruade)
A short quick unled rearward kick by the follower.
The leg is bent at the knee, similar to a
boleo, but unled.
Mule Kick (Retroceso)
A sudden straight backward movement by the
follower’s free foot, followed by a slow recovery.
After, the leg is a fully rolled ot, the follower
pushes out a rearward kick. She begins with a
bent knee in the free leg and straightened it out
so that the shin is parallel to the floor.
Kick Step (Paso Golpe)
A step forward followed by a rebound with a
light forward flick of the forward foot.
Knee Flick/Snap (Golpe de Rodilla)
A slight, sharp sideways flick of the knees together,
one knee against the other. Both together can
be rather ugly.
Leg Drop or Heel Tap (Gota)
An unled adornment by he follower in which
the heel of the standing leg is raised in-place and
lowered again sharply.
Fan (Artisande)
Tracking the floor either forward or backward,
skimming across the floor in a circular sweep.
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Knee Up/Stork (Rodilla/Cigüeña)
Standing straight legged on supporting foot,
with free foot against the supporting knee and
toe pointed downward. This is an unled position
that the follower may choose during an
interlude in the music.
Calesita with Boleo
As the follower is rotated counter clockwise,
supported on the right foot, the leader rapidly
reverses direction causing the free leg to be
flung out. This will only work if the follower’s
free leg is not locked with the supporting foot.
Round Fan (Planeo)
The leader lowers the follower’s body so that
the free leg is extended behind. The leader then
rotates the follower on the standing leg, causing
the leg to sweep the floor. The move is ended
by the leader rising up and may be finished with
a gancho or pasada.
Double Round Fan (Planeo Doble)
The partners dance in parallel reflection, both
partners on the same foot. For example, if both
dancers are standing on their left foot, as they
simultaeneously extend their right foot back
90° and then sweep the free leg as much as
270° to close and collect. The dancers standing
feet should standing on insteps. Depending on
the stance, different finish results are produced
- pasada, boleo, cuatro.
— 47 —
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Letters
So beautiful.
Great magazine!!!
Your magazine is beautiful.
a GREAT idea!.
Awesome!
Fantastic
— Claire Colliard
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— Lauren Bolshakov
— Guido Mattiussi
— Valecia Cigar
— Elisabeth Babarci
Wow! ... I will gladly support this mission of yours
with a subscription.
— Eric A. Naro
A great magazine.
— Karen E. Lile
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Inner Moscow
01. 5 Life.......................................................Leningradskiy prospect, 12
02. AD-Fusion.............................................Novoslobodskaya, 3
03. Alma del Tango.....................................Leninsky prospect 6/7k9
04. Autentico Tango..................................Kholodilniy pereulok, 3k2
05. Boombox..............................................Krivokolenniy pereulok, 14k2
06. Bossa Nova House of Dance .......Malliy Tatarskiy pereulok, 8
07. Casa del Tango.....................................Bolshaya Nikitskaya, 47k2
08. Dance First...........................................Noviy Arbat, 7
09. Edissa DNI Tango................................Kozjevnicheskaya, 14k1
10. Efecto Tango.........................................Ostozjenka, 7
11. El Gato Tango.......................................Armyanskiy pereulok, 7
12. El Tango..................................................Bolshoy Ovchinnikovsky pereulok, 24k5
13. El Tango de Plata.................................Bolshaya Ordinka, 53
14. Elcentro..................................................Olimpiyskiy prospect, 16k1
15. Escuela de Tango.................................Shelaputinsliy pereulok, 6k3
16. eTango....................................................Chistoprudniy bulvar, 2
17. GallaDance...........................................Krasnopresnenskaya naberezjnaya, 12
18. KOtango................................................Ogorodnaya Sloboda, 14
19.La Milonga..............................................Zatsepskiy Val, 4k1
20. Martae....................................................Bakuninskaya, 14k1
21. NeoTango.............................................Sadovaya-Spasskaya, 19k1
22. Open Dance Studio..........................Dukhovskoy pereulok, 12
23. Planetango.............................................Nizjnyaya Krasnosel’skaya, 35k59
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24. Protiv Chasovoy.................................Kalachniy pereulok, 10
25. Tango Asi................................................Povarskaya, 33
26. Tango Bravo..........................................Zemlyanoy Val, 27k3
27. Tango City.............................................Orlikov pereulok, 1
28. Tango Formacion................................Tretya uitsa Ya,skogo Polya, 2k3
29. Tango Jam Moscow............................Bolshaya Ordinka, 53
30. Tango Lessons......................................Druzjinnikovskaya, 30k1
31. Tango Salon...........................................Leninsky prospect 6k7
32. Tango Street..........................................Granatniy pereulok, 12
33. Tangolife..................................................Timura Frunze, 11k7
34. Tangomagia............................................Krivokolenniy pereulok, 5k4
35. TangoMio...............................................Kalachniy pereulok, 10
36. Tantskvartal...........................................Tikhvinskaya, 9
37. Uno Tango.............................................Shelaputinsliy pereulok, 6k3
38, VIgor Tango............................................Sharikopodshipnikovskaya, 15
39. Vlada Zakharova Theater-Studio....Malaya Ordinka, 25
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Outer
Moscow
01 ArgTango...................Lubertsy, Jubileynaya
02 Balance Club............Prospekt Vernadskogo, 95k4
03 El Caminito..............Marshala Novikova, 7
04 GallaDance...............Michurinskiy Prospekt, 21k2
05 Jetango.......................Novodmitrovskaya, 5Ak3
06 La Luna Portenya....Korolev, Dekabristov, 8
07 Libertango Studio...Martenovskaya, 30
08 Maximum..................Prospekt Vernadskogo, 29
09 NeoTango.................Korolev, Komitetskaya, 2.
10 Step............................Khimki, Jubileyniy, 6А
11 Studia 707.................Tretia Mytischenskaya, 3k1
12 Tango Argentino......Kurkino, Sokolovo-Mescherskaya, 29
13 Tango Bez Pravil.......Bolshaya Semyonovskaya, 42k6
14 Tantsemainya............Kuusinena, 9k1
15 Tantskvartal..............Tretiy Khoroshevskiy proezd, 1k3
16 Traditsiya...................Krasnobogatirskaya, 2
17 VIgor Tango...............Kedrovaya, 13k2
18 Zakharova Studio....Semyonovsakya Naberezhnaya, 3/1k6
For Inner Moscow
See IINSIDE COVER
MODERN TANGO WORLD : Number Seven — Caribbean : Winter 2016
ISSN 2379-5182 (In-Print)
ISSN 2379-5174 (On-Line)
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