DOCSLIB.ORG

In a Milonga, It's Rude to Get up and Ask Someone to Dance, “Thank You” Does Not Mean “Thank You,” and Unusually Prolonged Eye-Contact Is Entirely Legitimate

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
In a Milonga, It's Rude to Get up and Ask Someone to Dance, “Thank You” Does Not Mean “Thank You,” and Unusually Prolonged Eye-Contact Is Entirely Legitimate Los Códigos del Tango (the tango rules of etiquette) Tips & Thoughts by Naomi Harris In a milonga, it's rude I left the first milonga I attended after— maybe, at my most conservative guess—an to get up and ask entire seven minutes. In those seven someone to dance, bewildered and embarrassed minutes, I “thank you” does not quit tango, hated all humanity (well, that’s nothing new), and had an existential crisis. mean “thank you,” In short, the experience was harrowing. If and unusually I had had the sort of high school prolonged eye- nightmares of ignorantly overstepping unspoken-and-yet-unspeakably-vital social contact is entirely conventions, they would have returned to legitimate. me in all their going-to-school-naked mortification. Not, of course, that I actually attended the milonga naked; the horror was that I had been entirely polite and yet somehow managed to offend several people. So, in order to spare you the soul searching aggravation that I went through, I will tell you this now; tango has its own etiquette. In a milonga, it’s rude to get up and ask someone to dance, “thank you” does not mean “thank you,” and unusually prolonged eye-contact is entirely legitimate. How perfectly intuitive, right? Here’s my breakdown of the most important things to know about los códigos (the tango rules of etiquette), and my very own compilation of “What People Should Have Told Me But Didn’t So Now I’m Telling You and You Can Thank Me Later”: 1 TANDAS AND CORTINAS: Just so we’re all on the same page, the music during the milonga is broken down into tandas, which are bundles of 3-4 songs organized by music style (tango, milonga, or vals) and orchestra (di Sarli, D’Arienzo, Caló, etc.) Normally, the order is 2 tango tandas and then a vals or milonga tanda (alternating vals and milonga throughout the night). Tango tandas are usually made up of 4 songs, and milonga and vals tandas only 3, but this is subject to the whim of the DJ. Each tanda is separated by a cortina, meaning “curtain.” Originating in the days when curtain drops heralded the band’s break, the cortina is a roughly thirty-second piece of non-tango music that denotes the end of one tanda and the start of the next. In a milonga, it's rude to get up and ask someone to dance, “thank you” does not mean “thank you,” and unusually prolonged eye-contact is entirely legitimate. That’s all fairly straightforward, right? Well, now we get to the juicy part. When you stand up to dance with someone, the understanding is that you dance with them until the end of the tanda. If you only want to dance two songs with them, you have to wait until the tanda is two songs from the end to invite them to dance. The alternative, known as “breaking the tanda,” is considered extremely rude. You should only leave the dance floor in the middle of a tanda if you are in pain, your mother is dying, or if your partner has overstepped the rules of common decency. You should not do this if you decide you just don’t really like the way your partner dances or for any other non-threatening situation, because breaking a tanda reflects very badly on the person whom you’ve left, suggesting that they have somehow behaved wrongly. These rules seem fairly extreme and a bit ridiculous, but they actually serve a very useful purpose; if someone hurt you or behaved inappropriately, you can call them out on it and subtly warn others from dancing with him or her. 2 TANDAS AND CORTINAS: Just so we’re all on the same page, the music during the milonga is broken down into tandas, which are bundles of 3-4 songs organized by music style (tango, milonga, or vals) and orchestra (di Sarli, D’Arienzo, Caló, etc.) Normally, the order is 2 tango tandas and then a vals or milonga tanda (alternating vals and milonga throughout the night). Tango tandas are usually made up of 4 songs, and milonga and vals tandas only 3, but this is subject to the whim of the DJ. Each tanda is separated by a cortina, meaning “curtain.” Originating in the days when curtain drops heralded the band’s break, the cortina is a roughly thirty-second piece of non-tango music that denotes the end of one tanda and the start of the next. In a milonga, it's rude to get up and ask someone to dance, “thank you” does not mean “thank you,” and unusually prolonged eye-contact is entirely legitimate. That’s all fairly straightforward, right? Well, now we get to the juicy part. When you stand up to dance with someone, the understanding is that you dance with them until the end of the tanda. If you only want to dance two songs with them, you have to wait until the tanda is two songs from the end to invite them to dance. The alternative, known as “breaking the tanda,” is considered extremely rude. You should only leave the dance floor in the middle of a tanda if you are in pain, your Being slightly annoyed or mother is dying, or if your partner has displeased? Not a reason to break the tanda! overstepped the rules of common decency. You should not do this if you decide you just don’t really like the way your partner dances or for any other non-threatening situation, because breaking a tanda reflects very badly on the person whom you’ve left, suggesting that they have somehow behaved wrongly. These rules seem fairly extreme and a bit ridiculous, but they actually serve a very useful purpose; if someone hurt you or behaved inappropriately, you can call them out on it and subtly warn others from dancing with him or her. 3 CABECEOS AND THANK YOUS: Have you been to a milonga? Yes? So you’ve noticed how people silently pair off and move towards the dance floor as if by magic? Maybe you were going to ask your friend to dance, but before you could get to her, she got up to dance with another guy from across the room and HOW DID THAT HAPPEN HE WAS ALL THE WAY ACROSS THE ROOM????? Or, maybe you asked that dashingly attractive man in the corner to dance, and he looked at you as if you’d just asked to pee in his shoe? Yeah. That’s why we have the cabeceo. You should really get acquainted; the cabeceo is going to be your best friend. The most elegant way to invite someone to dance is to use the Mirada (eye contact) and cabeceó (nod). It's used the same way by the man & the woman, usually during the Cortina or early in the tanda. Strictly speaking, the cabeceo comes from the Spanish word for head (cabeza), and is something like a nod; in effect, it’s a wordless way of asking to dance, using eye-contact, nods, and smiles. Evolving from the traditional dance halls, where men sat together on one side and women sat on the other, the cabeceo evolved as a means of asking quickly and saving face. 4 It’s a beautiful thing; it’s as fast as looking across the room, saving you from getting up, navigating the edges of the dance floor, and asking in person. It also saves you from the embarrassment of walking all the way back to your seat if the person you wanted to dance with declined your invitation. HERE’S WHAT YOU DO: Look around the room for the people you want to dance with. (That’s called the mirada.) When they look back at you, nod or smile to invite them to dance. If they nod or smile in return, you’re set! Keep eye contact, meet them on the edge of the dance floor, and have fun! If they look away, they have politely declined. If you don’t want to dance with someone who is cabeceoing, (that’s totally a verb now) then you just break eye contact. Aha. Now we get to the tricky part. How do you know if they saw your cabeceo and don’t want to dance with you, or if they just legitimately didn’t see you in the darkness and movement of the milonga? You don’t. If you think they didn’t see you, you can move closer or make sure they have a clearer view of you and try again, but that’s it. Otherwise, you have to accept that they don’t want to dance. All right, that’s fine, but what if someone is looking over and When in doubt, keep the eye contact & you want to dance, but you’re not sure if wait until they’re right in front of you. they’re cabeceoing you or your neighbor? That’s where keeping eye-contact becomes important; as they move closer to you (traditionally the guy gets up and walks closer to the gal), it should be more obvious where they’re looking. If you’re still in doubt, wait until they’re right in front of you. If you get up to meet them and it becomes obvious that they’re not cabeceoing you after all, don’t freak out. Just keep walking and visit your friends on that side of the room like a pro, because that’s totally what you meant to do all along.
Load more

Recommended publications
  • Dark Tangos Books by Lewis Shiner
    dark tangos books by lewis shiner novels Dark Tangos (2011) Black & White (2008) Say Goodbye (1999) Glimpses (1993) Slam (1990) Deserted Cities of the Heart (1988) Frontera (1984) collections Collected Stories (2009) Love in Vain (2001) The Edges of Things (1991) Nine Hard Questions about the Nature of the Universe (1990) dark tangos a novel by lewis shiner subterranean press 2011 © 2011 by Lewis Shiner. Interior design by Lewis Shiner Set in Bembo First edition isbn 978-1-59606-396-9 Subterranean Press PO Box 190106 Burton, MI 48519 www.subterraneanpress.com www.lewisshiner.com For Orlita: Vamos a bailar I have used «guillemets» throughout to indicate dialogue originally spoken in Spanish. A glossary of Spanish and tango terms appears at the end of the book. he first time I saw her was in the chrome and cracked- Tplaster lobby of Universal’s Buenos Aires office. From where I stood, on the other side of the glass wall that separated our servers from the noise and dirt of the city, I got an impression of power and grace from the way she held herself, saw long dark hair and a flash of gold at her ears and wrists. She was one more beautiful woman in a city full of beautiful women, and young, not much past thirty. Yet something made me look again. Maybe her nose, which was long and slightly crooked, as if it had been broken in the distant past and never properly set. She was deep in conversation with the receptionist, a young guy with a dark suit and a permanent five o’clock shadow.
    [Show full text]
  • Ww10online1.Pdf
    First Masses of School Year St. Thomas More Newman Center Sunday 10am-11am Austin M. Schafer September 19 [email protected] , Residence Hall 614.291.4674 http://www.buckeyecatholic.com/mass-times Move-In All Over Campus // 8am-3pm The St. Thomas More Newman Center and Catholic Students Association welcomes all [email protected] to attend the First Mass of the School Year. http://housing.osu.edu/ Sat @ 5:30 p.m. Sun. @ 10 a.m., Noon, 6 Behold the legendary move-in process that p.m., 9 p.m. Location: 64 W Lane Ave. OSU families have raved about for years! Prepare to be amazed as our student Ohio Welcome Week State Welcome Leaders (OWLs) help you Photo Op take your luggage, gadgets, and goodies up Ohio Union, 12pm-6pm to your room with lightning speed. Sponsored by the Office of Student Life. Erica Baumker [email protected], 419.270.2123 http://www.ohiostatealumni.org/sac Student-Alumni Council welcomes you to The Ohio State University! Capture your move-in day experience with a commemorative photo outside the Alumni Association Office on the first floor of the Ohio Union. Honors & Scholars Move In Day Open House Kuhn Honors & Scholars House 2pm-4:30pm Vicki Pitstick [email protected], 614.292.1794 Honors & Scholars students and their family members are invited to come by the Kuhn Buckeye Prize Brigade Honors & Scholars House to enjoy some Various Locations // 10am-1pm refreshments, meet other Honors & Scholars students, and mingle with the staff. Sharrell Hassell-Goodman [email protected], 614.247.8609 It’s
    [Show full text]
  • Elements of Argentine Tango a Resource Manual for Dancers
    Elements of Argentine Tango A Resource Manual for Dancers http://abqtango.org 1 History of Argentine Tango by Mike Higgins When talking about the history of the Tango, the reader should consider that although there were many ‘influences’ in the creation and life of the Tango, it is very important not to assume that it was some form of linear development Whilst dances and music from around the world have had some influence, this rather detracts from the people who really created and evolved the Tango into its current form. These are the people of Buenos Aires, who in the bars, cafes and dance halls made the Tango, danced the Tango, lived, loved and occasionally died for the Tango. It is the voice of the streets of Buenos Aires. Any suggestion that they may be dancing some sort of second hand steps or regurgitating music taken from Europe or Africa must be rejected as some what insulting to all the great milongueros who have danced and innovated down though years. It is equally insulting to the great Tango maestros who have drawn on their own life experiences when composing music. Almost certainly, the most important factor in the evolution of the Tango was the influence brought in by the Habanera, created in Havana, Cuba, and also known as the Andalusian Tango. Unfortunately there is now insufficient information to assess exactly how this was originally danced. The Habanera was based on the concept of a ’walk’, the same as the Tango. At some point the Milonga and The Habanera were fused to form the embryonic version of the Tango.
    [Show full text]
  • Embracing Uncertainty by Carolyn Merritt
    Photo: Matthew McLaughlin Embracing Uncertainty by Carolyn Merritt In April, I wrote of my conversations with tango dancers and friends about how we are processing the absence of tango and the emergence of virtual tango events due to COVID-19. In this follow-up piece, I report on the Philadelphia Argentine Tango School’s recent Virtual Tango Festival, continued conversations with tango friends, and the potential this pause offers for reimagining tango on the other side of the pandemic. What makes life worth living? How do we plod on in limbo without the simplest comforts—beyond food, shelter, safety—of human contact and connection? Can we take meaningful steps to heal the ruptures wrought by the violence, disenfranchisement, and inequity that rob so many of these basics? Can we reimagine in order to rebuild a world where our joys are truly collective, unfettered by suffering? I’ve been told not to begin with questions. I’ve been told tango can change the world. Tango is imperfect and so am I. As time drags on and I reflect on its absence, its mysteries and its humanness loom large. Tango as dance promises little more than possibility, potential. Born of pain and sorrow, dislocation, marginalization, nostalgia, myriad beauties and violences, the dance transcends these foundations even as the themes reverberate through the mythology of its poetry, music, and history. Tango dance can yield communion, a unique means of bridging difference; these transformative moments shimmer like oases, visions of salvation that ultimately dissolve. But these sensations and their memories take root in the body and hold lessons.
    [Show full text]
  • Policies for Tango Colorado Djs 1. Keep the Dancers Dancing the DJ's Primary Job Is to Keep the Dancers Happy and Dancing, Se
    Policies for Tango Colorado DJs 1. Keep the Dancers Dancing The DJ’s primary job is to keep the dancers happy and dancing, selecting mixes that serve the community’s needs as directed by the Board of Directors. This means knowing the music and understanding the conventions for how to combine music for tandas. The quantity of music you have is secondary to the quality. We appreciate the many of you who continually work hard to improve your music selections. Please make sure that you can maintain flexibility in your tandas based on crowd participation for each tanda. We expect your focus to be on the dancers and though this does not mean you cannot dance on a night you are DJing, we strongly encourage careful attention to the crowd. Teaching lessons or having meetings during a Practica for which you are the DJ is discouraged. The board will continue to monitor DJs and feedback from dancers and reserves the right to schedule DJs accordingly via the DJ coordinator. The expectations for the music at a Practica are not the same as at a Milonga. The main focus should be to enhance retention of both new dancers and more experienced dancers and create and maintain good energy in the room and on the dance floor. 2. Tandas and Cortinas at Practicas DJ’s will play the following tanda structure during the practicas. Tango, Tango, Vals, Tango Tango Milonga. the exception of the first 30 minutes after the class, when only tangos with simple, strong rhythms should be played so that the beginners from the beginner lessons have a chance to practice more effectively.
    [Show full text]
  • Tango Levels: the 22 Techniques of Tango
    Tango Levels: The 22 Techniques of Tango A proposed framework to support growth and learning by Mitra Martin "Chaos can't sustain itself. It's too easy, and it's too unsatisfying." ­ Jon Stewart 1. Introduction 2. Tango’s Techniques 3. How Is My Technique? 4. How to Improve: Technique and Movement 5. Tango Process 6. A Note to Teachers 7. Next Steps 8. Assessment Tool 1. Introduction This text exists to provide help to dancers who want to know what they need to do in order to improve their skills in Tango, and teachers who want ideas on how to help their students. In the process of endeavoring to establish a Tango school we have noticed many students of Tango being confused about what to focus on, and as a result losing motivation. In the absence of clear, objective, trustworthy frameworks for growth provided by experienced dancers, learners will often invent their own, which can be misleading or incoherent, and lead to wasted energy. When we (somewhat hesitantly) instituted our first objective test of skills, the “200 level exam,” it was interesting to notice how productive, engaged, and curious learners became in the process of preparing for the exam. They would attend classes and take lessons more often, ask more thoughtful questions, ask people to practice with them, engage more deeply with teacher’s feedback. Defining, maintaining and defending class levels has been a conundrum for teachers. Most students are not able to accurately self­assess, so they go to the wrong classes. Classes cannot be taught at an “Advanced” level if they are filled up with dancers who are beginners.
    [Show full text]
  • The Effects of Argentine Tango on Balance and Quality of Life in Subjects with Traumatic Brain Injury" (2019)
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Graduate School Professional Papers 2019 The ffecE ts of Argentine Tango on Balance and Quality of Life in Subjects With Traumatic Brain Injury Pamela Marie Peterson Let us know how access to this document benefits ouy . Follow this and additional works at: https://scholarworks.umt.edu/etd Part of the Movement and Mind-Body Therapies Commons Recommended Citation Peterson, Pamela Marie, "The Effects of Argentine Tango on Balance and Quality of Life in Subjects With Traumatic Brain Injury" (2019). Graduate Student Theses, Dissertations, & Professional Papers. 11420. https://scholarworks.umt.edu/etd/11420 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. The Effects of Argentine Tango on Balance and Quality of Life in Subjects With Traumatic Brain Injury By PAMELA MARIE PETERSON Bachelors of Science Degree, University of Montana, Missoula, Montana, 2014 Associate of Science, Solano Community College, Fairfield, California, 2011 Thesis presented in partial fulfillment of the requirements for the degree of Master of Science In Health and Human Performance The University of Montana Missoula, MT Official Graduation Date May 2019 Approved by: Scott Whittenburg, Dean of The Graduate School Graduate School Dr. Charles Dumke, Chair Health and Human Performance Dr. Matthew Bundle Health and Human Performance Ann Stevenson, LCPC Peterson 2019 ABSTRACT This study investigated the effect of a six-week tango-based intervention on the balance and quality of life on subjects with traumatic brain injury (TBI).
    [Show full text]
  • The Jewish Influence on Tango”
    Claremont Colleges Scholarship @ Claremont 2014 Claremont Colleges Library Undergraduate Claremont Colleges Library Undergraduate Research Award Research Award 5-8-2014 The ewJ ish Influence on Tango Olivia Jane Zalesin Pomona College Recommended Citation Zalesin, Olivia Jane, "The eJ wish Influence on Tango" (2014). 2014 Claremont Colleges Library Undergraduate Research Award. http://scholarship.claremont.edu/cclura_2014/2 This First-Year Award Winner is brought to you for free and open access by the Claremont Colleges Library Undergraduate Research Award at Scholarship @ Claremont. It has been accepted for inclusion in 2014 Claremont Colleges Library Undergraduate Research Award by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. 2014 Claremont Colleges Library Undergraduate Research Award First-Year Award Winner Olivia Zalesin Pomona College Reflective Essay Undergraduate Research Award Reflective Essay “Jewish Tango.” Seems like an odd yet intriguing combination of words--does it not? That’s what I thought back in September as I sat in my dorm room brainstorming potential paper topics for my ID1 Seminar, “Tripping the Light Fantastic: A History of Social and Ballroom Dance.” Tango was an obvious choice to respond to a prompt, which read, “Write about any dance form you find interesting.” I’d been fascinated with the tango ever since I’d learned about the dance’s history in a high-school seminar on Modern Latin America and subsequently tried the dance myself in one of Buenos Aires’ famous dance halls. The Jewish element was, however, my attempt to add some personal element and to answer my own curiosity about a question that had been nagging at me ever since I heard my first tango music.
    [Show full text]
  • Interrelationality In/Between Dancing Bodies A
    TO MOVE AND BE MOVED: INTERRELATIONALITY IN/BETWEEN DANCING BODIES A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE GRADUATE SCHOOL OF THE TEXAS WOMAN’S UNIVERSITY DEPARTMENT OF DANCE COLLEGE OF ARTS AND SCIENCES BY ROBIN CONRAD, M.F.A. DENTON, TEXAS MAY 2019 Copyright © 2019 by Robin Conrad DEDICATION To Matty Ward for making my life beautiful. ii ACKNOWLEDGMENTS First and foremost, my most heartfelt thank you to my advisor, Dr. Matthew Henley whose mentorship, advice, and insight shaped this process and product and helped me grow as a scholar and person. I am deeply grateful for his kindness and support, for his faith in me, and for meeting me where I was in all the various moments— the twists, turns, challenges, and triumphs. I also submit my warmest gratitude to Dr. Rosemary Candelario for her teaching, guidance, and support. She provided me with a foundation and also an aspiration. I thank her for challenging me and making me a more articulate human. Thank you to SaraH Gamblin for sustaining a calm presence throughout my doctoral experience. I am so appreciative of her support as well as her willingness to join my committee so late in the process. I am here as a result of a confluence of life events, one of which is the real chance that the late Dr. Linda Caldwell took on me. I remember her for her faith in me and for all the students like me that she taught, mentored, and shared her contagious joy of learning.
    [Show full text]
  • The Ohio State University Department of Dance Instructor: Chris Cogell [email protected] Graduate Office – Sullivant Hall Office Hours: by Appointment
    The Ohio State University Department of Dance Instructor: Chris Cogell [email protected] Graduate Office – Sullivant Hall Office Hours: By Appointment Social Dance DANCE 2181 2 credit hours I Course Description Introductory level survey of Social Dance for non-majors. This course is offered as a beginning- level study of selected social dance forms of North America. The course requires physical practice of dance forms and includes survey of the history, theory, and/or literature of Social Dance comprised of readings and/or viewings. II Course Goals and Objectives Goals: At the successful completion of the course the student will demonstrate the following: • A working understanding of selected 20th Century American social dance forms • Rhythmic skills and abilities characteristic of these dance forms • An awareness of body balance and control, and a basic understanding of styling • A basic understanding of the role social dance played in American culture c. 1912-1935 III Course Content and Procedures Content: • The course has been designed to introduce the student to American social dance technique. • The technical activities in the course are primarily presented by means of demonstration and description. Short lectures, discussions, and video presentations will be included in some class sessions. • Selected Dances • Dances from various eras have been selected so that the student can learn the different styles of the dance form. Dance forms to be taught: Swing Dances • 20’s & 40’s Charletston • East Coast Swing • Lindy Hop • Balboa • Shim Sham • West Coast Swing Blues Dances • Slow Drag • Jookin’ • Ballroom Blues • Struttin’ Argentine Tango Elements of Fusion Dance Possibility of guest instructors to teach: • Ballroom • Latin • Hip Hop • Contact Improvisation • Solo Jazz and Tap Procedures: List of procedures for course.
    [Show full text]
  • The Queer Tango Book Ideas, Images and Inspiration in the 21St Century
    1 Colophon and Copyright Statement Selection and editorial matter © 2015 Birthe Havmoeller, Ray Batchelor and Olaya Aramo Written materials © 2015 the individual authors All images and artworks © 2015 the individual artists and photographers. This publication is protected by copyright. Apart from any fair dealing for the purpose of private research, criticism or reviews, no part of this text may be reproduced, decompiled, stored in or introduced into any website, or online information storage, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without written permission by the publisher. This publication is Free and Non Commercial. When you download this e-book, you have been granted the non-exclusive right to access and read the book using any kind of e-book reader software and hardware or via personal text-to-speech computer systems. You may also share/distribute it for free as long as you give appropriate credit to the editors and do not modify the book. You may not use the materials of this book for commercial purposes. If you remix, transform, or build upon the materials you may NOT distribute the modified material without permission by the individual copyright holders. ISBN 978-87-998024-0-1 (HTML) ISBN 978-87-998024-1-8 (PDF) Published: 2015 by Birthe Havmoeller / Queertangobook.org E-book and cover design © Birthe Havmoeller Text on the cover is designed with 'MISO', a free font made by Mårten Nettelbladt. 2 The Queer Tango Book Ideas, Images and Inspiration in the 21st Century Edited by Birthe Havmoeller, Ray Batchelor and Olaya Aramo In the memory of Ekatarina 'Kot' Khomenko We dedicate this work to the dancers who came before us and to those who will come after.
    [Show full text]
  • Tango DJ 101 Presentation
    Tango DJ 101 "A Long Dark Night in Dabney Hall" guided by Homer G Ladas Through a reality based situation we will explore the good, better, not so good, and worst ways to tango DJ. Let Us Begin: ------------------------------ You are the guest DJ tonight at Dabney Hall! The milonga is about to start (class is ending) and you just arrived... As a 'mental DJ exercise' before set-up: While the teachers are wrapping up, you hear from a trusted source that they played only late 50's Carlos Di Sarli instrumentals for the entire class. What music do you start the evening with? A. Juan D'Arienzo early Instr &/or w/ Echague B. Carlos Di Sarli - instrumentals C. Tango Fusion - alternative set D. a Milonga or Vals tanda E. Edgardo Donato (mixed 30's & 40's) w/ lyrics F. Juan D'Arienzo with Maure You have about 3 minutes to decide... Time Out: Let's Briefly Talk DJ Equipment 1. Laptop(s), iPhone, etc, vs. CD's - What equipment to use? 2. Sound Cards & Cleaning Software - Do they make a difference? 3. Headphones (& thus previewing) - Does this help your DJing or not? 4. Any other questions? Tango DJ 101: Tandas What is a Tanda? Why do we use Tandas? (Listen to Examples) How Many Songs (2, 3, 4)? A-List vs B-List Songs? Power Songs - The What, Why, and When! & Jinx Songs... Exercise: Let's build two tanda's together... A. Traditional B. Alternative Back to Reality: The Initial Set-Up Some Questions to Ask Yourself include... 1. - Do you know your sound-system & environment? (amp quality, room/speaker layout & height rule, etc) 2.
    [Show full text]