Tango Diaries

I also believe that personal taste is an important driving force. However, I actually do wonder where you, as a musician, expect to find multilayeredness and rhythmic diversity in the corpus of traditional, old tango music? You stick to one exception, but keep in mind that there are more lousy productions in the GA than good ones, and the former usually are played at milongas.

My understanding of "active following" is totally different. I use this term technically, you colloquially. In WCS, the leading person gives a dynamic impulse. Aside from the direction, the follower is free to set out on her way. At the end of the phrase the lead catches the follower and gives the next impulse. Naviera's "active following" is a analogous build. However, here the leading person doesn't give an impulse, but rather opens the space. The follower now trolls into this space and is finally caught by the leader again.

These people should just read my posts here on DF instead of mixing techniques across stylistic boundaries.
The more traditional early/main golden age, not so active. The music is often simplistic. Also most leaders keep their moves simple in traditional. Late golden age and pugliese and modern versions of old stuff, that’s what inspires me to really contribute with my way of hearing the music.
 
My understanding of "active following" is totally different. I use this term technically, you colloquially. In WCS, the leading person gives a dynamic impulse. Aside from the direction, the follower is free to set out on her way. At the end of the phrase the lead catches the follower and gives the next impulse. Naviera's "active following" is a analogous build. However, here the leading person doesn't give an impulse, but rather opens the space. The follower now trolls into this space and is finally caught by the leader again.
I am not familiar with Naviera or what he defined, but should I be?

Your description of active following in WCS and Tango is analogous to me. Why do you call it technical? What would be an example of colloquial?


 
..Late golden age and pugliese and modern versions of old stuff, that’s what inspires me to really contribute with my way of hearing the music.
You're speaking my mind. Sometimes I say to the DJ, "I've been sitting here for an hour now. Please just play one Pugliese tanda so I can dance and go home."
…I am not familiar with Naviera or what he defined, but should I be?
No, you must not. But I'm on DF to have sophisticated conversations, as I can't dance much anymore for medical reasons.
..Your description of active following in WCS and Tango is analogous to me. Why do you call it technical? What would be an example of colloquial?
Having read books or attended relevant classes provides a theoretical background. Acquiring a word through hear-say is colloquial.
 
The more traditional early/main golden age, not so active. The music is often simplistic. Also most leaders keep their moves simple in traditional. Late golden age and pugliese and modern versions of old stuff, that’s what inspires me to really contribute with my way of hearing the music.

As far as vintage recordings go, I'm also really here for either more dramatic or more lyrical music. This hasn't changed since I started tango. It also aligns with what most of the newer dancers prefer and put on their playlists. A lot of the DJs are out of touch. Maybe the online echo chambers are to blame. Pugliese and di Sarli are what actually gets people on the dance floor quickly.
 
Dear Diary...

...Tango is wonderfully suited to get free without online dating and struggles. I'm currently seeing two couples separating after very long marriages. He's fallen in love with another tanguera and is dancing with her, at least for a while, in a somewhat distant community. She's kicking her unfaithful husband out of the house and finding some support in her social network of tango.

One is initially inclined to find such a separation absolutely terrible—wasn't it clear that the two weren't meant for each other? But with some distance, one sees the situation in a more nuanced light; a drawn-out, limbo-style shared living arrangement isn't exactly a pleasant solution either.

Without tango, all of this would be much more difficult.
 
Yesterday I went to a concert by the quintet "La Maquina Invisible" from Argentina. They played excellent dance music. What was special was that their sets that also were organized around tandas. In the cortinas, they played jazz and demonstrated their true skills.

As for me: the small studio was packed. During the live tandas, only a few couples danced, those who had already been sitting next to each other. Cabeceo or walkaceo weren't possible. During the break between the live sets, all the other dancers rushed onto the dance floor. I was overwhelmed. I couldn't get near the two tango princesses because they were immediately grabbed by two musicians. Other followers were either too tall or unfamiliar to me. When I went home, I was proud of myself for not having given in to the pull of the dance floor. I told myself, every tanda not danced is a good tanda for you.
 
Without tango, all of this would be much more difficult.
But how is it different from any other community built around a shared interest. In this particular case it is tango. But it could also be ballroom, star war fan club, or runners club.

I seen more pairing up happening at runners clubs or running community than in tango.
 
Yesterday I went to a concert by the quintet "La Maquina Invisible" from Argentina. They played excellent dance music. What was special was that their sets that also were organized around tandas. In the cortinas, they played jazz and demonstrated their true skills.

As for me: the small studio was packed. During the live tandas, only a few couples danced, those who had already been sitting next to each other. Cabeceo or walkaceo weren't possible. During the break between the live sets, all the other dancers rushed onto the dance floor. I was overwhelmed. I couldn't get near the two tango princesses because they were immediately grabbed by two musicians. Other followers were either too tall or unfamiliar to me. When I went home, I was proud of myself for not having given in to the pull of the dance floor. I told myself, every tanda not danced is a good tanda for you.
There was a sit down tango concert followed by a milonga last evening. It was a new place.

Concert was 45 minutes and the published ticket was $35 for concert and $20 for milonga. I had another event I had to be that clashed with the concert. But $35 to me was too high and I would have skipped the concert. I did go to the milonga. It was very nice place. Good floor. Not surprising to me, the attendance was thin. About 15 dancers. Plus about 6-7 new people who took lessons in adjacent room, they had attended the concert. No one was collecting $20 for the milong. Instead chef made food and wine were available for purchase.

Music was good. Some followers were busy talking to each other through 2 or 3 tandas. I looked around and didn’t feel like asking 5 to 6 followers that were dancing. A lot of walkaceo. The music was good.

After an hour a follower came asked, saying why I was not dancing. It was a decent dance (better than average). She was better than other followers. Then another follower I hadn’t never seen before cabaceo’d me. She had only danced a tanda or two earlier. Then was busy talking with non-dancers and showing them basic tabgo steps for about an hour. I think she had tried to cabaceo an hour earlier but was nodding her head (dim light, long distance and people around her as well as where I was seated). I wasn’t sure. This time I was sure she was asking me. It was still good 15 to 20 feet of distance. I was standing around the makeshift bar area in light and she was standing way behind dimly lit area behind single row of chairs where I had been seated earlier. She turned out to be extremely good dancer. We were dancing to the Vals. Turns out she was one of the musicians who played at the concert. We both enjoyed the dance.

So those two tandas made my night and I didn’t had to ask for either.

Incidently at the start of the milonga gentleman that I have seen multiple times as a regular was seating one seat over. After dancing a tanda with the lady sitting between us, he came over and introduced himself. I was a bit surprised as we both knew each other as regulars. Apparently he hosting a former dance partner of Gustav Naveira for workshops next month and wanted to let me know about it.

There were certainly 2 or 3 extra leaders than followers last night. Earlier in a week at another popular milonga there were about 25 people rather than usual 40 to 50. I hadn’t been to in over a year. With about 8 to 9 couples on the dance floor, there were 7 to 8 extra leaders that I counted.

These dynamics makes more leaders resorting to cabaceo. But it also results in the followers making no attempt to be available for cabaceo. When I was seating, there were two ladies on either side of me. The one on the left soon started talking with another lady and they didn’t stop for talking for 3 tandas. One more lady came and joined them. Then they left for the bar. An hour later when I saw her dance, I thought I was saved from a sub-par dance. The lady on the right always had her head turned away so cabaceo was not possible. She didn’t seem interested in dancing with leaders outside of a couple she knew.

It is always interesting to watch the dynamics. Especially when the milonga is thin and not enough people.
 
why not? The dance floor is full every time we have live music, even..
As written, it was very crowded. You couldn't get up and go to the other side, cabeceo also was impossible, and the dancer's fraction was diluted by non-dancers and beginners who didn't dare to show themselves on the dance floor. In other studios here it's usually the same as you describe.
 
Dear diary,

I went to a Blues festival and a Ronda appeared out of nowhere at the end of the night. It was a room full of fusion and blues dancers but since it was New Orleans style there was a heavy parade / second line vibe.

All the sudden the couples in the room just started dancing in a line following each other around the room but it was so fun and energetic. Everyone was moving in one direction and there was such joy in being part of this when it was unexpected vs the norm.

What was cool too was that people that didn’t have partners simply joined the Ronda and danced by themselves.
 
I seen more pairing up happening at runners clubs or running community than in tango.
Holding hands while running, preferably with someone of the opposite sex, and it gets near tango.
Well, maybe it's missing some atmospheric music and that no one has to exert themselves.

No, while my active inline skating time there did nothing happen. In tango, a matter of a few months...
 

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