brujo
Well-Known Member
“I love tango too much to waste it on a guy” was what a friend says. She spent too much time and money on it and gets hit on by folks outside of tango anyways.
Tango Diaries
- Thread starter Bailango
- Start date
opendoor
Forum Master
Yes, there's this culture of discretion in tango. Couples arrive separately and sit separately. On the other hand, there's this game called "Going to Jerusalem" for the last tanda.
Really? It's just the social culture of the locale, mixed with some myth of what someone thinks a BsAs milonga was like, or whether some retro game is in play. Which takes precedence depends on many factors.
'Going to Jerusalem' - the BsAs trip?
Dance: the most fun you can have with the opposite sex with your clothes on. As someone in another dance form put it. Social AT is just another level. Whatever rocks your boat!
opendoor
Forum Master
It's child's play. Chairs are placed in a row, alternating. The children run around them. When the music stops, you have to grab a seat. There's always one chair fewer than participants. I used this game as a metaphor for what you see at the end of a milonga.
Musical chairs! But, apparently, there's a variant known as 'Chaos' where the chairs are in a circle facing inwards, and you play cabeceo/mirada, giving opportunity for the odd-one-out. Only see occasional chaos for those without partners.
The last tanda is sometimes less popular since those left end up clearing away the room afterwards (and, of course, those who are highly selective of their dance partner and may leave early).
Miradamiranda
Well-Known Member
Last tanda, since I’m always solo at milongas, if someone asks me, I take it as a compliment, that someone wants to end the night on a good note, or simply wants to indirectly say, that tanda we had earlier was nice, let’s do another. Or, ‘oh well, there’s nobody else to dance with…’
I never heard the term Going to Jerusalem for ‘musical chairs’. I also don’t experience that concept for the last tanda. On the other hand, as a follower, that’s the one tanda where I occasionally have several guys eyeing me simultaneously, and at other times, there’s nobody else solo left, so I pack up my shoes.
I never heard the term Going to Jerusalem for ‘musical chairs’. I also don’t experience that concept for the last tanda. On the other hand, as a follower, that’s the one tanda where I occasionally have several guys eyeing me simultaneously, and at other times, there’s nobody else solo left, so I pack up my shoes.
pianistamediano
Forum Master
We've talked plenty of times about how a lot of people really overestimate themselves.
Or they're just too lazy to get off the floor. Or they just care about moving, not necessarily to music.
pianistamediano
Forum Master
I usually arrange it beforehand with a follower, but most times I get a good sense of who I can/can't cabeceo a few tandas before, and then leave if I decide I'm not interested in competing for the last tanda.
Many times, I wait for the first few notes of the first song to play and then decide it's not a tanda worth dancing, and I start taking off my shoes as people start getting up.
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geediting.com
Interesting reading. Not sure if this is pop psychology or there is real comparative study behind it.
Tango is interesting. From what I have observed every decade the tango beginners have different expectations. They want shorter time to be able to dance at milonga.
At a milonga last week I was talking with someone who started dancing locally in early 90s. I asked how big the
At a milonga last week I was talking with someone who started dancing locally in early 90s. I asked how big the community was. He said around 50 people would show up to the milonga. There was only one milonga a week and he would drive 130 miles (200Kms) each way to attend Milonga. I asked who was teaching. He said it was Argentines who danced after 80s revival in BsAs. He said initial it was all social dancing. No stage tango moves. Then forever tango cast started teaching and people started dancing bigger stage tango moves at the milongas. By then there were 2 or 3 milongas a week. It was also around the same time that Susana Miller’s milonguero style was defined.
Of course! 'Performance' is what attracted participants. And it was also achievable by many. Something to be desired. Later research, or historical knowledge, or meeting older dancers, introduced other styles and types to broaden participation.
You used to observe a similar response after Strictly/DWTS, or 'Dancing on Ice', or even Olympic sports.
opendoor
Forum Master
In this case, I cannot agree with you:
No, not at all! It was simply the first and only tango style available. Those interested saw nothing else. They recorded video footage on Super 8 or VHS and deconstructed the moves on their own.
Not at all, no research! It was like a revolution when the milonguero style emerged. The few Argentinian teachers who taught in Europe that days turned away with expressions of hard pain in their faces from couples who wanted to dance in close embrace. The milonguero style was profoundly un-Argentinian, and a colonial interference from the outside. Sorry, I've been in tango longer than you!
So you'd want to do something which didn't have some attraction? Of course it was initially the only game in town!
So reading/watching Miller wasn't 'research'?
Simply, it was what was around.