3793 Cabeceo "Eye Game"
Date: Mon, 12 Sep 2005 21:24:15 -0600
From: Tom Stermitz <stermitz@TANGO.ORG>
Subject: Cabeceo "Eye Game"
The cabeceo is a preferred method of asking for a partner in Buenos
Aires. This is aided by culture and tradition. Walking into a
restaurant or even the subway in Buenos Aires, all eyes jump up for a
moment to welcome the newcomer.
The eye game is romantic and practical. Electric when it works. It
saves face so a gentleman never gets shut-down publicly, and the
women can safely refuse to dance with poor dancers, giving them more
power to choose their own partners.
In the US catching someone's eye for a conversation is common enough
in the singles bar scene, but it is not the easy, friendly, teasing,
seductive game it becomes in a milonga in Buenos Aires.
One other thing. The US "distance of privacy" is much different than
in Latin cultures. N. Americans look away too quickly, causing Latins
to think we are cold; maybe N. Americans interpret that Latin eye-
distance as being too forward (un-private, discourteous?).
My experiences with the Cabeceo:
The first time the cabeceo really worked for me was at Regin (same
location as the current & renovated El Beso). It was electrifying. On
came the waltzes, and I leaned forward to catch they eye of an
attracitive young lady. She leaned forward at the same time and ZAP!!
We had a dance!
Pavadita was a popular club with a lot of good dancers in the late
1990s managed by Alicia la Turca. The floor was a weird shape due to
a stage jutting out. The men sat on the stage, the women in rows to
the side. Upon arriving for my second visit Alicia welcomed me with a
peck on the cheek, seated me at a very convenient table, danced me
around (to show that the newcomer guy knew how to dance), made her
lovely daughter do the same. Watching the women catch the cabaceo was
amazing. On comes a waltz, and the women are like popcorn. In 20
seconds they've all been selected, and I'm still sitting lonely on
the fence.
On my recent visit.
Nino Bien is larger, than El Beso. Women on one side, men on the
other, couples at the far end, a mix of men and women on the near
end. The floor is narrow enough to catch her eye if you have a
preferred seat at the front near the middle. But, when the floor is
filled with dancers, or you are on the far end, you have to use the
same "going to the bar for a drink" strategy.
By personal expereince at Nino Bien (Los Consagrados on a Sat or Sun,
actually) I've snagged a dance straight across the floor in the brief
opening between couples, but I've also had difficulty getting to
partners down the dance floor.
At Ideal on a packed holiday Monday, I've had to use the "walk to the
bar" strategy. But, standing at the wall, I easily snagged my desired
partner across a crowded room, because she was alert enough to look
over her shoulder.
El Viejo Correo has an interesting layout. The men and women sit in
several rows between the entrance and the dance floor with a narrow
aisle separating them. A few tables line the floor, plus a few god-
fosaken tables clear across the dance floor.
I walk in, and all the ladies are immediately checking out the new
guy. I'm seated across a 2-meter aisle. I can't even lift my head for
fear of accidently getting a dance with someone.
El Beso is a little harder to get a dance. The audience is a bit more
selective, shall we say? If they don't know you, then it takes time
before you work your way up th rough their awareness. Layout doesn't
help, even though the room is smallish. The women sit in a couple
rows on one side, the men on an adjacent side. If you are settled in
those two sections, then it is easy to catch a dance at the start of
a tanda. Outside those sections, you have a lot of trouble once the
floor is full of people.
Tom Stermitz
https://www.tango.org
2525 Birch St
Denver, CO 80207
Date: Tue, 13 Sep 2005 20:30:39 -0700
From: musette fan <musettefan@YAHOO.COM>
Subject: Re: Cabeceo "Eye Game"
I had the chance to experience the cabeceo this summer during my first trip to Buenos Aires, and I have to say I absolutely love it, and applaud any and all effort to introduce it here in the U.S. As a follower, I found it liberating and empowering, and thought it was pretty easy to do besides. (Thanks to Janis for the great lessons) It felt much more respectful, considerate and dignified for everyone involved. I also felt that it added a nice tone to the dances, but perhaps that was just because of my own attitude.
It's true there are some tricky aspects including seating being key, as Tom points out, and the potential for mistaken invitations, which I had to learn the hard way (but I noticed that can happen even among experienced Argentines).
I didn't have a problem with the eye-contact per se (in fact it feels much more private and courteous than the direct invitation) although sometimes it did feel like I had to summon some courage to accept an invitation this way. However for me that just added to the interest and excitement of it all.
I think many North American dancers could adapt to the eye-contact part eventually. It seems to me that a bigger challenge in adopting the cabeceo in the U.S. would have more to do with the fact that it can require more work and a lot more patience than getting dances the direct approach way.
Terri
----------------------
Tom Stermitz <stermitz@TANGO.ORG> wrote:
<<<<<<<< The cabeceo is a preferred method of asking for a partner in Buenos Aires. This is aided by culture and tradition. Walking into a restaurant or even the subway in Buenos Aires, all eyes jump up for a moment to welcome the newcomer.
The eye game is romantic and practical. Electric when it works. It saves face so a gentleman never gets shut-down publicly, and the women can safely refuse to dance with poor dancers, giving them more power to choose their own partners.
In the US catching someone's eye for a conversation is common enough in the singles bar scene, but it is not the easy, friendly, teasing, seductive game it becomes in a milonga in Buenos Aires.
One other thing. The US "distance of privacy" is much different than in Latin cultures. N. Americans look away too quickly, causing Latins to think we are cold; maybe N. Americans interpret that Latin eye-distance as being too forward (un-private, discourteous?).
My experiences with the Cabeceo:
The first time the cabeceo really worked for me was at Regin (same location as the current & renovated El Beso). It was electrifying. On came the waltzes, and I leaned forward to catch they eye of an attracitive young lady. She leaned forward at the same time and ZAP!!
We had a dance!
Pavadita was a popular club with a lot of good dancers in the late 1990s managed by Alicia la Turca. The floor was a weird shape due to a stage jutting out. The men sat on the stage, the women in rows to the side. Upon arriving for my second visit Alicia welcomed me with a
peck on the cheek, seated me at a very convenient table, danced me around (to show that the newcomer guy knew how to dance), made her lovely daughter do the same. Watching the women catch the cabaceo was amazing. On comes a waltz, and the women are like popcorn. In 20 seconds they've all been selected, and I'm still sitting lonely on the fence.
On my recent visit.
Nino Bien is larger, than El Beso. Women on one side, men on the other, couples at the far end, a mix of men and women on the near end. The floor is narrow enough to catch her eye if you have a preferred seat at the front near the middle. But, when the floor is filled with dancers, or you are on the far end, you have to use the same "going to the bar for a drink" strategy.
By personal expereince at Nino Bien (Los Consagrados on a Sat or Sun, actually) I've snagged a dance straight across the floor in the brief opening between couples, but I've also had difficulty getting to partners down the dance floor.
At Ideal on a packed holiday Monday, I've had to use the "walk to the bar" strategy. But, standing at the wall, I easily snagged my desired partner across a crowded room, because she was alert enough to look over her shoulder.
El Viejo Correo has an interesting layout. The men and women sit in several rows between the entrance and the dance floor with a narrow aisle separating them. A few tables line the floor, plus a few god-fosaken tables clear across the dance floor.
I walk in, and all the ladies are immediately checking out the new guy. I'm seated across a 2-meter aisle. I can't even lift my head for fear of accidently getting a dance with someone.
El Beso is a little harder to get a dance. The audience is a bit more selective, shall we say? If they don't know you, then it takes time before you work your way up th rough their awareness. Layout doesn't help, even though the room is smallish. The women sit in a couple rows on one side, the men on an adjacent side. If you are settled in those two sections, then it is easy to catch a dance at the start of a tanda. Outside those sections, you have a lot of trouble once the floor is full of people.
Tom Stermitz
https://www.tango.org
2525 Birch St
Denver, CO 80207
Date: Wed, 14 Sep 2005 06:21:01 -0700
From: Andrew Kaye <ethnomuse@YAHOO.COM>
Subject: Re: Cabeceo "Eye Game" + tanda suggestion
musette fan <musettefan@YAHOO.COM> wrote: I had the chance to experience the cabeceo this summer during my first trip to Buenos Aires, and I have to say I absolutely love it,
I do too...
>and applaud any and all effort to introduce it here in the U.S.
I seriously doubt that this will happen for a long, long while, but I'll be glad to be proved wrong. What I would like to see implemented in the US is the custom of the 3 to 4 song tanda, each separately clearly by a special musical cues. This, it seems to me, could be more easily accomplished, since we would only have to educate/convince the deejays, and not the entire culture. In Buenos Aires, as most people on this list undoubtedly know, short bits of swing or other clearly non-tango music are played at the end of each tanda. This is a signal that the tanda is over, and allows the dancers to graciously leave their present partners (if they have not already been separated, ungraciously), and start the cabaceo game afresh. This may already be in practice in some US milongas, but it should be universal, in my opinion.
Andrew L. Kaye
https://ethnomuse.blogspot.com
Date: Wed, 14 Sep 2005 06:54:39 -0700
From: Yale Tango Club <yaletangoclub@YAHOO.COM>
Subject: Re: Cabeceo "Eye Game" + tanda suggestion
Hi Andrew and all,
I am a DJ in CT and the Northeast and I play cortinas and tandas, in 4T (4T) 3V 4T (4T) 3M format.
I do not recall EVER dancing / playing at a US venue and seeing the floor get cleared at the cortina. Believe me I sorely wish they would. But they just stand there.
Educating evidently does not help because EVERYBODY but the total beginners knows what cortinas are for. What's missing is compliance. But of course you can't and shouldn't legislate, coerce or shame people into doing something. It's still a free country!
I once recall a visiting DJ taking the microphone at a small town milonga and informing people what cortinas are for. This served only to remind the people that he considered them country bumpkins, and in any case they knew all about cortinas, they just chose to ignore them like everybody else in the US.
We need people to decide OK cortinas are Good For You. Yes, you give up your curent partner but hey if everybody does that, you can pick your next partner from among ALL the people in the room, not just the ones who are sitting. So it's a Good Thing. It's like you get to shop at ebay instead of the local store.
In any case I doggedly continue to play cortinas at all but the most informal events, and I just hope the dancers will eventually decide to clear the floor. I think they will, Some Day.
Tine
www.tangomuse.com
Andrew Kaye <ethnomuse@YAHOO.COM> wrote:
musette fan wrote: I had the chance to experience the cabeceo this summer during my first trip to Buenos Aires, and I have to say I absolutely love it,
I do too...
>and applaud any and all effort to introduce it here in the U.S.
I seriously doubt that this will happen for a long, long while, but I'll be glad to be proved wrong. What I would like to see implemented in the US is the custom of the 3 to 4 song tanda, each separately clearly by a special musical cues. This, it seems to me, could be more easily accomplished, since we would only have to educate/convince the deejays, and not the entire culture. In Buenos Aires, as most people on this list undoubtedly know, short bits of swing or other clearly non-tango music are played at the end of each tanda. This is a signal that the tanda is over, and allows the dancers to graciously leave their present partners (if they have not already been separated, ungraciously), and start the cabaceo game afresh. This may already be in practice in some US milongas, but it should be universal, in my opinion.
Andrew L. Kaye
https://ethnomuse.blogspot.com
************************
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Date: Wed, 14 Sep 2005 07:08:05 -0700
From: DayLightPix <daylightpix@YAHOO.COM>
Subject: Re: Cabeceo "Eye Game" + tanda suggestion
Well, for those of you that think dancers don't follow
cortinas in the US, I run two milongas in Boston. Most
of the dancers that comes to them follow the cortina,
at least in the middle half of the dance.
Looks like in the beginning of the dance, the dancers
dance with their partner or friends for a few tandas
to warm up. Therefore they don't clear the floor.
In the middle half most dancers follow tandas so they
can dance with other dancers. Floor does clear up
(except for occasional one or two couples at the edge
of the floor).
Toward the end they dance with their partner or
friends for multiple tandas again. Therefore not
clearing the floor.
Sincerely,
David Liu
www.tangolounge.org
Date: Wed, 14 Sep 2005 10:40:46 -0400
From: WHITE 95 R <white95r@HOTMAIL.COM>
Subject: Re: Cabeceo "Eye Game" + tanda suggestion
Hmmmm.. At least here in Atlanta all the milongas (except house parties)
feature DJs that play tandas. While the entire floor might not clear each
time, the purpose of the tandas is usually fulfilled. The tango dancers
around here are almost all educated as to the tandas useage.
The cabeceo OTOH, is not used exclusively or even principally to ask for
dances. Actually, I've noticed that this is the case in all parts of the USA
and Europe that we've visited. I don't think that not using the cabeceo
exclusively to ask for dances is such a tragedy. I'd say whatever works for
the people should be just fine to use.
There is another issue that bothers me more than the use of hand signals,
voice, or the cabeceo to ask for dances. I have developed over time certain
musical preferences for dancing and I really like to dance to some songs
better than others (frankly, there is some music that I just don't want to
dance to). Anyway, what I find a lot in the milongas is that the guys will
indiscriminately ask the women to dance before even knowing what the next
tanda will be like.... If I wait to hear what the tanda will be, there is a
good chance that I'll end up with no partner to dance. OTOH, if I just ask
the partner I want to dance as soon as I get a chance, there is a chance
that the music will be all wrong..... Oh well, I guess in a perfect world
the women would be all sitting and waiting along with the men and when the
music begins, they'd use subtle eye signals and cabeceos to ask and accept
the invitation to dance the music they like best with the partner they
prefer......
Happy tandas to all,
Manuel
visit our webpage
www.tango-rio.com
>From: Andrew Kaye <ethnomuse@YAHOO.COM>
>Reply-To: Andrew Kaye <ethnomuse@YAHOO.COM>
>
>musette fan <musettefan@YAHOO.COM> wrote: I had the chance to experience
>the cabeceo this summer during my first trip to Buenos Aires, and I have to
>say I absolutely love it,
>I do too...
>
> >and applaud any and all effort to introduce it here in the U.S.
>
>I seriously doubt that this will happen for a long, long while, but I'll be
>glad to be proved wrong. What I would like to see implemented in the US is
>the custom of the 3 to 4 song tanda, each separately clearly by a special
>musical cues. This, it seems to me, could be more easily accomplished,
>since we would only have to educate/convince the deejays, and not the
>entire culture. In Buenos Aires, as most people on this list undoubtedly
>know, short bits of swing or other clearly non-tango music are played at
>the end of each tanda. This is a signal that the tanda is over, and allows
>the dancers to graciously leave their present partners (if they have not
>already been separated, ungraciously), and start the cabaceo game afresh.
>This may already be in practice in some US milongas, but it should be
>universal, in my opinion.
>
>Andrew L. Kaye
>https://ethnomuse.blogspot.com
Date: Wed, 14 Sep 2005 08:40:50 -0700
From: "Trini y Sean (PATangoS)" <patangos@YAHOO.COM>
Subject: Re: Cabeceo "Eye Game" + tanda suggestion
Hi Tine,
Perhaps really odd sounding, completely undanceable
cortinas would help? Things that really break the
spell and encourage people to stop dancing. Once they
are used to getting off of the floor, then nicer
cortinas could be reintroduced.
Robin uses dialogue from the Tango Lesson. Homer has
the MGM theme. Robert uses some strange electronic
guitar thing. They can break a trance, but I have
come to appreciate that at times to get back to
reality.
Trini de Pittsburgh
--- Yale Tango Club <yaletangoclub@YAHOO.COM> wrote:
> Hi Andrew and all,
>
> I am a DJ in CT and the Northeast and I play
> cortinas and tandas, in 4T (4T) 3V 4T (4T) 3M
> format.
> I do not recall EVER dancing / playing at a US venue
> and seeing the floor get cleared at the cortina.
> Believe me I sorely wish they would. But they just
> stand there.
>
PATangoS - Pittsburgh Argentine Tango Society
Our Mission: To make Argentine Tango Pittsburgh's most popular social dance.
https://www.pitt.edu/~mcph/PATangoWeb.htm
Date: Wed, 14 Sep 2005 08:56:30 -0700
From: Michael at Tango Bellingham <michaele@TANGOBELLINGHAM.COM>
Subject: Re: Cabeceo "Eye Game" + tanda suggestion
Yale Tango Club wrote:
>
> Educating evidently does not help because EVERYBODY but the total
> beginners knows what cortinas are for. What's missing is compliance.
> But of course you can't and shouldn't legislate, coerce or shame
> people into doing something. It's still a free country!
>
Uh, why not? Being in a free country doesn't mean we treat traditions
with disrespect. We require people to follow the line of dance, watch
where they're going and not run into other dancers, not hold protracted
conversations in the middle of the ronda, etc., why not require them to
clear the floor after a cortina? If the milonga etiquette rules are
posted somewhere, and a condition of entry is that you abide by them,
then enforcing compliance is easy. If you don't like it, here's your
money back, there's the door, have a nice evening, bye-bye.
> I once recall a visiting DJ taking the microphone at a small town
> milonga and informing people what cortinas are for. This served only
> to remind the people that he considered them country bumpkins, and in
> any case they knew all about cortinas, they just chose to ignore them
> like everybody else in the US.
Heh, heh - well, if the shoe fits....
>
> We need people to decide OK cortinas are Good For You. Yes, you give
> up your curent partner but hey if everybody does that, you can pick
> your next partner from among ALL the people in the room, not just the
> ones who are sitting. So it's a Good Thing. It's like you get to shop
> at ebay instead of the local store.
>
> In any case I doggedly continue to play cortinas at all but the most
> informal events, and I just hope the dancers will eventually decide
> to clear the floor. I think they will, Some Day.
>
Remember an old American expression: "My bat, my ball, my glove - my
rules." They don't like it - see above.
Michael
Tango Bellingham
Date: Wed, 14 Sep 2005 17:58:31 +0200
From: Alexis Cousein <al@BRUSSELS.SGI.COM>
Subject: Re: Cabeceo "Eye Game" + tanda suggestion
Trini y Sean (PATangoS) wrote:
> Hi Tine,
>
> Perhaps really odd sounding, completely undanceable
> cortinas would help?
You'de be surprised at what people still may dance to.
Some will continue to tango to anything with a 2/4 or
4/4 beat (be it Elvis Presley), and vals to anything with
a 3/4 beat.
Things that really break the
> spell and encourage people to stop dancing.
And the ones that don't dance to the cortinas frequently
just stand there and resume when the next tanda starts.
There's nothing magical about a cortina - people
*do* know how long tandas usually last, and if you play
something in a totally different style, or a vals
after a set of tangos, they *know* it's a new tanda, and
the introduction usually lasts for quite some time anyway,
so it's not like they're all suddenly going to bump into
each other while clearing the floor (yes, I hate people
rushing into a dance without waiting for the intro to
stop), certainly not if you insert a 5-10 second pause
between tandas.
They'll break up and change partners or they won't, and that
doesn't depend on the cortina being there or not -
simply because there is little social pressure to comply with
those unwritten rules about tandas and cortinas, at least
in Europe.
--
Alexis Cousein Solutions Architect
Silicon Graphics/SGI
--
If I can see further, it is by standing on reference manuals.
Date: Wed, 14 Sep 2005 09:00:22 -0700
From: Michael at Tango Bellingham <michaele@TANGOBELLINGHAM.COM>
Subject: Re: Cabeceo "Eye Game" + tanda suggestion
Trini y Sean (PATangoS) wrote:
> Hi Tine,
> Robin uses dialogue from the Tango Lesson. Homer has
> the MGM theme. Robert uses some strange electronic
> guitar thing. They can break a trance, but I have
> come to appreciate that at times to get back to
> reality.
>
I've been know to use Marilyn Manson or Rage Against the Machine -
clears the floor in a hurry and there is *no* doubt in anyone's mind
that it's a cortina.
Yes, yes, I know, I'm evil.... *grin*
Michael
Tango Bellingham
www.tangobellingham.com
Date: Wed, 14 Sep 2005 10:38:18 -0700
From: Angel Montero <angel_montero01@YAHOO.COM>
Subject: Re: Cabeceo "Eye Game" + tanda suggestion
Manuel is right one more time.
I am also from Atlanta, and I concur that here the
tandas and cortinas are an essential part of any
milonga in town. Moreover, people are used to it and
the dance floor is cleared almost completely when a
cortina starts playing.
Part of the merit belongs to the local DJ's, since we
try to keep the structure of the milonga in a
predictable way, but I have to say that local teachers
are the ones making a point in the classes about
"teaching for the milonga", explaining everything
about the structure of the music, circulation, and
even cabeceo. Of course there are people that either
choose to ignore the whole thing or that just don't
get it (usually people that don't take classes, which
makes sense).
We have the guy that dances the cortinas (because he
does not know better, I guess) and a couple of people
that ignore line of dance and act like "gas molecules"
(thanks to Robert Hauk for the analogy), changing
directions when they bump into another couple. The
rest respect the "ronda" and move around the dance
floor quite nicely, compared to some other places
where I danced.
In general, visitors to Atlanta get impressed by the
level of dancing (the last one Ricardo Vidort in
August) and by the education showed by everybody in
the milongas.
For those who need proof of this, I can tell them to
ask any visitor, or if they want to experience it
themselves, they are tow opportunities to do it. The
first one organized by Tango Rio at Split Tree farm
(details at www.tango-rio.com) where every teacher in
Atlanta will teach several workshops. The second one,
organized by Alan Forde and myself is the Southern
Tango Social (aka Atlanta Tango Festival, details at
www.atlantatangofestival.com).
Come down to visit, we guarantee great dances and a
great time.
angel montero
Date: Wed, 14 Sep 2005 11:09:10 -0700
From: Igor Polk <ipolk@VIRTUAR.COM>
Subject: Cabeceo "Eye Game" + tanda suggestion
Michael,
Curtinas, as everything else, like lighting, welcome smile on the hosts
face, little wine, decorations is to create atmosphere. It should neither
interfere with ( or worse - break ) the trans, or move people apart. It
should be for their convenience if they want to stop dancing or pleasure if
they want to continue it with the same partner.
Sometimes 2 dances is enough for me ( I do not stop only to be polite), most
of the time 3-4 is just enough, sometimes I feel inspiration to dance more.
It all depends of the strength and creativity and mutual chemistry of the
couple. I never did, and I will not wait for the tanda to start dancing. It
is nonsense. And often I will not wait till the tanda to stop. I feel when
it is enough.
Dancing is an art form. It has introduction, developing of the plot,
culmination, and the finale, which usually ends in a state of mutual
exhaustion of inspiration and ideas. The play has to go on, and it is a
disappointment when it stops before the last pose.
Igor Polk
Date: Wed, 14 Sep 2005 12:21:46 -0600
From: Paul Akmajian & Karen Reck <paulnkaren@EARTHLINK.NET>
Subject: Re: Cabeceo "Eye Game"
Just to be clear, I wasn't dissing either Tom's decision to introduce a
"formal milonga" at his Denver festival or the cabeceo.
The innovation of a festival milonga with Buenos Aires-style seating +
cabeceo was another factor in our decision to attend. And many of us (in the
US) already use, at least some version of, the cabeceo at Denver weekends,
at our home-town milongas & elsewhere. It's easy, elegant and we like it.
My comments were that it didn't work very well for a number (not all) of us
at Tom's milonga -- not due to his lack of effort, but to the size, lighting
& configuration of the large hotel ballroom. The size & gender/role-balance
of the group were other factors. Tom obviously put a lot of thought and
planning into making the ballroom as amenable as possible. I appreciate that
and this was a great weekend.
Karen Reck
Albuquerque, NM
> Date: Tue, 13 Sep 2005 20:30:39 -0700
> From: musette fan <musettefan@YAHOO.COM>
> Subject: Re: Cabeceo "Eye Game"
>
> I had the chance to experience the cabeceo this summer during my first trip to
> Buenos Aires, and I have to say I absolutely love it, and applaud any and all
> effort to introduce it here in the U.S. As a follower, I found it liberating
> and empowering, and thought it was pretty easy to do besides. (Thanks to Janis
> for the great lessons) It felt much more respectful, considerate and dignified
> for everyone involved. I also felt that it added a nice tone to the dances,
> but perhaps that was just because of my own attitude.
>
> It's true there are some tricky aspects including seating being key, as Tom
> points out, and the potential for mistaken invitations, which I had to learn
> the hard way (but I noticed that can happen even among experienced
> Argentines).
>
> I didn't have a problem with the eye-contact per se (in fact it feels much
> more private and courteous than the direct invitation) although sometimes it
> did feel like I had to summon some courage to accept an invitation this way.
> However for me that just added to the interest and excitement of it all.
>
> I think many North American dancers could adapt to the eye-contact part
> eventually. It seems to me that a bigger challenge in adopting the cabeceo
> in the U.S. would have more to do with the fact that it can require more work
> and a lot more patience than getting dances the direct approach way.
>
> Terri
>
> ----------------------
> Tom Stermitz <stermitz@TANGO.ORG> wrote:
>
> <<<<<<<< The cabeceo is a preferred method of asking for a partner in Buenos
> Aires. This is aided by culture and tradition. Walking into a restaurant or
> even the subway in Buenos Aires, all eyes jump up for a moment to welcome the
> newcomer.
>
> The eye game is romantic and practical. Electric when it works. It saves face
> so a gentleman never gets shut-down publicly, and the women can safely refuse
> to dance with poor dancers, giving them more power to choose their own
> partners.
>
> In the US catching someone's eye for a conversation is common enough in the
> singles bar scene, but it is not the easy, friendly, teasing, seductive game
> it becomes in a milonga in Buenos Aires.
>
> One other thing. The US "distance of privacy" is much different than in Latin
> cultures. N. Americans look away too quickly, causing Latins to think we are
> cold; maybe N. Americans interpret that Latin eye-distance as being too
> forward (un-private, discourteous?).
>
> My experiences with the Cabeceo:
>
> The first time the cabeceo really worked for me was at Regin (same location as
> the current & renovated El Beso). It was electrifying. On came the waltzes,
> and I leaned forward to catch they eye of an attracitive young lady. She
> leaned forward at the same time and ZAP!!
> We had a dance!
>
> Pavadita was a popular club with a lot of good dancers in the late 1990s
> managed by Alicia la Turca. The floor was a weird shape due to a stage jutting
> out. The men sat on the stage, the women in rows to the side. Upon arriving
> for my second visit Alicia welcomed me with a
> peck on the cheek, seated me at a very convenient table, danced me around (to
> show that the newcomer guy knew how to dance), made her lovely daughter do the
> same. Watching the women catch the cabaceo was amazing. On comes a waltz, and
> the women are like popcorn. In 20 seconds they've all been selected, and I'm
> still sitting lonely on the fence.
>
>
> On my recent visit.
>
> Nino Bien is larger, than El Beso. Women on one side, men on the other,
> couples at the far end, a mix of men and women on the near end. The floor is
> narrow enough to catch her eye if you have a preferred seat at the front near
> the middle. But, when the floor is filled with dancers, or you are on the far
> end, you have to use the same "going to the bar for a drink" strategy.
>
> By personal expereince at Nino Bien (Los Consagrados on a Sat or Sun,
> actually) I've snagged a dance straight across the floor in the brief opening
> between couples, but I've also had difficulty getting to partners down the
> dance floor.
>
>
> At Ideal on a packed holiday Monday, I've had to use the "walk to the bar"
> strategy. But, standing at the wall, I easily snagged my desired partner
> across a crowded room, because she was alert enough to look over her shoulder.
>
> El Viejo Correo has an interesting layout. The men and women sit in several
> rows between the entrance and the dance floor with a narrow aisle separating
> them. A few tables line the floor, plus a few god-fosaken tables clear across
> the dance floor.
>
> I walk in, and all the ladies are immediately checking out the new guy. I'm
> seated across a 2-meter aisle. I can't even lift my head for fear of
> accidently getting a dance with someone.
>
>
> El Beso is a little harder to get a dance. The audience is a bit more
> selective, shall we say? If they don't know you, then it takes time before you
> work your way up th rough their awareness. Layout doesn't help, even though
> the room is smallish. The women sit in a couple rows on one side, the men on
> an adjacent side. If you are settled in those two sections, then it is easy to
> catch a dance at the start of a tanda. Outside those sections, you have a lot
> of trouble once the floor is full of people.
>
> Tom Stermitz
> https://www.tango.org
> 2525 Birch St
> Denver, CO 80207
>
Date: Wed, 14 Sep 2005 11:56:14 -0700
From: Michael at Tango Bellingham <michaele@TANGOBELLINGHAM.COM>
Subject: Re: Cortinas - The topic formerly known as: Cabeceo "Eye Game" + tanda suggestion
Igor Polk wrote:
> Michael,
>
> Curtinas, as everything else, like lighting, welcome smile on the hosts
> face, little wine, decorations is to create atmosphere. It should neither
> interfere with ( or worse - break ) the trans, or move people apart. It
> should be for their convenience if they want to stop dancing or pleasure if
> they want to continue it with the same partner.
>
Yessss, but it's a cortina - a "curtain." Exeunt omnes, End Act I, or
II, or whatever. Step off the piste for 30 sec or so, chat with your
friend, or select another partner, step back on when the music begins.
Music has breathes and pauses, and so should dances.
> Sometimes 2 dances is enough for me ( I do not stop only to be polite), most
> of the time 3-4 is just enough, sometimes I feel inspiration to dance more.
> It all depends of the strength and creativity and mutual chemistry of the
> couple. I never did, and I will not wait for the tanda to start dancing. It
> is nonsense. And often I will not wait till the tanda to stop. I feel when
> it is enough.
So you dance during the cortinas? Oooooookey-dokey. Whatever melts your
butter....it would probably be entertaining to watch someone try to
dance some of my cortinas. Try Bird's "Scrapple from the Apple" at about
280-300 bpm - we'll be carrying you out on a stretcher. ;-)
>
> Dancing is an art form. It has introduction, developing of the plot,
> culmination, and the finale, which usually ends in a state of mutual
> exhaustion of inspiration and ideas. The play has to go on, and it is a
> disappointment when it stops before the last pose.
>
See first paragraph on my response - plays have acts, clear delineations
between acts, etc.
Michael
Tango Bellingham
www.tangobellingham.com
Date: Wed, 14 Sep 2005 12:11:43 -0700
From: NANCY <ningle_2000@YAHOO.COM>
Subject: Re: Cabeceo "Eye Game" + tanda suggestion
--- Igor Polk <ipolk@VIRTUAR.COM> wrote:
>
> Sometimes 2 dances is enough for me ( I do not stop
> only to be polite), most
> of the time 3-4 is just enough, sometimes I feel
> inspiration to dance more.
> It all depends of the strength and creativity and
> mutual chemistry of the
> couple. I never did, and I will not wait for the
> tanda to start dancing. It
> is nonsense. And often I will not wait till the
> tanda to stop. I feel when
> it is enough.
Igor,
I hope you know that in many communities, a failure
to complete the tanda with a woman would signal to her
that you do not wish to dance with her again. And I,
if I did not know you well, would probably never
accept another dance with you if you 'dumped' me in
the middle of a tanda. If you are not sure about
dancing a complete tanda with a lady, then ask her for
the last one or two until you discover if you are
compatible for an entire tanda.
In Argentina, the lady always has the option to say
"Thank you" as a signal to the man that you no longer
wish to dance with him and that he should never ask
again but that is reserved for those who are drunk,
smell really bad or are gropers ( at least in my
experience).
Should you find yourself partnered with someone who
is giving you a really bad experience but is a lovely
person, then it is acceptable to suggest you both sit
together and have a nice chat to finish out the tanda.
I have some lovely 'chat partners' in various
communities. It is also a nice way to complete a
killer traspie set of five fast milongas when the
sweat is interfering with vision. ;-)
Of course, your community may have different
protocols and 'mileage may vary'.
Nancy
<<Rito es la danza en tu vida
y el tango que tu amas
te quema en su llama>>
de: Bailarina de tango
por: Horacio Sanguinetti
Date: Wed, 14 Sep 2005 15:13:48 -0400
From: Tanguero Chino <tanguerochino@NETSCAPE.NET>
Subject: Re: Cabeceo "Eye Game" + tanda suggestion
WHITE 95 R <white95r@HOTMAIL.COM> wrote:
> I have developed over time certain musical preferences for dancing ...
> ... [Some] guys will indiscriminately ask the women to dance before
> even knowing what the next tanda will be like.... If I wait to hear
> what the tanda will be, there is a good chance that I'll end up
> with no partner to dance.
Well Manual, you will have me on the side-line with you. Of course,
those guys are always going to pick the best partners too. Is there
anything the ladies can do to discourage this kind of behavior?
TC
Search from anywhere on the Web and block those annoying pop-ups.
Date: Wed, 14 Sep 2005 21:17:58 +0200
From: Alexis Cousein <al@BRUSSELS.SGI.COM>
Subject: Re: Cortinas - The topic formerly known as: Cabeceo "Eye Game" + tanda suggestion
Michael at Tango Bellingham wrote:
> Try Bird's "Scrapple from the Apple" at about
> 280-300 bpm - we'll be carrying you out on a stretcher. ;-)
There's always Scraping Foetus of the Wall's "sick man",
of course, when people really can't be made stop, or if they're
just a wee bit disobedient, something from the Pixies.
Otherwise, when they're behaving, there's
nothing like a bit of Portishead.
--
Alexis Cousein Solutions Architect
Silicon Graphics/SGI
--
If I can see further, it is by standing on reference manuals.
Date: Wed, 14 Sep 2005 12:43:51 -0700
From: Igor Polk <ipolk@VIRTUAR.COM>
Subject: Cortinas - The topic formerly known as: Cabeceo "Eye Game" + tanda suggestion
1. -----------------
Michael: "Try Bird's "Scrapple from the Apple" at about
280-300 bpm - we'll be carrying you out on a stretcher. ;-)"
Ah, time for practical jokes!
Easy! Very short steps, pushing from the floor, no problemo!
Or dancing twice as slow.
Do not get sweated rotating your CDs, Mr. DJ the
Who-Wanna-Be-A-Direcor-Of-My-Dance!!!!
2. -----------------
Nancy,
I never "dump" anybody. In fact, I am glad to dance with everybody, even
total beginners, never less than 3-4 dances and that is great! And I believe
most of the ladies are satisfied with the experience dancing with me. You
can be assured that the dance will be as good as it can.
I remember, that when I was a beginner starting to dance better, more
ambitious I have invited one very famous teacher and dancer ( I mean VERY ).
I have found it extremely difficult to lead her. She kicked someone in the
middle of the dance, and dropped me in the middle of the floor. I still
remember it. But I never will do the same.
There is a natural ending in the dance sequence, it is between us, when we
feel culmination of pleasure we can get from each other which often
corresponds to the quite an exhaustion of our strength. And I do not want
any DJ to dictate us what we should do next.
Nancy: "a killer traspie set of five fast milongas when the sweat is
interfering with vision."
-- that sounds promising! I can not wait to dance with you!
Igor Polk
Date: Wed, 14 Sep 2005 15:46:52 -0400
From: jackie wong <jackie.wong@VERIZON.NET>
Subject: Re: Cabeceo "Eye Game" + tanda suggestion
Hi,
I lead and I follow and sometimes I will say, "I would love to dance the
next vals set with you." If they agree, I make it a point to have eye
contact with that person when the next set occurs.
Also one could ask the DJ when a set of, for example, Calo is coming so that
you can plan to stand close to the dancer.
I know the frustration though. I like to wait to hear the beginning of the
first song also before I decide who to dance with.
Regarding tantas, I play tantas at the beginning and middle of the evening
and stick with one cortina because I play sets of alternative music and I
don't want anyone to be confused. Later though, I drop cortinas because the
nature of the dance changes. Of course, that's how our community is, other
communities may be different.
Have a great weekend!
jackie
www.tangopulse.net
-----Original Message-----
Sent: Wednesday, September 14, 2005 10:41 AM
To: TANGO-L@MITVMA.MIT.EDU
Subject: Re: [TANGO-L] Cabeceo "Eye Game" + tanda suggestion
Hmmmm.. At least here in Atlanta all the milongas (except house parties)
feature DJs that play tandas. While the entire floor might not clear each
time, the purpose of the tandas is usually fulfilled. The tango dancers
around here are almost all educated as to the tandas useage.
The cabeceo OTOH, is not used exclusively or even principally to ask for
dances. Actually, I've noticed that this is the case in all parts of the USA
and Europe that we've visited. I don't think that not using the cabeceo
exclusively to ask for dances is such a tragedy. I'd say whatever works for
the people should be just fine to use.
There is another issue that bothers me more than the use of hand signals,
voice, or the cabeceo to ask for dances. I have developed over time certain
musical preferences for dancing and I really like to dance to some songs
better than others (frankly, there is some music that I just don't want to
dance to). Anyway, what I find a lot in the milongas is that the guys will
indiscriminately ask the women to dance before even knowing what the next
tanda will be like.... If I wait to hear what the tanda will be, there is a
good chance that I'll end up with no partner to dance. OTOH, if I just ask
the partner I want to dance as soon as I get a chance, there is a chance
that the music will be all wrong..... Oh well, I guess in a perfect world
the women would be all sitting and waiting along with the men and when the
music begins, they'd use subtle eye signals and cabeceos to ask and accept
the invitation to dance the music they like best with the partner they
prefer......
Happy tandas to all,
Manuel
visit our webpage
www.tango-rio.com
>From: Andrew Kaye <ethnomuse@YAHOO.COM>
>Reply-To: Andrew Kaye <ethnomuse@YAHOO.COM>
>
>musette fan <musettefan@YAHOO.COM> wrote: I had the chance to experience
>the cabeceo this summer during my first trip to Buenos Aires, and I have to
>say I absolutely love it,
>I do too...
>
> >and applaud any and all effort to introduce it here in the U.S.
>
>I seriously doubt that this will happen for a long, long while, but I'll be
>glad to be proved wrong. What I would like to see implemented in the US is
>the custom of the 3 to 4 song tanda, each separately clearly by a special
>musical cues. This, it seems to me, could be more easily accomplished,
>since we would only have to educate/convince the deejays, and not the
>entire culture. In Buenos Aires, as most people on this list undoubtedly
>know, short bits of swing or other clearly non-tango music are played at
>the end of each tanda. This is a signal that the tanda is over, and allows
>the dancers to graciously leave their present partners (if they have not
>already been separated, ungraciously), and start the cabaceo game afresh.
>This may already be in practice in some US milongas, but it should be
>universal, in my opinion.
>
>Andrew L. Kaye
>https://ethnomuse.blogspot.com
Date: Wed, 14 Sep 2005 15:52:32 -0500
From: Lois Donnay <donnay@DONNAY.NET>
Subject: Re: Cabeceo "Eye Game" + tanda suggestion
When I DJ at our biggest dance of the Month, the Tango Society of Minnesota
milonga, I always use cortinas. It is absolutely correct there. However, at
my more informal milonga at a local coffee and wine bar, I don't. It just
doesn't seem right. Nor when I DJ'd at a local salsa club before the salsa
started or at our outdoor event.
Why? At the TSoM milonga, it's just us - and anyone who attends knows that
they are in a tango environment. If you're at a public venue, it doesn't
seem right to interrupt the music.
> Curtinas, as everything else, like lighting, welcome smile on
> the hosts face, little wine, decorations is to create
> atmosphere. It should neither interfere with ( or worse -
> break ) the trans, or move people apart. It should be for
> their convenience if they want to stop dancing or pleasure if
> they want to continue it with the same partner.
Sent: Wednesday, September 14, 2005 1:47 PM
To: TANGO-L@MITVMA.MIT.EDU
Subject: Re: [TANGO-L] Cabeceo "Eye Game" + tanda suggestion
Hi,
I lead and I follow and sometimes I will say, "I would love to dance the
next vals set with you." If they agree, I make it a point to have eye
contact with that person when the next set occurs.
Also one could ask the DJ when a set of, for example, Calo is coming so that
you can plan to stand close to the dancer.
I know the frustration though. I like to wait to hear the beginning of the
first song also before I decide who to dance with.
Regarding tantas, I play tantas at the beginning and middle of the evening
and stick with one cortina because I play sets of alternative music and I
don't want anyone to be confused. Later though, I drop cortinas because the
nature of the dance changes. Of course, that's how our community is, other
communities may be different.
Have a great weekend!
jackie
www.tangopulse.net
-----Original Message-----
Sent: Wednesday, September 14, 2005 10:41 AM
To: TANGO-L@MITVMA.MIT.EDU
Subject: Re: [TANGO-L] Cabeceo "Eye Game" + tanda suggestion
Hmmmm.. At least here in Atlanta all the milongas (except house parties)
feature DJs that play tandas. While the entire floor might not clear each
time, the purpose of the tandas is usually fulfilled. The tango dancers
around here are almost all educated as to the tandas useage.
The cabeceo OTOH, is not used exclusively or even principally to ask for
dances. Actually, I've noticed that this is the case in all parts of the USA
and Europe that we've visited. I don't think that not using the cabeceo
exclusively to ask for dances is such a tragedy. I'd say whatever works for
the people should be just fine to use.
There is another issue that bothers me more than the use of hand signals,
voice, or the cabeceo to ask for dances. I have developed over time certain
musical preferences for dancing and I really like to dance to some songs
better than others (frankly, there is some music that I just don't want to
dance to). Anyway, what I find a lot in the milongas is that the guys will
indiscriminately ask the women to dance before even knowing what the next
tanda will be like.... If I wait to hear what the tanda will be, there is a
good chance that I'll end up with no partner to dance. OTOH, if I just ask
the partner I want to dance as soon as I get a chance, there is a chance
that the music will be all wrong..... Oh well, I guess in a perfect world
the women would be all sitting and waiting along with the men and when the
music begins, they'd use subtle eye signals and cabeceos to ask and accept
the invitation to dance the music they like best with the partner they
prefer......
Happy tandas to all,
Manuel
visit our webpage
www.tango-rio.com
Date: Wed, 14 Sep 2005 17:07:13 -0400
From: WHITE 95 R <white95r@HOTMAIL.COM>
Subject: Re: Cabeceo "Eye Game" + tanda suggestion
Like Jackie said, there are some things that can be done. I do ask ahead of
time for the next D'Agostino, or the next Darienzo or Rodriguez, etc. One
can also check with the DJ although that's more complicated because the good
DJ's are always changing the next tanda according how the mood of the
crowd.... Of course, when I DJ the milonga I have the luxury and advantage
of knowing when I'll play that one special tanda and I make arrangements in
advance ;-)... Still, I find it strange that guys run to grab partners
before even knowing what music comes next. I guess some people just don't
care what the music will be and it makes no difference to them... Oh well, I
guess it's all just part of tango ;-)
Manuel
visit our webpage
www.tango-rio.com
>From: Tanguero Chino <tanguerochino@NETSCAPE.NET>
>Reply-To: Tanguero Chino <tanguerochino@NETSCAPE.NET>
>To: TANGO-L@MITVMA.MIT.EDU
>Subject: Re: [TANGO-L] Cabeceo "Eye Game" + tanda suggestion
>Date: Wed, 14 Sep 2005 15:13:48 -0400
>
>WHITE 95 R <white95r@HOTMAIL.COM> wrote:
>
> > I have developed over time certain musical preferences for dancing ...
> > ... [Some] guys will indiscriminately ask the women to dance before
> > even knowing what the next tanda will be like.... If I wait to hear
> > what the tanda will be, there is a good chance that I'll end up
> > with no partner to dance.
>
>Well Manual, you will have me on the side-line with you. Of course,
>those guys are always going to pick the best partners too. Is there
>anything the ladies can do to discourage this kind of behavior?
>
>TC
>
>
>As low as $9.95 a month -- Sign up today at
>
>
>Search from anywhere on the Web and block those annoying pop-ups.
Date: Wed, 14 Sep 2005 15:27:56 -0600
From: Brian Dunn <brian@DANCEOFTHEHEART.COM>
Subject: Re: Cabeceo "Eye Game"
Re: Spreading the Eye Game
Andrew Kaye wrote:
>musette fan <musettefan@YAHOO.COM> wrote: I had the chance to experience
>the cabeceo this summer during my first trip to Buenos Aires, and I have to
>say I absolutely love it,
>I do too...
>
> >and applaud any and all effort to introduce it here in the U.S.
>
>I seriously doubt that this will happen for a long, long while, but I'll be
>glad to be proved wrong.
Deb and I teach the eye game in all our beginner class series.
I have used the eye game 100% of the time for years in Boulder, Denver,
Buenos Aires, Chicago, Miami, LA, New York, Portland, Copenhagen, Berlin,
Rome, and other cities in the USA and Europe. It was a little tough in
Berlin, but that was venue-dependent. Ironically, the eye game works more
consistently for me in Boulder and Denver when the Milonguero Festivals are
NOT in session. All of my local partners and some out-of-town acquaintances
are used to me asking them this way, but many out-of-towners are not
accustomed to it, suggesting what others report - that it is not yet
widespread in the USA.
For me it is most advantageous to use the eye game to get a dance (or not)
with someone engaged in casual conversation, where their lack of response is
a clear and face-saving (for all) signal that
they're-busy-at-the-moment-thank-you.
It doesn't work well in poor lighting or with partners who are struggling
with poor vision. For those cases, I get up much closer before trying it,
and use other silent body language cues as well (turning to face them more,
etc.)
Keith Elshaw has a useful collection of cabeceo commentary at
https://www.totango.net/cabeceo.html ;) This is a very useful link for
teachers to pass along to their students.
All the best,
Brian Dunn
Dance of the Heart
Boulder, CO USA
www.danceoftheheart.com
Date: Thu, 15 Sep 2005 09:11:46 -0500
From: Stephen Brown <Stephen.P.Brown@DAL.FRB.ORG>
Subject: Re: Cabeceo "Eye Game" + tanda suggestion
As a dj, I nearly always play cortinas between tandas. For most cortinas,
I use recordings of acoustic guitar. I sometimes use jazz piano. I find
that such music has a relatively neutral effect on the mood, and it is
fairly undanceable.
I think it is important to use undanceable music to educate dancers to the
idea of cortinas. Using a snippet of swing, blues, salsa, rumba, etc. as
a cortina misleads those who don't understand what a cortina is and can
create howls when the cortina is cut off.
I don't usually wait until the entire floor has cleared before ending the
cortina. I wait until people stop leaving the floor. At big milongas,
such as those at festivals, I often find it is necessary to play the
cortina for a longer period of time because it takes longer for dancers to
leave the floor.
As for the cabeceo, I rely almost exclusively on the cabeceo to ask others
to dance. I find it works well--even with those women who are not
completely used to the custom.
With best regards,
Steve
Date: Thu, 15 Sep 2005 12:30:23 +0100
From: John Ward <johnofbristol@TISCALI.CO.UK>
Subject: Re: Cortinas - The topic formerly known as: Cabeceo "Eye Game" + tanda suggestion
Cortinas could never catch on here in Blighty. The name for one thing - over
here a Cortina can only be a car (myth has it that Ford originally wanted to
call it the Caprino until it was discovered that this meant "goat dung" in
Italian). For another, the ballroom tradition is very strong here. We
invented it after all. The aim is to get the generally reclusive and
diffident patrons onto the floor, not off it. I once went to a place where
cortinas were attempted. The DJ used a very nice and very tuneful foxtrot,
which was much better for dancing than his rather dire tangos. I tried to
get him to play the foxtrot all the way through, but he wouldn't.
I have never been to Argentina, and can only assume that the venues are
small and brightly lit. I can't see how the cabaceo could possibly work in a
place the size of the Tower Ballroom in Blackpool, or the old Hammersmith
Palais. I have come across the cabaceo in non-AT contexts, though. I often
go to a ballroom event where the average age is about 70. At 58 I am easily
the youngest there. They seem to have reinvented the cabaceo independently,
as none of them have any interest in Argentine tango. I have also
occasionally come across it in Finland.
John Ward
Bristol, UK
Date: Thu, 15 Sep 2005 11:22:18 -0700
From: Michael at Tango Bellingham <michaele@TANGOBELLINGHAM.COM>
Subject: Re: Cortinas - The topic formerly known as: Cabeceo "Eye Game" + tanda suggestion
John Ward wrote:
> Cortinas could never catch on here in Blighty. The name for one thing - over
> here a Cortina can only be a car (myth has it that Ford originally wanted to
> call it the Caprino until it was discovered that this meant "goat dung" in
> Italian). For another, the ballroom tradition is very strong here. We
> invented it after all. The aim is to get the generally reclusive and
> diffident patrons onto the floor, not off it. I once went to a place where
> cortinas were attempted. The DJ used a very nice and very tuneful foxtrot,
> which was much better for dancing than his rather dire tangos. I tried to
> get him to play the foxtrot all the way through, but he wouldn't.
Hmmm - interesting. I guess my first question is, do they play tandas?
Re: ballroom tradition - yep, we have a few problems here in Hamsterland
with that one, too. The problem we see is the alleged Argentine tango
"milanga" sponsored by USA Dance. They don't play tandas, wouldn't know
a cortina if it bit them on the tuchis, people switch partners after one
dance, there's half a dozen impromptu teaching seminars going on all
over the floor at any time, the music they play runs the gamut from
"Hernando's Hideaway" to ballroom tango CDs played on "Random." Couple
that with floorcraft that models Brownian motion and dancing that
resembles a cross between foxtrot and ballroom tango....
Marjorie and I have danced and taught the survival lesson there a few
times in the spirit of Neville Chamberlain and Rodney King, but it's
just impossible. Polite attempts at education result in, "This is the
way we do our ballroom dances, we're happy with it," or "this is
America, not Buenos Aires or anywhere else, we're going to do it *our*
way." So we gave up trying to work with them.
*sigh* What can you do?
Michael
Tango Bellingham
www.tangobellingham.com
