110 No Subject
Date: Tue, 24 Jul 2001 21:32:31 -0700
From: Deborah Holm <deborah.holm@PRODIGY.NET>
Subject: No Subject
I must apologize to many of the participants on the
Tango-L list, because I receive the list in the
condensed format. The reason that I receive the
list in the condensed format is because I also
maintain an activities list in the San Francisco
Bay Area and get several updates daily for that
list. To see the fruits of my labor, please look at
the web site batango.com and push the button for
activities list. As you can see, if you look, we are
not a "one milonga town" and this takes some work.
The beauty of this work is that I just got a call from
an "out of town" female tango dancer who was here
for a seminar and wanted to thank me for pursuing
to tell her where the milongas were. I told her that
my happiness was when a tango dancer landed at the
airport, and had 15 minutes to get to the milonga.
That is when I feel the best, when I can get them to
the milonga in 15 minutes from landing at the airport.
Although I do this on behalf of the Bay Area Argentine
Tango Association, there are some people who are
not members, but I still have the information for the
non-members and I give that information to the people
also.
Because I have so much traffic regarding updates to
the list, while I want very much to be a part of the
Tango-L "fighting repoire," I must continue to receive
the list in the condensed format. So, I will always be
the fool, but I still want to be involved.
And, Mark, catch me if you can, Big Boy!
Deborah
San Francisco, California, USA
Date: Wed, 12 Sep 2001 12:16:44 EDT
From: Sherrie Pallotta <SherPal@AOL.COM>
Subject: (no subject)
To all the people in the world expressing regrets about the tragedy in the
US, i say thank you. It is a wonderful thing to be linked to the world
through the dance of tango which bridges all our humanity and binds us to one
another across cultures, distances, intellects and philosophies. If all
people could share the tender embrace of the tango, the trusting hold of a
man for his partner, the deep, passionate and sensuous strains of the music
and lyrics, if all people could experience that heart connection that we all
know through the dance of Argentina, then perhaps the whole world would be a
sweeter place where no one would or could take up the arms of terror and
destruction against another human being. I think we can all be glad that
tango has softened us and made us more loving, tender, compassionate and
embracing people. I thank tango and Argentina for that. Sherrie, USA
By the way, I am coming to BSAS on Friday, sept 14, where does Pichi's
discussion group meet and on what days? thank you in advance.
Date: Thu, 13 Sep 2001 09:31:38 +1200
From: Melroy Roddie <MelroyR@ADHB.GOVT.NZ>
Subject: <No subject given>
I would like to send my deepest sympathies to all those in America in the
wake of the terrible attacks on your country,
and indeed the free world.
The whole world is in shock.
Everyone I come in contact here is very upset.
Deepest Sympathy ,
Mel .... New Zealand.
Date: Tue, 2 Oct 2001 00:53:17 -0700
From: clayton beach <akumushi@ONEBOX.COM>
Subject: <No subject given>
Hi list,
A while ago I came across some mp3's that really impressed me.
They were songs performed by the orchestra of Anibal Troilo, but they
had a lush, passionate feel that I would normally attribute to pugliese.
Underneath this they had the solid beat and complex rhthyms that I would
expect from Troilo. The quality of the sound was also very impressive.
I've found too many CD's of Troilo's music where the recordings were
severely distorted and scratchy.
The songs that I found were danzarin, los mareados and la bordona.
I was wondering if anyone knew what CD might contain these tracks, or
other songs that were like them. I was impressed to find that Troilo
could also craft passionate, slower music.
Thanks,
--
Clayton Beach
akumushi@onebox.com
Date: Wed, 24 Oct 2001 03:36:35 -0700
From: clayton beach <akumushi@ONEBOX.COM>
Subject: <No subject given>
Dear List,
Well, this started out as a simple response, and kept on growing. I
spend entirely too much time philosophizing about this dance. Please
try to read it through, and hopefully it will make sense at the end.
These are the musings that keep me from doing school work. Anyway,
enjoy:
I think everyone has experienced tango plateaus:
You start to think that you're really getting good, that you've got it
all under control, and you don't have a whole lot of room for improvement.
You're getting really comfortable with your dance and start getting
cocky, then WHAM!
Now you can't do anything right, you suck at dancing, your feet don't
work, everything s horrible.
Bit by bit you start to see things differently, get more comfortable,
then you start to think that you're really good...
Does this cycle sound familiar?
It's happened a hundred times since I started, and will have happened
a million by the time I die.
Anyway, my latest epiphany, and something I been focusing on has some
bearing on the topic of centering the follow.
First, we must keep in mind that the woman should have an autonomous
sense of her own balance. She should be capable of almost everything
on her own. This is accomplished by practicing alone, and with dancing
a lot. If a follow wants to get real good, she should dance with good
leads, but she should also dance with the really shitty ones. Show me
a follow that can keep her balance and look dignified with a horrible
lead and I ll be the happiest man alive.
I the woman works hard she can gain a true sense of balance. Hopefully,
the lead will do his job and she won t need it too much, but the best
offense is a good defense.
For a follow that has mastered her own body, the mechanics of the dance
follow a simple set of rules
The tango only consists of side, back and forward steps, which can be
further simplified to open (side) steps, cross (forward/back) steps
and pivots. If the woman can keep her balance during open and cross
steps as well as pivots, then she will be able to follow anything a man
LEADS WELL.
So, how does the man lead well?
He must first realize that everything is open, side, or rotation. If
a man thinks in anything more than two, at most three steps at a time,
he has left his partner and is dancing alone, in his head.
For me, the most important thing is the woman's body and her comfort.
All of my attention should be given to her. The music is the blood
through my veins, it s something that has so permeated my existence that
I cannot imagine life without it. I cannot stress the importance of
listening to LOTS of the music. It is something that both the lead and
the follow should not even be thinking about, just like they re not focusing
on (breath in breath out, breath in, breath out) Maybe it s why people
seem to think that only Argentines can really feel the tango. They are
exposed to it form birth, whether their parents dance or not, it is part
of their common heritage. Just as some Americans don t particularly
like jazz, there it is part of our cultural heritage.
Anyway, the music should be not even be an issue. A good follow becomes
an extension of my own body, and I can feel exactly where she is. I
can be aware of every muscle in her body and when I move, she follows.
There is a portion of my brain dedicated to moving limbs that are not
even a part of my body. This is why it takes a little more than a couple
of dances to really be able to dance well with someone, and why people
in relationships dance so well together. Just like your first bumbling
romantic encounters, you must learn your partner s body before you can
dance well. Every woman has particular strengths and weaknesses, and
it s up to the man to support her where she is weak, and provide her
with opportunity s to show off her strengths. This takes time, and forging
ties with the dancers in your community is an important step in improving.
There is an intimate bond between the lead and the follow, and it is
something so beautiful that to bring any sexual or egotistical feelings
into it is to defile its purity. Sure the tango is sensual, but it is
far more sophisticated than a mating ritual. In my opinion, it is
the most beautiful part of humanity. The lead and follow are the most
pure forms of human communication, and the tango is an incredible amalgamation
the arts: music, poetry, and movement.
The lead must respect his partner s body, and she must be willing to
trust him with it. In order to lead, the man must position his body
around her axis to invite her into the next movement. Here s an example
of how this applies to the dance:
To keep the woman's balance during (rotational) boleos, the man cannot
move her side to side (away from her axis). These movements are entirely
rotational energy. The boleo occurs by changing the direction of rotation
precisly when her body has reached it's limit. Remember when you played
with a yo-yo? It goes down, and if you change its direction at the right
point, the yo-yo returns. That is the "sweet spot" discussed earlier.
The lead must be able to feel the tension in her body, and use it to
create the snap. It s like a rat s tail with a wet towel. It takes
very little force to make it sting. The speed and timing of the move
are the critical parts. Line boleos are the same, only he is pushing
her off her axis. Using up energy, he prevents her from stepping, if
he changes direction right before she loses balance, then boom; you've
got a line boleo. These movements are examples of how the man must respect
the woman's center, and be able to feel the energy in her body. Follower's
feel clumsy or unskilled when unskilled leads take them off of their
axis. The key to leading is for the lead to position his body such that
the movement that he is intending to lead is the only movement that she
can without compromising her balance. If leads can manage this, and
follows know their bodys well enough to ALWAYS maintain their balance,
then tango nirvana is reached.
Just like electricity, a good follow will follow the path of least resistance.
If the lead respects her axis, and she is comfortable, then a follow
will reach this "nirvana" or "tango trance." It is when she can finally
relax, feel comfortable without trying to second guess what the lead
wants, that a follow can clear her mind a just FOLLOW.
If she does not have her balance, (if the lead is pushing or pulling
her over) then she will have to be conscious of what the lead s trying
to do. She will start anticipating n order to avoid discomfort.
As a beginning (an extremly inexperienced) follow, I know that I can't
follow anything too complicated. It's because I haven't developed my
"following balance." The balance that a follow must have and that required
of a lead are completely different worlds. We leads don't have to worry
about some menace trying to contort our bodies, stepping on our feet
and kicking our shins. The best thing for a man to do about his balance
is to start following. It's sink or swim!
More than ever, I'm realizing that the dance is composed only of the
three elements I spoke of earlier(open, cross, rotation). The complexity
arises in how the two partner's bodies are related in space. "Moves"
get their unique look from the combination of how the partners are stepping,
the timing of these steps, the amount of torque(rotation) in their torsoes,
and the orientation of their bodies(side to side, facing, side to front
et cetera).
If a move isn't working, if one partner is off balance, then one of these
elements is out of sync. The reason why we should go to lessons and
intend workshops is not patterns. It is to gain the knowledge of what
relationship, what combination of the fundamentals is needed for the
move to succeed. This is why we hear about the triangles, L's, circles
and all of the other geometric interpretations teachers use. They are
ways that a teacher attempts to explain the necessary elements of a whole
family of moves. If you can do one sacada well, one boleo well, one
gancho well, and you have been taught the mechanics and elements necessary
for all of these moves, then there is no reason that you can't take some
time to goof around and find all of the other ganchos, sacadas and boleos.
Working in the mirror image of a patterns you know will double your
repertoire. Double it again by doing all of your moves completely reversed!
(imagine a tape of yourself dancing being rewound). Want to double
it again? Try leading your moves only switching the roles. If you start
to dissect the dance like that, then you ll start to realize that things
that you thought were different patterns are actually just the mirror
image or the reverse of a pattern you ve already been taught. This is
how people who can really improvise well can do it. Limit yourself from
the confines of what you ve been taught. Get together with friends and
practice, throw topics at each other and goof around.
Workshops and classes are for technique, getting pointers on how your
body is interfering with the dance, getting stylistic tips, and being
shown the fundamental elements of the dance. Good instructors know this,
and they may use particular patterns or "moves to give an example of
an entire family of related concepts. If all you get from a class is
a couple of patterns that you ll forget in a month and that aren t even
fit for social dancing, then you ve wasted your money. Two instructors
that I've had the opportunity to study with that take this approach are
Metin Yazir and Fabian Salas. Both are great guys, with an awesome understanding
of the human body as well as the mechanics of the dance. Every minute
with these guys is valuable. There are other instructors that I go to
purely for the artistic and interpretive side of the dance. Leandro
Palou and Andrea Misse are a couple that teaches together. If they EVER
come to your town, you owe it to yourself to check them out.
Time for discovering moves, and finding variations is the practica.
Intermediate dancers are wasting their time and money when the lessons
ignore the "fundamentals" and focus on patterns. You can t do these
moves until you really understand how to use your body.
You want the most valuable time with a travelling instructor? Take the
"fundamentals" Class. No follow cares how many moves you know if you
can't make her WALK comfortably.
At any rate, these are my current musings about the dance. Thanks to
everyone that actually read it all the way through!!!
Get out there and enjoy yourselves.
Sincerely,
Clayton Beach,
San Diego CA
Akumushi@onebox.com
--
Clayton Beach
akumushi@onebox.com
Date: Mon, 26 Nov 2001 20:59:31 -1000
From: Ingrid Peterson <georgous1@HOTMAIL.COM>
Subject: <No subject given>
Dear Tango People,
I have a favor to ask all of you. . . One of my friends (female) has
recently decided to be brave enough to try to learn how to lead. As a woman
who also leads and follows, I support her whole-heartedly but she has
encountered some unfortunate events which has made her drive to do so
falter.
I ask all of you to answer some questions.
I want to know what other women think about fellow women learning to lead. .
. and if they find it strange to dance with women who lead. . . god knows
I`ve definatly encountered such an issue. Remember, we need to help
eachother and fuel the passion that is known as Argentine Tango!! I call on
women all around the world, if you find yourself in a position where another
woman asks you to dance, be willing and helpful and dance with her.
MEN. . . I reckon there are going to be a wide divide between those of you
who are old school and think that women should not lead at all and those who
think nothing of it. I ask those who disagree with such a thing to be
patient- maybe there is something you can learn from these women. . . those
who do agree, ask these women to lead YOU around the dance floor!!
I have encountered enough to know that everyone is entitled to their
opinion, but that should not include shutting people out because they are
trying even HARDER to learn more about such a wonderful dance. I have to
say, knowing how to lead and to follow has helped my following technique
quite a bit. . . also, I find I can help leads to better their technique and
they can do the same for me. PLEASE know that we are just trying to learn
and that ostrasizing us will not help the situation.
Those of you who read this (men), and think that I have lost my mind, I
welcome you into my craziness. I welcome any thoughts on this topic and
welcome emails where I have to defend myself on this topic. Bring it on!!
Ingrid.
Date: Fri, 28 Dec 2001 01:33:47 -0800
From: Bugs Bunny <bugsbunny1959@HOTMAIL.COM>
Subject: <No subject given>
Astrid,
If you call being considerate & polite to someone you don't, I'd advice
consulting a dictionary & finding a better word for what you're trying to
articulate. The new women I dance with are comfortable with the information
phrased that way & so am I.
I don't attach any meaning or significance to either close or open embrace.
I dance because I love to & to have fun. If someone is dancing to impress
other people, that sounds more like narcissism, something a sometimes
pretentious dance like Tango doesn't need.
Cheers,
Bugs Bunny
Portland, OR
Date: Wed, 13 Mar 2002 00:53:02 -0800
From: clayton beach <akumushi@ONEBOX.COM>
Subject: <No subject given>
Alberto says:
>It is very obvious that you have not been to a real milonga, like ina
>milonga in Buenos Aires, where those who bump (read don't know how >todance)
>get their ass kicked out of the room, along with those who refer to
>dancers
>as "leads" and think a milonga is a playground. :-)
Hmmmm, could someone not be accustomed to a thing called... "humor"?
And since when have the only "real" milongas existed in Buenos Aires?
That kind of thinking is the same BS that promotes stereotypes like 'only
Portenos can feel the music', or 'only portenos can dance real tango.'
As for people getting there ass kicked for bumping another person...
People get shot for cutting people off in traffic. Does this make it
an intelligent or socially acceptable course of action? In any Porteno
attitudes should be left in the dust of progress, the visions of compradritos,
knife fights and violence are included.
It would be nice if for once men could leave some of their testosterone
at home. Dancing well should be enough to avoid most dancers, and kicking
their ass won't prove anything more than your stupdity.
--
clayton beach
akumushi@onebox.com - email
(866) 248-7670 x7206 - voicemail/fax
---- tangoman@planet-tango.com wrote:
> >We could go the Galager route:
> >a) Every one recieves a plastic dart gun upon paying the cover
> >b) We all get a bunch of darts labelled "stupid"
> >c) When bumped, simply shoot that lead with the "stupid" dart
> >d) Finally, anyone exceeding their alloted three bumps, signified
> by
> >the darts that they wear, is asked to sit down for a few songs or
> leave
> >to altogether.
> >;)
> >--
> >clayton beach
>
> It is very obvious that you have not been to a real milonga, like in
> a
> milonga in Buenos Aires, where those who bump (read don't know how
> to dance)
> get their ass kicked out of the room, along with those who refer to
> dancers
> as "leads" and think a milonga is a playground. :-)
>
> Alberto
>
>
>
Date: Fri, 8 Mar 2002 11:02:41 +0200
From: syuna <syuna@TURK.NET>
Subject: <No subject given>
Dear Janis,
I agree with many points you have mentioned in your mail except one,
the one about Geraldine.
I know that Geraldine is performing stage tango and I watched her few
times but I know that she is also a very good social dancer and she
has been dancing in the milongas for many years. Actually she started
her tango as a social dancer when she was very very young together
with her ballet education. In december I saw her many times in many
milongas and had the chance to see that she is a beloved social
dancer.
Best wishes
MELIN from Istanbul
Date: Fri, 21 Jun 2002 10:07:00 +0200
From: H D Haberstroh <HDHaberstroh@T-ONLINE.DE>
Subject: <No subject given>
I intend to finish my degree in psychology with a work about argentine tango. It is hard to find special research literature. Does anybody know =
about essays and themes that joined psychology, argentine tango, motion, emotion?
Helga
Date: Fri, 21 Jun 2002 08:19:40 -0700
From: Jai Jeffryes <doktordogg@YAHOO.COM>
Subject: <No subject given>
--- H D Haberstroh <HDHaberstroh@T-ONLINE.DE> wrote:
> I intend to finish my degree in psychology with a
> work about argentine tango. It is hard to find
> special research literature. Does anybody know about
> essays and themes that joined psychology, argentine
> tango, motion, emotion?
Anthropologist Julie Taylor wrote an excellent book
called "Paper Tangos". Does that help?
Jai
Date: Fri, 21 Jun 2002 16:00:29 GMT
From: michael <tangomaniac@JUNO.COM>
Subject: <No subject given>
Helga:
The New York Tango Festival (www.nyctango.com) presents Oscar Gillespie. His speech is entitled is "Psychology and Tango." If you look at their web page, you might find a telephone number for him.
Michael Ditkoff
Washington, DC
---------- H D Haberstroh <HDHaberstroh@T-ONLINE.DE> writes:
I intend to finish my degree in psychology with a work about argentine tango. It is hard to find special research literature. Does anybody know about essays and themes that joined psychology, argentine tango, motion, emotion?
Helga
I'd rather be dancing argentine tango
Date: Fri, 21 Jun 2002 11:25:55 -0700
From: Ilona Koren-Deutsch <ilonakd@YAHOO.COM>
Subject: <No subject given>
--- Jai Jeffryes <doktordogg@YAHOO.COM> wrote:
> --- H D Haberstroh <HDHaberstroh@T-ONLINE.DE> wrote:
> > I intend to finish my degree in psychology with a
> > work about argentine tango. It is hard to find
> > special research literature. Does anybody know about
> > essays and themes that joined psychology, argentine
> > tango, motion, emotion?
>
> Anthropologist Julie Taylor wrote an excellent book
> called "Paper Tangos". Does that help?
Off the top of my head:
_Tango and the Political Economy of Passion (Institutional
Structures of Feeling)_ Marta E. Savigliano. 1995: Westview
Press.
_Masculinities: Football, Polo and the Tango in Argentina
(Global Issues)_ Eduardo P. Archetti. 1999. Berg Pub Ltd.
_Tango!: The Dance, the Song, the Story_ Simon Collier, ed.
1997. Thames & Hudson.
_Tango passion du corps et de l'esprit_ Nardo Zalko. Milan eds.
(I think this is the book I'm thinking of.)
_Tango nomade: itudes sur le tango transculturel_ Pierre Monette
et Ramon Pelinski. Triptyque.
But as an (ex) academic, I have to ask: Have you tried a
library? An internet search? I found the complete references for
each of the titles I remembered simply by poking around on the
net.
-Ilona
Date: Mon, 9 Sep 2002 18:24:59 +0000
From: Daisy Gardiner <tawny_port@HOTMAIL.COM>
Subject: <No subject given>
Sorry for the poor formatting. I'm posting this again.
As a woman, I can only speak from observation, not from first-hand
experience.
It seems to me that classes with a focus on solid technique, with just
enough "steps" to insure a sense of immediate success on the dance floor
might be a useful approach once you've got the guys in the room. North
Americans tend not to be into delayed gratification, so it's important for
dancers to feel early-on like the dance can be mastered and that learning it
will be fun. That's where the ladies come in. If we think of ourselves as
"dance dummies" as some women put it, in attendance just so men have someone
to practice with, then we don't convey the joy of the dance. I think that
women can help keep the beginner men there by being encouraging and even
enthusiastic.
And, there are advantages to dancing with beginners:
1. They don't usually have fat heads filled with the conceit and delusions
of intermediate dancers who think they're advanced.
2. They're grateful that you're dancing with them.
3. In a class or practice, they often welcome feedback.
4. They may develop into fabulous tangueros who will remember you and
always offer you dances when they see you.
5. They may turn out to be great people that you want to talk to as well as
dance with.
So let's give these guys a break. I don't know of anyone who was born
dancing tango well. It takes work; it takes time; it may take the
encouragement of partners.
As for getting the guys there in the first place, let's ask those places
that seem to have been more successful than most: Portland, Denver and
Montreal come to mind. Lots of good male dancers. What's different about
their approach that makes it more successful? Is it related to the tango
community as a whole or to individual teachers? Let's hear from you.
Daisy
Date: Fri, 4 Oct 2002 21:12:47 +0000
From: Brian Taylor <briantaylor990@HOTMAIL.COM>
Subject: <No subject given>
My experience in Buenos Aires was as follows.
The first night I went to a milonga, I was mesmerized by the beautiful
ladies, the music and the couples dancing.
I followed the ritual of staring but they avoided establishing eye contact
as soon as they notice me. I was somewhat frustrated but I really enjoyed
the energy of that place and the opportunity to be there. I left by 4 AM
without dancing one little tango.
The following day I took a lesson and I went to a practica.
I discussed my experience the night before. "They have to see you dancing
first" somebody told me. "Come with us tonight".
I joined them, two Argentinean men. They introduced me to a couple of ladies
that accepted to dance with me. After that it was downhill.
I almost fainted when I stared and a beautiful pair of dark eyes responded
with a stare and a nod. I danced all night and kept dancing in dreams once
back at the hotel.
I returned to the same place and tried new milongas but always with somebody
that I had met before during a lesson or a practica to be certain I could
dance to be seen at the floor.
I had a great time!
Date: Fri, 11 Oct 2002 02:12:38 -0400
From: Nicole Dowell <bailadora2000@EXCITE.COM>
Subject: <No subject given>
--- On Thu 10/10, Jonathan Thornton wrote:
"Technique is to be practised until it can be forgotten in the
dance. Like playing scales and fingering exercises it's necessary but it's
not the song. The song can be heard in the heart and danced from the heart.
The head has done its job in the hours, weeks, years of
preparation. It now needs to give way to the heart and allow it to dance
the feeling truth in the music."
I like how you put that Jonathon. It's so true. There are people out
there that are good dancers, and those that are good technicians, but the
ones who can use the technique to train their bodies to move to what their
hearts and souls feel, are the best dancers. (same can be said for
musicians, singers and artists)
I've been dancing since I could walk, but when I first started my
professional training in technique (as a competitive dancer)... I forgot
how to dance. I remember training at the studio hours every day, and then
I went out one night after my first couple weeks of intense training, and I
couldn't dance. My feet, my body, nothing moved right. I was thinking too
much.
Technique is definately useful and I do believe its how any artist (singer, dancer, musician, etc) can excel in their art, but it's not something you can think about
after the music starts. Technique should be practiced as an exercise over
and over and over and over until your body just knows what it's supposed to
do, without you worrying about it. Then when the music starts...just let
your body move. Forget all the technique because it won't tell you how to
dance. Only your heart and soul as it listens to the music will tell you
that. You train your body with technique just to make the message your heart and soul is trying to give as clear as possible.
Nicole
Miami
Date: Fri, 11 Oct 2002 11:48:00 -0400
From: Boris Boriss <bie@RCN.COM>
Subject: <No subject given>
Hello. I am writing with regards to finding good instructors in Buenos Aires
for an intermediate level tango dancer. I will be visiting Buenos Aires in a
few months and am interested in taking some lessons. Could anyone recommend
some good male instructors? I am an intermediate level tango dancer.Also,
could someone please let me know where I can go for Milongas while in Buenos
Aires?
I will be in Argentina during the later part of Dec into Jan. Thanks again.
Boris
Date: Wed, 20 Nov 2002 21:15:11 -0800
From: none none <data20032002@YAHOO.COM>
Subject: <No subject given>
Hi, I'll be visiting Buenos Aires over New Years. Can somone recommend some place special to spend New Years? Are there any special tango shows or anything like that for the holiday? How much money does it cost? Any suggestions is highly appreciated.
I have been studying tango for a couple of years and am an intermediate dancer.
Thank you,
D
Date: Fri, 22 Nov 2002 10:07:27 -0800
From: none none <data20032002@YAHOO.COM>
Subject: <No subject given>
Hi
I will be in Buenos Aires in Late December till the middle of January. I was wondering if someone could tell me where some I can go for Milongas. I will be with a group of 8-10. We are an older crowd mostly. Intermediate/advanced dancers.
For a private lesson, does anyone know how much I will have to spend? can someone recommend some place where I can go for this. Are their tango academies? with reputable teachers?
Can someone recommend a place for us to spend New Years? Are there special tango shows for the new year?
Thanks
D
Date: Tue, 17 Dec 2002 10:49:45 -0500
From: Vicky Ellinson
Subject: <No subject given>
Hello,
I will be in Miami Dec. 26th - Jan. 1st. Can anyone recommend me which
milongas I should attend ? Is there anything on New Years Eve ?
thank you,
Victoria (Washington DC)
