3590 Porteno (with tilda)
Date: Wed, 6 Jul 2005 22:54:26 -0700
From: Trini or Sean - PATangoS <patangos@YAHOO.COM>
Subject: Porteno (with tilda)
Hola,
Trini, here. There is a term I have heard, "porteno"
(with a tilda over the n), used to describe dancers
who dance as if they are from central Buenos Aires.
It seems to be used in much the same way "milonguero"
is used.
We were surprised last week when a visiting Argentine
couple in their 60's or 70's began speaking Spanish to
Sean directly upon meeting him. The couple mistakenly
assumed he was a porteno by the way he was dancing at
a milonga (despite his Irish looks). By the way, he
dances milonguero in the style of Susana, Cacho, Tete,
etc., though we did do one open salon tango together
just fooling around.
Anyone care to comment on what, if any, defines
porteno?
To Derik: You might want to reread Sergio's note.
To Tine: To complete Sean's earlier response, we both
started in open-embrace salon in 1995 with local
instructors. Our first major professional instruction
came in Cleveland around 1998 (1999?), where we met
Daniel Lapadula who became one of our regular
instructors in open salon w/ V-frame until he moved
back to B.A. From Daniel we learned how to stay
connected no matter what step was being executed.
In 2000, we went to Montreal for Daniel Trenner's
Bridge to the Tango Week, featuring Daniel Trenner,
Brook Burdette, Diego DiFalco & Carolina and local
instructors. The entire week was close-embrace salon
with parallel frame. For Sean, Daniel Trenner was a
big influence in understanding tango. For me, Diego &
Carolina were instrumental in technique. (I have to
say that salon instructors are tops for exercises on
technique). By this point we were handling advanced
workshops in major cities just fine. But it looked
like there was nothing more to learn but just more
steps. I felt like a trained seal.
In 2002, we became beginners again, hosting Susana
Miller for our first exposure to milonguero-style.
After 7 years of dancing tango, we finally fell in
love with the music and with the dance. The style
also pointed out a lot of flaws that we had gotten
away with in close and open salon. Over the years,
many teachers have added their influences to our
dance.
This past year, we have been working on a more elastic
embrace. Our goal, though, is still to figure out how
to communicate better as we dance.
From this viewpoint, I have concluded that technical
things like stepping heel-toe versus toe-heel, V-frame
versus parallel frame, etc. are not as important to
differences in style. Aside from musical
interpretation, the closeness of the embrace, and the
connection with one's partner, I have not quite
decided what all is important in defining styles.
Trini de Pittsburgh
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: Thu, 7 Jul 2005 03:50:18 -0700
From: Rick Jones <rwjones52@YAHOO.COM>
Subject: Re: Porteno (with tilda)
I've always thought of a porteqo as simply an
inhabitant of BsAs, without any necessary connection
to tango.
Here's the definition of "porteqo" in the online
Wiktionary: https://en.wiktionary.org/wiki/Porte%C3%B1o
Rick Jones
Washington DC
--- Trini or Sean - PATangoS <patangos@YAHOO.COM>
wrote:
> Hola,
>
> Trini, here. There is a term I have heard,
> "porteno"
> (with a tilda over the n), used to describe dancers
> who dance as if they are from central Buenos Aires.
> It seems to be used in much the same way
> "milonguero"
> is used.
>
> We were surprised last week when a visiting
> Argentine
> couple in their 60's or 70's began speaking Spanish
> to
> Sean directly upon meeting him. The couple
> mistakenly
> assumed he was a porteno by the way he was dancing
> at
> a milonga (despite his Irish looks). By the way, he
> dances milonguero in the style of Susana, Cacho,
> Tete,
> etc., though we did do one open salon tango together
> just fooling around.
>
> Anyone care to comment on what, if any, defines
> porteno?
>
>
> To Derik: You might want to reread Sergio's note.
>
> To Tine: To complete Sean's earlier response, we
> both
> started in open-embrace salon in 1995 with local
> instructors. Our first major professional
> instruction
> came in Cleveland around 1998 (1999?), where we met
> Daniel Lapadula who became one of our regular
> instructors in open salon w/ V-frame until he moved
> back to B.A. From Daniel we learned how to stay
> connected no matter what step was being executed.
>
> In 2000, we went to Montreal for Daniel Trenner's
> Bridge to the Tango Week, featuring Daniel Trenner,
> Brook Burdette, Diego DiFalco & Carolina and local
> instructors. The entire week was close-embrace
> salon
> with parallel frame. For Sean, Daniel Trenner was a
> big influence in understanding tango. For me, Diego
> &
> Carolina were instrumental in technique. (I have to
> say that salon instructors are tops for exercises on
> technique). By this point we were handling advanced
> workshops in major cities just fine. But it looked
> like there was nothing more to learn but just more
> steps. I felt like a trained seal.
>
> In 2002, we became beginners again, hosting Susana
> Miller for our first exposure to milonguero-style.
> After 7 years of dancing tango, we finally fell in
> love with the music and with the dance. The style
> also pointed out a lot of flaws that we had gotten
> away with in close and open salon. Over the years,
> many teachers have added their influences to our
> dance.
>
> This past year, we have been working on a more
> elastic
> embrace. Our goal, though, is still to figure out
> how
> to communicate better as we dance.
>
> From this viewpoint, I have concluded that technical
> things like stepping heel-toe versus toe-heel,
> V-frame
> versus parallel frame, etc. are not as important to
> differences in style. Aside from musical
> interpretation, the closeness of the embrace, and
> the
> connection with one's partner, I have not quite
> decided what all is important in defining styles.
>
> Trini de Pittsburgh
>
>
>
>
>
> PATangoS - Pittsburgh Argentine Tango Society
> Our Mission: To make Argentine Tango Pittsburgh's
> most popular social dance.
> https://www.pitt.edu/~mcph/PATangoWeb.htm
>
>
> protection around
>
Sell on Yahoo! Auctions no fees. Bid on great items.
Date: Thu, 7 Jul 2005 03:52:50 -0700
From: Rick Jones <rwjones52@YAHOO.COM>
Subject: Re: Porteno (with tilda) - part 2
My bad. I meant 'porteno' with a tilda. The tilda
did not come through, and the 'tilda-n' was rendered a
'q'. Sorry.
RJ
--- Rick Jones <rwjones52@YAHOO.COM> wrote:
> I've always thought of a porteqo as simply an
> inhabitant of BsAs, without any necessary connection
> to tango.
>
> Here's the definition of "porteqo" in the online
> Wiktionary:
> https://en.wiktionary.org/wiki/Porte%C3%B1o
>
> Rick Jones
> Washington DC
>
> --- Trini or Sean - PATangoS <patangos@YAHOO.COM>
> wrote:
>
> > Hola,
> >
> > Trini, here. There is a term I have heard,
> > "porteno"
> > (with a tilda over the n), used to describe
> dancers
> > who dance as if they are from central Buenos
> Aires.
> > It seems to be used in much the same way
> > "milonguero"
> > is used.
> >
> > We were surprised last week when a visiting
> > Argentine
> > couple in their 60's or 70's began speaking
> Spanish
> > to
> > Sean directly upon meeting him. The couple
> > mistakenly
> > assumed he was a porteno by the way he was dancing
> > at
> > a milonga (despite his Irish looks). By the way,
> he
> > dances milonguero in the style of Susana, Cacho,
> > Tete,
> > etc., though we did do one open salon tango
> together
> > just fooling around.
> >
> > Anyone care to comment on what, if any, defines
> > porteno?
> >
> >
> > To Derik: You might want to reread Sergio's note.
> >
> > To Tine: To complete Sean's earlier response, we
> > both
> > started in open-embrace salon in 1995 with local
> > instructors. Our first major professional
> > instruction
> > came in Cleveland around 1998 (1999?), where we
> met
> > Daniel Lapadula who became one of our regular
> > instructors in open salon w/ V-frame until he
> moved
> > back to B.A. From Daniel we learned how to stay
> > connected no matter what step was being executed.
> >
> > In 2000, we went to Montreal for Daniel Trenner's
> > Bridge to the Tango Week, featuring Daniel
> Trenner,
> > Brook Burdette, Diego DiFalco & Carolina and local
> > instructors. The entire week was close-embrace
> > salon
> > with parallel frame. For Sean, Daniel Trenner was
> a
> > big influence in understanding tango. For me,
> Diego
> > &
> > Carolina were instrumental in technique. (I have
> to
> > say that salon instructors are tops for exercises
> on
> > technique). By this point we were handling
> advanced
> > workshops in major cities just fine. But it
> looked
> > like there was nothing more to learn but just more
> > steps. I felt like a trained seal.
> >
> > In 2002, we became beginners again, hosting Susana
> > Miller for our first exposure to milonguero-style.
> > After 7 years of dancing tango, we finally fell in
> > love with the music and with the dance. The style
> > also pointed out a lot of flaws that we had gotten
> > away with in close and open salon. Over the
> years,
> > many teachers have added their influences to our
> > dance.
> >
> > This past year, we have been working on a more
> > elastic
> > embrace. Our goal, though, is still to figure out
> > how
> > to communicate better as we dance.
> >
> > From this viewpoint, I have concluded that
> technical
> > things like stepping heel-toe versus toe-heel,
> > V-frame
> > versus parallel frame, etc. are not as important
> to
> > differences in style. Aside from musical
> > interpretation, the closeness of the embrace, and
> > the
> > connection with one's partner, I have not quite
> > decided what all is important in defining styles.
> >
> > Trini de Pittsburgh
> >
> >
> >
> >
> >
> > PATangoS - Pittsburgh Argentine Tango Society
> > Our Mission: To make Argentine Tango Pittsburgh's
> > most popular social dance.
> > https://www.pitt.edu/~mcph/PATangoWeb.htm
> >
> >
> > protection around
> >
>
>
>
>
> Sell on Yahoo! Auctions no fees. Bid on great
> items.
>
Date: Thu, 7 Jul 2005 07:27:20 -0400
From: Martin Waxman <martin@WAXMAN.NET>
Subject: Re: Porteno (with tilda) - part 2
One way to type Spanish characters on an English language PC keyboard:
1. On the keyboard numeric keypad, press NumLock so that the NumLock light
comes on.
2. Hold down the Alt key.
3. On the numeric keypad on the right of the keyboard, type the following 3
digit code.
4. Release the Alt key.
Alt+160 = á
Alt+130 = é
Alt+161 = í
Alt+162 = ó
Alt+163 = ú
Alt+164 = ñ
Alt+165 = Ñ
Alt+129 = ü
Alt+173 = ¡
Alt+168 = ¿
Alt+174 = «
Alt+175 = »
Alt+167 = º
Alt+166 = ª
Date: Thu, 7 Jul 2005 06:01:36 -0700
From: Rick Jones <rwjones52@YAHOO.COM>
Subject: Re: Porteno (with tilda) - part 2
?Ys| meaq liki thms?
--- Martin Waxman <martin@WAXMAN.NET> wrote:
> One way to type Spanish characters on an English
> language PC keyboard:
> 1. On the keyboard numeric keypad, press NumLock so
> that the NumLock light
> comes on.
> 2. Hold down the Alt key.
> 3. On the numeric keypad on the right of the
> keyboard, type the following 3
> digit code.
> 4. Release the Alt key.
>
> Alt+160 = a
> Alt+130 = i
> Alt+161 = m
> Alt+162 = s
> Alt+163 = z
> Alt+164 = q
> Alt+165 = Q
> Alt+129 = |
> Alt+173 = !
> Alt+168 = ?
> Alt+174 = +
> Alt+175 = ;
> Alt+167 = :
> Alt+166 = *
>
