The Tango-L mailing list archive
Digest from 9 May 1999
to 10 May 1999
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Date: Mon, 10 May 1999 03:00:00 -0400
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Subject: TANGO-L Digest - 9 May 1999 to 10 May 1999
There are 16 messages totalling 844 lines in this issue.
Topics of the day:
1. Changing Partners (3)
2. Ithaca tango
3. USTC "Tango Fantasy on Miami Beach"
4. Rotating Partners
5. Leaning Post
6. AT in South Africa
7. Milongas en Barcelona or Madrid?
8. barrio, barrio
9. Ernesto Fama'
10. sore feet
11. London Tango
12. another answer to burnout
13. Dance Tango in Argentina (New Site)
14. TANGO-L Digest - 8 May 1999 to 9 May 1999 Re: Rotating Partners :-) or :-(
Date: Sun, 9 May 1999 11:02:44 -0700
From: Kate Withey <withey @SFO.COM>
Subject: Re: Changing Partners
Uh-oh; another hot-button issue.
Shirley Bossier says:
> I recently had a conversation with a local producer of tango workshops
> regarding this problem i.e. dancers of inequal abilities paired throughout a
> class. I mentioned my recent approach which is to attend a class with a
> partner and not rotate - he agreed that this was probably the best way to
> ensure getting full value out of the class.
I beg to *vehemently* differ. For one thing, this sounds like someone
completely oblivious to the gender imbalance in dance (unless that's not an
issue in your area, in which case you're lucky!). If you can only take
workshops if you have or can find a partner, that may mean many people are left
out.
But more importantly, people learn *so* much faster & better in classes where
partners are switched regularly. If either of you doesn't quite get something,
by the time you've done it with half a dozen other partners, you'll have a much
better understanding of it. The couple also can't get away with their own
"secret code" sorts of leads that sometimes happen between people who only
dance with each other; they quickly find out when dancing with someone else
that they need to lead (or follow) in a generally-agreed-upon way.
Carol Ruth Shepherd says:
> ... I find that instructors who are the most
> professional will, if directly approached, always respect and honor a
> discreet reminder to please keep rotating the partners in a class,
> because they understand why you are needing to ask.
This, alas, is close to impossible. Once stuck with a bad partner in a class
that's not rotating, it's etremely awkward to leave your partner, go talk to
the teacher, & ask them to rotate ... then if they do it immediately, it's
obvious to your partner you're trying to get rid of him/her. Even worse, some
teachers will ask the class "Do you want to rotate?" -- how can one possibly
say "YES!" ? Almost as bad are the classes in which people are rotated maybe
once or twice, leaving people who expected to dance with their partner stuck
with someone else, but not learning from a variety of partners.
I think it should be clarified in advance: in the advertisements for workshops,
it should say if there will be no rotation & one should come with a partner.
Otherwise -- teachers, are you listening? -- please, *please*, PLEASE rotate
*regularly* (like, every 5 minutes) in all classes.
Just one partnerless woman's opinion....
-Kate Withey
Date: Sun, 9 May 1999 15:58:49 -0600
From: Robin Young <rdcuer @MICRON.NET>
Subject: Re: Changing Partners
Perhaps a "Timer with a 5-10 minute Bell" to change partners would help.
I know from experience teaching that "time" slips away while you are
concentrating on the teaching of a figure. Robin in Idaho
Kate Withey wrote:
>
> Uh-oh; another hot-button issue.
>
> Shirley Bossier says:
>
> > I recently had a conversation with a local producer of tango workshops
> > regarding this problem i.e. dancers of inequal abilities paired throughout a
> > class. I mentioned my recent approach which is to attend a class with a
> > partner and not rotate - he agreed that this was probably the best way to
> > ensure getting full value out of the class.
>
> I beg to *vehemently* differ. For one thing, this sounds like someone
> completely oblivious to the gender imbalance in dance (unless that's not an
> issue in your area, in which case you're lucky!). If you can only take
> workshops if you have or can find a partner, that may mean many people are left
> out.
>
> But more importantly, people learn *so* much faster & better in classes where
> partners are switched regularly. If either of you doesn't quite get something,
> by the time you've done it with half a dozen other partners, you'll have a much
> better understanding of it. The couple also can't get away with their own
> "secret code" sorts of leads that sometimes happen between people who only
> dance with each other; they quickly find out when dancing with someone else
> that they need to lead (or follow) in a generally-agreed-upon way.
>
> Carol Ruth Shepherd says:
>
> > ... I find that instructors who are the most
> > professional will, if directly approached, always respect and honor a
> > discreet reminder to please keep rotating the partners in a class,
> > because they understand why you are needing to ask.
>
> This, alas, is close to impossible. Once stuck with a bad partner in a class
> that's not rotating, it's etremely awkward to leave your partner, go talk to
> the teacher, & ask them to rotate ... then if they do it immediately, it's
> obvious to your partner you're trying to get rid of him/her. Even worse, some
> teachers will ask the class "Do you want to rotate?" -- how can one possibly
> say "YES!" ? Almost as bad are the classes in which people are rotated maybe
> once or twice, leaving people who expected to dance with their partner stuck
> with someone else, but not learning from a variety of partners.
>
> I think it should be clarified in advance: in the advertisements for workshops,
> it should say if there will be no rotation & one should come with a partner.
> Otherwise -- teachers, are you listening? -- please, *please*, PLEASE rotate
> *regularly* (like, every 5 minutes) in all classes.
>
> Just one partnerless woman's opinion....
>
> -Kate Withey
--
IdahoWebSite http://netnow.micron.net/~ryoung
"People don't stop dancing because they get too old;
People get too old because they stop dancing." ANON
Date: Sun, 9 May 1999 20:17:05 -0500
From: dmcree <dmcree @BHIP.INFI.NET>
Subject: Re: Changing Partners
Hello dancers,
When I was a beginning ballroom dancer there were people who didn't want
to be bothered with me because I wasn't "good enough" to be their
partner on the dance floor.
I remember all of those people who were too good for me. Especially when
I sail past them on the dance floor and when they approach me later and
say "Save a dance for me David!"
It would be nice if there were some way to more effectively segregate
levels of ability in tango workshops. I have taken a significant number
of workshops where I was completely worn out being a "leaning post" for
dancers who just learned an ocho and are in an "advanced" workshop.
However, few of us have tango communities that are large enough or
developed enough to withstand such segregation. In the Tampa Bay Florida
area we struggle just to get enough bodies in the door to pay the
visiting "master."
I view putting up with beginners in advanced workshops as an investment
in the future of our tango community. And, selfishly, as an investment
in future partners. Not once has a beginner ever failed to thank me
endlessly for my patience with their lack of experience or knowledge
during a workshop.
For my own development, I take privates and go to practicas where more
advanced dancers are in attendance. Many of my favorite partners today
were beginners less than a year ago. Thank goodness I tolerated their
presence during their initial workshops.
Last summer I attended a west coast swing weekend and encountered some
of the most blatant dance snobbery I've ever experienced. Fortunately, I
also encountered some of the most wonderfully friendly people I've ever
met. To all our good fortunes the "dance snobs" were also "too good" to
be bothered with participating in the workshops.
Beginners become intermediate dancers. Intermediate dancers become
advanced dancers. We all want to dance with advanced dancers. Beginners
do not lose their memory as a by-product of becoming advanced. I left
the beginning stages of ballroom long ago, and in our tango community at
least, I am considered an advanced dancer. I well remember those who
encouraged me and danced with me and helped me in workshops without
regard to my ability, and those who snubbed me.
Paybacks are hell.
David McRee, Bradenton, Florida
Date: Mon, 26 Apr 1999 03:57:38 -0400
From: Matej Oresic <matej.oresic @CORNELL.EDU>
Subject: Re: Ithaca tango
Tango week in Ithaca, planned for the last week of June, has been canceled.
We planed for this week to be associated with the University, but were
ultimately unable to raise enough support at Cornell University for this
week to happen. The "cover" of the University was essential in many ways
for the ambitiously planned format of our tango week to succeed.
Hopefuly with the highly succesful events such as Winterfest this year, we
will be heard one day... However, like last year, we will have an extended
weekend of "tango festivities" on June 25-27 [some classes, but emphasis
will be on the nightlife, incl. truco playing ... more TBD], and on October
29-31 we will have our Fall Festival with New York Tango Trio, Facundo&Kely
and possibly more.
Best regards, and sorry if the notice about the cancelation of the Tango
Week got to you so late.
Matej
Jeffrey Blustein wrote:
> Does anyone have the dates for the Ithaca tango week this June? Thanks.
> Jeffrey Blustein
Date: Wed, 28 Apr 1999 23:18:14 EDT
From: Randy Pittman <MailAlive @AOL.COM>
Subject: USTC "Tango Fantasy on Miami Beach"
Hola Tangueros,
We are almost there. May 23rd is just around the corner. This year's
all-star staff of instructors: Juan Carlos Copes & Johanna, Guillermina &
Roberto Reis, Lorena & Osvaldo Zotto, Fabian Salas & Lucia Mazer, Fernanda
Ghi & Guillermo Merlo,and Daniel Trenner will be awaiting your arrival.
There is still time to climb on board and join Tangueros from all over the
world. Dancers from Latin America, Israel, Australia, Europe and, of course,
the USA are joining us for a memorable Memorial Day Tango Vacation.
We have been advised by the NDCA that individuals wishing to compete will not
be required to be registered full Congress. Anyone registered with the NDCA
may participate in all NDCA sanctioned events by paying the entrance fees for
the individual competitions.
Six Couples will be going to the United States DanceSport Championships in
September for the finals. 1st place will receive $1,000.00, 2nd $600.00, 3rd
$400.00 4th place thru 6th place will receive $200.00 each couple. Yes,
there will be more prize money at the finals.
Moonlight walks on the beach plus many other exotic adventures await you here
in Miami. Visit us at our website www.bestofdance.com. To register call
305-274-2705.
See you Memorial day in Miami
Randy & Lydia
Date: Fri, 7 May 1999 09:31:23 +0000
From: Carol Shepherd <shepherd @ARBORLAW.COM>
Subject: Re: Rotating Partners
Colin Brace wrote:
>
> However, I also have had less than glorious experiences: at the
> workshop of one well-known teacher there, I was assigned to a English
> woman, a head shorter than me, six or seven months pregnant and wearing
> birkenstock sandles,
Given that people in general are going to be a different height and
weight, as a rule each dancer will generally be needing to adjust to a
shorter or taller partner. The adjustment is usually mostly within the
skill of the leader and easily made, unless that leader does not
generally dance with a variety of partners. If both dancers have some
experience (which seems not to have been the case for you here), a good
lead-follow partnership should be possible regardless of weight and
height. I agree it is more difficult to keep my own balance correctly
with a much shorter lead (a head shorter than me), than it is with a
lead of my height or greater. I always assumed that shorter follows
were easier to manage than taller follows, for the men.
> who had never taken a tango class before, and
> wandered in off the street, more or less. Unfortunately the teacher
> didn't rotate us for the rest of the class, so I hardly got a chance to
> practice the rather complex figure he had taught.
This is the real problem, having to spend an entire class with a partner
of greatly different ability from your own, or no partner at all (in the
case of gender imbalance). I find that instructors who are the most
professional will, if directly approached, always respect and honor a
discreet reminder to please keep rotating the partners in a class,
because they understand why you are needing to ask.
--
Carol Ruth Shepherd
Ann Arbor, Michigan USA
Date: Fri, 23 Apr 1999 19:57:21 -0700
From: "Brannigan, Mary" <Mary.Brannigan @WWIRELESS.COM>
Subject: Re: Leaning Post
Brian Salisbury replied:
> Yes! but it seems only gallant (and in the spirit of tango) to provide
> the "leaning post" for neophyte followers.
...I do see the danger of forming habits of dependance [sic] that
cause problems later on, but given the choice of being correct or showing
the lady a good
> time...
Brian, as a follow who regularly dances in torture devices (heels) for
hours on end, I thank you for the consideration. But I'd like to shed some
light on the problems incurred by allowing a follow, especially a beginning
follow, to depend on support from the lead.
When I first began AT, it was with teachers who emphasized the pyramid
look with lots of leaning and support from the leader. It was beautiful,
romantic, and unfortunately - extremely painful.
I gave up AT completely after 2 classes, because my lower back would go
into spasms from the tension created by leaning on my partner.
My point being, that allowing your follow to use your arm as a "post" does
more than cause bad habits to form, it causes pain in different parts of the
body.
Thank goodness, 8 months later I gave AT one more chance. I'd heard that
a teacher brought in from BsAs, Fabian Salas, was teaching with an emphasis
on the principles of balance, axis, and the fact that each person needs to
be responsible for their own weight.
I'm very happy to say that now, seven months after that first lesson, I've
since taken my first trip to BsAs, and I'm out tangoing at least 2-3 times a
week.
Learning not to lean on the lead (even when I'm tired), I soon discovered
my "center". Soon after, I learned how to control and manipulate my weight
and balance around the axis of this center (and yes, this does take time and
patience, but it's worth it!).
I even learned how to recreate that same romantic, "pyramid" look! Except
now I don't need (nor want) the lead to support my weight.
Think about it: If you're being conditioned to depend on a stabilizer
outside of yourself, your axis is changing each time you switch partners,
making it impossible to discover your own sense of balance. You'll never be
able to fully control, ergo master your dancing.
So, to follows who are encountering severe foot pain, I say take the
recommendations recently posted, and consider seeing a podiatrist, but don't
compromise your technique.
I promise that you will advance further and faster by not depending on the
lead for support when you're tired. And yes, you're feet (calves, knees,
back, shoulders, etc.) will hurt at times, but let the passion carry you
through it, and develop those calluses with pride! A tango high is always
just around the corner!
Besos a mis amigos de la pasion de tango! xxxxx
Date: Fri, 30 Apr 1999 15:45:30 -0400
From: Kerry Breen <kbreen @RICOCHET.NET>
Subject: AT in South Africa
Does anyone know of AT in Johannesburg or Cape Town? I will be there in
early May. Thanks -- Kerry
Date: Wed, 28 Apr 1999 00:15:18 -0700
From: diane m tober <DTOBER @PRODIGY.NET>
Subject: Re: Milongas en Barcelona or Madrid?
I am going to be travelling to Spain in July and August and was wondering if
anyone has any information on where to find Milonga's in Madrid or
Barcelona?
I am also hoping to find an apartment to rent there or find someone to
exchange their place in Spain for mine near San Francisco for a month.
There are a lot of Tango activities here to take advantage of. Any
suggestions/information would be greatly appreciated.
Thanks,
Diane Tober
UC Berkeley Department of Anthropology
tober @yana.berkeley.edu
Date: Thu, 22 Apr 1999 17:52:52 +0200
From: Miguel Angel Garcia <garcia @MCLINK.IT>
Subject: barrio, barrio
I have the pleasure to let you know that (after many days of hard work)
there is a new website for "Barrio", of the Argentine Association.
It's more that an institutional homepage; it has two magazines in the Net,
a data sheet from Argentina and three documentary archives, in Italian and
Spanish. In a few days there will also be a short version in English.
http://www.team2it.net/barrio/
* website of the Association, with activities programs, courses, services
and
pictures from past activities.
* Argentina for the courious ones (in Spanish and Italian), a data sheet for
the people asking us questions about Argentina, those we don't know or the
ones we
don't want to answer...
*Website of the Tango Group "Arrabal" of the Association.
http://www.team2it.net/tango/arrabal/
* 'Argentango' magazine, a bimonthly of Argentine tango more intellectual
than anything else; in this issue: Jewish tango, Death tango, Italian words
in tango lyrics, interviews to the tango 'maestros' in Europe, Joketango
(let's see if tango lovers laugh about this), Linkatango (very few links but
good ones). In Italian and Spanish.
http://www.team2it.net/tango/
* Coffee Talks, a monthly about philosophy, readings and spare-time
reflexions
in the only cafe from Buenos Aires that, besides not being in Buenos Aires
nor anywhere else, opens up instead of closing down. In Spanish, with free
participation under certain rules; it can be sent as a list to whoever
requests it.
http://www.team2it.net/charlas/
* Archive 'Immigration Memories': it contains research documents and short
essays about immigration, the first ones in Italian, but contributions in
Spanish
and English are accepted, and (little by little) we will include
"cross-translations".
http://www.team2it.net/migra/
* Archive 'Life is a short story': we propose a short story every month; its
subject and language will have to move around the limits of society and
language. We will be very demanding about the narrative quality of
contributions.
There is an Italian version.
http://www.team2it.net/cuentos/
http://www.team2it.net/racconti/
* Archive 'Hypertext labyrinths': it contains short hypertexts, of the
narrative or assay kind, including old hypertexts done in obsolete systems,
which we
'translated' into the new Web terms.
http://www.team2it.net/hiper/
I hope you have fun, as I have when I saw the site unfold for the first
time.
And I also hope you could participate, make comments, insult us or anything,
that is, I hope you will have a stroll around this 'Barrio'.
>_/\/\_/\____ Miguel Angel Garcia - garcia @mclink.it
Date: Mon, 26 Apr 1999 17:17:00 EDT
From: Kristine Hansen <HANSEN.KRISTINE_L.PA-C @BOSTON.VA.GOV>
Subject: Ernesto Fama'
I am trying to build my collection of recordings of the famous tango
singer, Ernesto Fama', and have perhaps 30 recordings w/ early Fresedo, di
Sarli, and early Canaro. I lose sight of him around 1941.
I would be VERY grateful for any leads for other recordings, and especially
grateful for any recordings I could borrow to record!
I can forward directly a list of the 30 (or so) recordings I already have,
but there may be more than 300 recordings done!
I believe the majority of his recording career was 1920s-'40s.
Please reply to me directly at:
HANSEN.KRISTINE L.PA-c @BOSTON.VA.GOV
!Mil gracias a todos!
Date: Sat, 24 Apr 1999 08:12:17 CDT
From: Claire spirit <spirit_1 @HOTMAIL.COM>
Subject: sore feet
Hi; I'm a massage therapist working in a physical therapy clinic. The
thing
to do with sore feet is the coke bottle exercise. Take a glass coke
bottle,
the 12 ounce kind, and wrap a small towel around it. Perhaps secure
the
towel the tape. Roll the coke bottle firmly, but not too hard, along
the
bottom of the foot, back and forth. Fees great. A hot soak in epsom
salts
first will loosen things up, too. Most likely the sore feet are from
tight
long plantar ligaments and fascia. If the pain persists, or the coke
bottle
exercise is ainful, you might want to see a podiatrist in case you
have a
bone spur. Learning to lean on your partner is not an answer. f your
feet
are tired, rest them!
Happy dancing.
John Mulligan <spirit @townsqr.com>
Date: Sun, 9 May 1999 20:17:02 -0500
From: robin tara <rtara @MAINE.RR.COM>
Subject: London Tango
Dear London listeros,
I'll be in town on Thursday May 13, through Sunday. Can anyone tell me
what's going on in the tango world there? Also, I'm looking for Jill
Barrett's phone number or e-mail. Can anyone help?
Thanks, Robin Tara
Date: Thu, 22 Apr 1999 08:28:19 -0400
From: ruxandra <ruxandra @UMICH.EDU>
Subject: another answer to burnout
this one comes from a swing dancer, but I hope you'll find it useful.
Keep Learning
By Micah Jacobson
What are you doing to improve your dancing? What are you doing to
continue to learn?
In almost four years in the swing dance community, I've seen a lot of
dancers get really good.
The scene in general boasts a level of dancing that goes far beyond what
I ever thought
possible. I also have seen many dancers stay just about the same over
the years, and I have
even seen a few get worse.
How? you might ask. Isn't just dancing a lot enough to get better?
Well, yes--sort of.
I am writing this to all those dancers who are a little like me. I love
to dance--I love it more
than I would have predicted possible when I started this crazy journey.
However, I am not
usually content to just do something. I enjoy getting better. I love to
learn. With that in mind, I'd
like to present some ideas on how to do just that.
In the beginning, simply dancing a lot, taking a few classes, and
listening to swing music will
help anyone improve. I cannot emphasize the words of Chad or Paul or Rob
or Frankie enough:
You gotta put in some miles.
Eventually, though, most of us do reach a plateau. Those who have been
dancing awhile will
know exactly what I'm talking about. It's the time when you no longer
seem to learn something
new every time you get on the dance floor--when you've mastered
Charleston and can't seem to
break out of your rut.
I don't know whether this happens more to leaders as opposed to
followers, but I have heard
both talk about it. I get sad to see so many people settle. When good
dancers get stuck in ruts
that they never seem to break--swingouts that have no frame or that end
up looking like circles,
static upper bodies, or sloppy, attention-grabbing moves that inhibit
them from getting
better--they also hurt their ability to learn over time.
So, how do you get out of this kind of rut? Following are few
strategies. I have fallen into
every plateau trap I just mentioned, and I am sure I have many more to
encounter. I also have
tried all the strategies below with varying success. Once you have found
what works for you,
it's in your hands to make your dancing grow.
First, the obvious:
DANCE WITH DIFFERENT PEOPLE
This was a hot topic on the sfswing email list some time ago. I didn't
contribute anything then,
so now you get to hear it here. When I started dancing, I did not have a
partner. For over a year
and a half, I went out, often by myself, and danced with whomever I
found. This takes a certain
amount of courage, granted, but then so does good dancing.
Having a partner is good (I have one now), but a partner alone will not
make your dancing
better. Only you can make your dancing better. Having a partner
accelerates the learning curve
and gives you someone with whom to practice choreography. But remember
that topic of ruts?
Well, nothing brings on a rut like dancing with the same person too
much.
Followers should try to be able to follow anyone. And leads should try
to always make their
leads clear, no matter who they are dancing with. Remember, leaders, if
the follower doesn't
catch the lead, it's often the leader's fault.
TAKE MORE CLASSES AND WORKSHOPS
This seems incredibly obvious to me. However, I can't count the number
of conversations I
have had with people who hint that they are beyond taking classes. I
don't believe that it's
possible to be beyond classes. Even the world's best still take classes
from Frankie Manning.
I think that intellectually, most people concede that there is always
something new to learn, but
it has to show up in practice to count. Some of the best teachers in the
world hold workshops
year-round. If cost is an issue, just talk to the teachers or the people
running the workshop. If
you really want to learn, I guarantee there is someone who will help
you.
TAKE PRIVATE LESSONS
At some point, the only way you can improve is to get coaching. Imagine
an athlete trying to
make the Olympics without a coach! I can't think of a single dancer whom
I respect who has not
taken private lessons. First, take some privates from people you admire.
Ultimately, it pays to
take a few privates from a variety of teachers. There are a million ways
to swing, and the more
influences you absorb, the better able you will be to identify your own
style.
TRY TO LEAD AND FOLLOW
Learn to do the opposite part. If you are used to leading, trying to
follow is really challenging.
Learning the other part will help you in more ways than you can count.
One word of caution:
just because you are good at one, don't assume you'll be good at the
other. Approach it with an
open mind and a willingness to look stupid.
MODEL GOOD DANCERS
Look at the dancers you admire. I mean really look closely. What do you
see? A cool move?
An interesting variation? Those are fine to notice--but look closer.
Where is their hand on a
tuck turn? How high are their elbows? How closely together do they hold
their knees? How
much do they move around the floor?
By looking at the details, you will begin to build a greater
appreciation for where you can
improve. Try to imitate exactly at first. I don't mean that you should
steal unique moves. Rather,
try to exactly imitate that dancer, in everything you do, down to the
last detail. Out of that effort
will come revelations about where you can grow.
PLAY "YOU GO, I GO"
This comes directly from Eddie and Eva of The Rhythm Hot Shots. They did
a wonderful
exercise in one of their fall '97 workshops. Do several swingouts in a
row. On the first one,
have the follower do a variation. For the next one, have the lead
attempt to do the same
variation. After a couple like that, switch so that the follow imitates
the lead. This exercise is
not only a ton of fun, but also very good for insight. If you are doing
it right, it should feel pretty
uncomfortable. That's good.
And finally…
VIDEOTAPE
There is nothing more brutal than videotape when you have a critical
eye. I hate seeing myself
on video. Still, it is one of the best ways to improve. Look for only a
few things you want to
improve each time you watch, and remember, this is all about having fun.
If you have other ideas or tips that have worked for you, send 'em on
and I'll add them to my
growing list (with credit going where credit is due, of course).
Micah is an instructor and dancer in the San Francisco Bay Area.
micah @intheswing.com
Date: Thu, 6 May 1999 18:27:45 -0300
From: "Lic. Sebastian de la Rosa" <multimodal @CIUDAD.COM.AR>
Subject: Dance Tango in Argentina (New Site)
Dear Amigo Tanguero,
I'm glad to inform you that our web page, in which you'll find informatio=
n
about the intensive Tango courses in Buenos Aires, is complete. This page
contains all that is necessary to pass your stay in Buenos Aires as an
autentic
Arrabalero.
These courses are specially designed for groups coming from Tango Academi=
cs
of other countries, they also include entrances to Milongas in Bs. As. ,
acces to wonderful Tango dinner shows, excursions around Bs. As. , speci=
fic
seminars given by our Masters ( Tango Vals, Canyengue, Men's Tecnique,
Women's
Tecnique, Musicality, Improvisation, etc.). In this site, you will find
photos, curricula, and travel schedules of our Master Teachers ( Julio
Balmaceda & Corina de la Rosa, Marcelo & Veronica Bernadaz, Sandra Bootz =
&
Gabriel Ortega, Rodolfo & Maria Cieri, Leandro Palau & Andrea Mice, etc).
You can also see on our site photos and
information about the different accomodations that we offer. There are a
variety
of hotels to choose from, depending on your necessities.
Because Argentina is not Tango only, we offer a full excursion service
around all our Argentina. You can find tour information in these pages
with a
great
variety of photos and full of information.
If you have a web page just for Tango, we invite you to our Link section =
to
make an interchange.
You can also find other sections. For example, events around the world a=
re
listed.
Here you'll find all the events that our masters are doing. You are welco=
me
to
announce
festivals, seminars, and all that has to
do with Tango.
The other sections are Y2K survey, shows of Tango to parties and Business
meeting,etc.
Thank for your time and we hope your visit to:
http://www.tangoalsur.com.ar
The official site of Tango al Sur " La Pasion de un Destino". To your
facility this one is in English an en Espa=F1ol.
Hoping your comments,
Your faithfully,
Lic. Sebasti=E1n de la Rosa
TANGO AL SUR
Francisco Beiro 3647
(1636) Olivos
Buenos Aires
Rep. Argentina
FAX: (5411) 4790 - 0576
E-mail:info @tangoalsur.com.ar
Http://www.tangoalsur.com.ar
Date: Mon, 10 May 1999 01:27:54 EDT
From: Want2Dance @AOL.COM
Subject: Re: TANGO-L Digest - 8 May 1999 to 9 May 1999 Re: Rotating Partners
:-) or :-(
Given the numerous comments about partner rotation, I decided this might be a
good time to mention my web page which is moving to a new URL
http://www.want2dance.net & has new options that may be of interest to those
of you who do not have a regular partner or are just starting to learn
A-Tango.
I have not posted on the list for a while & hope people will not mind
an announcement about how it works. To eliminate some of the questions people
had in the past about costs, I'll mention them up front. It's free to search
the database, place a 25 word or less profile, & to have someone request to
contact you, but there are fees to contact another member. Even if you are
not ready to place your own profile, you can sign up to get an automatic
e-mail whenever someone joins from locations near where you Want2Dance. On
the new site, you can search for partners using key words like Argentine
Tango, to find people with similar dance interests & levels of dancing skill
in addition to searching by geographic location or age. This can save a lot
of time when looking through profiles. On the new site, we are now able to
register members from other countries.
I've tried to keep the costs reasonable. Executive Memberships (which
include unlimited contacts to other members) cost as little as $7.49 a month
if you join for a year. Executive members also get discounts on dance
lessons, parties, dance jewelry, artwork & attire from studios & dance
businesses across the US & in Canada. It is a bit more expensive to buy
tokens as you need them to contact a specific member, but this option suits
people from areas where there are few potential partners in the database as
yet or whose level of expertise narrows the possibilites of finding a
partner.
Please be patient with the site, it's brand new & there are still
bugs, but the programmer will help you if there are any problems. (Don't use
AOL's Browser!) Feel free to write to me directly if you have any
questions. It is not necessary to do so on the Tango-L Digest.
My suggestion regarding rotating partners is to have frequent
rotations during lessons, but to ask the studio to offer some practice
session times when you can come & practice what you have learned with
whomever you choose. Many of the studios that I have spoken with around the
US offer such practice sessions often on weekdays at a reduced rate for their
students.
Barbara Bogdanow Lavi, President & Avid Dancer
Do You Want2Dance?
The Single Dance Partners Network Worldwide
http://www.want2dance.net
Want2Dance @Want2dance.net
End of TANGO-L Digest - 9 May 1999 to 10 May 1999
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