Calling Tango Orchestras from Australia New Zealand and other countries.

This semester I am planning radio shows to highlight tango orchestras from different countries Australia and Newzealand. John Lowry has gotten me researching some interesting orchestras including Cuarteto Ferol, Tiempo de Tango,Tango Paradiso, Tango Oz. And there are some CDs by Australian Chamber Orchestra on Piazolla music.

I am looking for more Australian and Newzealand based tango groups. If you know of any, please drop me a line. Thanks

Also looking for tango orchestras from Japan, Korea, Taiwan, and China.

Paul

Tons of Turkish Tango

Tango arrived in Turkey soon after the nation was formed in 1924. Mustafa Kemal Ataturk at his first reception had three couples including himself dancing tango. The first Turkish Tango, Mazi (The Past), was composed by Necip Celal Andel in 1928, and recorded in 1932. The singer was Seyyan Hanim Oskay. Since then an amazing amount of tango has been produced in Turkey. Tango orchestras and singers include Fehmi Ege, Mustafa Sükrü, Kadri Cerrahoglu, Necdet Koyuturk, Celal Ince, Secaattin Tanyerli, Birsen Alsan, Ibrahim Ozgur, Mefharet Atalay, Birsen Hanim, Afife Hanim, Saime Sengul, Nezahat Onaner, Zehra Eren, and Orhan Avsar (first local bandoneonist).

So two weeks in Istanbull scouring all music stores in town and bugging Milonga DJ to give me leads has produced results. Here is the collection I picked up (Album, Artist). If you know how I can get my hands on additional Turkish please drop me a note. Needless to say one of my "World Tango Music" radio show in 2009 will be devoted Turkish Tango.

1. Tangolarimiz, Gecmisten Gunumuze
2. Ustad'a Saygiyla Tango, Erol Buyukburc & Erdener Koyuturk
3. Ustad'a Saygiyla Tango -2, Esin Engin & Erdener Koyuturk
4. Tangolar, Esin Engin
5. Olmeyen Tangolar, Secaattin Tanyerli
6. Dunden Bugune Tango, Erdener Koyuturk
7. Desde de Alma Tango, Cem Duruoz
8. Unutulmayan Turk Tangolari, Celal Ince
9. Viva la Tango, Edvard Aris
10. Dance with Me I & II, SeitkaliyeV with St Petrsburg Lyric Ensemble
11. Sontango, Esin Engin
12. Ibrahim Ozgur, Tangolar

And for those seeking to Dance in Istanbul, here is a list of Milongas

Monday:
European side: Armada Otel: Eminonu Cankurtaran'da sahil tarafi. (21:30 – 01:30)

Tuesday:
European side: Café La Cumparsita: Ortaklar cad. 40/1 Mecidiyekoy

Wednesday:
European side: Tiyatrocafe: Mistik Pasaji BKM alt kati (21:00-01:30)

Asian side: Otantik Cafe: Marmara Uni. Haydarpasa Kampusu Selimiye Mah. Burhan Felek Cad. Uskudar (21:30 – 01:30).

Friday:
European side: Levent Tenis Kulubu: near Migros Supermarket in 4th Levent (22:00-03:00)

Asian side: Dalyan Club: Atlıhan Sk. No: 3-5 Fenerbahçe (21:00-...)

Saturday:
European side: Rock House Milonga: Hotel Princess Ortakoy, Rock House Cafe Bar (21:30-03:00)
Dereboyu Street. No:10, Ortakoy, Ä°stanbul, 80840, Turkey, 0212 227 6010
ortakoyprincess.com

Sunday:
European side: Practica: Istiklal Cd.Mis Sk. No:8 Serif Han Kat:4 Dansevi Beyoglu (16:00-…)

Asian side: Practica at FIMA: Caferaga mah.Neset Omer sk No: 9 Kadikoy-Istanbul (15:00-19:00)
Tangoneon: Nisanci Sok. No:8E Kiziltoprak, Kadikoy (17:00-20:00)
Denizati: Rihtim Cd. Kadikoy Tarihi Vapur Iskelesinin ustu (21:00-…)

Everyday: Tangojean Club: Istiklal Caddesi, Suslu Saksi Sokagi, 14 Beyoglu, Istanbul

Dancing Tango in Geneva, Zurich and Istanbull

Oh, we thought this would be such a blast - dancing Tango in Zurich, Geneva and Istanbull. We had heard so much about the tango communities in these towns. As it turns out not all turned out as expected.

Zurich has a lot of tango. But it was not always easy to find. One club advertised a Friday night Milonga at 10 PM. We searched for the venue for an hour going thru back alleys and parking lots that would make your skin crawl and wish for the hole-in-the-wall venues of Buenos Aires. We arrived at 10.30 to find the place empty, lights turned off. A car pulled into the parking lot with two friendly africans who told us it was going to be the African Dance night at this club, beginning at midnight. The second venue we went to Zeughausen Restaurant. A quiet place located in a well hidden, unmarked gated court yard, self-service dinner, and low mood lighting. The dancing was half and half traditional and nuevo, and mostly in open embrace. High technical quality dancers, but hey, where is the connection? Then we also spent a night a Club Silibando the well established Tango School. Traditional music, good quality dancers, but mostly dancing within their own groups.

Geneva turned out to be more interesting. We found the Tango Club Alpin in the middle of town 2 blocks from our hotel. But that was because our local host had been there before. The club entrance is on a side street, and it is tucked away on the second floor (red lights in windows), xeroxed flyer on first floor announcing it. Less advanced dancing than Zurich, but more friendly people, and a gorgeous dance floor. After the Milonga was over at 1AM, the real party began - Champagne, chocolates, unbelievable live music on the Bandoneon by the club owner, and live piano by a concert pianist, more dancing - they were celebrating the birthday of one of the milonga organizers. Next day we did a presentation at the University of Zurich on "Managing with Passion" - using Tango to learn managerial skills of improvisation, teamwork, and leadership. And just following the talk and reception we found out there was a Practica on the very next floor of the building, run by the same folks who organized the Milonga. So we got in a few more dances before hitting Istanbull.

Istanbull really has a ton of tango. Yes, you can dance every night. But this is a city of of 12 million people stretched across two continents. The European side has most of the Tango spots we went to, but the Asian side too has many that were recommended. The Milongas are are at well established hotels of clubs, so they are easy to find. Sometime you may have a $20 cab ride to get to them - its a big city. We danced at Milongas at Armada Hotel in Sultanahmet, and at the Point Hotel, and Tangojean in Taksim area. Beautiful locations, professional floors and music systems. Milonga entrance often includes a few drinks and food. Friendly dancers, mostly traditional music with about 10% nuevo. And then there is the "Turkish Tango Music" innovative, full of energy, with gypsy music themes. The dancing is very much in a stage/show style. Line of dance is not always followed, and people stop in their tracks to do elaborate if irritating figures for entire 45 seconds. There are lots of young dancers and they know lots of figures.

Overall this was very different from the tango communities in Allentown, Philadelphia and New York, but it was still a lot of fun. Tango is different everywhere. There is sufficient anchoring in tradition for it to be recognized as Tango, but enough innovation and customization to give each country location its own indigenous flavor.

Classical Motifs in Tango

Tangoes inspired by or based on well known classical and folk Songs.

This list is work-in-progress. Thanks to contributors from DJTango listserv and Philly area dancers.   Please send your additions and corrections to DrTango@bucknell.edu, 

 

1.  La Melodia del Corazon by Edgardo Dinato is based on Chopin Opus 10 Etude 3 (http://www.youtube.com/watch?v=fIO8WAtvOgs) Horowitz on Piano

(http://youtube.com/watch?v=EOc2XUvNPbE&feature=related) Tango

Irish Tenor called Filber Wright sings the same piece under the song name "So Deep Is The Night".  Chopin Opus 10, Etude 3 is also used in "In mir kling ein Lied" and Tino Rossi's "Tristesse")

 

2.  Ojos Negros Que Fascinan (Francisco Canaro - Roberto Maida) the closest
Russian Equivalent is Tschernye Glaza (Interpretation Pjotr Leschencko).
Intro of the Canaro song is the refrain of the Russian equivalent.

3.  Historia de Un Amor - Equivalent Bolero of the same name by Canaro.
This song was made popular not as a tango, but as a bolero

4.  La Zandunga (vals) - (F. Canaro, F. Lomuto) It is a synthesis of Mexican Spanish folk song.

5.  Danza Hungaria No 5. Enrique Rodriguez (Fox Trot Tempo). Is based on J. Brahms
Hungarian Dance #5.

6.  Mi Angelina - vals (Orquesta Tipica Victor) based on My Angeline by the American Composer Wayne Mabel.

 

7.  Ramona, sung as Tango by Carlos Gardel, Canaro, Fresedo etc. is based on American Composer Wayne Mabel’s song

8.  Juanita - vals (Jeannine) Composer Nat Shilkret - Also recorded by Luis
Armstrong.

9.  Tangos that have snippets of well know tunes :

            El Vals de los 15, (D'Arienzo) the "Happy Birthday" song and

            La Marcha Nupcial by Biagi has a passage of the Wedding March.

10.  Mi Refugio" had a melody line taken from Debussy's piano etude "Reverie",

 

11.  Vuelo del moscardon (Flight of the Bumble Bee) by Osmar Maderna's Orchestra.

12.  Sans souci by Miguel Calo ends with a phrase borrowed from Ira Gershwin.

13.  Carnaval borrows a line,"Donde vas con manton de Manila" from the Spanish zarzuela La verbena de la paloma.

 

14.  "La Sonambola" from Donizzetti (?) I'm not that sure..., tango by Angel D'Agostino, only instrumental.

 

15 The opening of "Vida Mia" sounds like the beginning of Bach's d minor Concerto for 2 Violins.

 

Thanks to Bob Barnes, Richard Lipkin, ManuKC, Joe Grohens, Ilene Marder, Gustavo Benzecry Saba, Maria Olivera, Carlos Vallejos and others.

 

Tango Tips - Musicality 101 - keeping the BEAT

Dancing to the beat is fundamental in all dances. Tango is an improvised dance and keeping the beat is indispensable. The leader has to interpret the music, and improvise moves that fit the musical rythm. Basically, that means you’ve got to come up with a way to keep time with the music. You need to know the beat or pulse of the music.

Once you know the beat, you can move or step at every beat of the music or at every other beat (dancing slow) or at the half beat (dancing fast). Beginners' steps can be basic movements, i.e. forward, backward, side, in-place and pause.

Traditional Tangoes of a 1930’s-40’s “Golden Age” composers, such as Di Sarli, D’Arienzo, Canaro and Calo have very clear beats. It is easy to clap the beats of their music. Try it. Turn on some music and clap to the beat. Once you can clap these beats, the next thing to do is step to them. Do it in place – by yourself. You can start with either foot. Walk to the beat. Take steps to the left or right to the beat.

When you feel comfortable with this, grab your partner and move to the same beats with her. You lead, she follows. When that becomes easy, you can add a forward step now and then, or a side step, or a backward step – always returning to moving in place. Now try stepping at half and double beat. The goal of this timing exercise is to be able to move comfortably with your partner to all the beats of the music, using your entire basic vocabulary (forward, backward, side, in-place) for a whole song – without stopping.

Moving to all the beats in the music, and moving ONLY to beats, is one way to have “musicality” in your dance. It is this musicality that makes the dance beautiful. You can have an exquisite dance by just walking straight but stepping only on the beat.

Musicality is a complex and multilevel phenomenon. Here we examined its simplest form which is dancing to the beat. At the next level dancers can go beyond stepping to the beat. They can have their entire body move with the music, or they can move to different musical phrases or to the sounds of different instruments. And at the next level of musicality the dancers can dance as if they were one with the music, as if they were part of the Orchestra.

Tango Footwear and Feetcare

Tango feet - they are always hurting, and they are always in view. So footwear must be comfortable and beautiful. But shoe makers still dont get it. Most shoes out there are neither comfortable not pretty. What's a dancer to do? This advice is probably useful only for beginners.

Tango is typically danced in shoes with leather bottoms. Women wear shoes with three to five inch heels and with straps to keep the shoes on feet. Men use pointed toes leather lace-up shoes with leather soles. There is an endless variety of shoes designed specifically for tango dancers. Find shoes that support your feet, don't squish your toes, and are comfortable enough to dance in for several hours.

Suede soles are suitable for most dance floors – resin soles are recommended for very slippery dance floors only. Patent leather shoes tend to stick to each other so you may want to avoid these unless you're very confident. You can make the 'sticky' effect less by polishing the patent leather areas with vaseline.
Suede shoes are usually flexible but get scuffed easily.

Use pads (Dr. Scholls foam pads or Spenco) to make long hours in shoes more comfortable. Ballroom dance shoes are not suitable because they have little to no support and suede soles.

For practices and lessons you can use Jazz sneakers or dance practice shoes, or even just socks.

Tango Quarrels

OK, soo...the big Big Tango problem I am thinking about today is why do tango partners fight. It is hard enough to find the right partners for a dance. Getting a regular longer term partner is even more challenging. But even if you are lucky enough to have a long-term partner (a spouse, a friend, a significant other), you still have occassional quarrels, conflicts, fights, wars. And they mostly occur during practice sessions.

These quarrels are usually short lived, mostly over silly things, often largely rhetorical, but they always hurt, sometimes overflow into the next day, and cut short the pleasure and duration of the dance session. Practicing tango is a frustrating thing. The steps are difficult, technically complex, need body strength, require simultaneous mental, physical and emotional effort. So you dont get them the first time, or even the fifthieth time. Enter frustration, and blame.

Moreover, tango dancers have huge egos - clearly disproportionate to their self perceived talents. So each partner thinks (s)he is doing the right thing and the other is to blame for errors. But god forbid if someone points out my errors. Men are more thin-skinned and have fragile egos. They just dont want to hear they are doing things incorrectly (when 90% of the times they are at fault). They dont like to hear a follower say - "you lead that wrong" or "bah-humbug". So, followers, please say it in a way that does not hurt his little ego. "Ah that was quite interesting, what did you want me to do there, Ohhh yes, blah, blah".

Another reason for quarrels is the unclarity (or is it flexibility) about the respective roles of leaders and followers. How much lead is needed at any point, and how much initiative is the follower supposed to take? The degree of lead changes as you evolve in your dance skills, and it changes with different partners, and different types of steps. Most of the time one is trying to figure this out, and work it out during dances. But with regular partners in practice session, this is a topic worthy of discussion. It can give you insights into where each partner needs help.

And then there is the memory problem. You did the workshop, and learned the fancy figures/steps. Now a week later you seem to remember the steps differently from your partner. But ofcourse both of you are 100% sure that it is done a certain diffferent way. You try it your way and the other way, and both are wrong. And there is no way to go back to the teacher for a refresher, and you don't have a video of it. Aargh. The solution - make videos of the final demo of the steps by the instructors. Most instructors allow that. Review those videos when needed.

Here is my mantra for leaders wanting to avoid quarrels - ALWAYS accept responsibility for any error, regardless, period.
Now say this aloud. "I did not lead that right, let me try again". And hug her.