Welcome to “PractiMilonguero,” a place where you obtain the information and experience necessary to prepare to go to the traditional milongas in Buenos Aires.
Here we exclusively dance milonguero style tango. We learn to respect the codes of milongas, such as:
- We dance with a warm, respectful and close embrace.
- We follow the line of dance in a counter-clockwise direction.
- We try not to step backwards.
- We do not lift our feet too high from the floor so that we avoid hitting other dancers.
- We invite women to dance through the classic "Cabeceo del caballero” (man’s eye contact).
- We respect the rest of dancers present to enjoy the social dance.
Please note that if you don’t respect these codes you may not be able to dance in PractiMilonguero.
Thank you very much and enjoy the dance!
Mónica y Chan
Endorsed by Norma and Héctor of “Cachirulo”)
See more at: http://practimilonguero.wordpress.com/2011/03/02/practimilonguero-presents-omar-chiche-ruberto/
Thursday, March 3, 2011
Tuesday, February 8, 2011
Tuesday, January 18, 2011
Enterview to Ricardo "Tito" Franquelo by Practimilonguero
A must see:
http://www.youtube.com/watch?v=9iMzl4QtKCQ
Best regards,
Marcelo
http://www.youtube.com/watch?v=9iMzl4QtKCQ
Best regards,
Marcelo
Tuesday, January 11, 2011
Embellishments. An Approach to its Comprehension.
Article written by Olga Besio for the Asociación de Maestros, Bailarines y Coreógrafos de Tango Argentino. Translated by Jocelyn Guizar.
http://www.bailarinesdetango.org.ar/home_noticias.php?id=285
In order to talk about embellishment – and how to support everything that may come about in effect – we should, in the first place, consider the origins of the essence and existence of the tango and the tango danza.
It is necessary to clarify that the word danza has a meaning that connotes far more than technique. Far to the contrary, the most ample and general sense of the word refers to all forms of danza (in a particular sense) and dance, and alludes to the most natural, the most primitive, the most remote, most visceral, and even most animal aspect of being human. This allusion is anterior to, in a historic as well as chronological sense, all conception of technique.
If we understand danza as a profoundly natural happening, that is, born with the human being – and we speak this way about popular dance, in which tango is perhaps our most intrinsic example – then all which is superfluous is immediately rejected.
Then, what is tango? What we all already know: a dance for two, a profound communication with the other and with the music, and…, and… and we “discover” in this way the idea of a dialogue. The dialogue of a dance couple, the dialogue with the music, the dialogue between the feet and the feet with the floor, drawing the famous ochos and thousands of things more – and, if it is called for, the dialogue between the feet and the legs with the air, drawing, with precision, boleos with clearly defined forms, created and recreated every time.
But, what does “adornment” consist of, also referred to as – hereafter – “embellishment”, “expressivity”…? The embellishment consists upon, precisely, expressing the essence of tango. It serves nothing to perform embellishments by means of technical procedure, if it is not truly understood “what it’s all about”. The legs of the (Female) dancer (and ATTENTION: also the ones of the (Male) dancer) are equivalent to one tango couple. They embrace, they come together, they dialogue, they cares… technically, this is fulfilled by means of a game of rotation of the articulations. This game of rotations must not be taken as something coldly technical, but instead as something absolutely natural and logical, as natural and as logical as language. The legs “express”, “are expressive”, when they have a language; not solely when they move.
In this way, we finish dispelling various myths:
- One, is that which says embellishments are “movements that one should learn to do” or “copy”. In no way is this true. Learning technique is of the upmost importance, but it alone is not enough. There are marvelous dancers that perform embellishments with true emotion, but we also see, unfortunately, the mere repetition of movements or copies of such or such dancer, without having truly understood their essence; in these cases, the “original” dancer is generally excellent, and the copies result as inconsequential, and sometimes unpleasing or even grotesque.
- Another, says that embellishment is merely “a woman’s doing”. In no way is this true. Embellishment is all that the man and/or the woman does without interfering with demarcation, or the step, figure, sequence, etc., including, with exactitude, the music and without producing any sort of vibration or yanking. For this, it is absolutely necessary for one to know how to uptake and follow, and to have a very good musical ear. (I always tell my students that a partner needs only find out that their partner does embellishments when they are watched on video. This happened to a famous dancer, who one day saw himself dancing with his partner and discovered that she embellished, and the reason why she received so many compliments.)
- Another: the one that says that “in order for the woman to adorn, the man must give her time”. This is only valid when choreography is concerned. But in improvised tango, it is in the intelligence, in the ability, in the tangueridad of the woman, to know if it corresponds, and in the affirmative case when, how, and what embellishment or type of embellishment is most adequate in each given circumstance. Of course, if the (Female) dancer has little experience it is not advised that she attempts it at a milonga; for that there are classes and practicas.
- One more: speaking of musical ear and musicality, some dancers (or apprentices) consider it enough to “listen to the rhythm”. Others, more advanced or exquisite, speak of “dancing the phrase”. We must clarify that this is not enough; it is necessary to understand the melody and particular expressivity of each musical piece, of every arrangement, of every version… And in this sense, the musicality that the dancers need goes much further than that of recognizing the “rhythm”, the “measure”, the “strong beat”, the “weak beat”, the “counter-time” and all those things which we habitually hear about (sometimes mixed around or confused). The musicality that is required is a very language that can be translated, that can invent and create over and over and a thousand times more the emotion, the compositional structure, the essence of this work in particular, and that this man and this woman have the good fortune of getting to dance this here and now.
- Lastly, it is necessary to mention that the embellishment isn’t limited to movement, and also is not limited to the feet and/or legs – these are perhaps simply the most visible - it is open to the entire body, it is an attitude, a quietude, the closing of the eyes, a pause, a succession of velocity changes and many other things that may and often times do need to be worked out technically, methodologically, but most definitively express the love and passion of dancing tango as each and every dancer and couple is capable of feeling.
http://www.bailarinesdetango.org.ar/home_noticias.php?id=285
In order to talk about embellishment – and how to support everything that may come about in effect – we should, in the first place, consider the origins of the essence and existence of the tango and the tango danza.
It is necessary to clarify that the word danza has a meaning that connotes far more than technique. Far to the contrary, the most ample and general sense of the word refers to all forms of danza (in a particular sense) and dance, and alludes to the most natural, the most primitive, the most remote, most visceral, and even most animal aspect of being human. This allusion is anterior to, in a historic as well as chronological sense, all conception of technique.
If we understand danza as a profoundly natural happening, that is, born with the human being – and we speak this way about popular dance, in which tango is perhaps our most intrinsic example – then all which is superfluous is immediately rejected.
Then, what is tango? What we all already know: a dance for two, a profound communication with the other and with the music, and…, and… and we “discover” in this way the idea of a dialogue. The dialogue of a dance couple, the dialogue with the music, the dialogue between the feet and the feet with the floor, drawing the famous ochos and thousands of things more – and, if it is called for, the dialogue between the feet and the legs with the air, drawing, with precision, boleos with clearly defined forms, created and recreated every time.
But, what does “adornment” consist of, also referred to as – hereafter – “embellishment”, “expressivity”…? The embellishment consists upon, precisely, expressing the essence of tango. It serves nothing to perform embellishments by means of technical procedure, if it is not truly understood “what it’s all about”. The legs of the (Female) dancer (and ATTENTION: also the ones of the (Male) dancer) are equivalent to one tango couple. They embrace, they come together, they dialogue, they cares… technically, this is fulfilled by means of a game of rotation of the articulations. This game of rotations must not be taken as something coldly technical, but instead as something absolutely natural and logical, as natural and as logical as language. The legs “express”, “are expressive”, when they have a language; not solely when they move.
In this way, we finish dispelling various myths:
- One, is that which says embellishments are “movements that one should learn to do” or “copy”. In no way is this true. Learning technique is of the upmost importance, but it alone is not enough. There are marvelous dancers that perform embellishments with true emotion, but we also see, unfortunately, the mere repetition of movements or copies of such or such dancer, without having truly understood their essence; in these cases, the “original” dancer is generally excellent, and the copies result as inconsequential, and sometimes unpleasing or even grotesque.
- Another, says that embellishment is merely “a woman’s doing”. In no way is this true. Embellishment is all that the man and/or the woman does without interfering with demarcation, or the step, figure, sequence, etc., including, with exactitude, the music and without producing any sort of vibration or yanking. For this, it is absolutely necessary for one to know how to uptake and follow, and to have a very good musical ear. (I always tell my students that a partner needs only find out that their partner does embellishments when they are watched on video. This happened to a famous dancer, who one day saw himself dancing with his partner and discovered that she embellished, and the reason why she received so many compliments.)
- Another: the one that says that “in order for the woman to adorn, the man must give her time”. This is only valid when choreography is concerned. But in improvised tango, it is in the intelligence, in the ability, in the tangueridad of the woman, to know if it corresponds, and in the affirmative case when, how, and what embellishment or type of embellishment is most adequate in each given circumstance. Of course, if the (Female) dancer has little experience it is not advised that she attempts it at a milonga; for that there are classes and practicas.
- One more: speaking of musical ear and musicality, some dancers (or apprentices) consider it enough to “listen to the rhythm”. Others, more advanced or exquisite, speak of “dancing the phrase”. We must clarify that this is not enough; it is necessary to understand the melody and particular expressivity of each musical piece, of every arrangement, of every version… And in this sense, the musicality that the dancers need goes much further than that of recognizing the “rhythm”, the “measure”, the “strong beat”, the “weak beat”, the “counter-time” and all those things which we habitually hear about (sometimes mixed around or confused). The musicality that is required is a very language that can be translated, that can invent and create over and over and a thousand times more the emotion, the compositional structure, the essence of this work in particular, and that this man and this woman have the good fortune of getting to dance this here and now.
- Lastly, it is necessary to mention that the embellishment isn’t limited to movement, and also is not limited to the feet and/or legs – these are perhaps simply the most visible - it is open to the entire body, it is an attitude, a quietude, the closing of the eyes, a pause, a succession of velocity changes and many other things that may and often times do need to be worked out technically, methodologically, but most definitively express the love and passion of dancing tango as each and every dancer and couple is capable of feeling.
Monday, January 10, 2011
Wednesday, January 5, 2011
Tuesday, December 7, 2010
Wednesday, December 1, 2010
Schedule update
DECEMBER 1, 2010: | COMING SOON:PAMPA CORTES teaches Tango fundamentals and technique and CHACARERA | ||||
ATTENTION: NO CLASS TODAY at VIMA Dance Studio. I have to extend my stay in Buenos Aires (how sad ;). See you next week on December 8th. | |||||
FRIDAY DECEMBER 3rd, WELCOME BACK PARTY. I had great time in Buenos Aires with my tour but I'll be back on Friday. Come to celebrate!!! | |||||
TANGO MUSIC? See my selection. Purchase and download. Di Sarli, D'Arienzo, Donato, Laurenz & more… | |||||
TECHNIQUE AND MUSICALITY WORKSHOPS in San Jose Saturdays December 4th and 11th. Come, work hard, have fun and learn what matters to dance. | |||||
If you want to know more about Argentine Tango do not miss this site: . You'll find great information about Argentine Tango that you ought to know if you really want to dance it well. | |||||
Classes and exercises online: | |||||
Private classes available. | |||||
To remove your name from my mailing list, please click here. Questions or comments? E-mail me at info@marcelosolisargentinetango.com or call 415-412-1866 | |||||
Saturday, September 4, 2010
Tuesday, June 15, 2010
Tuesday, June 8, 2010
Tango tour to Buenos Aires 2010
From November 19th to November 29th
This tour is organized around the idea of taking you to the heart of tango; to see the places where the locals go, not to show off for tourists, but to just dance from their souls, to enjoy themselves in the ecstasy of tango. For me, as an instructor, this tour is a reminder that my students should be able to dance in such places, among those dancers. Of course, it takes a lot of time, practice, and dedication measured in years. Still, at any stage of the student's learning process, witnessing this facet of Argentine Tango would be an essential part of knowing what tango really is about.
Come to experience Buenos Aires from a local point of view, feeling yourself at home meeting local people and living 9 wonderful days immerse into the “porteño” life style.
Email: info@marcelosolisargentinetango.com
Phone: 415-412-1866
web site: www.marcelosolisargentinetango.com
This tour is organized around the idea of taking you to the heart of tango; to see the places where the locals go, not to show off for tourists, but to just dance from their souls, to enjoy themselves in the ecstasy of tango. For me, as an instructor, this tour is a reminder that my students should be able to dance in such places, among those dancers. Of course, it takes a lot of time, practice, and dedication measured in years. Still, at any stage of the student's learning process, witnessing this facet of Argentine Tango would be an essential part of knowing what tango really is about.
The trip includes:
- Airfare from San Francisco (one stop from S.F).
- Hotel in the best location of Buenos Aires (double occupancy) at Hotel Lyon www.hotel-lyon.com.ar
- 24 hours assistance (we know the city and we speak the language!).
- Shopping tours to places where locals go looking for quality and price.
- City Tours (you'll get to know all the characteristic places: Obelisco – Downtown - Plaza de Mayo - Cafe Tortoni - San Telmo - Recoleta and much more).
- Shopping tours to places where locals go looking for quality and price.
- A Day in the Countryside.
- 4 Tango Classes with the best local teachers
- Milongas almost every evening or afternoon.
- Transportation to all the mentioned activities.
- A DVD with memories of the trip.
Cost: $2,390.00 until July 22nd, 2010. After this date price will be $2,590.00.- To sign in and get this early bird price I just need a $400.00.- advance before July 22nd, 2010 (non-refundable).
Why coming to Buenos Aires with me…?
- I am a certified travel agent, tango instructor and native.
- I have 16 years working on tango tours and 7 years organizing my own trips.
- I work with a team of most capable an reliable people.
- I know the culture.
- I speak the language.
- My customers are thrilled and many of them keep coming back every year.
- I have a great time enjoying it!!!
In addition to Buenos Aires, I can also make arrangements for you to visit any other destinations in Argentina (Mendoza, Salta, Jujuy, Bariloche, Iguazu Falls, etc.)
Planning a trip to Buenos Aires? Contact me...I can help you!- I am always trying to offer the best efficiency and quality in all what I do.
- I offer a Tango Tour to Buenos Aires every year and I take many people with me, but some people can not join me because the time for their vacation is different or many other reasons, so they travel to Buenos Aires by themselves.
- Since I am from Argentina and I have people over there who work with me, I can offer help to all those people who plan a trip to Buenos Aires.
- I can arrange a convenient package including flight tickets, hotel, and excursions, or if you just need someone over there to help you out I can put you in contact with the right person, also if you want to know about best teachers in Buenos Aires, taxi dancers, or milongas, please contact me.
Come to experience Buenos Aires from a local point of view, feeling yourself at home meeting local people and living 9 wonderful days immerse into the “porteño” life style.
Email: info@marcelosolisargentinetango.com
Phone: 415-412-1866
web site: www.marcelosolisargentinetango.com
Marcelo Solis' activity schedule
SCHEDULE
MONDAY, July 12th @ Alberto’s Night Club. (drop in)7:00 to 8:00 pm Fundamentals & technique.
8:00 to 9:00 pm Intermediate class on: “Contrast in the length of the walking”.
9:00 to 10:00 pm Practice.
Price: $13 per class, 25 both classes, including practice. At Alberto’s Night Club, 736 W. Dana St, Mountain View, CA 94041. *see map.
------------------------------
TUESDAY, July 13th @ Precious Life Wellness Village. (drop in)
7 to 8:30 pm All levels special class on: “Creativity dancing”.
Price: $13. Personalized attention to each student. At Precious Life Wellness Village, 2116 Berkeley Way, Berkeley CA 94704 *see map.
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WEDNESDAY, July 14th @ VIMA Dance Studio. (drop in)
8:30 to 9:30 pm All levels class on: “Rhythm”. Personalized attention to each student.
9:30 to midnight practice.
Price: $ 14 class and practice, $5 practice only. At VIMA Dance Studio, 560 3rd St, San Francisco, CA 94107.*see map.
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THURSDAY, July 15th NEW SERIES STARTS @ Social Hall, Walnut Creek. (series)
6:30 to 7:30 pm Latin Rhythms.
7:30 to 8:30 pm Beginner tango class.
8:30 to 9:30 pm Intermediate tango class on “Posture and dynamics of dancing”.
Cost: $54 Six weeks session. Register online at www.WalnutCreekRec.org or call (925) 943-5858. At Social Hall, Civic Community Center of Walnut Creek, 1375 Civic Dr, Walnut Creek. City of Walnut Creek Recreation Department. CA 94596.*see map.
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FRIDAY, July 16th Pampa Cortés @ Lafayette Dance Center. (drop in)
8:00 to 9:00 pm Fundamentals & technique class.
9:00 to 10:00 pm Chacarera class with Pampa Cortes!
10:00 pm to midnight Milonga (dance party)
Stay after class to practice or join us after 10 pm to dance in a nice and friendly atmosphere!
Price: $12 one class and milonga, $17 for both classes and milonga, $7 milonga only. At Lafayette Dance Center, 3369 Mt. Diablo Blvd., Lafayette, CA 94549. Off street parking is available. Snacks and refreshments included. *see map.
Pampa Cortés’ biography:
International dance star Pampa Cortés hails from Santiago del Estero, Argentina. He is famous for his performance career in such dance companies as the Ballet de Juan Carlos Copes, de Mario Machaco & Norma Re, the stage shows in which he’s performed and for whom he’s choreographed (Forever Tango, Tango Revue), and his own directorial projects (Argentina! Tango & Malambos, Fantasia Argentina). In his career of five decades, he has performed and taught all over the world. He is Artist in Residence for Tango & More - Argentine Dance. His clean footwork & elegant masculinity have inspired thousands to achieve greater skill in their own tango.
------------------------------
SATURDAY, July 17th @ Susan's Dance Studio. (workshops)
Argentine Tango Technique Workshops
3:00 to 4:00 pm Argentine Tango technique and musicality workshop 1.
4:00 to 5:00 pm Argentine Tango technique and musicality workshop 2.
Price: $12 for drop in, $20 for 2 workshops.
At Susan's Dance Studio, 2146 Ringwood Ave, San Jose, CA 95131.*see map.
------------------------------
SATURDAY, July 17th The Beat. (class + practilonga)
8:00 to 9:00 pm Tango class on rhythm, posture and the dynamics of dancing.
9:00 pm to 1:00 am Assisted practilonga: “La milonguita” with Polo y Diana.
Price: $10 with class, $5 practice only.
At The BEAT: 2560 9th St., Berkeley, CA 94710-2563. *see map.
More info: Polo_talnir@hotmail.com or call at 510-541-3135
------------------------------
MONDAY, July 19th @ Alberto’s Night Club. (drop in)
7:00 to 8:00 pm Fundamentals & technique.
8:00 to 9:00 pm Intermediate class on: “Contrast in the length of the walking”.
Price: $13 per class, 25 both classes, including practice.
At Alberto’s Night Club, 736 W. Dana St, Mountain View, CA 94041. *see map.
------------------------------
REGULAR SCHEDULE:
MONDAYS (drop in) Fundamentals & technique 7:00-8:00pm. Intermediate class 8:00-9:00pm. Practice 9:00-10pm. Price: $13 per class, $25 both classes, including practice. @ Alberto's Night Club, 736 W. Dana st, Mountain View, CA 94041. *see map.TUESDAYS (drop in) All levels class 7:00-8:30pm, personalized attention to each student. Price: $13. @ Precious Life Wellness Village, 2116 Berkeley Way, Berkeley, CA 94704. *see map.
WEDNESDAYS (drop in) Attention new schedule starting in May! All levels class 8:30-9:30pm, personalized attention to each student. Practice 9:30pm-12:00am. Price: $14 class and practice or $5 practice only. @ VIMA Dance Studio, 560 3rd st, San Francisco, CA 94107. *see map.
THURSDAYS (series) Latin rhythms 6:30-7:30pm. Beginner tango class 7:30-8:30pm. Intermediate tango class 8:30-9:30pm. Price: $45 five weeks session. Register online at www.WalnutCreekRec.org or call (925) 943-5858. @ Social Hall, Civic Community Center of Walnut Creek, 1375 Civic Dr, Walnut Creek, CA 94596. City of Walnut Creek Recreational Department. *see map.
FRIDAYS (drop in) Fundamentals & technique class 8:00-9:00pm. Intermediate class 9:00-10:00pm. Milonga 10:00pm-12:00am. Stay after class to practice or join us after 10:00pm to dance in a nice and friendly atmosphere! Price: $12 one class and milonga, $17 for both classes and milonga, $7 milonga only. $60 class card for 6 classes + milonga (must be used within 60days). Off street parking is available. Snacks and refreshments included. @ Lafayette Dance Center, 3369 Mt. Diablo Blvd, Lafayette, CA 94549. *see map.
------------------------------------------
More info: Email: info@marcelosolisargentinetango.com Phone: 415-412-1866
www.marcelosolisargentinetango.comMovie recommendation:
Si Sos Brujo: Una Historia de Tango (2005)
Caroline Neal's intimate documentary follows young bass player Ignacio Varchausky as he sets out to ensure the future of Argentina's beloved musical tradition by creating a tango orchestra school. With the help of 87-year-old retired violinist and composer Emilio Balcarce, Varchausky recruits some of the giants of tango's golden era, including Pepe Libertella, Raúl Garello and Néstor Marconi, to help preserve a national cultural treasure.
Rent this movie for FREE from NETFLIX
Caroline Neal's intimate documentary follows young bass player Ignacio Varchausky as he sets out to ensure the future of Argentina's beloved musical tradition by creating a tango orchestra school. With the help of 87-year-old retired violinist and composer Emilio Balcarce, Varchausky recruits some of the giants of tango's golden era, including Pepe Libertella, Raúl Garello and Néstor Marconi, to help preserve a national cultural treasure.
Rent this movie for FREE from NETFLIX
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