I miss learning from these two.

They all talk about the same things,

just in different ways. A private lesson with Lorena Ermocida made me realize what good tango is regardless of styles. Tango is forever about embrace, posture and walk.

After dancing one song with Lorena, she first gave me some encouraging compliments: very smooth, dance to the music well, elegant... but... then she pointed out the things that she didn't like.
I occasionally took her off her axis, my embrace was too controlling at those moments. We tried to dance a little without my right arm embracing. Then we discussed the placement of my right arm. Then we danced a second song.

After that, she asked me what I would like to work on. I asked her what she thought that I should work on. We went through posture briefly, spent a lot of time on walking and leading with the body. I was amazed that the way she explained walking, however different style it is, was essentially the way Javier, Andrea and Silvina had taught me. They all stressed the leg behind, good transition between legs and the pull up from the front leg.

There were a lot of information to be absorbed in an hour. I was too tempted to book another lesson with her next day. Then I realized that I needed time to take everything in. But I thought that this class had taken my dance to another level. I finally realized how to set myself free in the dance.

Lorena Ermocida

I am having a private lesson with her tonight. She and Osvaldo Zotto are the few teachers who I respect. Last time I was in Buenos Aires, I watched them dancing on the crowded floor of Salon Canning. They were just floating on the floor. Some of my first youtube experiences were watching the following clips where they danced at Canning.





I don't know what to expect from the class. What I am trying to do is to just be myself and dance the best I could and have her figure out what I need to improve.

Analysis of a youtube performance.

I have posted this video clip before. Watched it a few more times today and wanted to share some of the things that I picked up in the video for didactic purpose. But I am going to let you watch it first and see if you pick up something useful as well.

There is no style.

Tango style, is another topic that I found pointless on my occasion visit to tango-l.com. Tango salon, milonguero, stage... nuevo, traditional... there is really endless discussion around it on all forums. Everyone involved in the discussion all seems to have a point...

But what is the point?

As in this clip , they said with a sense of slight derision: if you start analyzing it too much, you get lost... You start looking at it as a dance not like a feeling that can be danced.

In my book, there is no style. I do, however, categorize tango into two: good and bad. Good tango: a feeling is danced. Bad tango: there is no feeling.

It can't be that simple, can it?

It is in between the steps.

Silvina told my tanguera friend during our private lesson. My friend has been dancing for less than a year. Even though she has been a modern dancer for many years, she tends to rush the steps in tango.

Quality over quantity. It also rings truth in the dance. Dance slower, stretch the time before you land your foot.

Bad dancers use excessive upper body movement to express the music and feeling. Mediocre ones use steps. Good dancers take time to dance one step. Because between the steps there is infinite moment that one can express so much...

When I dance with good followers,

I dance to their level.

When I dance with the best dancers, I dance like myself.

Nada

A beautiful song interpreted by two inspiring young dancers. Rediscovered via MsHedgehog's post.



Carlos Di Sarli Con Alberto Podesta

Music: José Dames
Lyric: Horacio Sanguinetti

He llegado hasta tu casa...
¡Yo no sé cómo he podido!
Si me han dicho que no estás,
que ya nunca volverás...
¡Si me han dicho que te has ido!
¡Cuánta nieve hay en mi alma!
¡Qué silencio hay en tu puerta!
Al llegar hasta el umbral,
un candado de dolor
me detuvo el corazón.

Nada, nada queda en tu casa natal...
Sólo telarañas que teje el yuyal.
El rosal tampoco existe
y es seguro que se ha muerto al irte tú...
¡Todo es una cruz!
Nada, nada más que tristeza y quietud.
Nadie que me diga si vives aún...
¿Dónde estás, para decirte
que hoy he vuelto arrepentido a buscar tu amor?

Hot potato or cold stone?

I was dancing with this woman for the first time. She was humming with this sound of excitement in my right ear, which I am sure you all know what it sounds like, shortly into the song. Her embrace was reasonably giving. The whole dance experience was relatively pleasant throughout the song, or so I thought...

Soon as the music stopped, she pushed away from my embrace, like I was a hot potato...

And it happened three times (one tanda)!

???????????????????

"Poema"

different styles on the same floor.

Tango is a...

lifelong journey, not a short sprint. What's the rush?

Enjoy it...

Selfishness

An old Chinese proverb: "The heaven punishes those who aren't selfish." There is nothing wrong about putting oneself first. One's own selfishness, however, shouldn't do damage to the common interests of others. In this case, a lot of others.

If one is smart enough or business savvy, one should know that tango business isn't a business that will make one rich. There aren't enough customers out there to make it a big business. There are what, less than 100, 000 dancers in the world? At most, it is a multi million dollar business. Split among all these people involved in the business, there isn't enough to make a few millionaires. If one doesn't have the passion, what's the point of being in this business? If one has this passion about tango, then one's intention will not hurt a great deal of people's common interest.

The following letter comes from a respectful person in NY tango community: Mr Richard Lipkin.

Dear NY Tangueros,

As many of you know by now, Michael Foster is running a milonga in an area of Pier 17 in the South Street Seaport that for many years has been used by Tango Porteno as its rain location. I am, by this letter, explaining why I have decided to take the unprecedented step of removing his listing from the New York Tango Calendar.

If you do not know Michael Foster, you can familiarize yourself by reading his own words:
http://www.newyorkt ango.org/ ohtango.pdf
His terms for dancing on Pier 17:
http://www.newyorkt ango.org/ taa/11.html

During the past winter, Michael approached the Seaport Museum that controls Pier 16, the restaurant Skippers on Pier 16, and General Growth Properties the organization that runs Pier 17. In each case he represented himself as the person to deal with concerning tango on the piers. Michael has never had any role in running Tango Porteno although he has taught a few lessons in the past.

This attempted hijacking of what is arguably New York's premier tango event cannot be allowed to succeed. Unfortunately damage has already been done. Although the Seaport Museum refused to deal with Michael, I believe the attention he drew to Tango Porteno has resulted in our being obliged, as a condition of continued dancing on Pier 16, to pay a floor fee or rent. Unless an alternative source of funding is found, this cost must be passed on to you the dancers in the form of a "donation" or admission charge. We are working with Skippers to lessen this but passing the hats will no longer suffice.

If too many people will not pay this donation, currently estimated at $5, the dancing will be over on Pier 16.

Sincerely,
Richard Lipkin

Although I've danced tango just over two years, and last year was my first year attending Tango Porteno, I instantly loved it. This is an event that has been going on for the past nine years during summertime. Always free, until now... I don't mind paying for the donation or any reasonable amount of entrance fee to support the event. That's not the point.

The point is that the spirit of celebrating tango is tarnished now that a donation or entrance is mandatory to keep this event going. All because of a single person's ego and personal interest. That's is the worst and most despicable kind of selfishness.

Music and Musicality

I always have very good musicality even when I was a beginner, or so people told me. In the hindsight, I was just dancing to the beat. There was no difference to me between Piazolla and Di Sarli. I could dance them all. I even danced a nice tango to ballroom music with my former partner during the pre-performance rehearsal about one year ago, which prompted the teacher whom invited us nodded approvingly. What's the difference, music is music, step to music, easy! At the time the only orchestra that I couldn't handle was Pugliese. I went nuts while dancing the end of Pugliese pieces. I couldn't control myself. The music controlled me, I chased the music with steps.

It was not until I danced on the crowded milonga floors in BA, that I started feeling the music. The small space forced me to pay more attention to the music because there was no space to dance every beat. Most of the time I had to stretch the movement to a few beats. And later I found out that I could sometimes dance to the weak beats as well, even pause in the middle of the music. Then another door opened up: playing with the music.

I started collecting and listening tango music right before my first trip as a preparation. Brought back a suitcase of seventy some cds from my first trip and forty some the second one. Right now, I have close to 7000 tracks in my Itune library, all of them traditional tango music. The joy is endless just listening to the same song played by different orchestras.

It was when I started reading the lyrics that I found another dimension in the music: the feeling in the lyrics and the music. As in Una Emocion by Tanturi con Campos, the proud feeling makes me straighten my back and dance with stronger energy. When I danced Trenzas by Miguel Calo con Raul Iriarte one morning, I felt this feeling of missing a lost love. The girl who I danced with, the moment she was in my embrace, she felt it. And I felt the instant surrender in her and the little shivering from her body. At the end of the song, we kept our embrace for a few more seconds.

Then I realize that when I more and more appreciate the music, my dance gets better and better. Music is the catalyst and the inspiration. A man's style develops by the way he interprets the music, not by the way he dances. Observe. Most of the steps and movements are similar between different styles: Salon or Milonguero, Nuevo or Traditional. That's why I like to watch Chico dancing, even though I am traditional guy myself. Human bodies move in an organic way. How a man expresses the music with his body and leads makes the difference between the mediocre and the excellent.

It was not until I understood how to interpret the music and how to dance my feeling through the music that I knew I have good musicality.

Tango is simple.

Tango is no high art. Tango is no myth. Tango is no higher calling to enlighten human being.

Tango is between two persons who are seeking pleasure in each other's company. Simple.

Their latest performance

to "Niebla Del Riachuelo" by Fresedo Con Roberto Ray, a orchestra that they are rarely seen performed to. Enjoy:

"Listen to the music, That's it,

The music makes you dance. " Pedro said to me during our milonga practica session with Tina. Pedro is a seventy year old milonguero who has been dancing tango for over fifty years. He makes the yummiest rabbit stew.

The music makes you dance. It is so simple when one gets it. Connect with my partner and then connect with the music, let the music tell me how to move my body rather than how my body moves to the music. With the right music and right partner, I am contented to have just one tanda a night.

I adore adornments

Less isn't more! Like the Macy's July 4th fireworks, what you want to see after waiting for hours is the moment when hundreds of canons explode at the same time and create brilliant colors and patterns. Like going to a concert at Carnegie Hall or Lincoln center, a violin and a piano isn't going to interpret Beethoven's symphony like a big orchestra does. The more the merrier.

I am not saying that one should adorn every single song by different orchestras. I doubt that any one who is capable of doing adornment will embellish much in the De Caro's music. But in the music like D'Arienzo, adornment is almost a must to fully interpret the energy in the music. Often I've seen such lifeless scene on the floor while D'Arienzo is played. As Javier would say: "sleepy".

To embellish in 4 inch high heels to the music requires very good technical skill, great balance and strong foot. And sometimes I suspect it is another natural born Argentine thing, like the hips, that women are not inhibited to express themselves. In my opinion, adornment is the woman's own right to express her musicality, celebrate her own individuality and show her personality in the dance. A woman has her own say in the dance.

At Sunderland, I watched a little girl age of six or seven dancing with her father, whom in my opinion was a lousy lead. She was toe tapping while led pausing, little kicks here and there while doing ochos and sometimes high kicks to kneel level. It put smile on my face, watching her.

I had spent a lot of time observing in the milongas and noticed that young portenas who dance well love embellishment. Case in point, the often criticized Samantha Dispari. I watched her dancing (not performing) in the milonga at Canning. She was adorned with great speed, accuracy and full of energy. I didn't remember the music, but I remembered her hip was vibrating and foot was about drilling holes in the floor while tapping. I was feeling the music and the joy by just watching her dancing a few feet away.

More often now I feel the urge to express the music with embellishment; and I give time, allow space and expect the woman embellish. Nothing makes me smile and enjoy the dance more than a response from the woman with her adornment to the music. I admire her musicality and creativity. It is like having an intelligent conversation, and now I have found my match.

Tango is no longer a passive leading and following in 21st century. Men, give the lady the space and time to tell her story and feeling; Ladies, let me feel those pianos and violins through our connected chests with your leg and feet.

I adore those who adorn.

(And now I can get back to file my income tax.)

Disclaimer: The above opinion applies to established and advanced dancers only. For those who haven't been able to walk straight back and forth ten feet on an even level, those who couldn't balance herself/himself with one standing foot, without having to lean onto and effect the balance of their partners and those who couldn't tell the violin from the piano or bandoneon nor the difference between music of Di Sarli and D'Arienzo....Disregard the above post and KEEP WALKING.

They are doing

workshops in Asia next month. I am working on a business trip that allows me to take some workshop with them. It is great that one can mix business with pleasure.

Watching them dancing makes me happy

very happy!

Trenzas

The first time i heard this song was at my private class with Javier y Andrea. I thought it was by Carlos Di Sarli. Because we were dancing to Di Sarli the whole class. Andrea likes this song very much. She picked it a few times throughout the classes.



Music: Armando Pontier
Lyric: Homero Expósito
Orchestra: Miguel Calo
Singer: Raul Iriarte.

Trenzas,
seda dulce de tus trenzas,
luna en sombra de tu piel
y de tu ausencia.
Trenzas que me ataron en el yugo de tu amor,
yugo casi de blando de tu risa de tu voz...
Fina
caridad de mi rutina,
me encontré tu corazón
en una esquina...
Trenzas de color de mate amargo
que endulzaron mi letargo gris.

¿Adónde fue tu amor de flor silvestre?
¿Adónde, adónde fue después de amarte?
Tal vez mi corazón tenía que perderte
y así mi soledad se agranda por buscarte.
¡Y estoy llorando así
cansado de llorar,
trenzado a tu vivir
con trenzas de ansiedad... sin ti!
¡Por qué tendré que amar
y al fin partir!

Check this out

Royce's Tango Thoughts

Fellow Bloggers, Tango Friends

It is a small world, they say. It gets much smaller when you are a tanguero(a) who blogs.

When I started frequenting the milongas in New York last March, I thought it would be nice to write about my experience in the milongas, what I thought of tango at the time. Then I discovered other tango blogs and for a while my routine was: coming back from the milongas, have a beer,spend an hour or two writing my blog and then read some more.

Slowly I started making comments on others' posts and receiving comments. I participated in some small blog wars and fought one or two myself; made quite a few friends or maybe one or two foes.

Other than the few bloggers who have the courage to post their photos on the wild wild web, I often try to imagine what that person on the other side of the cable looks like, what is her/his personality, how well she/he dances... Between the words, sometimes I feel they are all so close, even though some of them live thousand miles away. When I sit in front of my 20in LCD screen and read about their posts, I feel like they are sitting on the other side of the screen. I am almost there living through their experience. I share their joy, frustration, and blissful moments.

By reading Issac's blog, I decided to finally take my first trip to Buenos Aires and learned from Javier and Andrea. I was glad that Cherie's blog had provided me information about the milongas in BA. And her service had helped me to enjoy my first trip tremendously.

I still remembered the first time I met with Cherie and Ruben. We had such a great time at Nino Bien that it became a memorable night in my first trip. I met my fellow New Yorker tangueras whom I had never danced with. How strange, we didn't have our first dance till we met in Buenos Aires, even though we might have sat next to each other in New York.

Meeting Sallycat at Cafeteria la Ideal was like meeting a friend who I haven't seen for a long time. Although our only encounter before was through comments on each other's blog, I felt very comfortable at her presence. I have much admiration for this courage woman. In a lazy Thursday afternoon, the empty Ideal felt special when I danced a tanda with her before I headed out for my private class.

Even though a smart guy like me, had figured out who were the beautiful chicas of tangoaddiction, I respected their wishes of remaining anonymous while we were in BA. But a smooth walk of Di Sarli at Porteno y Bailarin with Eva and a tanda of Pugliese at La Ideal with Malena had eventually broken the ice. We share a tanda or two whenever we meet in New York's milonga.

I feel fortunate to have met Tina during my second trip to BA. She is a beautiful dancer and lovely person with a warm heart. I wouldn't have the same wonderful experience this time if it were for her. Sharing a practica with Padro whom Tina has introduced me to, following her on an educational walk through the tango spots in Buenos Aires after the lunch at an Old Cafe, going out to Sunderland with friends twice, hanging out at La Viruta, talking with her about tango, the ghost... Tina, my dear friend, you had made my time in BsAs a rocking one.

And CDT: Le Chemin Du Tango, my multilingual fellow student of Javier, I will always remember our first dance at Nino Bien, a tanda of D'Arienzo, and our last one at Sunderland, a tanda of Pugliese, both are my favourites. As you said after our goodbye hug at La Viruta: I am sure I will meet you here again in Buenos Aires.

And what are the odds that three Chinese guys from three different countries: Singapore, Taiwan, and USA met in Buesno Aires studying with the same great teachers at the same time?
Issac, Gus, and yours truly. Although I am the oldest of three, you two are my inspiration.
I am wondering where we will be in tango one year from now.

I must say that all the fellow bloggers are good dancers. It makes sense. NO? In order to do well in something, you must first devote yourself into it. If we blog about tango, we must care enough about tango to be a good dancer.

TB and Elizabeth, the remaining two bloggers friends who I haven't met in person, you are just as close as the others to me. I am sure we will meet eventually one day, most likely in Buenos Aires. After all it is a small world.

Miss Tango, I will probably become a BA temporary resident soon. So I will be seeing you and the lovely Isa.

Johanna, our tango taoist, La Tanguera I look forward to having a tanda with you one day.

Gus said the good social dancers are not normal. I would say that we are special. For us, the tango bloggers, we have extra bonds. We share the same passion with the same dedication. We write about our feeling.

At this early AM Wednesday morning, with a glass of Norton Malbec 2004 in my hand, I salute you, all my fellow bloggers and real life tango friends. wishing you a tango journey as wonderful as mine.

I've never known a guy can be so good...

being a follower...So entertaining. It was fun to watch him do it on the floor of Porteno y Bailarin (he is one of the organizer, so he doesn't get kicked out). And a little pleasantly surprised that he was doing it on the floor at Canning. Ladies and Gentlemen, Jose Garofalo.

Bailar como un hombre

Would you like the woman in your embrace dancing like a man, marching like a soldier, say during the song of Poema? Probably not, right? A woman should look and feel like a woman: sexy, beautiful and feminine. A masculine follower doesn't get much cabaceos, at least at the milongas where I have been going to.

A woman tangos like a woman, a man tangos like a man. It is natural, that yin and yang thing. When two becomes one, it is the most beautiful to see and feel. When I was in Buenos Aires, from the 72 year old Padro who has been dancing over fifty years to Javier who is younger than I am, every man that I met who dances tango, has this universal message: stand like a man and walk like a hombre.

When I left La Nacional last night, I took a glimpse of these men, who are supposed to be the creme of creme in the NY tango scene, dancing, which inspired this post. I felt ill watching these men dancing like they haven't eaten for a week. I wanted to stop them and said to them: "Guys, please, dance like a man."

First night out in NY

My first night out since back to NY. Met Maetro on the street and talked with him about his gf's loss the night we went out. La Nacional was half empty by the time we went in. Plenty of space to dance considered where I just came back from. I could almost image the scene at Nino Bien. With all the people from all around the world participating CITA, Nino Bien must be very tight and crowded. Even so, I would rather be at Nino Bien than at La Nicional.

I was glad to see my acquaintance dancing on the floor. Also I saw the chica from NY also sitting by a table. Went over and said hello. Gave her a warm hug three times. And then did the Viruta way (or NY way) of asking for a dance: Bailar? Grabbed her hand and pretended to take her to the floor. She laughed. Off we went for two tandas.

When she left for NY we danced three tandas at Porteno y Bailarin. They were good tandas, except the moment Tete stopped us and made comment to her on my highly held left hand. Maybe I will ask Tete what the hell you were talking about when he is here in May. Think he remembers?

In two tandas that we danced, she stepped on my feet twice, misread my lead three times and apologized four times. She told me that she didn't enjoy all the milongas that she had gone to here. In Buenos Aires, I saw her getting cabaceos from some of the good old milongueros and dancing with them. Here I saw her being dragged around by some old guys whom have danced just few years. I hope they are not going to ruin the interest of this woman to tango.

I danced with my acquaintance for God knows how many tandas. In the beginning I felt her embrace was not as comfy as last time that I danced with her, just about one month ago. Maybe dancing in NY does change one's many good tango elements. I had the walk down from my first private session with Javier and Andrea. Three month later, I had to rework on the walk again. How can I maintain what I've had and build on it? I would think it over before i throw myself back to the milonga scene in New York again. The last thing I want is to take two steps forward and one step back.

We slowly got more comfortable with each other. During one song at our fourth or fifth tanda, maestro came to us on his way to the bathroom. We were dancing and he said to us from behind: "you guys look great." What? I hated to be interrupted. " You guys look great together." He repeated it two more times. I had to stop the dance. He's my maestro in NY and a respected teacher. He is always proud of me being his student. His compliment meant a good deal. But in the middle of the song while I was deep in the music with my partner???????

I made a face to his back as he walked to the bathroom. What's up with these milongueros/Argentines, first Tete and now him?

We danced about six tandas. Last one was D'Arienzo and clearly I didn't dance as well as slow and smooth ones. I asked her if she felt anything wrong. She hesitated for a moment then told me that I was tense and that transfered to her. Brilliant! I needed some one to tell me that. I relaxed the next song and we finished it better than we started.

I went to have a beer and then watched the floor.Then that inspired my next post. So get ready for some TP's rant. When I saw a bunch of Tango Nuevo teachers and dancers coming in, I knew it was my time to go.

I had a good first night. Yet it reconfirmed my will of spending more time in Buesno Aires. Having danced just two years, I've already found the level of tango in NY low. It is the environment and the level of teachers. The overall quality of embrace, posture and walk are in the baby stage. The school ones go to doesn't have them in the curriculum. Or the teachers ones go to don't even know the ins of these basics.

The popular teachers are the Americans who have been dancing just a few years. Two things the Americans do well are advertising and marketing. The Argentine teachers suck at these two things. They are like the Shaolin monks hid away in the mountains. One who wants to learn the real Kung Fu has to seek them out.

I am fortunate that I've found my master shaolin monks here in NY and over there in Buenos Aires. I am at where I am now partly because of them.

Cost of living in BsAs from a Turista's point of view

How expensive or inexpensive traveling to Buesnos Aires is? At 3.14 peso to 1 dollar, here my break down of daily expense:

Breakfast at 12:00pm: 4 media luna and two pastries from a pastry shop at las Heras and coffee at my apartment

cost: 4 peso

Lunch: A steak (10 peso), Asado (8 peso), half roasted chicken (16 peso), Salad (6 peso), beer (4 peso),Spaghetti with sauce (15 peso)

average cost: 20 peso

Modest Dinner: in a restaurant: steak, salad, water,

average cost: 30 peso

A night out to the milonga:

entrance: 12 peso
water: 6 peso
coffee: 6 peso
empanada: 2.50 peso/each
Taxi back home: 12 peso

Average cost of a night out: 40-50 peso

I had been taking the collectivo (bus) most of the time except coming back to the apartment 4-5AM after milonga. So I had saved quite a bit transportation cost. Still my average expense a day is around 100 peso.

If I went out to a fancy restaurant or ordered a bottle of wine or champagne at the milonga. The cost went up accordingly. Mind you, as I went out every night, I kept my expense modest. Even a few times I took a few friends out for dinner, we went to local restaurants that serve portenos.

My rent for my studio apartment at Recoleta costed: $560 a month (1750 peso).

Two pairs of Neotango shoes : 380 peso at 190 each (after 10% cash discount)

Eight sessions of msssage: 480 peso at 60 each

Credit recharge on my BsAs cell phone: 30 peso

38 Tango CDs at Zival: 800 peso

5 bottle of delicious Malbec at Disco: 130 peso

Transportation from and to the Airport: 160 peso

My private classes and couple of dinners with friends: 4200 peso

Round trip ticket: 2450 peso ($780 dollar)

for 24 days: 12,650 pesos ($4000)

Average good salary in BA: 2000 peso?

I don't know about you. It doesn't sound like an inexpensive heaven. A pair of Neotango has gone up 20 peso since December of last year, in merely 3 months. The entrance fee in some milongas has gone up too. We went to Puerto Madero one night. The club we tried to go charged 50 pesos for entrance. We looked at each other, Nah, too steep.

But comparing with other big cities in the world, it is still a relatively inexpensive place to visit for short term. I havn't gone to Europe for two years simply because it becomes very expensive to travel in the Euro zone. Asia is too far for me. :) (how ironic consider where i came from) Hong Kong is a very expensive place to visit. A night at a decent hotel costs around $100. Although I have a nice big apartment to stay in China, there is no tango in that city. I won't be staying at any place without a milonga for more than a week. I can't.

So for my next visit to Buenos Aires, I am planning to stay for a few months. It has tango, beautiful chicas, interesting night life, characteristic barrios and generally good people. Hopefully, by the time I go, it is still affordable for me.

Post BsAs Blue

Got home yesterday morning. First impression: it is cold here. Second impression: to put it less offensively to my fellow New Yorkers, where did all the beautiful chicas go?

Got back to my apartment and found out my Lucky bamboo survived three weeks without being watered. I forgot to leave it under my dripping bathroom faucet. Unpack half of my suite case, and went to bed for a nap. Woke up a few hours later and felt starving. Thanks to American Airline, all the weight that I had gained during my last couple of days of fine cuisine tasting in BA had lost in the ten hours flight back: total less than 12 oz food served. Cheap bastards! They didn't even serve enough water.

Returned the pastdue book to the library, paid my overdue mortgage, and went to get some greasy Chinese lunch and resupplied my frig with fruits, veggies and fishes. Went to blockbuster to return a DVD and rent a new one.

Another nap after the lunch.Cooked dinner around 11:00pm and finished my dinner well past midnight. Eyes wide opened at four o'clock in the morning and wondering what Canning was like at that hours. Finally felt into sleep at day break, and dreamed about the delicious media luna and cafe con leche.

Woke up around 11:00am this morning. Texted my colleague and told him I wouldn't be in the office till tomorrow. I am sick.

I have post BsAs blue, though not as severe as last time. Nonetheless I have it. I have been feeling nostalgic. What's worse, both of my Mate wood cup cracked after cure. Now I have half kilo of Mate but no gourd to drink it from. It crossed my mind that I would jump on the next flight back to BsAs and confront the vendor who sold me two cracked mate cup, or at least who sold me two cups without proper instruction of cure.

Checked out what had gone on in NY's tango scene through facebook photos. I almost cried when I saw the postures of some women. That ended my thought of going out tonight, tomorrow night and the night after tomorrow...

Spent the whole afternoon on importing my new CD collection. Now I have 266 tango albums, 4973 songs and 21.0GB of music that will last ten and half day of non stop playing. Read some blogs and later listened to Adriana Varela, which added more nostalgia.

My life without tango is indeed quite pathetic. It will take me some time to get back to the normal life here. First thing first, I have to get back to work...

My next time in BA will be much longer, months longer... at least that's what I have to plan for.

Day 24. Packing

My suitcase is one quarter empty, despite all the shoes, cds and the wine that I bought. What have I left in Buesno Aires?

Day 23. Happy Ending...

Every story has its ending. All in all, it was a happy one on this Saturday night. The last day of my trip started with a late morning breakfast. I actually forgot my massage appointment. Oh well, I guessed I didn't need it at the last day of my stay. I would be more relaxed back home.

Went to Consagrados for a good bye dance with some friends. Every portena I know told me to come back soon. I danced with Flo a wonderful tanda of Pugliese; Paula, the beautiful chica from la plata, a nice tanda of Tanturi; S, who is lighter than a feather.

Javier and Andrea are performing tonight at Sunderland. I reserved a table for ten. We went earlier to have dinner. I saw a few friends there. I danced with all my friends. It was a great way to say goodbye. Tango with them.

Javier and Andrea's performance was incredible. See my youtube channel for all of the performances.

(Andrea's favourite song. I danced with her a few time of the same music. :) )

They are wonderful people, fantastic teachers and great tango artists. Not just dancers, ARTISTS. If you have the chance to take private with them, just do it. Accept them, understand them, follow them. They will transform the way that you look at tango and dance it.

For any leader who has just danced two year, I can say that few can outdone what I have accomplished in two years. A lot of the credits go to my maestro Carlos De Chey in New York and Javier and Andrea in Buenos Aires. Carlos has shown me how tango is danced in Buenos Aires. He is heavily influenced by Nito y Elba, classy and elegant. Javier has transformed the way that I dance, opened my mind and inspired me in many ways.

The party continued at La Viruta, where young and cool kids hang out. I don't know what this place has. I felt more and more that I like it here. Maybe it is the dim light, maybe it is the hot babes ( loads of them), or maybe it is the chacarera at four o'clock and the darness at 6:00am (make out time, that is what I called it.) Whatever it is, it got the best of me. I felt that I was free on this dance floor. I had natural high dancing with some women. No judgements, no apologies, just hot and sexy tango. If Javier saw me dancing like that, he would have given me a thumps up. (not that I hadn't gotten one.)

We had the freshest media luna at 4:30am. Coffee and cortado kept me going till the very end. What a scene when all those gorgeous women who wear sexy outfit passed by me! My friend sighed:" Damn, look at all these gorgeous women!" It is good to be single!

That was it. I spent all my pesos, had a wonderful time, learned a lot and still don't know a lot. But one thing that I know for sure..

I love tango.

El Fin.

Day 22. La Viruta.

I had accidentally deleted my original post. So here it is again: I will try to be as original as I could remember.



Split with the guys who were looking for actions at bars somewhere downtown. Although the girls were hot and smoking (actually smoking), smoky bar and loud non-tango music were really not my cup of tea. So I caught a cab and headed to La Viruta.

On the floor were pretty much all not so good dancers, wearing jeans, regular shoes. It was pretty much everything goes. Nobody was taking oneself too seriously thereIt, which I liked. It was crowded. A lot of guys were standing by the bar looking for baits (babes). :) Seventy percent of the women were young and beautiful there.

Saw my friend and her daughter sitting at a nice table by the floor and sat at their table. Fabian Paralta was sitting next to our table with a young and very pretty girl. What does a guy with his look gotta hang out with babes like that? :) She didn't even know how to dance. I saw Fabian dancing with her on the floor like holding the hands of a baby learning to walk.

There was live music at 1:30am. The music wasn't for dancing, at least to me. But there were a lot of people on the floor. Quite a few were doing their first steps. It reminded me my beginner year dancing to live music. At times, I had to look away from the floor. It got ugly. Yike!

I danced a bit with my friend and her daughter when the traditional music began. It was actually very good arrangement. The DJ is fantastic at La Viruta, playing very good traditional or nuevo and even salsa music. Always enjoyed the music the few times that I was there.

They had been sitting since 11:30 and rejected a few requests for dance. "This is a meat market." My friend's daughter said to me. She remembered it as a respectful milonga where the nuevo guys, such as chico, fabian salas, hang out; eight years ago that was. They left soon as we danced.

I was enjoying it. If it weren't because I was coughing out of control, I would have stayed till 6am. After 4:00am, when the admission is free, a lot of good dancers started coming. I met a student of Javier and Andrea on my way out, when chacarera was playing.

I stopped by the bar when I saw the fresh media lunas were brought out in baskets. A cafe con leche and three fresh and yummy media luna were too good to pass over. I left happy with a full stomach.

One more day left in the tango land...

Day 22. Private 8. Finale

Last class was all about fixing the little things, such as changing weight, keeping the body as one block, getting rid of the unnecessary body movement, keeping the footwork clean.

We spent some time to get the walk down. Andrea showed me how to lift the free leg before walking. Javier showed me how to use the foot to land. Normal. He said, just like walking on the street. I have to keep reminding myself when walking back, body first, and push off from the standing foot.

There are still a lot of work for me to do. Mostly I need to go back to NY and continue learning. Javier suggested to me that I should film myself and practice as follower. I will understand a lot of things and I am ready to be a follwer, as Javier said.

I started to understand a lot of what they taught me during these two weeks. I need time to revisit all these lessons and process the information that I got. I need to put them in the practice and see where I go from there. Quite a few people down here have told me:" the way you dance to the music, one day you will have your own steps."

One day I hope...

Day 21. Private 7. Happy feeling

I felt tired, not so much into tango the whole day. Took a nap before going to the private. My breakfast was at 2:40pm with steak, mashed potato and a glass of cold beer with my DJ friend. Lunch at 6:30pm, coffee and media luna. No wonder I was having this big headache.

Got to the class, and saw a student of them whom I met the first night at Canning. We chatted a little. And I chatted with Andrea. Andrea looked stunning wearing a nice skirt. My tango energy was at its all time low.

Well, I got to dance with Javier first. A song by D'Arienzo and Hector Maure, it was fine except my usual problem: lack of energy and small steps. I thought dancing in the crowded milongas in BA had definitely changed certain ways of my dance.

We spent most of the working on my walks. I knew I got the walk back in November. I was a little frustrated that we had to work on it again. Javier patiently showed me the way to walk. Well, simple! Walk like normal. He led me to walk back and forth in practice embrace. Then I walked Andrea in hugged embrace with arms wrapped around each other. We kept walking until she felt fine and I looked fine by Javier.

Then we talked about feeling in tango. Javier wanted me to feel happy dancing, not feel burdened. I danced with Andrea la Yumba by Pugliese. There were hiccup here and there. But I was feeling light during the dance and happy after. " You looked happier." Javier told me. " Remember that feeling."

My cell phone rang. They both smiled. My ring tone is Humilicion by D'Arienzo. Andrea liked it and wanted me to send her the song via Bluetooth. I hadn't done it before. So she helped. But we couldn't transfer the file. Tried to transfer to Javier's phone, which is the same model as Andrea's, it worked. Andrea's phone wasn't compatible with mine. Ha!

One more class with them...

Day 20. Private 6 Fatigue takes toll.

I was very tired, coughing during the night and in the morning. I guess that I am reaching to the end of my milonga stretch. By the time I reached Javier's place I felt lack of energy.

Andrea brought me upstairs. They went to Santa Fe yesterday for a show and class, eight hours bus ride. She looked a bit tired too.

Javier was dancing with CDT a milonga. To see him leading CDT dancing the milonga in socks was very entertaining. He saw me and joked: " It is you again. Every day I see you. Every where I look I see you. " I answered:" I am leaving soon. Don't worry."

As usual the previous class ended late. While Andrea took CDT down, I started dancing with Javier to Bien Pluenta by D'Arienzo. It was good except that my steps were too little while doing the giros. Not so manly, very intimidating. I told him that it was because in the milongas I worried about hitting some one while doing the giro. "Practice here then in the milongas you will have better confidence." Javier said.

He switched the music to Di Sarli. I danced with Andrea for one song. After the song, Andrea hold up a fist to my fist. She felt perfect. She wanted to congratulate me. I didn't do giros, however, and she noticed. Ha, I cheated and danced the stuffs that I know the best.

Later, we pretended the space as the floor of the milonga and practiced everything that I did in the milonga. Then Javier fixed the way that I held woman's right hand and explained that man and woman's arm shouldn't be touching. And I practiced some giros. Normal, nature, these are the keys of good tango.

I was feeling that my body and my mind was slow today. So we ended the class a bit earlier. I thought that I reached the point that I have all the elements of good tango: very good embrace, posture, walk, and the right mentality. Now it is a matter of putting that into practice and gaining experience.

They had said some nice things to me that made me feel very proud. Two more classes, I am ready to see the result by the end of my second series of privates with two of the teachers whom I have utmost respect.

Day 18. Private 5. Move to another stage

Today I had a early class. They were teaching a Russian guy while I got there. Andrea was working with him in open embrace. While Javier introduced the concept of dancing selfishly to him, he had drawn such a blank face that I couldn't help but smile. Ha, I was not the only who didn't get it. :)

I was smiling the whole time listening to the class. When the Russian guy asked how he should do the giro, which part of the body goes first, Javier said: " natural" The guy was drawing blank.
" it is like this: you want to go the bathroom very urgently. The bathroom is there. What do you do? You turn and you run to the bathroom. Do you think about which foot goes first, if the hip should turn this way or that way? " Javier was telling him and the same time acting very animatedly. It was the Russian the first class, he would eventually get it.

My class started with Farrol by Pugliese con Javier. We danced two times, fixed two small technical issues. The third time he was very happy. He said,"that is, we would wrap this up. This stage has finished. You dance very nicely, very musical to Di Sarli and Pugliese. The way you dance the music is perfect. Technical is not so important. Now we will move on to dance to half beat. "

D'Arienzo time. I danced with Andrea a few times, and Javier danced with Andrea one song to show me. Well, it is more difficult for me to dance to D'Arienzo than to Pugliese. We worked on the energy of the steps. After the last one, Javier said that it looked good but something was missing. There was not fire, to watch me dancing makes him sleepy.

Ok, good, new challenge. Let's see what Wednesday class will bring.

Day 15. Private 5. Break Through.

Since the second class, Javier has been talking about being selfish in the dance. I vaguely grasped the concept. Maybe it is my upbringing that makes me an unselfish person in life. You dance who you are, as they say in tango.

I started with Andrea. It was fine, except the giro sill felt awkward. So we worked on that. I led Javier. First time," you gotta relaxed more, I felt your tension on your neck and shoulder. " Second time, " I still felt your tension, the movement was not smooth, and you must adjust the embrace."
Third time, I closed my eyes, took a deep breath and felt my mind was total emptied. Without thinking much, I just went. I felt effortless. Javier told Andrea: " Perfection does exist."

I danced with Andrea one more song. And corrected two old problems which had been going on since day one. One was that I put Andrea on the outside edge of her foot at salida. The other was that my second step was weird and not straight (habit of dancing back in the tango babe days).

After the correction of the little technical imperfection went on, Javier talked a lot about being selfish. How a man should be a man in the dance (nothing about being macho). What a man's responsibility is in the dance. A man should first be responsible for himself.

I told Andrea that I understood that but it would take me time to build up confidence in myself. I only danced two years. I didn't felt that I had known the structure of tango. Andrea said to me before translated my thoughts to Javier: " You already have everything that you need. The warm embrace, the walk."

Javier sat me down and started "brainwashing" me. :)

"I am going to talk to you about the structure of tango. So that you understand.

First: you dance Tango Argentino, not Tango Espanol, Americano, nor Chino. Second: as you know, in Argentine, there is no structure... ( I laughed) So tango is about improvisation. Improvise means free. You are free to make a decision at the exact moment what you want to do. Listen to your lady what she wants, and tell her what you want. You have to know what you want in the dance as a man. You have to be selfish."

He stand up and showed me. " you have to be perfect, on your own axis all the time." All of sudden, I got it. I got it that at this level where each one already has the technique, I need to focus about my own dance. How to dance perfectly myself. " The more perfect you are, the better for me." Andrea told me.

That's what the being selfish means. I need not worrying about my partner. She has her own feet, her own chip (computer lingo: brain) and she knows how to dance. Think about myself how to be perfect.

I felt so much lighted like a burden was off my shoulder. I danced with Andrea one song. I thought nothing but my own perfection in the music. It was the best one I had danced so far. Andrea was completely satisfied, no pointer. Javier gave me a long look: "The feeling you have in the music gives you the potential of being great." I couldn't believe what I heard. So Andrea translated again. That must be the biggest accomplishment I had in my two years.

Then Javier showed me how to dance to the music. How to pause in the music. He took off his sneakers, and danced in socks one tango with Andrea to show me. It was inspiring to say the least. Then he talked about the beginning, middle and the ending of a song. What goes on in the three sections.

I danced with Andrea without the music. Then the fun began. We played in the dance. At the time, I felt that I was creative and enjoying the dance. "This opens thousands of possibility. You have so many options that it will drive you crazy. " that was Javier's last comment on this Friday afternoon.

I thought it was the class that would eventually transform my dance.

Day 14. Private 3. Secrete of Tango

Today's lesson started with dancing with Javier while Andrea was making mate. One song after, we sat down and had a priest's ball and mate. Then Andrea translated what my problem was in the dance. All my linear movement was fine, but the circular ones I was tension and not smooth. And I was still trying to control the woman. Woman has her own responsibility in the dance. I don't have to take her responsibility (well, not every day I got to dance with Javier or Andrea.).

Then Javier asked me to dance with him without right arm embrace. At first I was nervous, he had to stop me in the middle of the song. The next one he was very satisfied. Then I danced with Andrea the same way without right arm embrace. It was fine except when I did giro she felt a bit uncomfortable.

Then we talked about the right amount of energy in the right arm embrace. The woman should feel the heat from my arm. The embrace should be relaxed, firm yet not forcefully controlled. At times, it should make the woman want to embrace me more. I knew what she talked about making the woman wanting to embrace more. I had that experience with other followers.

Then Javier talked to me about the precision of the energy. How to visualize woman's feet, where they are, what they are doing. How to place them in the exact spot. "Your technical is fine. Now you have to understand this secret." he told me.

In the end he showed me the way the giro that I often do should be executed. Three simply movement. I tried it. One take, BAM, wrap it up. Tango is simple in its essence. To reach that simplicity requires a lot of preparation and work. When you get it, it is like "OH, is that simple?"

Day 13. Private 2 Being Selfish

Today we continued working on small stuffs. First thing was to work on leading woman front ocho and walking out of it. We spend about ten fifteen minutes on different variations of it, adding different color.

I danced with Javier a few times. Javier said Andrea was too good at adapting to the leader. He was wearing boat shoes with flat bottom. So any fault on my movement he felt it. Well, he is no Andrea but certainly better than most of the women I have danced with. After a few adjustment, he actually loved my embrace. Andrea got a kick out of it by watching us dancing. " muy lindo" because we both wore blue jeans and white t-shirt.

What I learned was to slow down more and not to rush the woman. I knew that it was my problem as I had been feeling it in the dance. Not natural as Javier would say. As I got more comfortable, the tension was getting less. Most of the things that they mentioned I fixed it the next song.

The only thing I needed time to digest was what Javier said and I read it from Issac's blog before: follow the mind of the woman. How not to lead all the time. He mentioned that I was always going after the woman.

"Are you married." He asked.
"Nope"
"Solo, an individual. Then why you listen to the woman all the time. Do you have plant at home?..." "What do you do?"
"computer" I answered, didn't get into detail.
"Now I understand, your computer is your wife. Entiendo todo." We all laughed.
"Don't make me quit my job." I told him and Andrea translated.

But seriously I understood what he meant. It was not being sexist nor macho. It was about liberating my dance, so that I could express myself and dance my own style. I had put too much into trying to lead every step. I was still at the stage on leading and following.

Now I should go to the next level: have a conversation, not just listening or speaking. It will take time for me to be able to do it naturally. It will take a equal partner to understand that. At least I know what the goal is, so I can go after it.

Day 12. Private 1. Picked up where I had left.

I was bit anxious before the class. Took the bus from the apartment all the way to Javier's place, costs: $2 pesos. I've been saving quite a few pesos since gotten used to take the buses. Besides, I feel like getting to know the city more.

I felt more comfortable with them this time. We chatted a little. Andrea asked me how things are. I told her that it was hard for me to dance well in New York. Few has the embrace. She laughed: "move here." Don't tempt me!

We started with a Di Sarli. I felt that I was a bit tense, but overall OK. Correction time:

Walk: I had it last time. After dancing in NY for a few months, my walk got weak.

Embrace: I tended to embrace the woman. Nope, let the woman find her embrace first, then finish my embrace with her.

Attitude: Grounded and relax. Open up the elbow, expand the chest.

Giros: Let the woman go first, then follow.

There were other techniques that will free myself from leading but dancing. The second song, I had fixed the walk, the embrace and the attitude. I was still not sure the mechanics of the giros.

Then Javier continued stressing the concept of feeling nature in the dance, how to resolve problem with solution. It will take me some time to digest what he and Andrea said. I know if I understand it, my dance will go up another level.

Tina arrived around 8:00pm for her private. Since we started late, she was waiting on the balcony.

I got more comfortable with Andrea and was playing with the music at some point. She was actually playing along and seemed to enjoy it. There were some information to be digested. But I was glad that there was no major issue to work on. And at a point, Javier actually was happy with the way I handled pauses and the flow of the dance.

Time flied, I felt exhausted at the end of the class. Went back to the apartment and had dinner. Took a nap before heading out to a milonga.

Day 11. Canning

Had a slow day. Took it easy during daytime and went out to Zival to pick up a few more CDs. I had been looking for a particular one: Grandes Del tango 16 Miguel Calo. This was third time that I came back to look for it. The guy kept telling me come back manana. Surely it was not on the rack. It was in stock, just that they never bothered to put it on the rack.

I saw the guy and spoke with him: " it is not there." Finally he gestured me to the counter, punched in a few keys, looked, picked up the phone and spoke a few words rapidly. Then he told me:"two minutes." and ran upstairs. Four minutes after he came down with the CD that I'd been looking for. Actually I just wanted one version of " Nada" from the album. But I was happy to finally have it. This time I have bought about 35 cds, which brings my tango collection over 150 cds and 20GB of itune. Quite a collection to sort through.

Went to Canning around 12:00pm. It was a slower night than last Monday, because of the rainy weather. Saw Tina and CDT sitting at a front row table. Waved at them and sat down a couple of tables behind them.

The floor was actually not very crowded. The floor craft was semi decent, not that many nuevo turn close embrace kind of dancers. First dance went to a portena who doesn't know who Javier Rodriguez or Andrea Misse is. "Too many Javier Rodriguez here " she said. I smiled.

What a contrary to our idea of tango stars. Here all the youtube heros are just regular folks who happen to dance tango. Julio y Corina were sitting a few tables away. When I danced with CDT, we were dancing right behind them. The nervousness of dancing right next to the top dancers is gone. To me, they are just another couple sharing the same floor. And they are better not space hogs. :) (most of them aren't)

Then I saw the gringa with whom I danced at Sunderland. I was very happy to see her. She later came over and we had a very nice tanda. Her embrace was so good. She had very clear and strong foot work that I knew exactly where her foot was. She was also having this "disassociation" that is typical of very good followers. It was a very very pleasant tanda with her, even though the music was uninspiring. She mentioned that my postures, especially the way my left arm holds, reminded her what her private teacher: Alejandra Martinian said about man's left hand should place like holding a piano. I told her that it was taught by Javier. We smiled. It was so nice to have danced with someone who learned the same way. We exchanged our e-mails after the tanda . And she went off to dance with a friend of hers.

Gus came in with his friend. It was so happened that one of the seats at my table was available. So he sat down right next to me and we had some chats. He was sounding more and more like Javier. " I have headache watching these people dancing. So many bad postures. The leader's head leans back, stomach sticks out. No wonder they can only do giros, can't walk." I agreed: few people can walk straight on the floor except a few old milongueros.

Talked about old milongueros: Tina introduced me to the low key but respectfully PS. I watched him dance. The 72 old man still has impeccable posture: straight back, strong lead and quiet walk. I am hoping that I could learn some Milonga con Traspie from him. I love Milonga con Traspie. A tanda of milonga (again so-so music selection) with Tina later, I was determined to improve my MCT. I could feel the potential that I have at it.

I had my good share of tango tonight. I was happier. The rest of the night I just chatted with Tina and her friend and watched the floor. The music wasn't really good. To be honest, my experience with female DJs hasn't been fantastic so far. Their selection of tandas tended to be on the even tempo side, lack of fire and energy; too mellow for my taste. In tango, man dictates the interpretation of the music. Andrea once told me: " you have to let me know how you want the song danced." I need to feel the music. The music that a DJ plays should get me off my seat and look around for partner. I didn't feel that urge once during the whole night. Gus felt the same way tonight: " What's wrong with this DJ?"

I couldn't wait to hear what Javier and Andrea say about my dance later tonight. Stay tuned...

Day 11. Nostalgia

Woke up this morning feeling down. It might sound strange to some people, but I am actually missing New York. It might be the fatigue. That would effect one's mood. Or it might be the beer that I had before went to bed last night. Or the combination of both.

I logged on to Facebook to checked out the photos of last night's milonga in New York, posted by a fellow tanguera. Seeing the familiar faces put a little smile on my face. As I said before, it is not where you dance, it is with who you dance.

Don't get me wrong. I am enjoying Buenos Aires and enjoying the friends here as more of them are coming. I am experiencing tango in different ways and absorbing it from different perspectives. I have been living in two different cultures: Chinese and American. Now through tango I am living in the third.

Sometimes, you don't miss something or someone until they are thousands miles away. I am sure I will be missing Buenos Aires, like I did, and the people whom I grow to like by the time I get back to New York. As I was younger, I had this strong feeling of nostalgia. Maybe it was because I went to live in a foreign land by myself when I was young. That feeling has gone for a few years while I had been living a more stable life: stable job, stable friends and a stable relationship (even it was rocky). One day , se fue, gone the relationship, gone the life that I had planned. Though I still have the stable job and stable friends.

My heart has found a place in tango. It is also a place that I travel with caution. I learned to shield and turn away certain feeling in the dance. And there are certain songs that I am reluctant yet longing to dance to. Tango without feeling is very unsatisfied. Feeling in tango is hard to find. I savor each of those deeply connected tandas. Each of them is nostalgic.

Day 10. Barrio Chino, El Beso

Woke up in the afternoon. Felt really sluggish. Had a Heineken for lunch and went to have a nap till early evening. Text the tango bloggers and decided to go for Chinese food at Barrio Chino.

It had been raining hard the last few days. Humbolt y Santa Fe, exactly where I stayed last time, was flooded. That section was closed. The taxi had to take another route. I felt lucky that I didn't stay the same apartment this time. I would have had unpleasant experience.

We went to the same restaurant. The food was decent enough. Every one was full and felt sleepy afterwards. The fatigue had been slowly seeped in. I didn't feel the urge to dance. Tina y CDT were going to El Beso. We took the bus 60 back.

I went to El Beso after dropped by the apartment and changed. I thought I lost the interest of dancing this night. Only danced a tanda with the portena whom I danced before. And a fucking guy led his partner into my elbow. He stopped and pull my elbow down in the middle of the dance. I was pissed. It must be my look. If I were a porteno, he wouldn't have done it.

I didn't say anything but kept my elbow where it was. This is the way I dance. I don't change just because you tell me so. Who are you to tell me how to hold my arm? I am a very sensitive and careful dancer who knows enough to take shit from a schmuck. Later I saw him lecturing the fellowers with whom he danced.

During the break in between songs, he came at me again. Pointed to my arm and said something like: per favor, keep it in. I gave him one of my stares, turned my face to the portena I was. dancing with. She shook her head, and told me in English " Don't mind him." I mumble: "stupid Locos." She nodded.

That was enough to finish the night for me. I didn't feel like dancing again. I chatted with Gus a bit, who came in later and sat next to me by the bar. I was getting impatient with the scene. Maybe I was tired, or the level of dancing was low. I felt uninspired watching the floor.

I took off early around 2:00am.

Day 9. Consagrados, Sunderland, La Virtua

Took a night off on Friday. Too tired to go out. Stayed in watching the 13 going on 30 by Jennefer Garnder. Actually learned a few words in Spanish because of the subtitle.

Saturday, woke up early around 11:00am and had breakfast before went to my 1:00pm massage session. Relaxed and got ready for a night of tango.

First stop: los Consagrados, a milonga para portenos. Got there around 7:00pm. Cherie y Ruben were already there. So was Tina. The group got bigger as the night went on. By now, I have some regular portenas to dance with. We had champagne, chatted and time went by before I knew it. It was 10:15pm when the La Cumparsita was played.

Time to hit the next stop: Sunderland. It was a trip out from Nino Bien. The cab driver didn't even know the exact location. TG, Tina was there to give direction and talked to driver. 30 peso and thirty minutes later, we were at Sunderland. Again without reservation, Tina used her magic to get us a table right next to the floor.

The place was less crowded than last week. I actually enjoyed the tandas with Tina and La Chemin du Tango, who joined us later. Javier y Andrea will be performing on March 15. We are planning to come back and have a big table that night.

Geraldin and Ezequiel came in around 2:00am and sat at the next table. Tina couldn't help but kept looking at Geraldin's feet. "Those, must be custom made." Women and shoes.



Gustavo came in his posse. We chatted a little about milongas. He's been away from the popular ones now. That's why I haven't seen him around till this night.

We left around 3:15am and caught a cab to La Viruta. It was my first time to Viruta. It is more like a night club for people who dance tango. Dim lights, young crowd,gorgeous women...good place for pick up, flirtation and muchos besos. It is an interesting place. I might come back another time to explore.

It was 6:30am Sunday morning by the time I got back to the apartment. It had been a long day. :)

Come when you are ready

Then you will the best out of the trip. I have met a German woman who came here for six weeks. Met her at Canning and we had talked a little bit. Poor woman, she left a luggage in the cab on the way in and lost her cell phone, camera and a bunch of stuffs. She is salsa dancer who took a few classes of tango. And there she is.

Met her again last night at Nino Bien, she came over to where I sat. She didn't have a good time. I took her out for a tanda. She didn't know how to do ocho cortado. She couldn't get good dances if she dances like this. She realized that and told me she would take a few classes before going to another milonga. I admired her courage, coming to BsAs alone without knowing much of tango nor spanish. She could have enjoyed the scene better if she is more ready. She is young and good looking. If she dances well, she would have been a darling of the milongas.

The other night at Canning, a woman from New York came over to where I sat. She's been dancing for about a year at the dance studio I used to take classes. I haven't seen her often at the milongas in NY, so I was surprised to see her. Apparently she would like to have a dance. I know how it feels to be alone in the milonga, times two while in a foreign land. Even though I knew it was not gonna to be very enjoyable , somehow I felt that it was the right thing to do.

Whenever I dance with someone, I always try my best. It was ten times harder to lead a beginner (even after her one year of studio learning) on the crowded and mixed level Canning floor. I had to make sure no accidents and no embarrassment. I was exhausted after two songs. "You should go to the milongas in NY more often" I mentioned to her during the break.

Every experience on the floors of BsAs' milongas is an unique one. I am in no position to say that don't come unless you are good dancers. Do come to experience the city by all means. But come prepared. Do some research, understand that except a few places (which I haven't been to) close embrace is the normal. Understand that when you accept a dance, then embrace the person like you embrace your family, your friend, your lover. A polite, ballroom style and cold embrace is a small offense to me. And understand that if you want to dance, don't be shy, look around for similar minded opposite sex, cabaceo is easier than you imagine.

Like in every other adventure, a good preparation ensures a better journey. May yours be just as good as, or better than, the fantastic one that I am having right now.

Off to La Ideal.

Day 7. Nino Bien

Went to Nino Bien early because Julio y Corina were teaching a group class. I watched them explained a few steps then sat down. Julio and Corina asked why I didn't join in. I smiled. Never again, group class.

It was just so happened that my table was right behind theirs. They were friendly people and of course maestros and great performers. But I couldn't see the steps that they taught being useful on a crowded floor. Later they danced to a milonga on the floor. It was beautiful to see.

And just as the class came to the end, I caught the sight of Tina and guess who: La Chemin Du Tango. It is a small tango world indeed. Later when a D'Arienzo tanda came up, I tried very hard to cabaceo her. And she caught it. She has nice embrace, feels light and follows very well. I enjoyed very bit of D'Arienzo with her.

Tina was popular. I couldn't get the chance to cabaceo her every time a good tanda came up. She was always on the floor. Finally one hour and half later, I saw her sitting down. Walked over and cabaceoed her. We had a nice tanda, but it was too crowded and too many not-so-good dancers around to have a great tanda. Hopefully at Consagrados on Saturday, we can finally be at our best.

Nino Bien is actually quite an international scene. Over fifty percent of the women are not portenas. And you can tell how tango has been developing in different parts of the world. I danced with a woman from Switzerland. She has the embrace and dance very well.

In my opinion, a lot of foreign women are as good, if not better, as the portenas. Few men could dance as good as the old milongueros. It is not the technique. There is something the old milongueros have that takes years to cultivate. Watching Tete dancing is quite an interesting experience. There is nothing special in his steps, but by watching him dancing with young woman :) I can feel the joy that radiates. Same with Ruben y Cherie, watching them dancing together, it is just fascinating.

The younger generation, however, doesn't have it. I have seen a lot of them perform and dance socially in the milonga. The connection is on the feet, not the heart. Too many figures, too many steps, too showy, lack of the magic that draws the hearts. It takes life experience to express the feeling in the music. Without the depth of life experience, then tango is no more than just another dance.

Cafeteria La Ideal martinee next...

Day 7. Un tanda mas?

So I read this before: in BA, if you dance with the same person more than twice, then others might think that there is something going on between the two. I guess that the rule doesn't apply to milongas anywhere else. In NY, we often dance with the same partner a few times in a milonga. While in Rome, however, do as the Roman do. I followed the "codigo" well in BA.

This time I found this particular rule is no longer strictly followed. Or has it ever had such a codigo? At Consagrados, I danced with this young portena three times. Sunday night, at El Beso with the young portena who claims to be a lawyer actually cabaceoed me the second time. Last night, the portena in green dress twice. So now I am bit confused. Some women I would love to dance with more than one tanda. Sometimes when I cabaceoed someone in the middle of a tanda and found out we had good connection. Do I cabaceo her again?

I asked Ruben with help of Cherie. His answer is that it is OK to dance someone more than once in the milonga as long as not consecutively and the intention is to dance. And part of the reason that people don't dance more than one tanda together is that they could have chance to dance with others. That is, unless you are the best dancer in the milonga, according to Ruben, women, after having their best dance with you, don't want to dance with anyone else and then go home happily.

Maybe one day I could become this dancer who gives the best tanda. :) One day...

Day 6. El Beso

Went to El Beso early and hoped to get to sit at a table. Nope, all taken. So I ended up hanging around by the bar area. Had a nice first tanda with a portena in a green dress, then I sat around for an hour and half without finding one to dance.

It is harder for a guy who is a relatively new face in a milonga to get good dances. Experience dancers don't look at you unless they have seen you dancing on the floor. The ones who easily accept your cabaceo are normally foreigners or not-so-good dancers.

Right now I don't mind not getting dances any more. I would rather have one or two great tanda a night then dancing 10 tandas. It is about the quality not the quantity. Like in everywhere else, I am building my dancer card one at a time. People will remember your face if you are good dancer. I am not worried about that. I spent more time watching the floor then being on the floor. It is a good learning experience to see different leads, follows and expressions of the music.

Talking about foreigners, I think a lot of them(me included) are better dancers. With different background and financial means, we are getting better in shorter amount of time. I have danced with some older portenas, only a few have the good overall feel.

Later, I danced with an middle age Italian woman from Bologna. She dances beautifully: good embrace, calm and smooth movement. Another portena of the same age: lean back posture, lift her feet in the dance which gave me a uncomfortable feeling, her following was just decent.

A good song came up, I wholebody was jazzing up. I looked around and caught the eyes of the first portena. Off we went to have a second tanda. The connection was better this time. The floor opened up, we danced more freely. I could hear her breathing.

I left around 2 am, another early night home. I had a decent time tonight. Two and half good tandas, not bad!

Tomorrow, Nino Bien. Julio y Carina are teaching before the milonga. So i will be there early. Maybe take some video to share. I am getting lazy with taking video and picture this time. Maybe I am less touristy. :)

Day 6. Already?

Wow, don't feel that I have been here close to a week. Days have just gone by like a snap of finger. I am thinking about extending my stay till the 22nd. Some friends are coming down from New York during the CITA week. Love to hang out with them. It will be fun to hit the milongas together.

I am more settled in today. Went to supermarket-Disco to do some grocery shopping. I was fascinated by the price of a good bottle of red wine: 9 pesos, the more expensive ones are in the 40-60 pesos range. I was tempted to pick up a few bottles. But I shouldn't be drink any alcohol. It was hard to walk away from the wine section of the supermarket.

I got myself some beef tongue and rice from the cooked food section, some bread, cheese, milk, mate tea bag (I love it!), packaged salad and 6 gallon of water. The problem with the diet here is lack of variety of veggies. And I don't if it is my imagination, but I think things are getting expensive here. For everything that I got, I paid 72 pesos, close to 24 bucks US. Pretty expensive for two days supply. I am wondering how the portenos deal with living expenses. From what I heard, they don't earn as much here.

I took bus 95 back to the apartment. I now know how to take bus 60 to El beso, Zival from my apartment, bus 59 to Palermo, but still need to find the bus to Javier's place for privates starting next week, and to Nino Bien by tomorrow.

Resting the rest of the afternoon, listening to my newly purchased cds (25 of them, mostly Canaro, Troilo and D'Arienzo) and writing this post.

El Beso tonight.

Day 5. Porteno y Bailarin

Woke up feeling muy cansado. Got an appointment for massage at twelve. Didn't even have breakfast. I could feel all the knots on my shoulder, back and legs. I felt soreness all over my body after. I need to have a few more sessions.

Javier is on the beach somewhere right now. I don't have any class schedule this week. So I decided to try a milonga class at the Escueia Argentina de Tango on Rodriguez Pena. There were only four students: me, a french man and a couple. There were two chicas, but they just wanted to dance with each other.

The teacher showed a few steps. The chicas played around by switching lead. And I gave my following virginity in BA to the French guy. Javier told me to learn how to follow. It would help me to understand how the woman would feel. And I felt the French man very nervous. I left thirty minutes after. And it was supposed to an hour and half class.

I took the bus, yes! the bus to Porteno y Bailarin. Cost only 90 cents ( a little over a quarter US). Great, I just save 7 peso. I am loving this bus exploration.

Porteno y Bailarin has changed its old wood floor to marble one. Based on my experience, it is going to take toll on feet if one dances all night long. I am still feeling the pain on my foot and knee from Sat. night at Sunderland.

Well, I don't have to worry about it. I didn't dance much. First of all, I didn't feel the music the whole night except one tanda of Di Sarli and one tanda of Lucio Demare. My friend told me on Sunday at El Beso that people are not going to P&B because of the music. She didn't have good dances at P&B. I have to agree with her.

I danced one tanda with a portena only because I saw both owners of P&B danced with her and she cabaceoed me. Her embrace was... so not Argentine.

My second tanda and the last one was with... Tina ! After all this blogging and comments, we finally met in person and got to dance a tanda of vals. I was watching her dancing before our tanda and enjoying her elegant, clean and playful footwork. She has wonderful embrace. I wished the floor wasn't so crowded at the time, so that I could have more connection with her. I guess there will be another time then.

I left shortly after our tanda. It was only two o'clock, still very early. Walked out on the street, I saw some familiar faces coming out from El Beso. I could have more dances at El Beso, but the one with Tina made up for them.

Day 4. Canning

That was it. Salon Canning is now officially on my shit list. I went there early in order to have a seat. I didn't have too much expectation anyway based on my last experience at Canning. So I sat there, chatted with a girl whom I got to know last night at El Beso.

Didn't really see anyone that I would like to dance with. Gringas who don't know how to cabeceo are probably newbies. Those who dance for a while want to dance with portenos. I saw a few women walking out in the middle of the tandas. And quite frankly, there were not that many good portenos around at Canning.

Saw Osvaldo Zotto y Lorena Emocida on the floor dancing one tanda. He was bumped four times in one song. He is such a classy guy. He offered a friendly gesture to the guy whenever there was an accident. Some big dude, who looked like a biginner, blocked his path at the beginning of the song. He was a bit upset, but he waited patiently till the foreigner moved away before he started to dance.

I didn't take my eyes off them until they reached the other end of the floor, out of my sight. They are such a graceful couple. They moved as if floating on the floor and flowing around quietly and smoothly. By watching them I could find myself breathing like in the state of meditation.

The only dance that I enjoyed was with some one from New York, whom just danced five months. Her embrace was so comfortable, even better than some portenas'. She followed extremely well. I felt ease to navigate around the crowed floor with her. I would have danced a second tanda with her if I didn't have to converse with a student of Javier.

The woman saw me greeting with Marite and approached me at the end of the night. She started the conversation. She is also studying under Javier and Bichi. She wanted to have a dance.

Hugo Diaz was playing. I told her that I don't dance this music. She said: "Why? It is nice music. I dance everything."
"I am particular with music. I have music that I don't dance to." I told her, "Let's dance when the music is right."

Finally, a tanda of Di Sarli started. We walked on the floor. It was past four in the morning and the floor opened up. The moment I embraced her, I didn't feel it. She has the same problem with a lot of gringas: the torso feel like a block. It felt stiff and cold. Even though she claimed to be a former ballet dancers, I have had much better embrace than that. I mean the five month beginner embraced me better than her. I can't even walk long with worries that she would pull me off balance. There was a reason why she had been sitting in front of me the whole night and I didn't cabaceo her.

We talked about a bit of styles and learning experience with Javier. It seemed that we had some differences. She started from Nuevo and fantasia, I have been always a traditional guy. Well, I was once again missing the girl with whom I danced at Sunderland. Where has she been dancing?

Day 4. Monday, holiday

While the city gets into its gear, a turista like me takes the day off. Today I am gonna stay in a bit. Maybe run around the cemetery, have lunch and take a nap before going on a bus trip to Neotango.

Thanks to Tangocandy, I went to the newsstand and bought a MiniGuia de Buenos Aires. I sort of figure out how to get to Riobamba (El Beso and Porteno y Bailarin) from Recoleta. And it is pretty straight forward. But I have yet figured out how to get back because Riobamba is a one way street. I have to take another bus back. Which one, I have no clue. But last night the cab ride cost only 7 peso ($2.50). So worst comes to worst, I will take a cab back.

I am picking up some Castellano from the Milonga. A young chica with who I danced one song at Sunderland taught me a few words last night. She just started dancing but has this embrace that is unmistakably Argentine, warm and comfortable. And an Americana from Seattle, who in her own right deserves a separate post (I even have the title: the mind of a typical American who dances open) but I am not gonna write it because she is a smart, beautiful and likable person, corrected me on the pronunciation of ll.

I got around all right with the 7 words and phrases that I know. Now armed with bigger vocabulary, maybe I will start a conversation with one of these hot chicas at the bar very soon. Or is it just something that I dream about? LOL.

Day 3. Lo De Celia y El Beso, Ruben's empanada.

It has been a long day. Where do I start?

How about a porteno asked me how was the girl with whom I just danced, at the end of the night at El Beso? I thought he was debating if he should cabeceo her. That put me on the spot. She was a nice person, but her posture was straight, and anticipated a lot. I had a OK tanda with her.

I didn't want to lie to the old guy. It looks like he is a regular at El Beso. But I don't want to badmouth anyone either. So I hesitated and responded: "Maybe it is me."
"It is not you, you are good dancers." He said in heavily accented English.

I got to El Beso early and saw the now-resident-of-BsAs from RI. She is a very nice person. She invited me to sit with them. I danced with her and her friends to start the night. Then a cabeceo to a young portena whom told me she is a lawyer. I was surprised. Thought she is only 20 something. We had a very nice vals tanda and so happened we were dancing in front of Tete and stopped at his table at the end of one song.

He said something to her. And then I saw him dancing with her at the next tanda. A few tanda later, she actually cabeceoed me for a tanda of milonga, which was a mistake. I don't have the traspie down yet. She missed a few steps. So I finished the rest in Lisa. She has been dancing for ten years and was surprised when I told her I've danced only two years.

There was an Asian woman who danced fantastically. I didn't catch the chance to cabeceo her. I kept a note for myself. I was a little disappointed the gringa, whom I met last night and had a great Pugliese tanda, was here tonight. I missed dancing with her. I could still remember the detail of the tanda, the moves, the connection, the conversation and the embrace. I hope to dance with her again.

Earlier of the day, we went to Lo De Celia, a martinee milonga like Consagrados, catering the local. There are only three turistas here: us (a Chino from NY, a chica from Norway and a gringo from LA).

I was dead tired by the time we sat down. Didn't see anyone I like to dance. The thing I like about the milongas in BA is that you can chat, order a drink and listen to the music. I had a great time talking to Cherie and Ruben about the music, a bit of gossips and other things. I danced a few with Cherie, the chica from Norway and una amiga del Ruben. The floor is marble, a bit too smooth for me to feel the floor. And I was bushed out and thinking about keeping some gas in the tank for later at El Beso.

We left around 10:30pm and I went to El Beso by myself.

I ordered two empanadas when I got to El Beso. I was hungry. But the best empanadas I had was made by Ruben. I had sampled quite a few in the afternoon before heading to La Celia. We had wine, champagne, the best empanada in town, and some helatos. I was tired but feeling very good. Good friends, tasty empanada, good wines and tango...

Life has been good so far in BsAs.

Day 2. Sunderland club.

A 22 peso cab ride and half an hour later, I was at the famous Sunderland club. The first driver didn't even want to go. The one who took me there was pissed because I didn't have exact change. The moment I got off the cab, I saw a guy from New York. Great!

Inside, I asked for the table of Maxi Copello. It was the last one, the host told me. I couldn't find it, stood there like ten minutes and finally caught my friend. The place was jammed packed. I saw two gringas whom I know from last time. Some greeting and they were surprised to see me again.

Danced with my friend for a milonga tanda. The floor was impossible. Even though the place was packed with stars, but the people on the pista were mixed. Some good ones, but a lot of showboats who danced with no regards of the others.

One of the woman whom I know danced with me a tanda and got kicked three times. Even though it was not my fault, as she said, but I felt stupid and embarrassed. I was very good at floor craft. This tanda was the worst one because never in my life before I had a woman in my care gotten kicked three times in a tanda. She was upset about the whole scene, I can't blame her.

The other gringa was so much better, yet still some fucking hot shot made a hugh step and had his partner's heel in my partner's foot. The fucking guy just danced away without a blink of an eye. I guess that our foreigners are second class dancers on the floor. Fuck you very much, asshole.

J, the other gringa who I met at the milongas last year, impressed me. We danced a tanda of Pugliese and I must say that was the best tanda that I had. Her embrace was so good. And in three months time, she got so Argentine, I felt like I was dancing with Andrea Misse. She told me she will be coming back to the states later this year. I lobbied her to move to New York. Gee, how can some one get so good in the matter of three months, I mean other than myself. :)

But seriously, she made me feel hope about American tango dancers. Or is she just an Argentine transplant? I long for a partner like her.

Anyway, I sat around and had another dance with a chica. Still other than having seen the known names like Geraldine y Ezequiel and every one else, the place is not yet my favourite. It is too far, too crowded, not too good floor craft ( Some young hot shot was blocking an obviously well known milonguer, whom was frowning at the young guy while trying to protect his partner.). I would have gone to Maipu 444 if it weren't for the invite of my friend.

The stars are just some normal people who happen to dance better than the rest of us. It makes no sense to be there just for the sake of seeing them. After all, for me tango is between two people. I would care less about everything else. I enjoyed Los Consagrados better. Thank god I had a great Pugliese tanda with J. Otherwise, Sunderland would be on my not-to- visit-again list.

Day 2. los Consagrados

This is a local milonga on Saturday afternoon at Nino Bien, Humberto Primero 1462. Only a few gringos y gringas, y uno Chino. I went out around 5:00pm, took the bus to Plaza Italia to catch D train. It took me about an hour to get to Neotango, which turned out closed at 4:00pm on Saturday. Most of the stores had their gates down. Not a good sign for economy.

Anyway, took a cab and got to Nino Bien. Met with Ruben at the door. From my understanding, Cherie would be late. It amazed me how far I got with the very limited spanish I know. Sat down, ordered the Champagne, and eveything was so familiar. Every one was at their regular tables.

My first dance is with a beautiful Argentine, whom Reben raved about. But I knew her already, danced with her at La Ideal once. Apparently she remembered me, a cabaceo later we met at the floor. I was glad to have my first dance with her. She told me I am a very good dancer. Coming from a portena, it was a good compliment.

My favourite arrived. She was surprised to see me. She looks the same; same dress, same necklace. Everything is so familiar. We had total three tandas. I didn't know what rules I have broken. Will have to check with Cherie and Ruben again for some update on the codigo.

Had a wonderful tanda with Cherie, although I messed up a few times. But watching her and Ruben dancing a tanda of milonga, they were amazing, the best on the floor. I stole a few steps from Ruben, I guess I would have to get him a nice bottle of wine tomorrow at the Empanada gathering.

Ruben is a sweet guy. He constantly told me who was good dancer. I danced with a round figure chica he recommended, and it was good. I regretted afthat I didn't cabaceo her at the beginning of the tanda rather in the middle of it. Hopefully she is going to be around next week.

It got to the end of the milonga. One portena pointed her finger at me, yes you, you forgot to ask me for a tanda. She is the regular here, and a very good dancer, light as feather. This time I felt that I could lead her much better.

Apparently she agreed. She gave me compliment during the break, but also some tips at the last one. I had to relax my left shoulder, she felt the tension. She was right, I did feel a bit tensed. We danced the last one.

It was 10:00pm. And I was hungry from dancing all these tandas. Said goodbye to Cherie and Ruben I headed back to the apartment. Sunderland was next...