Get your tickets [$20.00] now for our eight annual Tango on the Hudson picnic milonga. Don't miss dancing Tango at one of the loveliest spots in this area.

The dance is in the Alpine Pavilion, located at the boat basin in Alpine, New Jersey, about seven miles from the George Washington Bridge.  We will dance under the stars at this magnificent stone, open air structure built in the 1930's by the
 WPA, nestled in the forested Palisades directly on the Hudson River, with a huge wood floor made for dancing.  Its protective roof, picnic tables and matchless ambiance make it perfect for eating and dancing rain or shine.

FIREHOUSE TANGO ON THE HUDSON

Admission:

Tickets are $20 in advance or $25 at the door if space is available

Purchasing tickets:    

Tickets may be purchased in advance at Firehouse
Tango on  Thursdays or you can send a
check made out to Firehouse Tango to Sue
Dallon 16 Fox Hollow Rd Ramsey, NJ 07446

Date:                   

Sunday night, August 25, 2013


Time:                 

4 - 8 PM                             

Weather:            

Rain or shine - Covered pavilion

Place:           

Alpine Boat Basin

Parking:

$5 for a car to park in lot

Food:      

We will not supply food but you can bring a picnic supper if you want. There are tables at which to sit.

Drink:           

BYOB and water

Cleanup:           

Please dispose of your own garbage in the receptacles provided

Music:           

Music by DJ Joe

Information:        

For additional information call Sue at 201-825-1570 OR 201-826-6602 or e mail firehousetango@gmail.com .

Floor:

The floor is wood and you can wear dance shoes (dress is casual)

 

For pictures and directions for this year's Firehouse Tango on the Hudson Picnic Milonga (Sunday, August 25, the Sunday before Labor Day) click on Special Events on our web site at www.firehousetango.com

Sue's resolutions for 2013 - Update

Here were my resolutions for 2013
1.      Keep improving my español and study Spanish every day
2.     Keep visiting Buenos Aires
3.     Shorten this newsletter (HaHa)
4.    Exercise every day when I'm at home and try to continue when I'm on the road
 
My Resolutions - How they are going?

July - I did it!

Every month I update my readers on the progress of my New Year's resolutions.  I was great this year until my Buenos Aires vacation, where I blew it big time.  The good news is that I'm back on schedule - I exercised for at least 20 minutes every day in July - even when I was away.


Espanol - yes!

I'm happy with my progress. I appreciate all who continue speaking to me in Spanish, in spite of the fact that I may resist (It's so much easier in English - but as they say, "No pain, no gain.") 

July - Newsletter by Sue

Please DO NOT park in front of the side door! This is a fire exit and should be left vacant!

Let's start with a principle: The traveling movements of Tango are always generated by the leader . At no time does the follower take control of individual steps or sequences in the dance. When a follower asks for temporary control of the dance (as described last week), she is simply indicating that she wants the leader to come to a stop in the moment so that she can insert an adornment of some kind - after which she will once again become available for whatever step or sequence the leader would like to invite next.

Given that principle, what does a leader do, when his follower asks him to stop moving so that she can adorn? Basically, he has two choices: He can deny the request by continuing with his lead - in which case the follower should go along with the leader's intent, saving her request for a later time in the dance - or he can adhere to the request by coming to a stop. If he stops and allows the adornment(s), it is important that he pay attention to what his follower is doing - rather than, say, waiting impatiently for her to finish so that he can get on with his plan. Tango is a moment-to-moment collaboration between leader and follower. Whatever creative embellishments she may do should have a powerful effect on what he does thereafter. In other words, the leader may have planned to execute one particular step or sequence, but because of the follower's creative statement through her adornment, he may change his mind completely and do something entirely different.

It is important to remember that everything I'm talking about here falls into the realm of very advanced dance practice. If you're at a level where you're still working to achieve good lead/follow skills, this is no time for a follower to be "high-jacking" the lead (as swing dancers call it) in order to throw in a few adornments.  But as your leading/following becomes more confident, more comfortable, and more efficient, this profound enhancement to the dance collaboration - this important next level of the dance -- is something you can look forward to for the future.

• Terri Lopez -
  
• Tony Mele
  
• Tsipoyra Sartan
  
• steve turi
  
• Stephen Maisch
  
• Debbie Glaser
• Jesse Barton
  

• George Ngo
• Bill Krukovsky
• Jack Messing
• Jean Shedlock
• Jeff Glover
• Edna Negron
• Meryl Shapiro
• Horatio Piccioni
• Eduardo Campos
• Terri Lopez