If you haven't been there, you don't know what you're missing. Everyone who goes falls in love with the city; and everyone who goes with Firehouse Tango says that we run the best (and friendliest) trip around. You can immerse yourself in private and group lessons with our favorite Porteño instructors. Your tango will never be the same, and after experiencing this magnificent city; neither will you. 

Our group leaves New York on Friday, October 31, 2014 at 10:15 PM and returns Monday, November 10 at 6:15 AM. As I write, the round trip fare for non-stop American flights #953/956 is $1285. Let me know now if you are interested in joining us. You can contact me (Sue) at 201-825-1570 or  firehousetango@gmail.com.

How Much:

Cost of the trip including everything listed below (excluding air) is $2000 (double occupancy). Single supplement is available for an additional fee of $300. Airfare should be about 1,285.

Payment Schedule:

$400 at signup - Non refundable (Single Supplement $300) due about March 13

$400 April 24 - Refundable if canceled before September 4

$400 May 22 - Refundable if canceled before September 4

$400 June 26 -Refundable if canceled before September 4

$400 Balance September 4 - Non refundable

We advise you to purchase trip cancellation & medical insurance (for example www.accessamerica.com )  You should make your air reservations as soon as possible, since the fare may go up. There is also an Argentina Reciprocity Fee of $160.  This is a one-time payment that is good for ten years. 

How to Register:

Give check made out to Firehouse Tango for $400 together with your name, address and phone numbers to Sue or send to Sue Dallon, 16 Fox Hollow Rd. Ramsey, NJ 07446. For more information or references ask Sue or call 201-825-1570 or 201-826-6602.

What's included?

·         8 nights / 9 days in Buenos Aires with the friendliest group around

·         Stay at the excellent, centrally located Bauen Suites Hotel

·         Full breakfast every day

·         Transfers to and from hotel (included only if traveling with group on American # 953 Fri Oct 31 and # 956 Sunday November 9 (arriving Mon  10))

·         Welcome luncheon where you will meet the instructors

·         Private group lessons with excellent local teachers and local hosts as partners

·         Milongas with local hosts (male and female) who are there just to dance with us

·         City Tour

·         Full day at gaucho ranch with barbeque and show

·         Popular Tango show with dinner

·         Day at San Telmo Flea Market & enough free time for shopping, exploring the city, visiting museums, taking private lessons, visiting milongas on your own or resting (heaven forbid).

·         You most certainly will want to visit a shoe store (shoes cost about 1/3 of price here).  Prices in Buenos Aires are amazingly low & additional costs are minimal.

·         Excellent & inexpensive local teachers highly recommended by us for privately scheduled lessons.

Optional add-on - Four days in Mendoza - Argentine wine country

Four of us are going to Mendoza after the rest of the group leaves.  It is an awesome trip with visits to lots of wineries, a little more tango dancing on the west coast and sight seeing in this beautiful place.  Please let us know if you are interested in joining us.

Sue and Joe Dallon

Firehouse Tango

First Cat's Away Milonga in Two Weeks!

Hi everyone, Pat here. We are now only TWO WEEKS away from our first Cat's Away Milonga of 2014!! I certainly missed not being at Firehouse last week (when Fran was righting a flu bug) - I heard that nobody signed up on the Poster!!! Yikes. Never mind, I'm sure we will have made up for that by the time you read this Newsletter!!

I hope some of you have got out your chef's hats and are thinking about which of your favorite recipes to wow us with. However, if you'd rather not cook, you can bring something from the store or the deli or the dessert shop! Many people do this for every Cat's Away, and it's just fine.

If you're cooking, please bring your food in your own dishes (these can be disposable, if appropriate); we can also warm food in the large oven in the Firehouse Kitchen. For salad makers, there are two large bowls at the Firehouse, plus a couple of smaller bowls. Contact me at paltman21@gmail.com or Fran at franchesleigh@mac.com with any questions.

Please don't be shy--we want to hear from you!!

My resolutions for 2014

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

How did I do?

 Buenos Aires

We spent five weeks in Buenos Aires last year.  Our group trip in November looks like it's on.  Joe and I would like to try to squeeze in one more time before that. 

Spanish

I've really been working on my Spanish, which has improved greatly, but it's never enough for me.  I'm still taking two group classes every week, but my Tuesday classes in February were all cancelled.  I hope that March is better.

My meetings with Hilda for an "habla" session are on hold while she is in Buenos Aires. I continue to meet with Horacio every few weeks for the same.

To my Spanish speaking amigos: Please keep "hablando espanol conmigo", no matter how much I might resist.

Newsletter

As for shortening the newsletter, it's always been a lost cause, but think how long it would be if I didn't try.  Besides, there's always so much to say. 

Exercise

I am proud to say that through the end of February, my exercise routine has been right on track.  I've done my 20 minutes every morning.  My problems always come when I go away, so I won't boast until I come home from next week's visit in San Francisco.  I plan to take my exercise bands and diligently use them every day that I'm on the west coast.  We shall see.   

March 13  - Birthday of Carl Remmes

 
 Carl is in incredible dancer and Firehouse friend who has been coming for years.  Jan will start the dance and then the ladies will cut in.  Ladies, do not miss this opportunity for a sure-to-be-fabulous celebratory dance with him.

• Sue and Joe are going
• Michael Nadtochi and Zoya Altmark teach all Argentine Tango workshops
• Special Sunday afternoon milonga with Ilene Marder

Joe and I always love these weekends and we're going to attend this one.  Let me know if you would like to join us, and we'll arrange to sit together.

You have the choice to "SIT IT OUT...OR DANCE". Stardust Dance Productions' 97th Ballroom Dance Weekend is almost here (April 4-6th). Don't be left out. There is no better place in the country than the experience of being in the Catskill Mountains of New York during this season..  Stardust Dance Weekend is being held at the beautiful Honor's Haven Resort & Spa located in Ellenville, New York.  Prices start at $385.00 per person which includes:

·     Overnight accommodations at full-service resort

·     7 meals - Champagne and wine reception

·     Open bar cocktail party and smorgasbord

·     Over 50 dance workshops

·     Dancing during lunch and dinner

·     Night and day dancing to 4 great DJ's

·     Top nite club entertainment each evening

·     Stardust's got Talent

The Stardust Sunday Tango Program
 APRIL 6TH  -  11am-4pm  -
Finale of the 97th Stardust Dance Weekend in Ellenville NY!

- Two Workshops with Michael Nadtochi & Zoya Altmark
- Elegant Dance Mix Lunch
- La Rubia's Milonguita with Host & DJ Ilene Marder

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~-
11am-1pm Workshops with
MICHAEL NADTOCHI & ZOYA ALTMARK
11AM- INTERMEDIATE/ 12 NOON- Intermediate/ADVANCED

- 1PM-2PM- ELEGANT 3-COURSE LUNCH,WITH MIXED DANCING
 LATIN-SALSA-CHACHA-HUSTLE-WEST COAST SWING-LINDY-BALLROOM-TANGO

- 2:00-4:00pm: LA RUBIA'S MILONGUITA !
CLASSICS, MODERN, & NUEVO
HOST & DJ ILENE MARDER~ LA RUBIA DEL NORTE

---  ALL DAY SUNDAY PACKAGE: JUST $50
2 hours of Workshops; 1 hour Dance Mix Lunch; 2 hour Milonguita
 OR
- Dance Lunch & Milonguita Only: $35
 (- MILONGUITA ONLY: Complimentary, No Charge! )
_________________________________________________________________
 These Sundays are always productive, delightful and fun!
ADVANCE RESERVATIONS NECESSARY!
PLEASE CALL OR WRITE ILENE....
imhmedia@gmail.com /  (845) 399-9034
_________________________________________________________________
ALSO!!!
- FRIDAY & SATURDAY NIGHT MILONGAS & STAGE SHOWS:

Each night....
- 9pm:  MILONGA WITH DJ LA RUBIA DEL NORTE
(9-10p DANCING/ 10-11p-SHOW/ 11p-1A+ MORE DANCING!)  
- 10-11PM- MULTI DANCE STAGE SHOW!                              
LATIN,BALLROOM, SWING, TANGO, et al
-11pm-1am+: MILONGA CONTINUES! 
____________________________________________________________________
MORE THAN 400 DANCERS COME FOR THESE EXCITING WEEKENDS! More than 50 classes and workshops!
MULTI DAY PACKAGES AVAILABLE.
CONTACT STARDUST:845-794-4982 or 845-796-6511/
http://stardustdance.com/images/emailart/STARDUST_WEB_BROCHURE.pdf

Honor's Haven ~ 1195 Arrowhead Rd Ellenville, NY 12428 ~ is a lovely, modern hotel located just off Route 209 in Ellenville, south of the Village (first left after the last gas station going south), directly next door to the famous Nevele Hotel. Approx. 35 minutes from Kingston, NY
 
 Friends, this is a wonderful fun weekend and I hope you will be able to join us...the Argentine Tango program is growing by leaps and bounds with many good dancers attending! We created the Sunday Tango Program to serve and involve regional tangueros.
Looking forward!
xox Ilene

 Every day, our dear friend and teacher in Buenos Aires posts a historical tango fact of the day. These interesting and informative tidbits always include English, Spanish and Italian  information and a relevant recording. You can see all of them and listen to the recording by simply joining Monica Paz PractiMilonguero Facebook page. Below is the post for March 4th and a link to the Facebook page, where you can hear the music:

4 DE MARZO DE 1941

March 4, 1941: Date on which Aníbal Troilo records the instrumental tango CACHIRULO, the first one with commercial success. In 1938, after 9 months of opening of his orchestra he recorded his first album with Odeón: COMME IL FAUT and TINTA VERDE. Given the sales failure the label abandons him. Troilo does not waive to his style and on March 4 starts his successful career with the Victor label.

Fecha en la que Aníbal Troilo graba el primer tango instrumental con éxito comercial: CACHIRULO. En 1938, a los 9 meses de inaugurar su orquesta, registra con Odeón su primer disco: COMME IL FAUT y TINTA VERDE. Ante el fracaso de venta el sello lo abandona. Troilo no renuncia a su estilo y aquel 4 de marzo inicia su carrera triunfal con el sello Victor.

4 marzo 1941: Data nella quale Aníbal Troilo registra il primo tango strumentale di successo commerciale: CACHIRULO. Nel 1938, a nove mesi dell'inaugurazione della sua orchestra, registra con Odeón il suo primo disco: COMME IL FAUT e TINTA VERDE. Prima del fiasco nelle vendite l'etichetta lo abbandona. Troilo non rinuncia al suo stile e quel 4 marzo iniziò la sua carriera trionfale con l'etichetta Victor.

 https://www.facebook.com/MPTango

And the following one for her latest interview (She regularly posts interviews that she does with surviving old milongueros) : 

MP Tango New Interview

MPTango Presents Jose Santoro at PractiMilonguero

http://youtu.be/9CWJ2gAELnU

Hi Fran ...thank you for mentioning delicate dilemma in the FH newsletter....I agree 100%....I am very sensitive to fragrances and  have had to actually tell two ladies that I couldn't dance with them because of the perfume they were wearing. I hope everyone ( men and women ) gets the message!

Regards

John

Note from Sue:  Here for the third time is Fran's Tango Tip from two weeks ago about the line of dance.  Also, as promised, I've repeated more previously published information:

Continuing about the line of dance

Please guys, follow the line of dance.  It makes it so much more pleasant for everyone.  Here is an interesting web site that you can go to for more information about the line of dance and dance floor etiquette (used with permission of owner).

  http://www.inscenes.com/etiquette.htm

  As a follower, I implore my leaders to respect the line of dance.   

Fran's Line of Dance Tango Tip

Hi everybody, Fran here with your Tango Tip of the Week. One of the primary disciplines that we all absolutely must incorporate into our dancing right from the beginning is that of maintaining the line of dance.  And yet, this crucially important practice seems to completely elude so many American dancers that we find ourselves talking about it again and again -- usually with very little positive result. Today, I'd like to talk about why I think this problem persists, and possibly how each of us can do our part in trying to fix it.

The concept of maintaining the line of dance is very direct in its simplest form:

Tango is traditionally defined by progressive movement; i.e., people moving counterclockwise around a dance floor more or less continuously. This well-established convention enables a group of dancers to interact predictably and comfortably while navigating a crowded room.

The problem with this concept is that in order to maintain line of dance with absolute certainty, all the leaders in the room would have to agree to do nothing more than continually walk forward, while all the followers would continually move backward, nobody would be able to stop or slow down, and giving in to any kind of individual creative impulse would be virtually impossible.

How would that way of dancing Tango work for you? It sure wouldn't work for me.

Let's say that I had been born and raised in Buenos Aires (rather than Brooklyn). Let's say that my initial introduction to Tango involved going to a social dance with family or friends. Okay, given those circumstances, it's possible that I might have been very pleased to learn the more gentle art of social dancing -- in order to do what my friends were doing. In order to be a part of the social swim. I mean, all my buddies would know that nobody in Argentina does stage stuff on the social dance floor, right? It's just unheard of. (Ahem ....)

Anyway, getting back to the ideal world, like most Americans, my first exposure to Tango was watching people dancing on stage. It just took my breath away. I fell hopelessly in love. I became instantly hooked. I thought, "I want to look like those guys. Get me a teacher now!"

So, what if my teacher had said, "Okay we're going to learn to walk around the room non-stop without ever doing any of the fancy stuff." I'm sure my response would have been, "I want another teacher." Or maybe, "Oh yeah? Well, I quit!"

Have I spelled out the dilemma I, you, we, face? Strict, one-note, robot-like, rat-in-the-maze social dancing versus the unbridled ecstasy of the stage?

Of course, this way of thinking is ridiculous. Yet many, if not most, students in America seem to find themselves caught up in this unrealistic fantasy. They approach learning Tango as an exercise in accumulating -- and dancing -- as many elaborate stage sequences as possible, while completely neglecting the less dramatic -- but crucially important -- elements of basic movement within the social dance. Because their focus is exclusively on displaying their own prowess, they tend to disrupt -- if not completely destroy -- the line of dance. Quite often, they actually place themselves and their peers in danger.

Does this describe you? I myself have certainly been guilty of such breaches of the delicate social dance contract from time to time.

Ultimately, I think that what we need on the social dance floor is compromise. Yes, of course, it's fine to get all excited about learning all that material we see on stage, on YouTube, and in lessons with the "stars." As skilled social dancers, however, we have to find a way to integrate such material into a well-practiced habit of taking care of everyone around us.

We know that the norm is to maintain a consistent line of dance. So that idea has to sit front and center in our consciousness as a primary goal, whenever we find ourselves on the dance floor. Our ongoing challenge will be to pick just the right moment, when we feel that it's safe to introduce a complex element into the mix. Sometimes, it will work. At other times, we'll have to abort a particular sequence in order to maintain our first responsibility - the comfort and safety of other people in the room.

Does this sound like a plan? Let's all try it, and see whether maintaining the line of dance as a primary goal makes things better for everyone on the dance floor.

Hello, everyone, Fran here with your Tango Tip of the week. In Tango, one of the most difficult concepts to assimilate is how to lead and follow. This is a crucial skill set that most dancers find to be quite illusive. In fact, I would speculate that the majority of leaders who don't lead appropriately really have no idea that they're not doing it right. Nor do followers who aren't doing their part in what I would say is the "correct" way know that they have a problem. Learning to lead and follow in the right way generally calls for months -- sometimes years -- of hands-on interaction between the teacher and student. For this reason, a great many Tango students -- even those who are involved in taking private instruction -- prefer to focus on memorized steps. They feel that steps are far easier to approach, and that if they have enough repertoire, they'll appear as if they know how to dance.

Once dancers who are willing to work hard finally find themselves in that rarified atmosphere in which they understand lead/follow, they almost always look back on their former inclination to focus on steps as largely a distraction and pretty much a waste of valuable time. When that happens, students will sometimes say to me, "Why didn't you just tell me how important lead/follow is?" That's when I feel like saying, "Let's go to the videotape. That's all I've been saying!" Instead, I smile graciously, and look forward to a stiff drink.

As I write this Tango Tip, I am well aware that talking about lead and follow -- trying to somehow articulate in words what it is and how to make it happen -- is virtually impossible. But I recently recalled something that my friend Carlos Gavito said to me years ago about the subject, and which I now want to share with you.

He said, "I invite ... then I follow."

My initial response to what I took to be a rather elliptical statement was, "Huh? What's he talking about?" It took me quite a while to figure out what Carlos was saying, because at the time I was still trying to dance Tango as if it were another ballroom dance like Foxtrot or Waltz -- in other words, an extension of the skills I already possessed. 

But eventually Carlos Gavito's words began to sink in. Here's what I now think he meant. I'll break it down into two parts:

1.     In the lead/follow dynamic of Tango everything occurs in a single step. I don't initiate continuous sequences the way I would in ballroom dancing. I lead -- or invite -- single, individual movements, each of which has its own beginning, middle and end. By stringing together these discrete elements, I create or improvise a dance. (In my own pedagogical approach to Tango, many of you who are reading this will know that I have developed a very specific way to invite each of six basic movements, but that is a subject for another time.)

2.     Once I have led or invited a single movement, I give my follower an opportunity to execute and complete that movement -- to bring herself into balance -- so that she is therefore ready for the next invitation I might choose to give her. Rather than carrying her through this movement, I allow her to execute it by herself. In choosing to accompany what she does, I actually follow her as she travels through space, and eventually achieves balance at the end of the step.

"I invite ... then I follow."

I know that this may be difficult to grasp, but if it makes any sense to you, please do yourself a favor and give it a try. Most of us have an idea of lead and follow that is far too aggressive/submissive -- what I sometimes refer to as "Tarzan/Jane" dancing. If instead, you can start to invite and follow as a leader, if you can receive an invitation and have the chance to respond, travel, and balance as a follower, I guarantee that your dancing will enter a new and far more comfortable dimension.

If you have any questions about any of this, please feel free to ask Pat or me for help at any time.

The following folks helped set up, break down and clean up before and after the milonga. Without them, there would be no Firehouse Tango.

• Tsipoyra Sartan - Special recognition last week and this week for picking up Terri on short notice when Tony couldn't make it.  She also helped set up and break down. 
  
• Terri Lopez
• Debbie Glaser
• Camille D.
• Mary Epiphan
  
• steve turi
• Bob Brillo
• Elena Titova
  

• Mary Pagano - Cookies
• Herb & Judy - Peanut Butter Pretzels
  

• Barbara Lombardi
• Rifky Mackeen
• Bill Krukovsky
• George Ngo
• Enrique Zuniga
• Bob Brillo
• Edna Negron
• Horatio Piccioni
• Marta Bautis
• Terri Lopez