Hi everybody, Fran here with your Tango Tip of the Week. Today, we're going to talk about tandas. In general, the Spanish word tanda refers to a "group" or "bunch" of things. In the case of Tango, the word refers to a group of songs. (In English, we might call such a group a "set.") When you attend most milongas in Argentina today, the DJ (or in very rare instances the live orchestra) will probably offer three or four revolving tanda cycles for you to dance to:

First tanda

The first tanda will consist of four Tangos, usually at a more or less specific tempo (speed), usually by a single composer or orchestra.

Second tanda (optional)

Following this, there will often be a second tanda of four Tangos, this time by a different composer or orchestra, played at a different tempo.

Third tanda

The third tanda will consist of three (or, less often, four) Valses, usually at the same general tempo, and by the same orchestra or composer.

Fourth tanda

Finally, the DJ will offer a tanda of three (or very rarely, four) Milongas, once again generally showcasing a single tempo, as well as a single orchestra, and/or composer.

La cortina

Between each tanda the DJ will insert what is called a cortina. The word itself means "curtain," in English, and refers to a short (25- to 30-second) snippet of non-Tango music, which is designed to announce the end of the tanda.

How tandas keep things going at the milonga

At the milonga, people adhere to the structure described above in the following way:

As the first tanda begins, a man invites a woman to dance, using el cabeceo. (For a detailed description of this highly idiosyncratic practice, please go to the Firehouse Tango Web site, and read our Tango Tip of May 12, 2016 in the archives). If all goes well with the couple, they remain together for the entire duration of the tanda. Between individual songs, they chat amiably about matters of interest to them at the time. As is the custom in Argentina, their conversation actually extends through the beginning of each new song, and the couple starts to dance about 15 to 20 seconds into the song. Tourists are often confused by this practice, and begin to dance right at the beginning of each song. But they learn quickly that the observance of local protocol dictates a slight delay in the action.

At the conclusion of each tanda -- as the brief cortina is playing -- the man thanks the woman for her company, and escorts her back to her seat. He then either returns to his own place, or uses the cabeceo once again in order to invite another woman to dance.

If a man is uncertain about the ability of a potential partner, he may opt to invite her to dance after the beginning of the tanda, perhaps at the start of the second -- or even the third -- song. In this way, he limits his liability, if she proves to be a difficult partner for him. On the other side of the coin, if a woman is dancing with a man she absolutely can't stand, she may opt to thank him abruptly at any time during their partnership, and walk off the floor. As discussed in a previous Tango Tip, this is the ultimate insult a man can receive at the milonga, and, should such a thing occur, he will most probably feel compelled to leave the building immediately.

The rest interval

At some point during the evening, usually after the end of a full cycle of tandas, the DJ may choose to play a Swing, a Latin dance such as Salsa, Cha Cha Cha, or Merengue, or some other piece of music, which has nothing to do with Tango, Vals, or Milonga. The purpose of this practice is to give people a longer break between tandas. During this interval, some people dance, while others sit and relax, visit the bathroom, or go outside for a cigarette.

Chacarera!

Knowledgeable dancers from Argentina love to get together and participate in a type of folk tradition called Chacarera. This is basically a memorized series of connected sequences vaguely comparable to English Country Dance, Israeli Hora, or American line dancing. DJs occasionally offer Chacareras during an evening of dancing as rest intervals -- but, as you'll see for yourself the next time you visit Argentina, a Chacarera is anything but "rest."  It's a time to kick out the blocks, hoop and holler, spin and jump, and generally have an absolutely wild time. Teachers here in the U.S.A. sometimes offer classes in this wonderful Argentine folk dance to prepare you for trying out your newly learned skill, when the DJ decides to play a Chacarera at a milonga in Buenos Aires -- if you have the courage, of course.

Next week, we'll talk about several important elements of behavior on the dance floor you should know about in order to fit in well on the dance floors of Buenos Aires. See you then.

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

• Eva Roth - Noodle Casserole
  

• Barbara Lombardi
  
• Mary Pagano
  
• George Ngo
  
• Richard Abrahamsen
  
• Bob Brillo
  
• Jesse Barton
  
• Francis & Marie
  
• Eduardo Campos