Learning Castellano

Learning to speak and write in Spanish can be lots of fun. Doing so can really force you to understand that your own language is really wacky, that it is full of colloquial phrases that when translated is a literal mess of confusion, and furthermore forces you to really start looking at your own culture and choices. However when it comes to Argentine Tango, and ultimately going to Buenos Aires, the question comes up … “Do you really need to learn to speak Spanish ?”.

First and foremost the version of Spanish that is spoken in Buenos Aires is not necessarily Traditional Spanish, it’s a variation (an unrecognized variation – a dialect) of Spanish called ‘Castellano’. The primary difference between what you think of as Traditional Spanish and Castellano are two sounds that don’t necessarily happen in Traditional Spanish. The first is the “shh” sound which is used in place of a “y”. So the word “I”, in Traditional Spanish is “Yo”, would be pronounced “Show”. The second sound is a ‘juh’ or ‘j’ as in the word ‘jay’. In Traditional Spanish you’ll see this represented as a double ‘ll’, and it sounds like a ‘y’ as in the word ‘yes’. However in Castellano it sounds a little different. Take for instance the word Castellano, it would be pronounced “Cas-TE-Yan-oh” in Traditional Spanish. However in Buenos Aires it would be pronounced “Cas-TE-Jah-no”.

Secondly, what separates Castellano from Traditional Spanish is its pronunciation! Traditional Spanish varies wildly from country to country. However two versions of it are very ‘clean’, and that would be Panama/Costa Rica, and then Colombia. These versions of Spanish are spoken more ‘cleanly’ or closely to what one thinks of as Spanish without an accent. Castellano on the other hand sounds more like ‘Italian’ in its pronunciation more than anything else. It’s very ‘musical’, almost sing-songy. It has a unique cadence that can only be found in Buenos Aires. It’s a very soft romance language on every level. There’s nothing guttural sounding about it. It almost has a lyrical quality to it. Almost. At the same time you can’t really talk about Castellano without mentioning ‘Lunfardo’ which is the slang version of Castellano, more on that later.

Two primary characteristics of Castellano where it differs from Traditional Spanish would be the usage of Vos/Sos and Tu/Eres/Usted (2nd person singular). The usage of VOS instead of TU is very informal whereas TU/Usted is formal. Vos makes you sound casual, whereas TU/Usted makes you sound very formal.

That said, now we answer the question posed above, the answer is a qualified ‘yes’ and ‘no’.

The ‘No’ part. From a Dancing Argentine Tango perspective you don’t really need to understand the native language that the dance is built upon. It’s not going to help you to understand an Ocho any better. Really it’s not. Understanding Castellano is not going to change your ability to learn X. It’s just not. Truthfully the dance is taught in so many languages at this point that it’s should not be a surprise at all. The reality is that Tango is taught in the native language of the dance teacher and then made clear in that language. Usually English is used a secondary language for clarity. Usually. Quite honestly you could (and the author has) go from country to country and continent to continent and never learn Castellano, with the only language you need to speak being that of a Cabeceo/Mirada and then of course (Por supuesto) Argentine Tango.

The ‘Yes’ part. Yup, you absolutely do for a variety of reasons, in no particular order. 1.) It’s a sign of respect to the Native speaker and the culture that Tango comes from! 2.) Reading lyrics can be a bit more clear, and the meanings of songs made even more clear if you understand what’s being sung! However there’s a caveat to that, because the lyrics are a mixture of  ‘Lunfardo’ and Castellano and that is a whole different ball of wax in and of itself. But understanding Castellano will help to a certain extent. 3.) Being in Buenos Aires and understanding the native language while you’re dancing with X or asking for a dance (sans Cabeceo/Mirada), or chatting in between the songs with someone, or studying with Y.  and lastly 4.) Being able to navigate around the city with a Cab driver or getting on and off a Colectivo, or to speak to a service person while ordering something is absolutely crucial instead of pointing at something and waving your arms around!

To be fair learning Castellano is going to be a plus all the way around for you, there’s no downside to it. So, there’s no reason for you not to start today. A simple one to start you on your way: Change your facebook page from your native language to Spanish! That’s an eye opener! Another is by downloading the Duolingo App (ios/android) which turns learning the basics of Spanish into a very fun and engaging game that will keep you busy for hours and hours, all the while you’re learning the foundations of Spanish (for free). And if you want to go a little deeper, and really brush up your Spanish – 1.) Listen to Argentine Radio (Live) there are multiple sources online. 2.) Bueno Entonces is a good start too.  3.) An online tutor. There are tons of those. Ask around, you’ll find one.

Trust that these simple things go a long way towards you not being seen as just another Gringo/a who’s playing tango tourista and instead seen as a “Che” (sort of).

MORE REMINDERS

The Follower’s Molinete

Typically referred to as ‘The Molinete’. This is the ubiquitous turn that everyone uses, even though there are 7 more that are equally as useful, it has the default turn for most dancers. The part that you should pay attention to is the second word in that phrase, ‘Follower’. This is Follower specific vocabulary. There is a Lead component to it, which is called a ‘Giro’ (translated from Spanish to English it means “I turn”) , but this is really all about the Follower.

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The Unseen

There is an unspoken, unwritten rule with regards to Argentine Tango. Actually there are a few of them. However, one of them is that once you are acknowledged you are now persona grata. However, if you are NOT acknowledged….then you are Persona Non-Grata. You don’t exist. They don’t see you. And the more that you stand in front of them, the less that they’ll see you. You are the ‘Unseen’.

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La Viruta

Let’s get the details out of the way. The sight lines are awful. It’s dark, pitch dark in certain parts of the room. It’s crowded, and hot even with the A.C on in the ‘summer’. The drinks are expensive. The tables are small, assuming you can find one or have reserved one (which is recommended). The ‘hot’ area, meaning a place to ‘get’ dances, in the room is in front of the bar at the back left side of the room, and the entrance fee is on par with everywhere else (see end). There’s a restaurant upstairs, and on Mondays and Tuesday nights there is Salsa there. The rest of the week, it’s all Tango baby. There are classes nearly every night of the week, for different levels.

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The Birthday Song

The Benefits of a Birthday Song. There are a few, but important, benefits to having a Birthday Song for one or more people at the Milonga. 1.) From an organizational position, the Milonga Organizer can use this as a way to advertise the weekly Milonga. "It’s Miles’ Birthday, Come and Dance with him into the wee hours!". That sort of thing. 2.) It’s a way for the Community to come together and support one of their own.

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Practice (Part 8)

The question of what to practice for most dancers is really simple. The belief is that you should practice ‘dancing’. And this is not always the case. To be fair, while Tango does require a neurological adjustment on multiple levels which can only be attained from actual dancing – this is called ‘the neurology of dancing’, this is a given. However, in order to get to that place where refinements can actually occur in one’s dance, one has to practice, and that practice is not, so that we’re clear, with a partner, it is individually or solo practice.

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Physiological Control

Control is a really hard thing to get. It takes a while to have precise, or precision, control over exact foot placement, which is insanely important. It takes time to build up the necessary minute control that one needs to have over one’s body. A millimeter here, a millimeter there, cumulatively, can make all the difference between a dance that sucks (for both parties) and one that is absolutely fabulous. Precision control is where all the toys are at.

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Magical Improvement

“She’s not magically going to improve just because you ‘show’ her what she’s supposed to do at that moment.” To make this non gender specific, because this axiom applies to both genders, and both roles. As well as teachers and students. Some teachers know this truth, some teachers learn it the hard way. Clarity: The – “supposed to do” part above. This idea frequently occurs where you have a male Lead that has an expectation of X being followed properly, where X is Traveling Ochos, Volcada, Milonguero Turn, etc. And when it doesn’t they stop their dancing and then show the Follower what was intended. And here’s the magical part, they keep showing them, hoping that it will change the Follower’s behavior and frequently it doesn’t.

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Private Lessons (Part 1)

Private Lessons, or ‘Privates’ as they’re called sometimes, can really help you, can change you. Sometimes. And sometimes not. There are several reasons why private lessons won’t help or change you. 1.) Is the teacher you’ve chosen isn’t really a didactic teacher. What’s that ? It’s a teacher that is focused on dancing with you for an hour and pointing out all your flaws with very little actual correction instead of focusing on your foundation and fundamentals, like walking, stability, balance (which are not the same things by the way), your embrace, your body position and body placement, your understanding of the beat and engaging the musical pauses, just to name a few. A didactic teacher can really change you, and up your game. 2.) You. And the thinking that private lessons can the magical fix all. They’re not. You actually have to, god forbid, work! And then here’s the hard part: Practice!

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Keep something in the back of your mind: What you’re seeing in a youtube video is a couple that is performing for the 15th row for a room full of people. They’re not social dancingWhereas this website is all about ‘Social Tango’  or how to make things function on a social dance floor. Social Dance floor ? Your local milonga! They are showing you flashy moves as a presentation, to show off! But not stopping and talking about how this works which is what you need to see. This website and all of it’s content show you the how and  why you’d want to put that piece of vocabulary there, or how to make things work. This website is all about those things and more!

You could watch Tango YouTube videos and thereby spend your time, trying to infer, and figure out how things may work in that particular situation. Bend your body this way or that, twist and force this position or that. Place your foot here or there and figure it out. This is known as Tango Twister.  Which can be a lot of fun, but more than likely it won’t help you, because you’re missing something: The explanation from an experienced teacher showing you how to properly excute this stuff from a Leading Perspective as well as from a Following Perspective!

The goal of YouTube videos is to get you to study with those teachers in person. The goal of Tango Topics videos allows you to work at your own pace, in the comfort of your own space, so that you can play them over and over again to improve your understanding of the vocabulary or technique being described to therefore better your dancing experience. The goal of classes and workshops is to get you to come back over and over and over again, thereby spending more money with that teacher. This website and the videos under it are here to act as a resource for you to help you to improve your dance. Pay once and you’re done.

Eventually, one way or another you’re going to pay for this lesson, either here and now, or with them. TANSTAAFL! The difference between that lesson and this ? Is that you get to play this lesson over and over and over again. Further still, there are supporting materials (other videos) that help to explain the language and the underlying technique of how and why things work, so you can easily reference those things in the corresponding articles that go with the material, and or any language in the Tango Topics Dictionary. 

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