Visit Tango and Chaos for a great article on using cabeceo in the milongas of Buenos Aires. This page also offers “tips for success with the cabeceo.”

In today’s story by Tanguera Escondida, she considers the challenges and benefits of the cabeceo. Enjoy!

My tango partner, Klondike, often tells me that tango dancing is like sex.

“You don’t let sex just happen to you, do you?” he always says. “So why do you let tango just happen to you?” Because I love to dance. Because I don’t want to sit on the sidelines all night. Because the music inspires me.”Every time, he slowly shakes his head. “Someday, you’ll learn why it’s important to be picky.”

This is coming from the pickiest man I know in tango. A man who sits out almost all night, monitoring every passing follower, examining the way she moves, connects, her rhythm, every nuance and subtlety. Her foot positioning, the expression on her face. Her expression, people. Is she smiling? Frowning? Does it look like she’s having fun? Is she a nice person?“Why does her facial expression matter?” I ask, over and over. “This is tango. You don’t even see her face.”“I don’t want to dance with a woman who looks like she’s all stressed out,” he says simply, then turns back to the dance floor to watch and watch and watch, with the tiniest of smiles. The amount of scrutiny he puts into picking a follower is mind-blowing.  Sometimes, he doesn’t pick a single one until the last 30 minutes of the milonga. Dances once, then goes home.  (He and I do dance quite a bit together; this is how he picks his other followers).

Then there’s the other end of the spectrum, people who just dance willy nilly with whomever, and have taken the cabaceo to another level entirely. I know one woman who walks within three feet of a leader, stares him down like it’s some sort of staring contest, and pops one hip out in a sexy way. Doesn’t hurt that she’s always wearing some sort of clingy dress. He glances at her, sometimes with trepidation, like he doesn’t know how to handle this very forward creature.  She glances to the dance floor, he nods, sometimes frightened, and it’s on. She dances with exactly who she wants to dance with. She dances every tanda. She prowls around the dance floor like a panther.

Both she and Klondike are examples of extreme tango behaviors. But they both pick exactly who they want to dance with and make it happen. I just want to learn how to cabaceo in a way that will land me exactly between these two.  Which means dancing with maybe three of my friends, and one or two new people per night. Which means employing a cabaceo that’s somehow subtle, but forward enough for a leader to notice. No easy task. Historically, I’ve said “yes” to dance partners because they seem like nice people. I size them up quickly, examining their smile, their attitude, their body language. If they seem sweet, I say “yes.” Sometimes, this approach is met with disastrous results, and I walk off the dance floor with the sick feeling of disappointment. Or the feeling of being completely man-handled and thrown around. “Domestic violence,” as Klondike calls it. Or the feeling that I was just doing salsa or swing rather than tango.

“You have to watch the leaders first,” Klondike says. “Pick the ones you would like to dance with. Then try to position yourself near them during the cortina, or meet their eyes.” Heh.  All of the above is very difficult for an introverted person like me. However, I do understand why cabaceo is important in tango. It saves  leaders the embarrassment of walking across the dance floor, then being rebuffed, then having to endure the “walk of shame” back to one’s seat. It saves followers the difficult task of saying “no.” It saves followers from being chased all over the ballroom.I’ve had some unfortunate experiences myself. There was the guy who waited for the tanda to be over, and blocked my way to the bathroom, with a huge smile, to ask me to dance. And another who walked right up to me, and when I didn’t meet his eyes, he tapped me harshly on the shoulder and asked me to dance. Both these men I had to say “no” to, and it was awkward. All this awkwardness would have been avoided if they’d mastered the art of the cabeceo.

I have been taking baby steps when it comes to practicing the cabeceo. One time, at the Verdi, I managed to look halfway across the room at a man I already knew, who happened to be standing by the door. He nodded, I nodded, and there we had it. We danced, and it was great. But does the cabeceo really count if I do it only on leaders I already know? There are many, many leaders I would like to dance with in San Francisco, but I am too shy to stare. I can’t bring myself to walk over and stand near them, willing them to ask. I am afraid of saying “yes” to the wrong person. I’m afraid of saying “no” to the right person. I don’t want to ask a leader to dance. I want to abide by the “rules” of tango, no matter how old-fashioned they might be.

So, like Klondike says, I won’t let tango “just happen” to me. I’m going to try harder, overcome my fear, and make more eye contact. I’m going to dance with new people, even though I might not always have the time to watch them first. But I am going to try to watch more as well, and figure out exactly who I want to dance with and make it happen. If I can do these things successfully, then maybe, someday , I’ll be able to find my own happy medium.

- Tanguera Escondida

Please visit the SF Loves Tango Facebook page to share your thoughts on the cabeceo.

The mission of this website is to celebrate the San Francisco Tango community, share it with the world and to support everyone that is involved.

As this website is still fairly new, I’ve been working through ways to improve upon it and gain readership.  One tactic was to have guest writers share their experiences dancing Tango.  I recently received some feedback on the posts by guest writer, Tanguera Escondida, an anonymous tanguera living and dancing in the Bay Area. Foremost, I want to clarify that these stories are not written by me.  When Tanguera Escondida and I first discussed posting her stories on SF Loves Tango, one concern we both had is that they may be too controversial for the site. And yes, that is a real concern. Nonetheless, I thought her stories would add contrast to the usual blogs that I post, and also bring in readership, as of course, that is the bottom line, to get more people coming to the site.

A good friend is the one who told me that there was talk that the Tanguera Escondida posts were “damaging to the community”.  Initially I was upset to hear this. I even considered taking down the stories. Silly me, of course people would be talking. They are controversial. I chose to post them on the website because I believe other people may have had similar experience and could relate to them, and perhaps find that they are not alone in their feelings.  There are a multitude of opinions as to what tango is and should be.  As Tango dancers, when not dancing, we are usually talking about Tango.  But as my dear friend mentioned, words become much more powerful when written down (and read).

In regard to the first post on Cellspace: For the record, SF Loves Tango Loves Cellspace (and ALL of the milongas in the Bay Area). Tango at Cellspace is the one milonga that truly represents San Francisco.  It is a welcome place for people of differing dance styles and lifestyles. It is also a place that celebrates artistic expression. Please see previous post: Milonga Spotlight: Cellspace. The non-profit group, Project Tango, founded Tango at Cellspace. Their mission is: “To promote tango as a social dance and evolving art form in our world culture while building and maintaining individual and community integrity, balance and respect.”

In regard to the second post on followers taking group lesson:  Yes, making fun of leaders trying to learn is not nice. Making fun of anyone is not nice. But the truth in the story is what makes it funny. If a leader wrote the article I’m sure they would be complaining that certain followers are like pushing around a ton of bricks or that they do their own thing without being led.

Ah, yes, learning Tango is not easy. And yet though it all we persevere.  And eventually we find a way to get past the frustrations, anger and heartache to find the moments of true bliss.  And be apart of the beautiful unity and joy we create when dancing together, as a community.

So there you have it dear readers.  SF Loves Tango will continue to bring you interviews, reviews, in-depth stories and of course opinions.

Situations In Which Followers Should Be Paid To Go To Group Classes

The hardest part about Tango is the learning process.

I recently decided to take a group class with one of my favorite instructors in the Bay area. I love his focus on the basics, his salon tango embrace, the way he walks around the dance floor, adjusting shoulders here, a stomach there, feet there. He’s precise and funny, eccentric and a little wild-eyed. Of course, it doesn’t hurt that he’s handsome. For the purposes of this short story, we will call him Bonzai.

My best classes with this instructor have been when I could stay with my partner, not rotating. That way, I have someone to practice the complicated moves with, whom I trust to correct me constructively, who knows how I dance and what I might be doing wrong as we learn these new steps. Well, when we showed up to class, we made the painful decision to rotate, as leaders FAR outnumbered the followers. It was the social thing to do.

My heart dropped as I looked around the dance floor. There was a guy so wobbly he walked around like a hobbled horse, a guy who thinks he is God’s Gift to tango, a short dude I didn’t recognize, a super-friendly, complete beginner, and one of Bonzai’s students who I actually enjoyed dancing with. Okay, I thought, there’s at least a couple guys here I like to dance with. Two out of maybe eight.

Turned out, dancing with the guys I actually like to dance with came few and far between. The followers of the class were instructed to allow two or more leaders to “take turns” with her, so I had to entertain many different leaders, and hardly ever landed with my two preferred dancers. I felt like a “tango whore”, being used, over and over and over again, so these guys could learn how to lead. There was nothing in it for me. Nothing at all.

Then came my turn to dance with God’s Gift to Tango. He could be a pleasant man if his ego wasn’t the size of Texas. When Bonzai first showed the sequence, he muttered, “Easy. I do that all the time.” To which Bonazi looked at him and said, “Well, you could be a real instructor in Buenos Aires, then.” People snickered, but God’s Gift just smiled smugly, unaware that he was completely out of line. (SIDENOTE: When people say tango is easy, or a particular move is easy, I completely disregard them. NOTHING in tango is easy and you’re kidding yourself if you think it is.)

In Sally Potter’s film “The Tango Lesson”, she dances with three awesome leads… yes please!

If that experience wasn’t torture enough, then came my turn to dance with Hobbled Horse. In my unprofessional opinion, this dancer should take five years of beginning classes and walking before attempting any of Bonzai’s sequences. He is a frightened sort, the one who stutters and glances around nervously, the whites of his eyes showing. He took me in a very nervous embrace and attempted to do the sequence. It sucked. It was so very wrong I couldn’t even handle it. So, when he messed up, I would attempt do my part correctly. I know I had a lot of work to do on the sequence, but couldn’t really focus on myself when my leader didn’t even know how to lead it.

He glanced up into my eyes, his face turned away shyly. “Thanks so much! You really saved the day. I’m glad at least someone knows this sequence”. What I wanted to say, but didn’t, in an effort to be social was, “I am not here to save your butt. I am not here to teach. I don’t even know how to teach or think I’m even remotely qualified for it. I’m here to learn.” Instead, I smiled at him sweetly and let him jerk me around in a haphazard version of the sequence. Over and over and over again.

Group lessons don’t always benefit the follower.

Toward the end of the class, I was simply fed up. All I had wanted was to practice the sequence, about 10,000 times with a good partner. I would have actually been happy just improving my posture and walk. I don’t need a sequence in tango, I need the basics. And so does everyone else. Instead, I was tortured. Simply tortured. And then I had to hand over 35 bucks.

Since this experience, I have talked to several followers who had recent, painful experiences. One woman told me, after a $25 dollar class, that she couldn’t even bear to dance with the leaders there, that she got nothing out of the workshop. Another follower friend of mine told me the same thing, about a different group class. After hearing these stories and going through my own experiences, I’ve come to the conclusion that most group classes are aimed at leaders.

Even though this is my favorite instructor, I can’t attend his classes in San Francisco, unless I can stay with my partner, or unless I get the class for free or at a reduced rate to be a taxi dancer for the bad leaders. I’d rather pay him for a private lesson than go through that experience again.

For now, I’ll limit my group classes to ladies technique, where I can just focus on my own form and dancing, and not worry about the men. At least in a milonga I get a choice as to with whom I want to dance with. Not so in group classes. So, goodbye, torturous lesson. I won’t be seeing you anytime soon.

What do you think?  Have you had a similar experience? Share your thoughts on our FACEBOOK page.

Disclaimer:The views, opinions and positions expressed within these guest posts are those of the author alone and do not represent those of SF Loves Tango. The accuracy, completeness and validity of any statements made within this article are not guaranteed. We accept no liability for any errors, omissions or representations. The copyright of this content belongs to the author and any liability with regards to infringement of intellectual property rights remains with them.

Not only did they study and practice Tango for many years, but most likely they also had some classical ballet training.

Ballet truly is the foundation of all dances (okay, well maybe not hip hop or krumping, but you know what I mean).  It is one of the most challenging dances to master but everyone can benefit from learning ballet’s basic elements.

These are some of the benefits of learning Ballet:

• Improved posture and alignment
• Increased flexibility and strength
• Toned core muscles
• Injury prevention
• Better balance

This is why I was thrilled to learn that one of our local Tangueras is also a semi-professional ballerina who teaches a Ballet for adults class at Studio 1924.  I was so excited to meet her, I immediately asked if she would agree to an interview for SF Loves Tango.  Lucky for all of us, she did agree.  You all may know Stephanie Berg as the dance partner of our local Tango instructor, Nicholas Tapia. They made it to the FINALS, placing 5th, in the 2013 USA Tango Championships here in San Francisco.

Stephanie is quite amazing as she has been dancing since she was 3 and not only dances Argentine Tango and Ballet, but also Salsa, West Coast Swing, West African Dance, Hip-Hop, Jazz and Modern and is also a formally trained Ballroom dance instructor.  And, since Stephanie dances Tango regularly, she can help Tango dancers in her class with what they need to DANCE TANGO BETTER.

I asked Stephanie a few questions about her dance experience and particularly about the class, here is what she had to say:

SF Loves Tango: At what age did you start dancing and why?

SB: I started dancing at 3, doing Ballet at my local community center.  From an early age I was lucky enough to be on stage with professional dancers and full scale productions.  From there I did other types of dance including: jazz, hip-hop, contemporary and West African, although I always focused on classical ballet.  Being a dancer was and still is a huge part of my identity.  So for me it isn’t a question of ‘why I dance’, it is ‘of course I have dance’. I have been fortunate enough to have done so my whole life.

SF Loves Tango: Why did you decide to start teaching Ballet at Studio 1924?

SB: I decided to teach Ballet at Studio 1924 because it fulfills several of my main goals as a teacher: getting my students strong, preventing injuries and creating a high level of body awareness.  Ballet is sneaky in accomplishing these tasks.  It is one of the most physically challenging dances I know and yet it looks effortless.  It teaches fundamental posture, body alignment and builds strength evenly across the body.  I find that Ballet is especially applicable to followers in Ballroom and Tango because women are in heels, which requires strength especially in the feet, ankles, and core.  Without training in how to protect the ankles and knees from injury, dancing in heels can affect the whole body for the worse.  Ballet and exercises help prevent this.  Leaders too can benefit from ballet.  It helps to create strength in the legs and core, as well as improving stability and balance.

Dancers practice their technique in Ballet class

SF Loves Tango: Do you teach dance anywhere else?

SB: I am lucky enough to teach at several studios in the East Bay.  The best way to catch one of my classes is to check out my calendar online.  I teach at Just Dance in Oakland, The Lake Merritt Dance Center for their Birthday Dances, and I assist Jeff Chandler at Allegro with his Bronze 1,2 & Pre-Silver Ballroom classes once a week.  I also work with Nicholas and the UC Berkeley Tango club on Thursdays and we teach together at La Casa Grande (a new Tango class) on Wednesdays.  I am hoping to add a new group class soon, Ballet for Tango Dancers (follower focused but leaders welcome) a class that will strengthen Tango dancers using exercises from Ballet.  I also offer private lessons in any of the dances I teach.  Honestly, I had been training so much recently that I had not been as focused on teaching.  I really wanted to center my attention on my own dancing and journey so that I could efficiently and smoothly help others as they learn.  However, now I am focusing on teaching after this period of growth!

SF Loves Tango: What do you focus on in the Ballet classes?  Do people need any dance experience to take the class?

SB: Students do not need any dance experience to take my ballet class.  I try to start at the beginning with everyone.  I go over the positions, the terms I use in class and the basic body motions we use in ballet.  I try to highlight proper alignment of the body to avoid injury and use muscles efficiently.  Ballet can be difficult because it requires different strength from the usual motions of everyday life.  However, the progress can be seen quickly and the body can transform at any age and from any level of fitness.

SF Loves Tango: What should people wear to the class?

SB: I am pretty relaxed about dress.  You will need to see your legs, and core the most.  Yoga clothes are great, ballet clothes are best.  Having socks or bare feet are ok for the first few classes, but eventually you will need ballet slippers which you can get at a dance store for about $25.  Hair should be up and off the neck for ladies (or gents with long hair).  I also include a packet for new dancers that will give them a vocabulary list, general notes and pictures of positions.  It may sound like a lot, but I am there to guide and help students every step of the way and the progress is so worth it!

Also, Nicholas and I just launched a new joint website!  You can see our info on there and class schedules too.  Thank you!   www.NicoAndStephie.com

Thank you Stephanie!

The Class: Beginning Adult Ballet

When: Mondays, 12-1PM
$15 includes lunch from Coco Cafe

Location:  Studio 1924  1924 Franklin St, Oakland, CA

Description: “If you have never taken ballet before, this class will teach you the fundamentals used in all western dances. I will especially be focusing on grace of movement, basic dance positions and body awareness.  If you have taken ballet before, I will still include challenging variations in combinations and conditioning that will have you grand jete-ing again in no time!”

The Cellspace Native

Dancers glow red at Cellspace. The “Cellspace Native” is NOT in this photo.  Photo by Yuriy Dybskiy

I’ve had a love/hate relationship with Cellspace for many months now. I love the hip, young crowd. The lighting. The high-ceiling, and artsy feel of the place. I hate the craggy, pock-marked dance floor. The tandas that sound like French whispering, or blues, or some strange soundtrack for a sci-fi movie. The dancers that glance off each other like ping pong balls. But something, something, keeps drawing me back.

Cellspace is a breeding ground for a certain type of dancer.  This type of dancer I’ll call a: “Cellspace Native”, who rarely ventures from their home turf. These dancers often have no concept of counter-clockwise rotation, or watching out for other people, or using eye contact to enter the dance floor. Some of them don’t even have a concept of tango. All rules are thrown out with abandon. They fly, willy-nilly, through the dance floor, leading their traditionalist partners through a complex menage of moves, from boleos to volcadas, while they try to follow with a wide-eyed, frightened expressions.

Recently, I danced with a Cellspace native. He was a very pleasant fellow, a blues dancer as many of them are.

“Why haven’t I seen you around?” He asked.

“I usually go to 1924, or Verdi, or Danzhouse, or El Arrabal.”

Multi-color dancing at Cell Space. Sorry, the “Cell Space Native” is not in this photo either.  Photo by Yuriy Dybskiy

“No wonder, he said, staring at me like I was a crazy tango cretin, “I never go to those.”

AND NOW I CAN SEE WHY.

He grabbed me and put me in a harsh open-embrace, and proceeded to race like a deranged horse around the dance floor, slamming into people, throwing my legs around, bent over like a hunchback, swaying shoulder-first like the blues dancer he was. I was breathing hard, trying my hardest to keep up, using every ounce of my concentration to not fall flat on my face. Acrobatic tango, anyone? Tango, blues fusion anyone? Or maybe we should just call it “bowling ball tango”.

After the tanda, I could barely breathe. The Cellspace Native looked at me with his big brown eyes and said, “Are you okay? Was that too crazy for you?” I started at him panting, “No…”, I said. “I’m just not used to this form of…um…dancing.”

“Well, cool”, he said, “Have fun tonight.”

Luckily, I only danced with one other Cellspace Native all night, a doughy, shoulder-leader who was pleasant and sweet. The other, traditionally-trained, lovely dancers embraced me closely with kindness and warmth while avoiding body-slamming me into others. I was able to close my eyes and relax into the music and focus on the dance, whether it was to whispering French, or blues, or weird, wobby sci-fi tones. I was able to breath deeply, and truly enjoy my time on the dance floor.

I can’t say I dislike the Cellspace Natives. They add a little creativity to my routine, a bend from the “norm” that I am used to, a mental challenge, some spice to my dancing. I just wish they could add some organization to the dance floor, maybe move in a counterclockwise motion, maybe watch carefully not to slam into other people. Then, just maybe, I could get rid of the “hate” part of my love/hate relationship with Cellspace.

SF Loves Tango would love to hear your point of view on this topic. Have you had similar experiences at Cellspace?  What do you think would improve the dancing experience for everyone?  Visit our Facebook page to post comments on this article.

We develop our regular haunts, and see other tango regulars at these places. Sometimes we see each other two, three, or more times a week.  With Tango, there is a lot of waiting, watching, and socializing, more than most other social dances.  And in this time we get to know each other. We hug and kiss and our hearts touch while we dance.  And in between the songs of a tanda, we talk and catch up on each others lives.  And if you travel for Tango, your community get’s larger and larger.  When you dance Tango, you find your community almost anywhere you go.

So, when something tragic happens to a member of our community, we are all affected.  In this case, as many of you may have heard, Alex Levin, a popular Bay Area dancer was run over by a car while he was crossing the street in Vladivostok, Russia, over two week ago. A fund was set up to accept donations from people who wanted to help out and show their support.

Alex and Karina Levin

This is the page to the Alex Levin Recovery Fund: http://www.gofundme.com/2f6zq4

With much sadness, it was announced yesterday that Alex was not able to recover from his injuries.

What is most touching, is to see the outpouring of support from not only those who knew Alex, but all of the Tango community. Donations and messages of love continue to flow into the fund’s website.  It’s obvious that both Alex and his wife Karina, were loved by many.

About Alex and Karina Levin:

This Friday there will be a Benefit Milonga at Alma del Tango in Marin

The funds will go to Karina to help her bring Alex home.  This benefit is also a way for everyone to celebrate Alex’s life.

What:  Milonga (tango social dance) and silent auction fundraiser hosted by Alma del Tango

When:  Friday, April 5th.

What: Class by Debbie Goodwin & John Campell (levels 2-4) at 7 pm.
Dancing  8-11pm. DJ Ashvin Iyer.

Where: Alma del Tango studio, 167 Tunstead Ave., San Anselmo

Ticket price: $15 minimum donation.  All proceeds go to the Alex Levin Fund.

Jessica Lewin, a friend of Levin and his wife Karina, will match all donations during the evening benefit dollar for dollar, up to $1,000.

To show their support, several tango professionals are offering private lessons in a silent auction with proceeds donated to the Alex Levin Memorial Fund in support of Karina.

 Auction items include:

• Two tickets to El Arrabal for the May 4th Milonga. Includes a 1½ hour workshop with Eduardo Saucedo, entrance to the milonga with music by Seth Asarnow y Su Sexteto Tipico, and a table for two with a bottle of champagne. From Steve & JoAnn Palubinskas and Adolfo Caszarry.
• Alexander Technique lesson for tango dancers, from Janet Lott.
• Massage session for tango dancers, from Sylvia Goodman.
• Private Tango Classes from:

- Christopher Nassopoulos & Caroline Peattie
- Pier Voulkos & Daniel Peters
- Debbie Goodwin
- John Campbell
- Jonathan Yamauchi & Olivia Levitt
- David Caditz & Lulu Hung
- Donna Agoitia
- Homer Ladas
- Ashvin Iyer
- Andrea Fuchilieri

For more information, visit the event’s Facebook page or almadeltango.org

If you are looking to dance in one of the best US cities for Tango, this guide is for you.

Where are the milongas?

Most of the milongas are located in the Mission district of San Francisco with the exception of a few in the East Bay or Marin.

Below is a map of some of the most popular milongas and practicas in San Francisco, Marin, East Bay and South Bay.

View SF Bay Area Tango venues in a larger map

The Mission, always known for its share of Latin Americans, artists and hipsters has recently become a hot spot for hip new restaurants, bars and cafes. You’ll find a plethora of great places to eat, drink, shop and people watch on Valencia Street. Do keep in mind, not the entire Mission is gentrified, and a few areas are still a bit wild, especially near the Bart stations, so please use common sense and be aware of what’s around you and of your belongings.

Also, make sure to visit tangomango.org to see a full listing of all Tango events for each day of the week.

Which Milongas/Practicas are the most popular?

This answer is very subjective, and depending on your style of tango, you may prefer one milonga over another.  A good idea is to ask someone whom you enjoyed the dance, which venues are their personal favorites.

Where should I stay?

You have a few options when looking for lodging in the city.  You can do the standard route and find a hotel.  Most hotels are located at Union Square, a very central location near public transportation, shopping, theaters and dining.

Yelp’s list of inexpensive hotels here.

If you plan to stay for a while and want a more home-like experience, or just a better deal, a great option is to rent a room or apartment with airbnb.com.   Airbnb offers a variety of lodging options from a room in a house to a whole apartment.  Neighborhoods to look for that are close to the Mission include Noe Valley, Castro, Bernal Heights, Potrero Hill and SOMA.

And if you are true Tango vagabond, you can also CouchSurf.

How can I get around?

If you are staying in the city, you won’t need to rent a car. And if you do have a car, parking can sometimes be quite challenging or expensive.  Here are your options for getting around without a car:

The Bart: Taking the Bart is a quick and easy way to get around the Bay Area and it goes directly into the Mission, near many of the milongas. A trip within the city is only $1.75 (one way only).

The Bus/Train (MUNI) : These run all over the city ($2.00 includes transfer).  The downside is that the bus can be slow and can often make for an interesting adventure, especially if they are crowded.

The ever famous SF Cable Cars, while fun, ARE NOT a viable option for getting to milongas.  They ARE an option for site seeing during the day, if you don’t mind waiting in line with many other tourists.

Taxi’s: You can either call a cab or flag one down (but this only works if you are on a main street).
Recommended Taxi’s:
Yellow Cab
DeSoto Cab

Taxi Alternatives: Thanks to smartphones and apps, we now have a few alternatives to a taxi.  These Apps that can be downloaded to your Iphone or Android:

UBER.com – “Uber is your on-demand private driver.  Request from Anywhere at Any Time.  Tell us where you want to be picked up.”

SideCar: “SideCar instantly connects people with extra space in their cars with those who need to get from one place to another. Like a quick and hassle-free carpool, SideCar offers an easy, safe, reliable, and completely donation-based way to get from here to there.”

Can I go by myself?  Should I bring a partner?

Dancers enjoy the live music of Seth Arsanow Y Su Sexteto at Broadway Studios.

Yes, you can go by yourself to both the milongas and classes and no, you don’t need to bring a partner.  Actually, going alone will usually help you to meet people. At some of the milongas or practicas, if you are an out-of-town visitor, the host will introduce you during the break for announcements.  Here in SF, we like visitors, so definitely introduce yourself to whomever you dance with and they will often introduce you around to the regulars at that milonga.

What can I do during the day?

Take Private Lessons:  Read about Bay Area Tango Instructors here. Also, check tangomango.org to see if any visiting teachers are in town. If you have a favorite Bay Area teacher, make sure to book ahead with them before you arrive to make sure they are available.

Shop for Tango Shoes: Quite a few people sell Tango shoes here in SF.  Visit the Tango Shoes page for a list on where to buy shoes in San Francisco.

Take Yoga or Dance classes: If you want to try out different types of dance or do some Yoga, there are lots of options in the city:

ODC Dance Commons – for drop-in dance classes

Studio 1924 in Oakland – has lunch time classes as well as evening classes.

YogaSanFran.com – complete list of Yoga in SF

Valencia Street in the Mission

Eat and Shop: You can also eat and shop your way through the city’s neighborhoods.  Fun neighborhoods to visit (outside of the Mission):

North Beach – pretend you are in Italy!
China Town – right next to Northbeach
Noe Valley – warmer, clean with lots of dogs and baby carriages
Haight Ashbury – hippie enclave of the 60’s, now college kids and trendy shops
Lower Haight – cooler than upper Haight with great bars and cafe’s.
Hayes Valley -  shopping and bars, close to City Hall
Japan Town – Japanese shops and food … need I say more?
Bernal Heights Park – walk to the top of the hill for the best view of the city

Go hiking! Visit the Ocean! Walk the museums! Get lost in Golden Gate Park!

And make sure to save your energy for dancing at night.

Now in its third year, this event has grown in both popularity and quality.  Andrea Monti and Hugo “Gato” Valdez, two well-respected Argentine Tango Maestros, are responsible for bringing this exciting event to San Francisco.

Dancers compete in either the Stage or Salon categories or both, and the winners not only earn the title of “Official US Tango Champions 2013” but also win a package to represent the US at the Tango World Cup in Buenos Aires.

In the Salon category, San Franciso’s own Ramada Salieri and Yumiko Krupenina hold the reigning title.  Los Angeles dancers Brian Nguyen and Yuliana Basmajyan held the same title in 2011.

Other 2012 place holders were:

Salon Tango 2nd Place: Rommel Oramas and Daniela Borgialli from Phoenix, AZ
Salon Tango 3rd Place: Nicholas Tapia and Amar Kaur Singh from Santa Barbara, CA

Stage Tango Champions 2012: Shawn Pikus and Olga Pisano from New York, NY
Stage Tango 2nd Place 2012: Mirabai Deranja and Michael Kass from San Francisco, CA

The big question is who will be the winners this year.

The word on the street is that Los Angeles would love to earn back the title and will be bringing a large contingent to compete this year. And, of course, the Bay Area is usually well represented and competitors do quite well. However, the competition is always full of surprises and it’s an open call as to who will be the front-runners this year.  Competitors can be “amateurs” of intermediate level or above or “professional” dancers.

Are you interested in competing? It’s not too late!

Registration closes on March 21. Learn more here: www.argentinetangousa.com/competition-registration/

Read more about the rules here: www.argentinetangousa.com/information-rules/

Even if you would never compete yourself, this event is definitely worth attending.

The “Stage” category is always entertaining and thrilling. The competitors choose their own music and choreograph their own routines. Many incorporate awe-inspiring lifts and dips to thrill both the judges and spectators.  In past years, a wide range of dance levels have competed, and choreography, music choice, stage presence and entertainment value all play a big role in impressing the audience and judges.

The “Salon” category is much more tame, but equally fun to watch.  The couple’s are judged on musicality, elegance and walking style.  They are not allowed to do any Ganchos (hooks), saltos (jumps) or trepadas (climbs), which are considered “Stage” figures. One can learn a lot by closely watching each couple as they pass by on the dance floor during the three songs required for each round.  I especially enjoy picking out my favorite couples and waiting to see if my choices are the same as the judges.

Speaking of judges, this year’s judges are:
Makela Brizuela
Gabriela Rojo
Americo Del Río
Christy Cote
Nora Dinzelbacher
Santiago Croce

More information about event:

Argentine Tango USA Official Championships & USA Festival, San Francisco March 28 – 31, 2013 is a unique four-day Tango event including both an international Tango festival (with workshops, performances, live music and social dancing), and the only Official Argentine Tango Competition in the US.

Argentine Tango USA Championship is a sanctioned official branch in The United States to Tango Buenos Aires Dance World Cup by the Office of Festivals and Central Events of the Ministry of Culture of the Government of the Autonomous City Of Buenos Aires, which is the highest authority regarding the organization, program planning and overall execution of Tango Buenos Aires Dance World Cup (Mundial de Tango).

Being “official” means that the winning couple/s at the Argentine Tango USA Championship will get the Official Title of Argentine Tango USA Champions and will be the only USA authentic representatives at the Tango Buenos Aires Mundial de Baile (Tango Buenos Aires Dance World Cup) having the right to compete directly at the semifinal round (avoiding more than 400 competing couples that are yearly registered in the classifying rounds).

Below is a clip of competitors during round 1 of the Salon Tango Finals.

Along with the competition, the festival includes:

- Workshops by renowned Argentine Tango Masters from Buenos Aires: Patricio & Eva, Los Ocampo, Guillermo & Silvia and Claudio & Mariana.
- Live music by San Francisco’s own Seth Asarnow Y Su Sexteto Tipico
- Most acclaimed tango DJ´s
- Two different Master Shows
- 14,000 sq feet of dance floor
- Four milongas
- Workshops during the day
- Eight Argentine Tango Maestros with great international reputation and excellence in both teaching and performing.

What: Argentine Tango USA Official Championships & USA Festival
When:  March 28 – 31, 2013
Where: San Francisco Airport Marriott Hotel

For more information please visit: www.argentinetangousa.com

The album released March 5th marks 11 years since Gustavo Santaolalla and Juan Campodónico conceived the idea of bringing together a collective of Argentine and Uruguayan artists dedicated to creating “contemporary music of the Río de la Plata,” the river that separates — and unites — Argentina and Uruguay. Seven albums (two as Bajofondo, a collection of remixes, and five solo releases by Bajofondo members or guests) and multiple tours later, this collective of artists with remarkable individual careers evolved to become a true band known all over the world for its stirring live performances. As Bajofondo’s music constantly grows, evolves, and expands, the denomination of “electrotango” becomes more and more inadequate.

This is a great clip about the making of “Presente”.

Bajofondo puts on a great show and Bimbos 365 is one of the best venues to see them.

The 365 Club first opened in 1931 at 365 Market Street by an Italian immigrant, Agostino Giuntoli. The 365 Club provided much needed fun for San Francisco during the Depression era. It was crowded with celebrities and stars from across America who were there to see and be seen. On stage, lines of long-stemmed chorus girls kicked high to the music; one of whom was Rita Cansino, who later became known as Rita Hayworth.

Bimbo’s moved to Columbus Avenue in 1951, and the party continued on, eventually became the retro supperclub that it is today.

As for dancing during the show, be warned, most likely you won’t be able to dance due to the floor being filled with excited fans. But if you are feeling very inspired, there may be some space in the back.

This show is guaranteed to be a blast!

Buy your tickets now on Ticketfly.com