Junando Milongas®
22 conversations
Each conversation has a summary and chapters in Spanish and English; the full text shows once the channel agrees.
Marina Combis, Olga Besio · 36 min · 0 chapters
Marina Combis interviews the teacher Olga Besio at the Poker de Reinas festival in Buenos Aires on 10 August 2024. Besio talks about what makes a tango dancer, why style isn't the essence of the dance —connection and dialogue with the other person are— how music and dance have their own language, and how to carry those ideas onto the stage. She also reflects on women's role in tango's history and on machismo among milongueros, before taking audience questions about her own path as a teacher and about teaching tango's essence to people who didn't grow up in that culture.
Noelia Hurtado, Mariela Sametband, Corina Herrera, Sol Cerquides · 19 min · 0 chapters
At the fourth Poker de Reinas, at the Parakultural milonga on 4 February 2014, a host interviews Noelia Hurtado, Mariela Sametband, Corina Herrera and Sol Cerquides about their references and their way of understanding tango. The four talk about what they learned from their teachers and from the milonga itself, and give advice to men and women about the embrace, honesty and setting the ego aside.
Olga Besio, Pepa Palazón · 30 min · 0 chapters
Olga Besio answers audience questions at a gathering recorded in Buenos Aires on September 16, 2012, moderated by Pepa Palazón for her series "I Have a Question for You" (video 3 of 3). She talks about what she values in watching people dance, what's truly essential in tango, how milongueros of an earlier generation learned without formal technique, exhibitions at the milonga, and the future of tango music. She closes with a rapid-fire round of personal questions about her life and outlook.
Olga Besio, Pepa Palazón · 30 min · 0 chapters
Second part of a talk with Olga Besio, moderated by Pepa Palazón, recorded in Buenos Aires on September 16, 2012, with questions from the audience. Besio discusses the shared responsibility between teacher and student, the value and risks of technique classes, teaching a natural embrace, her view on tango nuevo and championships, and how her teaching went from massive 1980s classes to today's smaller, more purposeful ones.
Pepa Palazón, Olga Besio, Juan · 32 min · 0 chapters
Pepa Palazón interviews Olga Besio in Buenos Aires on 16 September 2012 for her series “Tengo una pregunta para vos” (“I have a question for you”); this is part one of three. Olga traces her own path into teaching: dancing alone from a very young age, among the milongas and grand balls with three orchestras of her childhood, without ever deliberately choosing tango. She describes the free, mass tango workshop she ran at the Centro Cultural San Martín in the early 1980s, how Tango para Niños began, and her teaching philosophy: that tango's essence is dialogue, and a teacher's job is to direct a student's attention toward what is essential rather than the superficial.
Horacio Godoy "El Pebete", Pepa Palazón · 47 min · 0 chapters
In this third and final installment of Pepa Palazón's series 'Tengo una pregunta para vos,' recorded in Buenos Aires on 11 August 2012, Horacio Godoy 'El Pebete' — a DJ and teacher who learned by watching Villa Urquiza's milongueros — answers questions from Palazón and from other, unidentified panelists. He describes the salón style as a philosophy without showy effects, explains why a teacher has to bring more than steps into a class, and tells how he steered a 1990s milonga away from cumbia and back to tango by working the sound desk and sitting with the regulars. He closes with a rapid-fire question round, the advice from an old maître that shaped him at nineteen, his philosophy of treating every beginner like a patient in a coma, and the story of how he ended up being called 'El Pebete.'
Pepa Palazón, Horacio Godoy · 30 min · 0 chapters
Pepa Palazón interviews Horacio 'Pebete' Godoy, a Buenos Aires DJ and dancer, in Buenos Aires on 11 August 2012, for her series 'Tengo una pregunta para vos' (part one of three). Godoy explains how he started playing music at nineteen by chance, the tangled history of La Viruta and Club Almagro, and the musical judgment behind his tandas, including a story about an Italian DJ who built tandas by recording year. The conversation moves on to the DJ's role in place of the old orchestras, the codes of the milonga, a plane story about D'Arienzo, Troilo and Pugliese, and how tango changed between the 1990s and the 2000s.
Eduardo Pareja, Pepa Palazón · 29 min · 0 chapters
Eduardo 'Parejita' Pareja, a milonguero from Villa Pueyrredón born in 1930, answers questions from Pepa Palazón and the audience for the series 'Tengo una pregunta para vos', recorded in Buenos Aires on 14 July 2012. He recalls Petróleo and Todaro as teachers of his youth, the Club Juvena where he learned, and a milonguero's routine in the 1940s and '50s: the cafés, the dress code, the tables and chairs around the floor. He also talks about meeting his wife Rosita, dancing today with his partner Laurita, and insists that tango and the feeling of dancing it have not changed since then.
Pepa Palazón, Eduardo Pareja · 28 min · 0 chapters
In Buenos Aires on 14 July 2012, Pepa Palazón interviews the milonguero Eduardo ‘Parejita’ Pareja for her series ‘Tengo una pregunta para vos’ (video 1 of 3). Parejita describes how he entered the tango world as a boy, through the men-only prácticas of the 1940s, and his debut at seventeen, when he learned by watching dancers like Finito and Petróleo. He talks about cadencia, the three styles — canyengue, de salón and orillero —, the orchestras and neighborhood clubs, and why he refuses to be called maestro or profesor. He closes by remembering Petróleo as the father of the milongueros and Finito for his elegance.
Pepa Palazón, María Nieves, Ricardo, Martín · 22 min · 0 chapters
In the last of three parts of "Tengo una pregunta para vos", Pepa Palazón continues interviewing the milonguera María Nieves, mostly through questions from the audience. María explains that she no longer goes out at night because her touring partners, Pancho Martínez Pey and Junior Cervila, travel without her, and that she saves her energy for major cities. She lays out the differences between canyengue, orillero and salón, and describes bluntly the codes -and even the racial and class segregation- of the Atlanta club milongas of her youth, when she danced there with her sister. She talks about the changed place of women in the milonga -she always stood behind her partner then, Juan- and closes with no regrets, with a round of short questions.
María Nieves, Pepa Palazón, Nika, Ricardo · 26 min · 0 chapters
Second part of Pepa Palazón's interview with María Nieves, with questions from audience members (Nika, Ricardo). María recalls her breakup with Juan Carlos Copes, their reunion for Tango Argentino, her nerves before every show, and her rejection of overly counted choreography. She talks about tango's hard years against rock music, her work in review theaters and cabarets, and how tango let her support her family. She closes with reflections on dancing socially versus performing choreography, and memories of the milongas and practicas of her youth.
Pepa Palazón, María Nieves · 30 min · 0 chapters
In part one of this interview, filmed by Junando Milongas, Pepa Palazón talks with María Nieves about her first years at the Buenos Aires milongas and her meeting with Juan Carlos Copes at la Estrella de Maldonado. María recalls learning to dance without teachers, Copes's idea of taking tango to the world after seeing American films, and the tours that eventually took them to the White House. She closes by reflecting on today's dancers, the costumes she designed herself, and what remained of her own name after she and Copes split.
Pepa Palazón, Javier Rodríguez, Guido, Diana, Leti Cueva · 48 min · 0 chapters
In the third and final part of this talk, filmed by Junando Milongas and streamed live over Skype, Pepa Palazón moderates an audience Q&A with dancer Javier Rodríguez. Javier discusses young dancers losing their own style, the floor codes that protect your partner, how to build a tanda around the four principal orchestras (Pugliese, Di Sarli, Troilo and D'Arienzo) and their singers, and humility, unconditional love for tango, and the value of knowing how to say no. He closes with a rapid-fire round about his own tastes and a final piece of advice for dancers.
Pepa Palazón, Javier Rodríguez, Laura · 32 min · 0 chapters
In the first of three parts of Pepa Palazón's series "Tengo una pregunta para vos," Javier Rodríguez talks about coming to tango as a teenager, helping out at his father's milongas, and about the partners he danced with: Geraldine, Andrea, Estela and Virginia. Toward the end he answers questions from the audience, both present and sent in online, about what makes a milonguera and how the milonga's old codes have relaxed over the years.
Pepa Palazón, Julio Balmaceda · 29 min · 0 chapters
In the last of three parts of "Tengo una pregunta para vos" (Luna Llena, 2012), Pepa Palazón continues interviewing Julio Balmaceda, now mostly through questions from the audience and sent in writing. Julio rails against the judging at the tango world championship and the outsized weight given to the Villa Urquiza style, compares the dance styles of different Buenos Aires neighbourhoods, and describes what the essence of the dance is for him. He then talks about becoming a father, a recent crisis with his partner Corina de la Rosa over her wanting to step back from tango, and how he discovered dance as a teenager in Villa Celina. He closes with a rapid-fire round of short questions.
Pepa Palazón, Julio Balmaceda · 29 min · 0 chapters
In part one of this 'Tengo una pregunta para vos' interview, Pepa Palazón talks with Julio Balmaceda about his father, Miguel Balmaceda, and his early years in tango. Balmaceda recalls how he started dancing because of a girlfriend, the five months his father had him just walking before teaching him a step, meeting Corina, his dance partner, and the leap to Forever Tango, including a Tony nomination. He closes by reflecting on how the embrace and the dancing have changed between his generation and today's.
Pepa Palazón, Osvaldo Cartery, Coca Cartery · 20 min · 0 chapters
In the closing part of this 'Junando Milongas' talk (Buenos Aires, January 21, 2012), Pepa Palazón moderates a round of questions with milongueros Osvaldo and Coca Cartery. Osvaldo recalls how every barrio in Buenos Aires had its own dance style, and pushes back on the commercial use of the label 'tango milonguero' and of 'technique,' naming Susana Miller directly. The couple explain how they taught a married couple to dance without it turning into a fight, and share, laughing, a one-word game about their tastes. He closes with a piece of advice: dance for yourself, not to be watched.
Pepa Palazón, Osvaldo Cartery, Coca Cartery · 28 min · 0 chapters
First part of Pepa Palazón's interview with Osvaldo and Coca Cartery, recorded 21 January 2012 in Buenos Aires. Coca tells how they met as children in the same barrio, watching him ride in the carrera de sortija as a boy, their ten years as novios and their 1967 wedding. Osvaldo then compares the respect and codes of the old milongas -how people dressed, the cabeceo, the benches around the floor- with what he sees today.
Pepa Palazón, Carlos Pérez, Rosa Forte · 29 min · 0 chapters
Pepa Palazón interviews the milongueros Carlos Pérez and Rosa Forte in Buenos Aires, in December 2011, in the second of a three-part conversation. Carlos recalls what the milongas and courtship were like before 1960, the shift from live orchestras to recordings, and the years of state of siege the couple lived through. He also tells how, after thirty years away from dancing, they returned to the milongas by way of Lampazo, and looks back over old photos of their tango fantasía and canyengue exhibitions, giving his own account of what that style was really like.
Pepa Palazón, Carlos Pérez, Rosa Forte · 31 min · 0 chapters
Pepa Palazón interviews milongueros Carlos Pérez and Rosa Forte in December 2011, the first of three parts in her viewer-question series "Tengo una pregunta para ustedes" ("I have a question for you"). Carlos describes starting to dance at twelve near Villa Pueyrredón, with Lampazo as a neighbor, and explains his embrace and how he leads with the arm. Together they recall how they met, the thirty years they stopped dancing after marrying, and what the floor, the cabeceo and the etiquette between couples were like in 1950s Buenos Aires.
Milena Plebs, Pepa Palazón · 30 min · 0 chapters
Milena Plebs talks with Pepa Palazón about how the woman's role in tango has changed, from keeping her own surname to naming the machismo of earlier decades. They go over milonga codes (floor circulation, the cabeceo), the lack of quality control in teaching, and the difference between dancing on a stage and at a milonga. They close with a quick-fire round of questions about her teachers, friends and dreams in tango.
Pepa Palazón, Milena Plebs · 29 min · 0 chapters
Pepa Palazón interviews Milena Plebs for the series 'Tengo una pregunta para vos,' with questions also coming from the audience and from viewers writing in from Moscow and Paraguay. In this first of three parts, Plebs describes her move from contemporary dance at Teatro San Martín into Tango Argentino, the first tango she ever saw danced, and how the partnership that would create Tango x Dos came together. She also discusses her creative process for a choreography, fame, the end of that partnership, and her relationship with the social milonga.
