Music with a punch

Most people associate tango music with a form of dance. That’s not necessarily so. Tango music can be a pure musical pleasure, an exciting listening experience, but hard to dance to.

Take for example Débora Simcovich’s compositions. If you happened to catch one of her concerts last summer in the Bay Area, performed by the acclaimed Orquesta Victoria from Buenos Aires, you will have noticed that a lot of her songs were not very danceable. They do not speak of love and broken hearts — in contrast to most of the popular tango music that we hear at dance halls and clubs, usually from a male perspective and delivered by a male singer. In her music she speaks of her own reflections on life, and she addresses issues of social or political nature. “My music has content,” she says. Her focus is on the message and she delivers it with a punch — a skill which she learned in her younger years by writing jingles for ad agencies — and she delivers the punch regardless of whether the music is danceable or not. So it’s not surprising that Simcovich’s tango music is more popular among classical concert audiences than in the world of dancers.

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Playing it Right

 

The other night as I drove home after what had felt like a lukewarm milonga I kept wondering why the spark had been missing. I had arrived eager to dance, had immediately spotted some of my favorite dance partners and, after chatting with some long-time acquaintances, had positioned myself strategically so that I could be seen easily and, hopefully, asked to dance. But scanning the dance floor, I could tell that the energy was low. Most couples were sitting at their tables looking bored and seemed not inclined to get up. The ones that actually did dance somehow appeared a bit strained. My favorite partners didn’t seem to be eager to make a move, and when I was finally asked for a tanda, we didn’t really connect and enjoy the dancing. Then it finally dawned on me: it was the music! The music didn’t feel right. The songs were a mismatched mix of different styles, vocals and instrumentals, Nuevo and Golden Age, no highs, no lows, and didn’t inspire me to dance. I gazed over at the DJ, a popular local teacher who frequently spins the music, but that night he seemed to be paying more attention to his peers than to what was happening on the dance floor. He just seemed to be running down his playlist without observing the dancers.

After an hour and a half or so I gave up. On my drive home I thought wistfully of one of my favorite DJs whose milongas I always enjoy. As if by magic, she gets everybody (including myself) up and has us dancing all night, providing good energy with her music. People both on and off the dance floor usually seem to have a good time. Wherever she plays the music, whether it’s at some of New York’s popular milongas, other venues outside the Big Apple, or at intimate tango festivals, her milongas guarantee a great dance experience. So when we recently met, I decided to ask her: “What is your secret to a crowded dance floor? How do you get people to dance?”

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