Hold Me Tight and Tango Me Home (23 page)

planchadoras
(from
plancha
, flatiron) A woman who sits all night at the milongas without being asked to dance because she doesn’t know how to dance well enough.

porteño
(fem. porteña) An inhabitant of the port city of Buenos Aires.

resolución
(resolution) The end to the basic pattern.

sacada
(from sacar,
to take out
) The most common term for a displacement of a leg or foot by the partner’s leg or foot.

salida
(from salir,
to exit
) The first steps of the basic tango pattern, or an opening, as well as exit or way out.

tanda
(group, batch) A set (traditionally three to five songs or pieces) of dance music. Usually couples dance together for a tanda. If they aren’t dancing well together or one partner isn’t enjoying the dance, that person says thank you and leaves before the tanda ends. Tandas are separated by a cortina, or short interlude of music.

tanguero
(fem. tanguera) A tango aficionado who may or may not be a dancer. The term can refer to anyone who is passionate about any part of the tango, such as the music, history, Lunfardo, etc.

vals
Argentine waltz.

volcada
(from
volcar
, to tip over) The leader causes the follower to tilt or lean forward and fall off her axis before he catches her again. Her free leg sweeps the floor.

W
HILE WRITING THIS
book, I read and reread
Tango, The Art History of Love
, by Robert Farris Thompson, which provides incredible insights into the evolution of this dance, music, and culture. I learned many things about the tango from Julie Taylor’s book
Paper Tangos
. I gleaned lots of information from the book
Tango!: The Dance, the Song, the Story
, by Artemis Cooper, Maria Susana Azzi, Richard Martin, and Simon Collier. And I’m grateful to the Lincoln Center Library for having a copy of
The Tango and How to Do It
, by Gladys Beattie Crozier, in the stacks.
Tango and the Political Economy of Passion
, by Marta E. Savigliana, was not a light read, but an excellent account of the pathos and passion that tango explores in both the personal and the political.
Le Grand Tango: The Life and Music of Astor Piazzolla
, by María Susana Azzi and Simon Collier, as well as
Astor Piazzolla: A Memoir
, by Natalio Gorin and Astor Piazzolla, provided insights into this remarkable musician. As well, stories, poems, and essays by Jorge Luis Borges, particularly the essay “
Historia del tango
,” I highly recommend.

I’
D LIKE TO
thank the editors of this book, Antonia Fusco and Amy Gash. It really took shape under their guidance. My agent, Jen Unter, has been a constant source of camaraderie in this and other ventures. My family has been encouraging. I’d especially like to thank my sister, Betsey Finn, who read and gave me feedback on the manuscript. Many friends also read the book and gave helpful suggestions and insights. I’d like to thank Joe Wieder, Hayley Downs, Brenda McCarthy, Jill Shulman, and Katy McLaughlin for this. Many, many friends saw me through this difficult period in my life and it made me realize how truly blessed I am. Thanks to all of you.

There are also people in the New York City tango community who made the awkward phases of learning to dance tango a pleasure. I was very lucky to land at the Sandra Cameron Dance Studios and I thank the teachers and fellow students there. My friendship with Renee Turman has been the absolute best thing that has come from tango. I have many fond memories of the nights I spent dancing with Paul Chernosky. I’m a big fan of Dante Polichetti for being a thoughtful dancer and helping newcomers. I will always be grateful to Martín Hernandez for welcoming me and so many others into the community.