Unlocking the True Essence of Tango: Beyond the Dance Moves

Perhaps you were asking yourself: Why a Tango School?

When I receive a new student in my class, I only know that he or she wants to learn to dance. However, teaching to dance Tango involves not only showing the moves but also giving the student a sense of placement, making him or her aware that you cannot just make any move at any time.

I must give the new students a sense of Tango as a whole and make them understand that they are learning a culture.

I heard someone calling Tango a “sub-culture.” I do not agree. All the elements I have learned while studying Tango are substantial in general society and the broader world culture. I learned the importance of my body as the root of my existence. I learned a lot about my interaction with others and how my happiness or unhappiness affects everybody around me. In sum, I learned that everything I do affects everybody and everything in this world.

I have realized the importance of teaching the beauty of Tango.

In my classes, I teach almost all the elements you may have in your checklist that every Tango instructor claims to teach. Name your favorite element; there is a big chance I teach it.

However, the meaning that the move carries within is more important than the element itself.

A while ago, I attended an event related to Tango. I was chatting with a couple. They told me they took some tango classes. They asked me if I made my students change partners in my classes. I replied that yes, but that it was not obligatory, as I knew many couples liked to remain together during the class.

Then they said they were learning “colgadas” in one class and found it uncomfortable doing “colgadas” with other people.

I told them that learning “colgadas” did not make much sense because if they went to Buenos Aires milongas, they would find out that nobody was doing “colgadas” there.

They were surprised, and, I think, a little incredulous of my assertion. Since they never went to Buenos Aires, they could not tell for sure. But I do.

In my more than 20 years of teaching Tango in the Bay Area (and more than 30 years teaching Tango in Argentina and worldwide), I have discovered that the main obstacle to teaching a new student is to overcome all the previous ideas about Tango he or she brings to the class and change them into understanding what Tango really is.

Now, you are probably asking: What Tango is in reality?

My answer is that tango is what happens in the milonga. And when I say milonga, my image is that of the best of the most authentic milongas in Buenos Aires.

This guides my instruction, which is why, along with others who are after the same goal, we created the Escuela de Tango de Buenos Aires.

Embracing the Cultural Roots of Tango

To truly appreciate and master Tango, one must embrace its cultural roots. Tango is a dance that reflects Argentina's social, historical, and emotional landscapes projected to the world. The music, the lyrics, the movements—all these elements are deeply intertwined with a way of life. Understanding the origins of Tango provides my students with a richer context for their learning journey.

The Role of Music in Tango

Music is the heart and soul of Tango. Each note and rhythm tells a story. To dance Tango, one must connect with the music on a profound level. This means not just hearing the music but feeling it and interpreting it through movement. My students are encouraged to listen to classic Tango orchestras, understand the different styles, and learn to dance harmoniously with the music.

The Social Aspect of Tango

Tango is inherently social. The dance floor is a space where people come together, communicate nonverbally, and share a unique connection. This social aspect is crucial for understanding Tango. Although not obligatory, the practice of changing partners in class helps dancers adapt to different styles and builds a sense of community. It mirrors the social dynamics of a milonga, where dancers interact with multiple partners, enhancing their social skills and empathy.

Technique and Expression in Tango

While technique is essential, expression is what makes Tango captivating. Each movement in Tango should convey emotion and tell a story. This expressive quality sets Tango apart from other dances. I focus on the precision of steps and helping students express themselves through the dance. This balance between technique and expression makes Tango both challenging and rewarding.

Creating an Authentic Learning Environment

For a Tango school to be truly effective, it must recreate the atmosphere of an authentic milonga. This involves more than just teaching steps—it includes fostering a sense of community, encouraging cultural immersion, and promoting the etiquette and customs of Tango. By creating an environment that mirrors the Buenos Aires milongas, my students experience the true essence of Tango.

The Lifelong Journey of Tango

Learning Tango is a lifelong journey. There is always more to learn, refine, and experience. The joy of Tango lies in its endless possibilities for growth and discovery. I instill in my students a love for this ongoing journey, encouraging them to explore, experiment, create, and continually deepen their understanding of the dance.

Conclusion

In conclusion, the essence of Tango lies in its rich cultural heritage, music, social dynamics, and expressive potential. Our tango school aims to impart technical skills and artistic and emotional depth to the dance. By doing so, I offer students a truly transformative experience that goes beyond the dance floor and resonates in their everyday lives.

The creation of the Escuela de Tango de Buenos Aires is a testament to this holistic approach, ensuring that the true spirit of Tango is preserved and celebrated for generations to come.

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Tango and Buenos Aires: A Living Tradition Evolving with Time

Buenos Aires is the World Capital of Tango and its birthplace.

I wish to share with you the friendship and appreciation of the milongueros that I am lucky to enjoy.

As we all feel Tango in our bodies, each move, each new milonga we go to, each partner we dance with, and each new learning experience reveals that Tango belongs to us, and we belong to Tango. It is a beautiful feeling, and one of the key reasons why Tango is so appealing is its haunting rhythm.

However, Tango also belongs to others, to the people we share it with. 

If we do not pay attention, we may take an egotistic, self-centered, selfish approach to Tango. That would leave us with nothing or with something we may call Tango, but it is not.

Among the others we share Tango with are those who have danced it before us.

Most of them are no longer with us, but many are still alive and dancing in the milongas of Buenos Aires.

Would you miss the opportunity to meet them, see them dance, chat with them, and dance with them?

If you let it pass you by, it will be a significant loss for Tango, especially for "your" Tango, the one in your turn you will share with those who come after you.

Originally published in September 2013, this post celebrated the enduring vibrancy of Tango and the unique cultural fabric of Buenos Aires, the world capital of Tango. At that time, the city was alive with the spirits of several milongueros—veteran tango dancers who had been the custodians of this rich tradition for decades. These seasoned dancers shared their passion and mastery in the milongas (tango dance events) of Buenos Aires, offering a direct link to the historical roots.

As of today, the scene has evolved. While the essence of Tango is deeply embedded in the city’s art, the ranks of these elder milongueros have thinned significantly. The remaining few carry an even greater responsibility: they are not just transmitters of dance techniques but living symbols of Tango’s soul and history. 

Their presence at milongas has become a rare treasure, offering invaluable experiences to both locals and visitors who seek to connect with the true spirit of Buenos Aires.

Despite the dwindling number of original milongueros, the tango community continues to thrive, driven by a blend of reverence for its origins and a spirited determination to ensure its future. New generations of dancers bring their interpretations and innovations while still drawing on the deep well of tradition that makes the Argentine Tango unique, memorable, and universally admired.

The continuity and change within the Buenos Aires tango scene reflect a broader narrative of cultural preservation and evolution. As the cityscape shifts and modernizes, the Tango remains a steadfast emblem of Argentine identity, celebrated not just in Buenos Aires but worldwide.

Whether you are a seasoned dancer or a curious observer, engaging with this living tradition is a profound way to experience the soul of Buenos Aires.

Each dance, song, and encounter at a milonga offers a heartfelt insight into why Tango is much more than a dance—a way of life that continually adapts, resonates, and inspires.

Book Your Private Tango Tour of Buenos Aires Now!

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From Posture to Pivot: A Journey to Excellence in Argentine Tango Dancing

Learning to dance Argentine Tango requires passionate dedication and practice.

Here, we offer indispensable details regarding Argentine Tango and exercises to help you improve your dancing skills.

Whether you are a beginner without any dancing experience, an intermediate dancer looking to polish your dance, or an advanced dancer in search of perfecting your moves, practicing these exercises as often as possible will take your dance to the next level.

Our Argentine Tango semi-private (small group) classes and private lessons at Escuela de Tango de Buenos Aires focus on posture, walking, awareness, connection, and musicality.

This article offers essential insights and practical exercises to help you become a great Tango dancer, a true milonguera or milonguero.

Practicing them often will improve your technique, allowing you to express your emotions and achieve a superb interpretation of the music.

To learn more about Argentine Tango music, please refer to our dedicated page...

Posture

Definition:
Our upright posture manifests extraordinary qualities.

We, humans, are unique among all known species. Our upright posture manifests extraordinary qualities. By the way, we stand up and present ourselves; we tell our own story, who we are, what we strive for, our dreams, our ideals, our thoughts, and our emotions. Through working on our posture we work not only on our body but on our entire persona. Therefore, from the perspective of a milonguero, good posture is not merely instrumental, achieved and developed only for the purpose of dancing well, but, in addition to our dance, the way we exist, presented to ourselves and everybody. What we can see in our posture (whether it’s the same or different from what everyone else sees) informs us and shows what we can improve about ourselves.

Technical details and exercises:
- Legs and feet together, your weight distributed equally between them.
- Shift your weight to one foot, displacing your vertical axis in the direction of the foot that holds your weight.

- Keep the inside edge of your foot that is free of weight in contact with the floor (“inside edge position”).

- Maintain your weight comfortably on the standing foot by conducting the weight of your body through it to the floor.
- Knees close to each other. Your knees maintaining a constant connection to your axis, which passes through the center of your body, from the top of your head to the center of the base of your body in regard to your weight distribution on one foot or between both feet.
- Hips level, your ilia (hip bone) parallel to the floor, aligned with your transversal plane.
- Torso aligned with your vertical axis, head rests on your torso, which rests on your legs.
- Neck and head aligned with the same vertical axis.
- Alignment of all your body parts to your central axis becomes essential: head, neck, torso, hips, legs, feet.
- Eyes looking forward. Sight aligned with the floor, looking to the horizontal line.

Walk

Definition:
As with our posture, our human walk is also unique.

As with our posture, our human walk is also unique. In the case of dancing Tango, we are required to develop a way of walking which, remaining natural, serves the purpose of walking in the intimate company of our partner, embraced by each other, among other couples, creating a silent poetic dialogue with our bodies and in connection with the cadence of Argentine Tango music. This kind of music was devised to serve such a purpose, and always guides us on how to move in such situations.

Technical details and exercises:
- After shifting your weight to one foot, move the leg that is free of weight forward and backward like a pendulum, maintaining light contact with the floor, using the "inside edge position" when passing through the "collect position” when both feet are together.

- Then move the leg that is free of weight to the side, keeping your foot in touch with the floor, always using the “inside edge position”.

- Last, make small circles while keeping your foot in touch with the floor, using the "inside edge position" while passing through the "collect position” when both feet together, and when stepping into the side position.

- Keep your ilia at the same height, parallel to the floor, aligned with the transversal plane.
- The movement of your leg is rooted in the ball and socket joint, which connects your femur to your hip.
- Release both your knee and ankle joints so they can move freely.
- The knee of the supporting leg is in a relaxed, ready state, neither bent nor locked.
- Walk naturally, swinging the leg that is free of weight forward, extending it a little, letting your axis move in the same direction and maintaining it vertically through the transition, pushing gently from your back standing leg, and transferring your weight to the front leg at the end of this process, keep your foot in touch with the floor, softly, without dragging it.

- Reverse the process to walk backwards. Pay close attention to the back of your foot by pointing it backwards when extending the leg that is free of weight, keep your foot in touch with the floor at all times, softly, without dragging it.
- Maintain all details regarding your posture as described before.
- At every step, take a back and forth step movement, changing your weight between feet. Practice this exercise going forward and backward.

- Use this element to change directions when walking forward to backward and vice versa.

Pivot

Definition:
Rotation of your body's axis as it passes through the ball of your standing foot.

Rotation of your body's axis as it passes through the ball of your standing foot. To pivot, rotate your torso in a clockwise or counter-clockwise direction, producing a torque which gently pulls your lower body into a rotation that follows in the same direction as your torso.

Technical details and exercises:
- Maintain the “inside edge position” when you pivot.

- Step forward after pivoting, aligning your foot that is free of weight with your lower sagittal plane.

- Direct your step forward in a circular trajectory around your partner. Orient the center of your torso towards the central axis of the couple.
- From the step forward to the next position going forward, in which you will transfer your weight to the front foot, your torso is already rotating towards the center of the couple, so the foot that remains behind, by the pull of this torsion, which takes the shape of a spiral, turns your back foot, first, to the inside edge in contact with the floor, and then, makes it travel to your sagittal line, to the “collect/inside edge position”.
- After this “collect/inside edge position”, we research these possibilities: 1. Forward ocho: Pivot more continuing in the same direction of your established rotation and move the foot that is free of weight forward, in alignment with your lower sagittal plane, your torso torquing according to counter body movement, orienting the center of your chest to the central axis of the couple. 2. Forward-side: Pass the foot that is free of weight behind the heel of your standing/pivoting foot while keeping the inside edge in contact with the floor, and continue to the side around your partner.

3. Backward ocho: When you reach the collect position, reverse the movement, bringing the leg that is free of weight back to the starting point when it was behind you. At this point you can collect/inside edge position and from there: a) Continue pivoting the same direction as your established rotation and move the leg that is free of weight backward, aligned with your lower sagittal plane, your torso torquing according to counter body movement, orienting the center of your chest to the central axis of the couple (backward ocho).

b) Reverse the rotation of the pivot and return forward with the leg that is free of weight to the previous position (boleo).

NOTE about knees: the knee of the leg that is free of weight passes behind the standing leg, fitting its convex shape into the concave space behind the knee of your standing leg, moving all around the standing leg until getting its concave back in front of its convex shape, making your feet end crossed. Your standing leg needs to be in a relaxed ready position, neither bent nor locked, while your leg that is free of weight is extended with a tension comparable to the tension of a well-tuned musical instrument string. Exercise: Move your leg that is free of weight around your standing leg back and forth.

Boleo

Definition:
A back and forth movement of the leg without changing weight.

Since our legs move like pendulums, a back and forth movement of the leg without changing weight is possible. We call this “boleo”. This pendular movement of the leg that is free of weight is most often combined with the spiral movement of the leg described above in relation to pivoting.

Technical details and exercises:
- Keeping the leg that is free of weight in the "inside edge position," pivot back and forth, allowing it to swing like a pendulum, while maintaining the details described above about knees and legs.

- Do forward and backward ochos and practice the back and forth pendulum in every pivot.

Connection

Definition:
We are supremely gifted with the ability to connect to others.

We are supremely gifted with the ability to connect to others. It is also an intrinsic necessity of our human condition. Our capacity for connection with other human beings predates the appearance of language. Dancing Tango puts this primordial skill into play, connecting us without words.

Technical details and exercises:
- Partner up facing each other and walk forward and backward maintaining the same distance between partners. One must lead and the other must follow.

- When the leader walks backward, he places his partner to the right as the follower walks forward (outside partner position).
- When the leader walks forward, he will walk in front and outside partner position. His left leg will always make the first step outside and in front.

Line of dance

Definition:
All couples on the dance floor move counter clockwise direction.

All couples on the dance floor move counter clockwise direction.

Technical details and exercises:

- Partner up and face each other on the dance floor, oriented in a way that the leader walks forward and the follower walks backward, the couples travel on the dance floor in a counter clockwise direction.
- Hands on each other’s shoulders.
- Walk in outside and in front partner position.
- Pause when in front of your partner.
- Lead forward/backward movement when in outside partner position.

Systems

Definition:
There are two fundamental ways to combine movement of the four legs of a couple.

There are two fundamental ways to combine movement of the four legs of a couple: 1. Parallel system: The leader's left leg moves in sync with the follower’s right leg and vice versa. 2. Crossed system: The leader's left leg moves in sync with the follower’s left leg and vice versa.

Technical details and exercises:

Walk in front of each other, leaders forward and followers backwards.

- In parallel system, inside/outside.
- Change of system technique: leader’s left step, feet together, left again; followers always move the foot that is free of weight.

- In crossed system: 1. On the open side.

2. In front.

3. On the closed side.

NOTE about distribution of weight: Leaders always rest their weight on both feet; followers are always lead to rest their weight on one foot.

Embrace

Definition:
It’s a very humane characteristic.

It’s a very humane characteristic, since we stand on two feet and our arms are free. Social dancing started in Europe during the Renaissance. Before dancing was ritual. In the beginning partners wouldn’t touch at all. Then they took each other’s hands in the minuet. Then the woman was on the man’s arms in the waltz. We can observe the tendency of partners getting closer to each other. Finally the couple dances intimately embraced in Tango.

Technical details and exercises:

- Hold hands, like an honest handshake.
- Center of your chests in front of each other.
- A vertical axis of the couple passes through this center between your chests.
- You can imagine a ball bearing as the joint between you and your partner, located in the central axis of the couple, at the midpoint of connection between each partner’s chest.
- The right hand of the leader is in complete contact with the follower’s mid-back.
- The embrace is neither too loose nor too tight. It must be warm, relaxed, versatile, and consistent.
References:

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Looking for tips about learning Argentine Tango dance?

From absolute beginner to a great milonguero/a Tango dancer.

Because you have realized the value of Tango, we are offering here a guide into your Tango journey.

You'll become more yourself within a community. 
Our human nature makes us social beings: we cannot survive in isolation; hence, success is possible for an individual only with the support of one's peers.
 
That is to say, you learn to dance Tango not only because of your personal taste and choice. There is also a group of people who share your affinity for Tango, and even though you will not agree (and you do not need to agree) with everyone in matters of taste and choices, your success regarding Tango will always be tied to how you relate to those other dancers.
 
Even if you never dance with most of them, you will still share the same dance floor and seats around it at the same milonga.
Not everybody has the same sensitivity.
If you are willing to take the challenge, as a great milonguero/a does, aim for the highest, most beautiful, most poetic, and most sublime.
For me, that is Tango.
I feel at home with such people, and that is my environment.
That is what I would like to share with you.
My reason for doing so is that my goal is always to become a better dancer, and by inviting and challenging you to have the same goal, I count on you to challenge me in the same way.
We mutually challenge each other to become better dancers.
This will not make us rivals or enemies. On the contrary, we will develop a deep friendship.
 
I won't be distant (like on a stage). I will be approachable. I will dance with or next to you on the same dance floor. I may have more experience than you, but it may turn out that you are more talented. However, on a milonga's dance floor, we are essentially equals.
The goal of becaming better dancers cannot be quantified.
How do you quantitatively express an excellent example of a human being?
How do you quantify excellence or the admiration that someone awakens in you?
It is easy to get confused in a world that values quantification, like our civilization.
For instance, does the number of members in my Facebook group express the level of my dance?
I could set a goal to end the year with over 2,000 members.
That is easy to do. I will achieve this goal by the end of this year. Will that make me a better human being?
 
Let’s make a thought experiment (you now know I like them):
An alien comes to our planet and meets with several people. He meets an industrialist called Henry Rearden, a writer and poet called Oliverio Girondo, Gordon Gekko (a banker), Doug McKenzie (a garbage collector), a nurse called Ratched… etc., and a milonguero called Blas Catrenau...
 
This alien will immediately perceive the egalitarianism and spontaneity of the milonguero, who approaches him the same way he approaches everyone.
 
He will be surprised that he even hugs him as a greeting.
 
Another aspect is the milonguero's movement, expressions, and walking: he seems easily in control of himself.
 
His words are sometimes a little cryptic. He speaks, assuming that the alien understands what he is talking about.
 
However, he speaks with such comfortable self-confidence that the alien cannot avoid agreeing with Blas, even though he does not know what Blas is talking about.
 
For Blas, and for any milonguero in general, it does not matter how you look, your degrees, your wealth, or your job. If he has something to say about you, he will say it only if you ask his opinion and only regarding your dance.
 
Now, you can continue on your own with this experiment.
 
Imagine any other characters (anyone you want to include), and let me know how you see the alien's experience meeting them. You can write it here:
Back on Earth, once you've made up your mind and accepted that there is no better way to spend your time in life than making it a work of art and that in this endeavor you won’t find anything that makes more sense than dancing Tango, hence, becoming a great dancer (a realization that can take you a period of time ranging from one day to many years), then, the following advice may help you:
-

1. Be disciplined, regular, and committed to your study of Tango. While dancing Tango is amusing, it is also different from other ways to amuse yourself. Choose these unique characteristics of Tango to be the core of your dedication to learning it. Tango has common aspects with other dances and other kinds of activities: steps, choreographic patterns, socializing, and proximity to partners. On the other hand, its music is unique, and also unique is the approach that milongueros have to Tango. For them, Tango is not a "way of life" but "Life itself."

-
2. If a Tango is life, then your Tango teacher is a life coach. He or she is teaching you how to live Tango. Your relationship between you and your teacher is based on trust, mutual understanding, sympathy, and patience. Tango makes you meet at a very humane level, where both need to accept their limitations, flaws, and good qualities. The potential for improvement of Tango is infinite. In the face of such a wide-open horizon, both student and teacher are students of Tango. Your teacher is your guide through Tango but also your road companion. Choose carefully.
-

3. Tango is a world. Your Tango teacher is a bridge to it. Allow yourself to know that world, its inhabitants, its culture. A Tango teacher doing a good job will have different levels of approximation to your definitive contact with Tango and, eventually, living-breathing-existing-embodying Tango. The first pool in your "decant" ng" to Ta" go will be your teacherteacher'sgroup of students. Not everyone who shows up to class, but those who attend class regularly and are noticeably there to learn about Tango. Be discerning of this difference. Then, your teacher, with or without this inner group, will take you to your first local milongas. New questions will arise there that you will need to discuss with your teacher. Eventually, you will visit Buenos Aires. It would be best if you trusted your teacher with this.

They, if authentic, are your most reliable connection to Tango in Buenos Aires.

Discover Buenos Aires

Start Learning Argentine Tango Today

 

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Master Argentine Tango: 3 Essential Box Step Exercises to Improve Your Skills

Argentine Tango is a dance of precision, grace, and deep connection, and one of the best ways to master its intricate movements is through consistent practice. In this post, you'll find three key exercises based on the Box Step, a fundamental tango movement that helps dancers develop better balance, footwork, and control. Whether you're a beginner or an experienced dancer, these drills will help you refine your skills and build a solid foundation for your Argentine Tango journey.

Each video focuses on a specific variation of the Box Step, designed to target different aspects of your tango technique:

- The Basic Box Step – Perfect for learning and reinforcing the essential movements.
- The Slow Box Step – A practice in control and fluidity, ideal for improving your balance and posture.
- The Box Step with Taps – An advanced variation to sharpen your footwork precision and rhythm.
Argentine Tango Box Step Exercise | Master Basic Tango Footwork

In this video, we break down "The Box", a fundamental Argentine Tango exercise. This simple but powerful drill involves one step to the left, two steps forward, one step to the right, and two steps backward. Practicing the box step regularly helps improve your coordination, balance, and foot placement. It’s an excellent exercise for beginners and experienced dancers looking to refine their basic tango movements.

Slow Box Step for Argentine Tango | Improve Control and Balance

In this video, we focus on performing the Box Step slowly, an essential exercise for Argentine Tango dancers who want to improve control, balance, and fluidity. Moving through each step at a slower pace helps you connect with the rhythm, fine-tune your posture, and gain more control over your movements. This drill is perfect for tango dancers looking to refine their footwork and improve their overall technique.

Argentine Tango Box Step with Taps | Boost Your Precision and Rhythm

In this video, we introduce an advanced variation of the Box Step in Argentine Tango, adding a tap at each step. This exercise helps improve your rhythm, precision, and musicality. By tapping after each movement, you’ll build stronger foot coordination and a more refined connection to the tango beat. It’s a great drill for both beginners and experienced dancers looking to take their footwork to the next level.

By incorporating these exercises into your daily routine, you’ll not only enhance your technical abilities but also deepen your connection to the music and your partner.

Dive into each video and start transforming your tango skills today!

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Why Teach Tango?

Why Teach Tango?

Inspiration and Education in Tango

Tango is more than just a dance; it is a way of life that deserves to be deeply explored.

For those who feel a spark of interest in tango, it is essential to guide this curiosity toward a deeper and more meaningful understanding.

It is not just about learning impressive steps, although that also has its value. It is about going beyond, discovering the magical bond between dancers, a complicity known as "connection," and the mutual respect that fosters infinite freedom of expression in tango.

Meaningful Connections

This complicity and mutual respect do not arise spontaneously, although there is a seed of spontaneity in accepting the challenge of dancing with a partner and the respect demanded by the milonga community. This connection and respect are learned and must be taught by those already part of the tango community. Dancing tango is accepting a challenge, an acceptance that becomes second nature for experienced dancers.

Preserving the Essence of Tango

It is crucial to preserve the accumulated knowledge of those who danced tango not as a profession, but because it was a cornerstone of their existence, their identity, and their way of relating to the world. This knowledge goes beyond mere economic subsistence and leads us to value higher and more authentic aspects of our humanity.

A Unique Perspective

There is a Health, with a capital H, that represents the best of our humanity and cannot be measured by medical instruments. This Health is perceived as integrity, flourishing, and inspiration. It is a broad perspective, like the view from a mountain, that only those who have experienced tango can fully understand.

The Value of the Body

In an era where technology advances exponentially, our bodies seem to become a problem, an excess in a network of interconnected instruments. We have distanced ourselves from our bodies, and therefore, from ourselves. Tango invites us to reconnect with our humanity through something as basic and essential as the embrace.

Reviving the Community

The human community is dissolving into technological networks. Technology can be beneficial if it helps us become more integral, flourish, and find inspiration. The milonga is a space to disconnect from technology and reconnect with our corporeal existence, a space to exercise our humanity.

Tango as a Life Practice

Tango is a practice of existing as human beings, a moment to shed our technological armor. You cannot dance tango with a smartphone in your hand; you need to be present, in body and soul.

The Golden Age of Tango

There was a moment in history when tango reached its most beautiful expressions, most integral individuals, and most inspiring art. The music of the 1940s, the golden age of tango, is not limited to specific dates but to a unique sensitivity that gave rise to diverse manifestations.

That era is the source of great wisdom, the music and poetry that guides us to listen, understand, feel, dance, and, if inspiration calls you, to sing.

Ready to embark on a transformative journey through the art of tango? Discover the profound connections and timeless beauty of this dance.

Book your private tango lesson

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Why Teach Tango?

Why Teach Tango?

Inspiration and Education in Tango

Tango is more than just a dance; it is a way of life that deserves to be deeply explored.

For those who feel a spark of interest in tango, it is essential to guide this curiosity toward a deeper and more meaningful understanding.

It is not just about learning impressive steps, although that also has its value. It is about going beyond, discovering the magical bond between dancers, a complicity known as "connection," and the mutual respect that fosters infinite freedom of expression in tango.

Meaningful Connections

This complicity and mutual respect do not arise spontaneously, although there is a seed of spontaneity in accepting the challenge of dancing with a partner and the respect demanded by the milonga community. This connection and respect are learned and must be taught by those already part of the tango community. Dancing tango is accepting a challenge, an acceptance that becomes second nature for experienced dancers.

Preserving the Essence of Tango

It is crucial to preserve the accumulated knowledge of those who danced tango not as a profession but because it was a cornerstone of their existence, their identity, and their way of relating to the world. This knowledge goes beyond mere economic subsistence and leads us to value higher and more authentic aspects of our humanity.

A Unique Perspective

There is a Health, with a capital H, that represents the best of our humanity and cannot be measured by medical instruments. This Health is perceived as integrity, flourishing, and inspiration. It is a broad perspective, like the view from a mountain, that only those who have experienced tango can fully understand.

The Value of the Body

In an era of exponential technology advancement, our bodies seem to become a problem, an excess in a network of interconnected instruments. We have distanced ourselves from our bodies and, therefore, from ourselves. Tango invites us to reconnect with our humanity through something as basic and essential as the embrace.

Reviving the Community

The human community is dissolving into technological networks. Technology can be beneficial if it helps us become more integral, flourish, and find inspiration. The milonga is a space to disconnect from technology and reconnect with our corporeal existence, a space to exercise our humanity.

Tango as a Life Practice

Tango is a practice of existing as human beings, a moment to shed our technological armor. You cannot dance tango with a smartphone in your hand; you need to be present, in body and soul.

The Golden Age of Tango

There was a moment in history when tango reached its most beautiful expressions, most integral individuals, and most inspiring art. The music of the 1940s, the golden age of tango, is not limited to specific dates but to a unique sensitivity that gave rise to diverse manifestations.

That era is the source of great wisdom, the music and poetry that guides us to listen, understand, feel, dance, and sing if inspiration calls us.

Ready to embark on a transformative journey through the art of tango? Discover the profound connections and timeless beauty of this dance.

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History Of Tango – Part 12: El Cachafaz and the Dancers of the Early 20th Century

We investigate history because we seek to better understand ourselves.

An exceptional individual leaves fragments of footprints, pieces of mirrors that reflect and indicate general aspects of that particular type of individuality.

In this case, the category "tango milonguero dancer" is a classification that allows us to construct our identity. When fortune allows us to glimpse what it was like to be one of them in the past, it enables us to see ourselves not only from a historical perspective, that is, as individuals and classes developing in history, but also, by providing information that helps us to know ourselves better, it offers us examples of values that increase our capacity for choice, making us freer.

El Cachafaz

At ten years old, Ovidio José Bianquet, born February 14, 1885, lived in the Buenos Aires neighborhood of San Cristobal. His father, Antonio Bianquet, had Italianized his surname to make it sound more familiar in a context where 80 percent of surnames were Italian, changing it to Bianchetti.

He rented a house on Rioja Street, near the Gricel dance hall today.

His mother, Petrona Celestina Cabral, was visited by a neighbor accompanied by a police officer, explaining that the child had broken one of her windows with a stone. The mother, incredulous, affirmed that it was impossible, that her son was "good," but the policeman understood the child's name as "Benito." Soon, the father appeared, agreeing with the neighbor, saying that his son was a "scoundrel" ("cachafaz" in Spanish). This led to how our character became known in history: Benito Bianquet, El Cachafaz.

At that time, the child, who had smallpox, which left marks on his face, went to school, worked as a shoeshine boy, and spent the rest of the day on the street, where he occasionally saw men dancing the tango on the sidewalks to the music of street organ grinders. He watched them very attentively when he had the opportunity to be alone at home, as his father worked in a cigarette factory and his mother went out to run errands, he stood in front of the mirror and reproduced what he had observed on the street, recreating and improving the steps he had learned according to his criteria.

One day, while watching those men dance tango, he stood beside them and began dancing, too. The men stopped, and one asked him to dance with him. Everyone was astonished by the skill of this 11-year-old boy, who, from that day on, was recognized throughout the neighborhood for his dancing.

At 18, he left his parental home and moved to Pergamino, where the government incentivized young people who wanted to settle and work there. He lived in Pergamino for a while, working in the fields and making many friends, but he missed his home, his mother, and the tango.

So he soon returned to Buenos Aires and reconnected with his passion, realizing he needed to leave his neighborhood and dance in the "forbidden places" where his art would be better appreciated. Cachafaz's tango came from his street friends, who were much older than him. Boys his age called him "maestro" and asked him to teach them, to which he responded, "I don't teach. If you want to learn, watch me and copy."

At that time, he also began to associate with essential characters in the history of tango, such as Francisco Canaro, with whom he was very close, Carlos Gardel, Discépolo's father, Ernesto Ponzio, author of the tango "Don Juan," Rosendo Mendizábal, author of "El entrerriano," and many more.

Tango was transforming. Born in marginalized neighborhoods, it now sought acceptance from the wealthier classes. This began to happen in the first "waitresses' cafes" proliferating in the La Boca neighborhood, where patrons could drink coffee and alcoholic beverages, listen to the pioneers of tango music transitioning from the primitive tango of the "Guardia Vieja" to the more elaborate tango of the "Guardia Nueva," such as Francisco Canaro, Vicente Greco, Genaro Espósito, Roberto Firpo, Arturo Bernstein, and even dance with the waitresses. It was 1903, and El Cachafaz frequented these places, not to dance but to watch.

In those places, the tango dance was also being reworked, recreated day by day. The dancers watched each other and produced their choreographic innovations, inheriting techniques from the past and inspired by the new music.

Pedrín: The Pioneer of Tango and His Influence on El Cachafaz

The most important dancer of that era was Pedrín. Everything about him is conjecture, except that he was one of the pioneering tango dancers. It is speculated that his parents were Spaniards who arrived in the Río de la Plata region between the mid and late 19th century, along with many other European immigrants. The family might have settled in a conventillo near the old Plaza del Comercio, now Plaza Dorrego. There, Pedrín inherited his love for dance and began dancing tango before the age of fifteen.

Pedrín was creative and elegant, with light and swift feet. His friends said that, above all, he knew how not to dance tango. He stood out among the suburban dancers, frequenting street corners and dance venues and developing a unique style with distinctive figures. By 1899, he was considered the most outstanding dancer of his generation. Some called him Pedrín de San Telmo, while others called him Pedrín the One-Eyed. He danced with La Flaca Rosa, but his most significant contribution was his influence on El Cachafaz's style.

The Unique and Transformative Style of El Cachafaz in Tango

El Cachafaz stood out in improvised dance, creating a style he continuously modified throughout his over 40-year career. He distinguished himself from other street dancers with his elegance, confidence, and precision in posture—qualities that, around 1910, seemed more French than Argentine. Although his technique was not always refined due to his origins in brothels frequented by rough and drunk men, his dance was unique. His figures did not follow a logical structure and often seemed unfinished.

Though smoother than street dancing, he performed "corridas" with an exaggerated sway. The speed and length of his steps varied without apparent reason. At a time when dancers often strayed from the music and took time to regain the rhythm—something unattractive—El Cachafaz was very concerned about the relationship between steps and music, and he had extraordinary musical sensitivity.

His ability to move his feet with great speed and precision allowed him to interpret a musical phrase as if his feet were playing the instruments. He divided the melody and rhythm note by note, synchronizing his foot movements with them. When the bandoneon became the main instrument of tango, he conceived the idea that his movement should represent the instrument's breathing. The richness of the bandoneon favored his dancing style, softening its rough edges and making his gestures more expressive and poetic.

Watching him dance was a spectacle from the moment he entered the dance halls. His posture, cold blue eyes, olive skin, black hair slicked with gel, and the smallpox scars on his face gave him a severe look that could instill fear when he concentrated intensely. He did not choreograph; he had studied sequences he linked according to his inspiration, often leading him to spontaneously invent figures he would never repeat.

He always danced very upright, which gave him an imposing air. He never stayed completely close to his partner and often did not lead her in a frontal position, making his movements more visible. His partners said they could never figure out what they were doing and never felt forced, sensing the impulse of delicate commands that made them perform the most complex figures with the assurance that El Cachafaz would give them time to complete them.

His style was continuously transforming, noticeable week by week. He danced very differently from the others. In a dance hall, he seemed to come from another era. Women feared being asked to dance by him and, at the same time, desired it because he did many things they were unaware of, but they also knew that, guided by him, there would be no insurmountable difficulties.

The First Triumphs of El Cachafaz and His Rise to International Fame

The first competition El Cachafaz participated in was in Rosario in 1906, at Madame Safó's house. He had visited a cousin who was making good money with several stores in the city center. His cousin took him to Madame Safó's, the most expensive brothel in the country, although the dance floor was free. There, the master dancer Gaeta, who trained the girls, mostly of Polish origin, was employed.

When they arrived at the hall, they saw Gaeta dancing with his partner. El Cachafaz asked the first girl who smiled at him to dance, and she followed him very well. He started dancing very close to Gaeta, challenging him with his "cortes and quebradas." Gaeta did not back down, and soon, Madame Safó organized a competition. They would dance a tango, a waltz, and a milonga. El Cachafaz won the first round, but Gaeta shone more in the waltz. The milonga went to El Cachafaz, securing his victory.

In 1907, he defeated the man considered the best tango dancer in Buenos Aires, Pardo Satillán, who danced with his partner, Parda Esther, both of Uruguayan origin, at the Hansen hall in the Palermo neighborhood. He danced with an unknown young lady, a regular at the place, who confessed to him after the dance that she had thought she was a beginner until then, but with him, she had done steps she did not know she was capable of. She had danced with an ecstatic smile throughout the tense competition.

El Cachafaz was famous for his habit of arriving at any milonga without a partner and establishing his dominance with a regular dancer with whom he had never danced before. This highlights El Cachafaz's leading qualities and indicates that the average level of dancing at that time was very high.

In 1911, he won another contest and, as a prize, received a contract to work and teach in New York, thus becoming the first officially recognized professional tango dancer.

In 1913, he returned to Buenos Aires, and the owner of the Teatro Olimpo, who had started organizing dances there, proposed that they partner and open a tango school on the upper floor. The venture was so successful that tango ended up displacing the theater, and the name was changed to Salón Olimpo. Within two years, attendance had grown so much that opening a second dance floor in the hall where El Cachafaz taught his classes became necessary. Consequently, the owner began a similar experience in another hall in downtown Buenos Aires. El Cachafaz did not like giving group classes, so he took the opportunity to offer private lessons only.

Rejection and Acceptance of Tango: From Moralistic Criticism to International Acclaim

Meanwhile, a moralistic reaction ensued against tango in the United States and Europe, prompting Pope Pius X to weigh in and accept it. Baron Antonio de Marchi arrived in Buenos Aires in the early 1900s and bridged the social classes of Argentine aristocracy and the lower classes through tango. For him, "Tango had to become the element of unity and solidarity of the city."

Born in Pallanza, Italy, on August 25, 1875, he died in Buenos Aires on February 20, 1934. He married María Roca, daughter of General Julio Argentino Roca, who was President of Argentina for two terms (1880-1886 and 1898-1904). De Marchi was primarily a sportsman and pioneer. He founded the Sociedad Sportiva, created the Cercle de l'Éppé to promote fencing, encouraged automobile racing, organized the Boy Scouts of Buenos Aires, and formed the school battalions that paraded at the Centennial celebrations (1910). He also promoted horsemanship, cultivated a friendship with Jorge Newbery, and provided the Aero Club with the field of the Sportiva (the current area of the city's Planetarium), from where the balloon Pampero, piloted by Newbery and Aaron de Anchorena, departed on December 25, 1907.

When World War I broke out, he returned to his country and joined the fighting troops, returning to Argentina after the armistice. In Milan, he had studied tango with Parisian masters. He had the intuition that tango should endure into the future, but for this to happen, the rejection of the upper class had to end.

In 1913, he organized a tango music competition —whose jury was composed of ladies from high society— to promote it to the upper class of Buenos Aires, and hired several dance couples. He asked the participants to moderate their performances to avoid scandalizing the audience, but this provoked harsh criticism in one of Buenos Aires' leading newspapers, denouncing this tango falsification. This worried De Marchi greatly, and he realized that public opinion agreed with the newspaper article, although they appreciated the Baron's intention to help tango gain acceptance. Many advised him to abandon the enterprise and cancel the following nights at the theater. But he decided to move forward. He lowered the ticket price, filled the theater, and allowed the dancers to perform freely without explicitly declaring it.

All the dancers began to perform tango figures without censorship. The audience responded positively, even dancing in their seats and trying to imitate the steps they saw. One of the dancers stood out, and from then on, he was mentioned whenever the topic of tango arose in conversation.

He was El Cachafaz, 28 years old.

Gardel and Razzano's Tribute to El Cachafaz: A Tango Legends Show

In 1918, Gardel and Razzano, the most famous duo in Argentine history, organized a show to honor the world's best tango dancer, El Cachafaz. This was a year after Carlos Gardel premiered the first tango song and began his career as a tango singer.

The show featured the Firpo-Canaro orchestra, which included the most famous musicians of the time, the same orchestra that had caused a sensation at the Teatro Colón in Rosario during the previous year's carnivals. It included tango stars such as Eduardo Arolas, Osvaldo Fresedo, Juan D'Ambrogio "Bachicha," and Pedro Polito on bandoneons; Julio Doutry, Agesilao Ferrazzano, and Tito Roccatagliata on violins; Juan Carlos Bazán on clarinet, Alejandro Michetti on flute, José Martinez on piano, and Leopoldo Thompson on double bass. Francisco Canaro (violin) and Roberto Firpo (piano) alternated in conducting.

The Tango Craze in Paris: 1913

In 1913, Tango was all the rage in Paris. There was a "tango color" (orange),

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"Entre dos fuegos" by Juan D'Arienzo y su Orquesta Tipica, 1940.

Alberto López Buchardo

Pianist and composer (August 21, 1882 -May 28, 1948)

In 1903, Alberto López Buchardo left Buenos Aires for Paris, abandoning his medical studies to immerse himself in the bohemian lifestyle of the French capital.

Upon his arrival, he was captivated by the city's vibrant arts scene, which was flourishing with creativity and innovation.

Alberto played a pivotal role in introducing tango to Paris.

He taught tango dancing and performed the early melodies, helping establish the genre's presence in Europe.

Read more about Alberto López Buchardo at www.todotango.com

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"Germaine" by Carlos Di Sarli y su Orquesta Típica, 1951

Alberto López Buchardo

Pianist and composer (August 21, 1882 -May 28 , 1948)

Born in Buenos Aires, he was a pivotal yet forgotten figure in the tango world. His bohemian spirit led him to Paris, where he played a crucial role in introducing tango.

Known for compositions like "Germaine" and "Entre dos fuegos," he influenced Parisian culture through his music and ideas, such as the famed tango venue "El Garrón."

Alberto's legacy as a tango pioneer remains a significant, albeit overlooked, chapter in musical history.

Read more about Alberto López Buchardo at www.todotango.com

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History of Tango

💃🏻 At night, with the patio now silent and empty, Carmencita Calderón would practice alone, perfecting the steps she had learned during the day. She would imagine embellishments for each move and use a chair to master her turns, demonstrating her dedication and creativity. Inspired by her, in my private tango lessons, I provide you with exercises to help you enhance your moves and add flair to your dance. Let's unlock your full potential on the dance floor together! 🕺✨ #TangoLessons #DanceWithPassion #CarmencitaCalderón #TangoLegacy #DanceInspiration #PrivateLessons

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History of Tango

🎼✨ Today, we honor the birth of Aníbal Troilo, the iconic bandoneon virtuoso who brought the heart and soul of tango to life. Born on July 11, 1914, Troilo's passion and talent shaped the golden age of tango, captivating audiences worldwide. His music remains timeless, echoing through the years and continuing to inspire new generations. #AnibalTroilo #TangoLegend #Bandoneon #Tango #MusicHistory #OnThisDay

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What Makes Dancing Milonga So Special?

What Makes Milonga Dance So Special?

Marcelo Solis and Mimi dancing milonga at San Mateo Event Center, June 2024.

Milonga, a distinctive variation of Argentine tango, stands out for its vibrant tempo and unique rhythm. Unlike the more dramatic tango, milonga is lively, lighthearted, and infused with a playful spirit. This dance variation not only showcases the technical prowess of tango dancers but also emphasizes the joy and spontaneity of the dance.

The Dance of Mastery and Playfulness

Milonga is often considered the dance where a tango dancer's skills are truly tested and displayed. The fast-paced nature of milonga requires dancers to execute quick, sharp movements with precision, making it a challenging yet exhilarating form of dance. This is beautifully captured in the lyrics of "Señores, yo soy del centro" by Ángel D'Agostino y su Orquesta Típica with Ángel Vargas, recorded in 1945: "otros creen que en la milonga / se aprecia la calidad," which translates to "others believe that in the milonga / quality is appreciated." This lyric highlights the belief that milonga is the true measure of a dancer's ability.

The Rhythm and Technique of Milonga

Milonga differs from tango not just in tempo but also in rhythm and technique. Milonga follows a 2/4 beat, which is more upbeat compared to the 4/4 rhythm of tango. This tempo demands agility and a different approach to movement. Unlike tango, which often involves intricate footwork and dramatic pauses, milonga is characterized by continuous movement and a more relaxed, playful style.

Expressing Emotions Through Milonga

While tango is often associated with deep emotions and intensity, milonga allows dancers to explore a different set of feelings. It's a dance that encourages humor, lightness, and an overall sense of fun. This makes milonga not only a technical challenge but also a medium for dancers to express a wider range of emotions, making their dance more dynamic and engaging.

The Cultural Significance of Milonga

Milonga has deep roots in Argentine culture and serves as a testament to the rich history of tango. It is a dance that has evolved over time, blending influences from various dance forms and cultures. This evolution is reflected in the dance's lively tempo and playful nature, which continue to captivate audiences and dancers alike. By mastering milonga, dancers pay homage to the historical and cultural significance of tango while pushing the boundaries of their own abilities.

Conclusion

Milonga is a special variation of tango that highlights the skill, agility, and emotional range of dancers. It is a dance that celebrates the playful and joyful aspects of tango, providing a dynamic contrast to the more intense and dramatic traditional tango. Whether through its unique rhythm, technical demands, or cultural roots, milonga remains a cherished and vibrant part of the tango tradition.

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History of Tango

Rudolph Valentino's iconic tango in "The Four Horsemen of the Apocalypse" sparked a nationwide dance craze in 1921. His dedication and tours with Natacha Rambova inspired countless Americans to embrace tango and ballroom dancing. #DanceLegend #TangoCraze #1920s #BallroomDancing #ValentinoLegacy

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History of Tango

Casimiro Aín, aka "El Vasco," danced his way from Buenos Aires to global fame. From his early days to captivating Europe with Tango, his story is a testament to passion and perseverance. A true pioneer, he brought Tango to the world stage, leaving an enduring legacy. 🌍🕺 #TangoLegend #DanceHistory

History of Tango

Origins and Evolution

Discover how Tango originated, its cultural influences, and its journey to becoming a beloved dance worldwide.

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History of Tango

Origins and Evolution

Discover how Tango originated, its cultural influences, and its journey to becoming a beloved dance worldwide.

📜 Dive into the captivating origins and evolution of Tango. From its roots in Argentina 🇦🇷 to its worldwide popularity 🌍, explore the cultural influences that shaped this beautiful dance. Let Tango inspire you to embrace its rich heritage and vibrant tradition. 💖✨ #TangoHistory #ArgentineTango #DanceHeritage #TangoEvolution #CulturalDance #TangoRoots #DanceJourney #TangoCulture #WorldDance #TangoTradition

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Unlocking the True Essence of Tango: Beyond the Dance Moves

Perhaps you were asking yourself: Why a Tango School?

When I receive a new student in my class, I only know that he or she wants to learn to dance. However, teaching to dance Tango involves not only showing the moves but also giving the student a sense of placement, making him or her aware that you cannot just make any move at any time.

I must give the new students a sense of Tango as a whole and make them understand that they are learning a culture.

I heard someone calling Tango a “sub-culture.” I do not agree. All the elements I have learned while studying Tango are substantial in general society and the broader world culture. I learned the importance of my body as the root of my existence. I learned a lot about my interaction with others and how my happiness or unhappiness affects everybody around me. In sum, I learned that everything I do affects everybody and everything in this world.

I have realized the importance of teaching the beauty of Tango.

In my classes, I teach almost all the elements you may have in your checklist that every Tango instructor claims to teach. Name your favorite element; there is a big chance I teach it.

However, the meaning that the move carries within is more important than the element itself.

A while ago, I attended an event related to Tango. I was chatting with a couple. They told me they took some tango classes. They asked me if I made my students change partners in my classes. I replied that yes, but that it was not obligatory, as I knew many couples liked to remain together during the class.

Then they said they were learning “colgadas” in one class and found it uncomfortable doing “colgadas” with other people.

I told them that learning “colgadas” did not make much sense because if they went to Buenos Aires milongas, they would find out that nobody was doing “colgadas” there.

They were surprised, and, I think, a little incredulous of my assertion. Since they never went to Buenos Aires, they could not tell for sure. But I do.

In my more than 20 years of teaching Tango in the Bay Area (and more than 30 years teaching Tango in Argentina and worldwide), I have discovered that the main obstacle to teaching a new student is to overcome all the previous ideas about Tango he or she brings to the class and change them into understanding what Tango really is.

Now, you are probably asking: What Tango is in reality?

My answer is that tango is what happens in the milonga. And when I say milonga, my image is that of the best of the most authentic milongas in Buenos Aires.

This guides my instruction, which is why, along with others who are after the same goal, we created the Escuela de Tango de Buenos Aires.

Embracing the Cultural Roots of Tango

To truly appreciate and master Tango, one must embrace its cultural roots. Tango is a dance that reflects Argentina's social, historical, and emotional landscapes projected to the world. The music, the lyrics, the movements—all these elements are deeply intertwined with a way of life. Understanding the origins of Tango provides my students with a richer context for their learning journey.

The Role of Music in Tango

Music is the heart and soul of Tango. Each note and rhythm tells a story. To dance Tango, one must connect with the music on a profound level. This means not just hearing the music but feeling it and interpreting it through movement. My students are encouraged to listen to classic Tango orchestras, understand the different styles, and learn to dance harmoniously with the music.

The Social Aspect of Tango

Tango is inherently social. The dance floor is a space where people come together, communicate nonverbally, and share a unique connection. This social aspect is crucial for understanding Tango. Although not obligatory, the practice of changing partners in class helps dancers adapt to different styles and builds a sense of community. It mirrors the social dynamics of a milonga, where dancers interact with multiple partners, enhancing their social skills and empathy.

Technique and Expression in Tango

While technique is essential, expression is what makes Tango captivating. Each movement in Tango should convey emotion and tell a story. This expressive quality sets Tango apart from other dances. I focus on the precision of steps and helping students express themselves through the dance. This balance between technique and expression makes Tango both challenging and rewarding.

Creating an Authentic Learning Environment

For a Tango school to be truly effective, it must recreate the atmosphere of an authentic milonga. This involves more than just teaching steps—it includes fostering a sense of community, encouraging cultural immersion, and promoting the etiquette and customs of Tango. By creating an environment that mirrors the Buenos Aires milongas, my students experience the true essence of Tango.

The Lifelong Journey of Tango

Learning Tango is a lifelong journey. There is always more to learn, refine, and experience. The joy of Tango lies in its endless possibilities for growth and discovery. I instill in my students a love for this ongoing journey, encouraging them to explore, experiment, create, and continually deepen their understanding of the dance.

Conclusion

In conclusion, the essence of Tango lies in its rich cultural heritage, music, social dynamics, and expressive potential. Our tango school aims to impart technical skills and artistic and emotional depth to the dance. By doing so, I offer students a truly transformative experience that goes beyond the dance floor and resonates in their everyday lives.

The creation of the Escuela de Tango de Buenos Aires is a testament to this holistic approach, ensuring that the true spirit of Tango is preserved and celebrated for generations to come.

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Exploring the Soul of Tango: Lyrics and Dance in the Dance of Passion

This article marks the beginning of a series on the lyrics of Tango.

I wish to dedicate it to my brother, Carlos Daniel Solís, who recently passed away on April 28, 2024, at the age of 56. May he rest in peace.

Initially, it is crucial to discuss whether understanding the lyrics of Tango is necessary to dance it properly.

It's important to note that Tango composers have always made a great effort to fuse the lyrics with the melody adequately. A clear example is Enrique Santos Discépolo, known for his meticulousness and who could spend years perfecting a single Tango.

Therefore, we can conclude that the music of Tango aims to resonate with the emotions already expressed in its lyrics and vice versa.

This indicates that understanding every word is not indispensable to feeling its emotional impact. When dancing a tango, we generally do not focus on the lyrics, as it is complicated to pay attention to both the poetry and the technical and emotional elements of the dance simultaneously.

Therefore, if our interest is to delve deeper into the poetry of lyrics, the ideal would be to listen to the tango without dancing. However, knowing the lyrics of a tango before dancing can significantly enrich the interpretation of the dance, not only for that particular tango but also by contributing to our understanding of Tango as a way to appreciate human life, estimating our existence from the assessments of the personalities who lived and were an integral part of this phenomenon called Tango, which had its peak in the 1940s in the Rio de la Plata.

Tango lyrics often reflect the repercussions of pursuing our most extreme desires, warning us about the possible consequences of this exuberant enterprise. From an involved yet distant perspective, like that of a milonga DJ from his booth, they juxtapose feelings of nostalgia and sadness with the lively excitement experienced on the dance floor. These lyrics also explore the belief in a kind of collective fiction, where a community is presumed in which we value each other. This ideal attracts us partly because we fear loneliness. Through Tango, it is possible to perceive the essences and personalities of the dancers simply by observing their movements and bodies in the dance.

Dancing Tango is also an act of pride and mastery. It is not a dance for the shy or guilty; it is not for those who wish to hide. Whoever dances Tango does not necessarily seek to be the center of attention but understands that a good dance will inevitably attract looks. This phenomenon is seen not as a quest for validation but as a gift, an offering of beauty to those spectators who know how to appreciate it without envy or resentment.

It is useful to explore the lyrics that refer to the Tango itself and its dance to deepen one's understanding of it.

Interpretation of the tango "Que me quiten lo bailao”

Lyrics and music by Miguel Bucino, 1942, in the version of Ricardo Tanturi and his Orquesta Típica, sung by Alberto Castillo, recorded in 1943.

Listen “Que me quiten lo bailao”

“Open hand with men, and upright in any ordeal,
I have two fierce passions: the felt and the liquor…
Dancer from a good school, there is no milonga where I'm surplus,
sometimes I am poor and other times I am a lord.
What do you want me to do, brother? It's a gift of fate!
The urge to save money has never been my virtue!
The bubbles and women's eyes electrify me
from those sweet days of my joyful youth!

But I do not regret
those beautiful moments
that I squandered in life.
I had everything I wanted...
and even what I did not want,
the fact is that I enjoyed it.
My conduct was serene,
I was generous in good times
and in bad times, I shrank.
I was a magnate and a vagabond
and today I know the world so well
that I prefer to be this way.

What do you want me to do, brother! I was born to die poor,
with a tango between my lips and in a muddled game of cards.
I play, sing, drink, laugh... and even if I don't have a penny left,
when the last hour strikes... let them take away what I danced!"

"Que me quiten lo bailao" is a popular phrase in Spanish that expresses the satisfaction of enjoying lived experiences, regardless of future consequences. The lyrics and music of this piece, created by Miguel Bucino, encapsulate this philosophy of life through the lens of Tango.

The lyrics could be interpreted as a celebration of the freedom and pleasure found in Tango dancing, suggesting that once lived, these experiences are inalienable, a personal treasure that cannot be taken away by external circumstances or the passage of time. In the context of Tango, this expression takes on a nuance of defiance and detachment, characteristics resonant with the genre's emotionally intense and often melancholic nature.

Tango is an artistic expression that allows dancers and listeners to connect with deep emotions, and "Que me quiten lo bailao" serves as an anthem to live fully and without regrets. It reflects a joyful acceptance of all that life has to offer despite its inevitable ups and downs.

Miguel Bucino, born on August 14, 1905, in San Cristóbal, Buenos Aires, began his musical career playing the bandoneón. At 17, he briefly joined Francisco Canaro's orchestra in 1923, which dismissed him for being a poor musician and encouraged him to pursue dancing, a vocation for which he showed natural talent. Bucino made his professional debut at the Teatro Maipo in 1925, and his career as a dancer quickly took off. He traveled with Julio De Caro to Brazil in 1927 and toured Argentina with the show "Su Majestad El Tango." He pioneered dancing Tango at the Teatro Colón in 1929 and continued his career in Europe in 1931, performing in cities like Madrid and Paris. He participated in several theatrical seasons with figures such as Francisco Canaro and Ivo Pelay, teaching Tango to royalty and Hollywood celebrities such as the princes Humberto of Savoy and Edward of Windsor and actors Ramón Novarro and Jorge Negrete.

Although initially unsuccessful as a musician, Bucino excelled as a Tango composer, registering between 60 and 70 works, including hits like "Bailarín compadrito" and "Que me quiten lo bailao".

Bucino retired in 1942 and died in Buenos Aires on December 15, 1973, leaving a lasting legacy in the world of Tango as a dancer, lyricist, and composer.

Here we could see him dance a tango with the celebrated actress and singer Tita Merello in the film "Noches de Buenos Aires":

Listening to a tango means interpreting it in a personal way. Tango is felt from within. Our inner selves, with all our experiences, emotions, repressions, and more, listen to that tango, that lyric with music, and recreate it in many ways. Some interpretations become habitual and thus are maintained, becoming like translations of what is said for everyone in what we believe we hear.

Following this idea, which I believe is shared by those who love Tango, I propose a way to understand this tango, although I clarify that I do not seek to be objective or definitive.

This is what my life, my dance, hears in this tango:

The first verse, "Open hand with men, and upright in any order," suggests a vision of masculinity based on integrity and fairness. The phrase" "open hand" can be interpreted as a symbol of generosity and transparency in relationships with other men, indicating a willingness to treat others justly and without secrecy. On the other hand "upright in any ordeal" highlights the importance of maintaining honorable conduct, regardless of the circumstances. Together, these expressions advocate for masculinity that relies on mutual trust and respect for codes of conduct that ensure equality and dignity among people without resorting to excuses based on external factors such as social position, economy, or biological or psychological conditions. In essence, it proposes an ideal of masculinity that values and promotes nobility in dealing with others, emphasizing personal responsibility over deterministic influences.

The second verse, "I have two fierce passions: the felt and the liquor" clearly illustrates the intensity and commitment with which the character lives his emotions: the cosmic chance against which we pit our will, trying to divert its course to fulfill our desires, using vital enthusiasm as a way to gauge our existence. This line highlights how the character faces that chance and uncertainty of human existence, not with fear or caution, but with an iron will to tilt events in his favor and satisfy his deep desires. The "vital enthusiasm" mentioned becomes his bulwark against mundanity and monotony, using his zest for life to measure and affirm his existence. In this context, the verse not only reflects a statement of affirmation of an orderly life from the ethical and aesthetic value of emotions but also a life philosophy that fully embraces uncertainty and enthusiasm as essential elements of human experience.

The third verse, "Dancer from a good school, there is no milonga where I'm surplus," speaks to the technical mastery acquired through study and guided practice and reflects the respect and admiration the dancer generates within the Tango community. Essentially, the verse celebrates the achievement of excellence and elegance in dancing, which is only possible through the choice of good mentors and an unwavering commitment to continuous learning. The act of dancing and the milonga are used metaphorically to talk about life in general and how we conduct ourselves in it. Here, "dance" symbolizes how we move and react to the different rhythms and challenges that life presents us. Being a "dancer from a good school" implies having learned and mastered the skills needed to navigate these challenges with grace and competence through individual effort and determination and by choosing "good school", that is, good guides. The "milonga", a place where Tango is danced, represents the various situations and environments we encounter in life. Saying "There is no milonga where I'm surplus" suggests that the dancer, thanks to his preparation and skill, can adapt and excel in any context or situation that life presents, never being redundant or inadequate, but always being a valuable addition. This metaphor extends the idea that, just like a Tango dancer trained in a good school, a person who is well-prepared by their experiences and education can effectively face any life circumstance. Achievements and recognition of the dancer parallel the successes that a person can achieve in their personal and professional life when they are well-prepared and can adapt fluidly to different situations, showing that preparation, continuous learning, and adaptability are crucial to success in life, just as they are in dance.

The fourth verse, "sometimes I am poor and other times I am a lod," reflects the acceptance of the fluctuations of fortune throughout life, recognizing how circumstances can shift between extremes of wealth and poverty. This phrase encapsulates the fact that we cannot always control the external factors that affect our economic and social position. This acceptance is not focused solely on economic reality but on a life philosophy that values other riches that are not material. The phrase indicates that the individual does not measure their worth or success solely through material wealth ("I am poor") nor allows moments of abundance to define their identity completely ("I am a lord"). Instead, the person adapts and values life and experiences beyond material wealth. Thus, the verse suggests a balanced and mature approach to life, gracefully taking adversity and prosperity, emphasizing the importance of resilience and maintaining dignity and self-respect regardless of economic circumstances. This perspective can be compelling in contexts like Tango, where art and personal expression are often valued more than material wealth.

The fifth verse, "What do you want me to do, brother's a gift of fate!" expresses an attitude of acceptance toward life's circumstances beyond our control, viewing them as part of a predetermined destiny or luck that befalls us. This approach reflects a life philosophy that accepts the highs and lows with serenity and gratitude, recognizing that what happens to us, positive or negative, can be seen as a "gift of fate". This perspective invites us to embrace life as it comes, not resisting the events but receiving them with joy and optimism. By considering events as gifts, it emphasizes the idea that every experience has inherent value, regardless of its apparent nature. This attitude fosters a sense of inner peace and satisfaction and enables facing challenges with greater strength and maintaining a cheerful disposition towards uncertainty.

In summary, this verse distills the essence of living with joyful acceptance and a calm faith that, in some way, what life brings has its purpose and value, teaching us to cherish every moment as an unexpected and often undeserved gift but always meaningful.

These discussions and analyses of Tango lyrics offer a deeper insight into how the dance and its music can serve as a profound commentary on life, personal philosophy, and social interactions, providing not just entertainment but also lessons and reflections that resonate with the emotional and philosophical depths of those who engage with it deeply. The reflections within Tango lyrics like those of "Que me quiten lo bailao" extend beyond the dance floor, weaving into the fabric of life a philosophy that values experience over material gain, personal authenticity over societal expectations, and emotional expression over restrained conformity. This resonates deeply with the Tango community and beyond, illustrating the universal themes of life's fleeting nature, the richness of lived experiences, and the celebration of the human spirit in the face of life's uncertainties.

Continuing with the exploration of the lyrics, the verses "But I do not regret / those beautiful moments / that I squandered in life. / I had everything I wanted... / and even what I did not want; / the fact is that I enjoyed it."

These lines express a profound acceptance and appreciation for life's experiences, even those that might be seen from a conservative or materialistic perspective as wasteful. This attitude rejects the notion that time should always be spent productively in an economic sense and instead celebrates the intrinsic value of experiences for the wisdom they impart.

This perspective acknowledges that life should not be judged solely by tangible, cumulative outcomes, like money or possessions, but also by moments of happiness and personal fulfillment, regardless of their "economic utility". By stating that he does not regret those "squandered moments", the speaker fully embraces his past and the decisions he made, viewing them as essential to his narrative and growth.

This stance also suggests generosity towards oneself and life, a willingness to live fully and unreservedly, and the recognition that each experience, however transient, enriches our being and contributes to the fullness of our existence. By freeing oneself from the pressure to justify every moment of life regarding material gain, the speaker invites us to value life for the quality of its experiences and the emotions it evokes.

"My conduct was serene, / I was generous in good times / and in bad times, I shrank."

These lines reflect a conscious and balanced approach to the various situations of life. Here, the speaker presents himself as someone who maintains calm and serenity ("My conduct was serene"), suggesting a thoughtful and mature way of handling both times of abundance and adversity.

Being "generous in good times" indicates a willingness to share freely his resources and joys with others. This generosity is material and emotional, reflecting an openness to enjoy and share the good times fully.

On the other hand, "in bad times, I shrank," which demonstrates a prudent and modest attitude during difficult periods. This phrase can be interpreted as reducing ostentation or expenditure, a restraint in behavior to better cope with times of scarcity or challenge. It does not necessarily imply surrendering or withdrawing completely but rather a wise adaptation to less favorable circumstances.

Together, these verses encapsulate the wisdom of living according to the circumstances, knowing when to extend oneself and when to conserve resources. The speaker understands his capacities and limitations and acts in a way that maintains a sustainable balance throughout his life. This demonstrates a life philosophy that balances generosity and caution, allowing the individual to navigate life's highs and lows with grace and dignity.

The final lines are: "What do you want me to do, brother? I was born to die poor, / with a tango between my lips and in a muddled game of cards. / I play, sing, drink, laugh... and even if I don't have a penny left, / when the last hour strikes... let them take away what I dance!"

https://escuelatangoba.com/marcelosolis/exploring-the-soul-of-tango-lyrics-and-dance-in-the-dance-of-passion/