Argentine Tango dancing with Miranda in San Francisco

All aspects of the human existence form your dance.
Dancing is the wisest way of living. The most beautiful.

History of Tango - Part 9: Eduardo Arolas and the evolution of Tango mus...

En 1909, cuando Eduardo Arolas compuso "Una noche de garufa", aún no había adquirido una educación musical formalizada. Tenía 17 años.

Aún así, en su primera composición, todos los elementos de su estilo están presentes, estallando en el mundo, para regocijo de todos aquellos que, como yo, aman el Tango.

Esta cualidad no puede atribuirse a ningún otro compositor de Tango.

Dancing Argentine Tango with Miranda to Troilo-Fiorentino's music

Discipline is as essential as passion. Art is made of both. Our life has prospered thanks to both. Too much or too little of either of them, and we end up with no life and no art at all. This is precisely what defines what we are, as human beings.
Practice discipline and let your emotions come to you not only in the development of your dance, but also in your relationships at the milongas, and in your whole life. Tango will eventually boil over and define your entire life. You become a milonguera, a milonguero.

Dancing Argentine Tango with Miranda to Carlos Di Sarli's music.

Tango is embodied. You can see it. It is that person or that couple dancing, which lets you know -intuitively, but nevertheless as undoubtedly real to you as objective empirical knowledge- what Tango is.

History of Tango 9 - Eduardo Arolas and the evolution of Tango music - C...

In 1922, Eduardo Arolas took a second trip to Europe, with work in mind, but he didn’t receive help from the community of tango musicians living there. On his own, he got advantageous contracts to play in Paris and Madrid.
During his last three years of life, he resided in Europe, and we only know about the composition “Place Pigalle”, which he registered in France.

Buenos Aires, March 2019, dancing with María Olivera at Cachirulo milonga

More Argentine Tango at http://escuelatangoba.com/marcelosolis/.
I know María since 2004, due to our profession.
She is a superb dancer, both to watch and to dance with. You can see the result of a careful and methodic crafting of her art, achieved by the power of her talent, passion and restless research of Argentine Tango.
As an instructor, she generously shares with students her immense knowledge, by explaining with her gifted use of language (both English and Spanish), and by presenting clever exercises that allows everyone to understand the intricacies of dancing Argentine Tango.
As a human being, María is true good person, honest, reliable and compassionate. Being in her presence makes you feel always accepted, she is always attentive to you and participative of your concerns, virtues that make her an amazing teacher.

History of Tango 9 - Eduardo Arolas and the evolution of Tango music - C...

“Viborita” is other of Arolas’ delicate tangos, with the peculiarity of having only two parts, without a trio, as was his custom. Its music sheet was not published until after 1930, when the nephew of Arolas received a pack with manuscripts. That is why it appears published as posthumous work. 

Buenos Aires, March 2019, Argentine Tango class with María Olivera

Come to Buenos Aires with us! http://escuelatangoba.com/marcelosolis/buenos-aires-tango-trips/

Buenos Aires, March 2019, Argentine Tango class with Ana María Schapira

Join our next trip to Buenos Aires, September 27 to October 6, 2019.

http://escuelatangoba.com/marcelosolis/buenos-aires-tango-trips/upcoming/

Buenos Aires, March 2019, milongueando with Miranda

What is Tango?
“Tango is Life”.
What does this sentence mean? It suggests that those who do not tango don’t know what life is. Can such a radical thought make sense?
Ask anyone who is involved in Tango passionately, which is the only way to be involved in it, and that will be the answer. 

Emotions

A life without emotions is not ideal.

We need to rationalize our emotions only if they are problematic, if, in fact, they carry us to die against a hot light bulb like a moth. We are never alone, and we all are necessary.

Reason is a tool. It serves us to survive, organizing our subsistence.

In making reason the center of our existence we make the mistake of chaining ourselves to the machine that should make our lives better, and letting the machine dictate the pulse of our self.

Una vida sin emociones no es lo ideal.

Necesitamos racionalizar nuestras emociones solo si son problemáticas, si, de hecho, nos llevan a morir contra una bombilla caliente como una polilla. Nunca estamos solos, y todos somos necesarios.

La razón es una herramienta. Nos sirve para sobrevivir, organizando nuestra subsistencia.

Al hacer de la razón el centro de nuestra existencia, cometemos el error de encadenarnos a la máquina que debería mejorar nuestras vidas y dejar que la máquina dicte el pulso de nosotros mismos.

History of Tango - Part 9: Eduardo Arolas and the evolution of Tango mus...

Argentine Tango class demo with Karina

Tango is a kind of beauty that can manifest in a handshake, in our gaze, in an embrace, in our walk…

To be able to perceive all of this you need to train and study with passion, perseverance, patience, stamina and focus.

That is why I dance Tango.

Argentine Tango culture and codes: cabeceo

When dancing Tango, we find a supreme experience of connection, to others, to ourselves and to the world.

History of Tango - Part 9: Eduardo Arolas and the eveolution of Tango mu...

In 1909, when Eduardo Arolas composed “Una noche de garufa”, he had not yet acquired a formalized musical education. He was 17 years old. Still, in his first composition, all the elements of his style are present, bursting out into the world, for the amusement of all of those who, like me, love Tango. This quality cannot be attributed to any other Tango composer. None of his colleagues had a defined style during their first compositions, and would need many years to develop it. Arolas’ works have such advanced characteristics, that they will keep forever surprising Tango lovers wondering how, what inspiration, and from which source Arolas extracted them.