| Milonga Etiquette of Buenos Aires. Please clear the floor between tandas in order to maximize partner exchanging. Walk a lady back to her seat after the set. Use Cabeceo (Eye Game) to catch her for a dance, and use Cabeceo while dancing to make promises for later dance. Courteous Navigation: dance in two or three lanes starting at the outside of the dance floor. Dance into the corners, rather than cutting them off. Merge into traffic by catching the eye of the on-coming leader. Neither block traffic for long pauses nor race around cutting off the other dancers. A collision requires BOTH leaders to exchange apologies, at least by making eye contact, nodding |
| Tango Musical Uniqueness. Dancing is how we interpreter the music into the foot patterns. Understanding of the tango music is the first step to identify what steps to dance with this specific music. Good rhythm makes an effortless look on the dance floor. The luck of rhythm makes stiff and awkward appearance. |
| Come to Our Lessons to learn that tango consists four measures: weight, flow, space and time. Harmonize it with your partner and the music. Change the weight simultaneously with your partner from one leg to another. Send the energy of each steps down, hold the floor, be grounded. Keep your feet with the floor most all the time, create tango lines by stretching your leg in the knees area when you arrive to the finale stop. Circle around each other, find the right time to progress forward contra clock wise. Tango has combination of some elevations, and extensions with some relaxations. Learn a bandaneon effect, change the elevation together with a partner. Make tango waves together as smooth as your own breath. Enjoy it while dancing! |
| Tango Worldwide Phenomenon. Tango is a melting pot of people, cultures, and traditions. It portrays and eccentric dance. It depends on the synchronized physical and mental cooperation of a man and a woman, and requires togetherness. It was borrowed from many nations and many dance elements of many countries. Immigrants from Europe and Africa streamed into the outskirts of Buenos Aires during the 1880's. They looked desperately for a distraction to ease their sense of rootlessness and disenfranchisement as strangers in a strange land. Lonely immigrants and societal outcasts sought to escape from their feelings, but instead they developed music and dance that epitomized them. Tango speaks of frustrated love, fatalism, and of destinies engulfed in pain. For some, it is a dance of sorrow. |
| Take our Private Lessons It is a way to your success |
| Essential Orchestras Lucia DeMare Rudolfo Biagi Enrique Rodriguez Francini Pontier Osvaldo Fresedo Jose Baso Hector Varela Mariano Mores Los Tubatango Francisco Lomuto Julio DeCaro Edgardo Donato Florindo Sassone Alfredo Gobbi Leopoldo Federeco Donato Racciatti Roberto Firpo Horacio Salgan |
| Ten Big Orchestras Osvaldo Ougliese Carlos DiSarli Juan D”Arienzo Miguel Calo Francisco Canaro Ricardo Tanturi Anibal Troilo D Agostino/Vargas Pedro Laurenz Alfredo DeAngelis |
| Contemporary Astor Piazzolla |
| Tango Benefits.Tango is a wonderful dance where men personal interpretation of the passionate music creates beautiful movements. The real tango occurs between the steps, when a person gets ability to adorn. Our past is just a memory; future is our dreams. We could try to realize it on our lessons. With our special gift and love for teaching we will open for some unique and mysterious world of elegant Tango. |
| GET THIS BOOK HERE: The Meaning of Tango. The Story of the Argentinian Dance by Christine Denniston. It express what Tango meant to dancers of the Golden Age, who were the cornerstone of the Tango Renaissance of the 1980s -1990s. From the suburbs of Buenos Aires, to elite aristocracy of Paris in 1912, and to popularity around the world, The Meaning of Tango is a captivating story of the real Authentic Argentinian dance. The book reveals the secrets of technique. It explains how Tango get to American Tango, Modern dances, and so on. It also examines the development of new styles of Tango. For anyone this book is a fascinating exploration of Tango, and provides very valuable information. |
Tango is a way of walking in an embrace together, to understand each other, and have a conversation in this way of walking. It is
the understanding of two people who walk as one,- Carlos Gavito
the understanding of two people who walk as one,- Carlos Gavito
AMAGUE (from amagar): an embellishment either led or done on one's own. to the aother foot); ABRIR: to open.
BARRIDA or SWEEP: Sweeping motion. A leg push; one partner's foot sweeps the other's foot along the floor. Also called llevada;
BOLEO or VOLLEYING BACK & FORTH: A whipping action of the leg. Knees should be close together bend one knee in back of the other. Swivel
on the supporting leg with a very sharp motion. BOLEODORES: a rope with weighted balls at either end used by gauchos;
CADENA:chain; CADENCIA or RHYTHM: Any steps done in a rhythm of syncopation.
CAMINAR: To walk; important part of Argentine tango dancing. CANYENGUE: an older style of tango;
El COMPAS: the beat; CALESITA: The lead steps in a circle around the follower - keeping them on their own axis.
PASO BASICO or COMMON BASIC: The base of many tango patterns. CRUZAR: to crosss.
DIBUJO or TRACE: To trace your partner's foot. ESCUCHAR: to listen; FIJARSE: o pay close attention;
ENGANCHE or HOOKING/COUPLING: Occurs when lead wraps a leg around their partner's leg. Leader displaces follower's feet from inside.
ENROSQUE (from enroscar): To coil or twist. While tango used for performance.
GANCHO or HOOK: To hook. A quick motion of the leg bending at the knee, catching partner's leg. GIRO or TURN: While partner does a molinete
the lead turns on one foot placing the toe of the other foot in front and executing a sharp turn. GUIAR: to lead; IZQUIERDA: left; LLEVAR: to lead or to
carry.
LLEVADA (from llevar): To transport. See barrida.
LAPIZ: a circular figure drawn with foot MEDIA VUELTA: half turn. LA MARCA: the lead.
MOLINETE or CIRCLING: Forward and back ochos (figure 8-s).
MORDIDA or SANDWICH: One partner's foot is sandwiched between the other partner's foot.
OCHOS or EIGHTS: Figure 8-s (similar to fans done in other Latin dances). OPEN/CLOSE: Refers to the arms and hands while in dance position. The
"open" position is the lead's left hand and the follower's right hand. The "closed" position is the lead's left arm and hand and the follower's right arm and
hand.
PARADA or STOP: To move and stop a partner's foot by pushing their foot with your own. POCKET: Anytime the lead walks on outside of partner -
either hip. RESOLUCION or RESOLUTION: Ending of a common basic.
SACADA or REMOVE, WITHDRAW: To displace - to move your partner's foot with your own.
SALIDA or EXIT: To begin. SALIDA CRUZADA: The first half of a common basic.
SALUDO: Front leg wipe. SALON: Style of tango best suited for social dancing. Always following line of dance, being aware and be courteous to others.
SECOND: Open position or side step. Body is balanced over open feet.
SENTADA or SIT POSITION: A sitting action. Weight on one leg with bent knee; other leg out straight, with knees together.
SYNCOPATION: To modify rhythm by a shift of accents on a beat.
TRABADA or TRAPPED: To lock. A cruzada - also called lock step.
LITTLE FOOT: When ball of follower's foot pushes into the floor. Comes from a pivot lead from the leader and is always on the ball of the back foot
when leg is extended.
BARRIDA or SWEEP: Sweeping motion. A leg push; one partner's foot sweeps the other's foot along the floor. Also called llevada;
BOLEO or VOLLEYING BACK & FORTH: A whipping action of the leg. Knees should be close together bend one knee in back of the other. Swivel
on the supporting leg with a very sharp motion. BOLEODORES: a rope with weighted balls at either end used by gauchos;
CADENA:chain; CADENCIA or RHYTHM: Any steps done in a rhythm of syncopation.
CAMINAR: To walk; important part of Argentine tango dancing. CANYENGUE: an older style of tango;
El COMPAS: the beat; CALESITA: The lead steps in a circle around the follower - keeping them on their own axis.
PASO BASICO or COMMON BASIC: The base of many tango patterns. CRUZAR: to crosss.
DIBUJO or TRACE: To trace your partner's foot. ESCUCHAR: to listen; FIJARSE: o pay close attention;
ENGANCHE or HOOKING/COUPLING: Occurs when lead wraps a leg around their partner's leg. Leader displaces follower's feet from inside.
ENROSQUE (from enroscar): To coil or twist. While tango used for performance.
GANCHO or HOOK: To hook. A quick motion of the leg bending at the knee, catching partner's leg. GIRO or TURN: While partner does a molinete
the lead turns on one foot placing the toe of the other foot in front and executing a sharp turn. GUIAR: to lead; IZQUIERDA: left; LLEVAR: to lead or to
carry.
LLEVADA (from llevar): To transport. See barrida.
LAPIZ: a circular figure drawn with foot MEDIA VUELTA: half turn. LA MARCA: the lead.
MOLINETE or CIRCLING: Forward and back ochos (figure 8-s).
MORDIDA or SANDWICH: One partner's foot is sandwiched between the other partner's foot.
OCHOS or EIGHTS: Figure 8-s (similar to fans done in other Latin dances). OPEN/CLOSE: Refers to the arms and hands while in dance position. The
"open" position is the lead's left hand and the follower's right hand. The "closed" position is the lead's left arm and hand and the follower's right arm and
hand.
PARADA or STOP: To move and stop a partner's foot by pushing their foot with your own. POCKET: Anytime the lead walks on outside of partner -
either hip. RESOLUCION or RESOLUTION: Ending of a common basic.
SACADA or REMOVE, WITHDRAW: To displace - to move your partner's foot with your own.
SALIDA or EXIT: To begin. SALIDA CRUZADA: The first half of a common basic.
SALUDO: Front leg wipe. SALON: Style of tango best suited for social dancing. Always following line of dance, being aware and be courteous to others.
SECOND: Open position or side step. Body is balanced over open feet.
SENTADA or SIT POSITION: A sitting action. Weight on one leg with bent knee; other leg out straight, with knees together.
SYNCOPATION: To modify rhythm by a shift of accents on a beat.
TRABADA or TRAPPED: To lock. A cruzada - also called lock step.
LITTLE FOOT: When ball of follower's foot pushes into the floor. Comes from a pivot lead from the leader and is always on the ball of the back foot
when leg is extended.
Authentic color of tango is
orange. It became fashionable
after tango success in Paris- 1913
orange. It became fashionable
after tango success in Paris- 1913
Tango brings more appreciation for life and deep awareness for the present moment. It teaches
how to listen to each other, how to be patient and stable. Tango helps followers to learn how to be
quiet, to have deeper sensitivity and ability to surrender. Leaders learn how to be active thinker,
fast, artistic, resourceful creator and initiator. Tango makes life more inspiring and meaningful. It
fills every day with more joy and energy, and bring more stimulation. It helps to develop more
control over life and balance it. Tango is the most challenging concentration of the mind. But it
gives you a lot of pleasure and fun when you advanced it to the Freedom of Creativity and Artistic
Power (a great task for some strong personalities).
how to listen to each other, how to be patient and stable. Tango helps followers to learn how to be
quiet, to have deeper sensitivity and ability to surrender. Leaders learn how to be active thinker,
fast, artistic, resourceful creator and initiator. Tango makes life more inspiring and meaningful. It
fills every day with more joy and energy, and bring more stimulation. It helps to develop more
control over life and balance it. Tango is the most challenging concentration of the mind. But it
gives you a lot of pleasure and fun when you advanced it to the Freedom of Creativity and Artistic
Power (a great task for some strong personalities).
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Strange acrobatics of a human ball curled up in a strange dance, provocative and artistic, which does not admit
any reference or comparison to any other dance of all time and of all peoples, said Vicente Rossi, in 1926.
Strange acrobatics of a human ball curled up in a strange dance, provocative and artistic, which does not admit
any reference or comparison to any other dance of all time and of all peoples. The tango is a direct expression of
something that poets have often tried to state in words: the belief that a fight may be a celebration. - Jorge Luis
Borges in 1950.
At the beginning it was an orgiastic mischief, today it is a way of walking. I learned that this most physically active
and demanding of the arts is essentially about stillness. That music is, at its core, a way of describing silence. That
performing is more about the invisible inside than the visible outside. That Martin Buber and the early Jewish
mystics have more to say about the nature of the tango than many modern dance critics. That pleasure - taken to its
extremity - becomes work. And work- taken to its extremity - becomes love. That is how I started out trying to make
a film about the joy of dance and ended up making a story about the complexity of love,- The Tango Lesson: The
Film, Sally Potter.
any reference or comparison to any other dance of all time and of all peoples, said Vicente Rossi, in 1926.
Strange acrobatics of a human ball curled up in a strange dance, provocative and artistic, which does not admit
any reference or comparison to any other dance of all time and of all peoples. The tango is a direct expression of
something that poets have often tried to state in words: the belief that a fight may be a celebration. - Jorge Luis
Borges in 1950.
At the beginning it was an orgiastic mischief, today it is a way of walking. I learned that this most physically active
and demanding of the arts is essentially about stillness. That music is, at its core, a way of describing silence. That
performing is more about the invisible inside than the visible outside. That Martin Buber and the early Jewish
mystics have more to say about the nature of the tango than many modern dance critics. That pleasure - taken to its
extremity - becomes work. And work- taken to its extremity - becomes love. That is how I started out trying to make
a film about the joy of dance and ended up making a story about the complexity of love,- The Tango Lesson: The
Film, Sally Potter.
PEOPLE SAID ABOUT TANGO
Rhythm means how we use our feet to interpret beats of the music. Each dance has its own
rhythm. Syncopations is when a dancer takes 2 steps on 1 beat of music. Tempo is the speed in
which the music is played. When you are able to count music by using beats and rhythms, to
distinguish the syncopations, and to find that down - strong - beat, you will be able to see how
many different tempos are used in popular dance music. It is very important for a Tango dancer to
listen to the music, to feel the music, and dance silence in it - silently. Some beginners dance every
bit in tango. It might be OK with staccato music, but there is no necessity for it. When people do
it, the dance looks like an exercise.
rhythm. Syncopations is when a dancer takes 2 steps on 1 beat of music. Tempo is the speed in
which the music is played. When you are able to count music by using beats and rhythms, to
distinguish the syncopations, and to find that down - strong - beat, you will be able to see how
many different tempos are used in popular dance music. It is very important for a Tango dancer to
listen to the music, to feel the music, and dance silence in it - silently. Some beginners dance every
bit in tango. It might be OK with staccato music, but there is no necessity for it. When people do
it, the dance looks like an exercise.
CHACARERA - Argentine Folkloric Line Dance
The name of the movements: Adentro! Ida y vuelta, Giro, Vuelta entera, Zapateo y Zarandeo, Vuelta
entera, Zapateo y Zarandeo, Media vuelta, Giro final
The name of the movements: Adentro! Ida y vuelta, Giro, Vuelta entera, Zapateo y Zarandeo, Vuelta
entera, Zapateo y Zarandeo, Media vuelta, Giro final