Juan D’Arienzo y su Orquesta Típica recorded “Desde el Alma” and “Hotel Victoria” on July 2, 1935, jump starting the Golden Era of Tango:
Juan D’Arienzo: “El Rey del compás”
Violinist, leader and composer
14 December 1900 – 14 January 1976.
In 1936, Juan D’Arienzo successfully appeared in the disputable territory of popularity. He was just 35 years old, one less than Julio De Caro —stylistically placed on the other end of the musical horizon of tango— he had been a star since 1924 and D’Arienzo started to become one when Pablo Osvaldo Valle took him to the brand new El Mundo radio station. What in no way meant, at all, that D’Arienzo were a late tango player. Like almost all the musicians in those days, he started in tango as a boy. Continue reading, click here.
“Tango is subtlety, elegance and emotion”, words of wisdom of my teacher Blas Catrenau. In these workshops we work on: Posture, Walking, Embrace, and Musicality.
When I was prepared enough and brave enough to start going to milongas in Buenos Aires, often my eyes would be directed to a milonguero in the room whose way of moving was so particularly effortless, spontaneous, witty in one moment and so deep and thoughtful in the next moment, that I couldn’t avoid approaching him, respectfully, and asking him if he taught and/or would teach me to dance Tango. The answer I always got from these gentlemen was in its essence the same: “I can only teach you the posture and to walk, then it’s up to you to listen to the music, and if you have emotions inside yourself, then, you will dance“.
To know about the most efficient posture necessary for dancing Tango in particular, dancing in general, but also for the benefit of your whole life, is research of our own posture before starting to dance, the forces that shape how the body stands upright when resting, when getting ready for the pursuit of a goal, when presenting ourselves to others and the way we enjoy the mere fact of being alive. Then, exposing the body to what challenges it -although we desire it- to find out what needs to be changed to respond most efficiently to achieve our goals of making a challenge become something familiar to us, discovering the habits that shape our perceptions, voluntary actions and involuntary reactions; being creative in finding exercises that help us reshape our habits, with the aim of obtaining habits that serve us better. This is a never-ending process that is at the core of the attitude of a dancer, a milonguera or milonguero.
Our human walk defines us. It is rooted in our upright posture, carrying this posture throughout the surface of Earth. Nature, evolution or the Divine, or all of those, gifted us with a very efficient walking apparatus, that saves energy to be used by our brains, protects the brain from being damaged by mechanical shocks, and elevates our gaze to be aware of our surroundings. As a consequence of this, we became the technologically gifted creature that modifies the world to make our own existence even more efficient, for example: developing smooth surfaces, like dance floors.Read more, click here.
Listening to music requires a sensitivity that can be taught, trained, developed and improved, in the same manner that a musician studies and trains. A dancer is a musician, whose instrument is her/his body. A milonguera/o is a Tango musician who plays the whole couple as a musical instrument. Read more, click here.
Every exercise to improve our technique, our efficiency, elegance, is nothing more or less than to make us more sensitive and more precise in how we perceive and manifest our emotions. It is not possible to dance without our emotions. Furthermore, we, human beings, do not exist if we remove our emotions. Remove all emotions from yourself and what is left is not a “rational being” but “nothing”. “Rationality” is only an explanation, a justification of our procedures, happening after the fact. In “the moment” you are not calculating, you are feeling, even the measurements that you take. You assess these measurements emotionally-qualitatively. Often meditators refer to the train of thoughts previous to the clearing of the mind, but emotions are also running through those train tracks. Dancing requires the discipline of letting emotions come and go, as the thought trains that prepare the mind for its clearance. Dancing provides you, eventually, with emotional clarity; although to reach that you need to learn to accept confusion.
In these workshops we will assess these four topics through exercises, repetition, practice and risk into creation.
Often people get attracted to Tango first by what they see. Then, to be able to reproduce the beauty they had seen, they need to realize that it is not rooted in the geometry of the figures. Furthermore, the music that is danced shapes the proportions of this geometry.
If the initial energy that makes us dance comes from our passion, the music is what channels and shapes that energy.
ATTENTION: Class cards, deals and discounts do not apply to these classes.
7:30 pm: Beginner Tango class. In this class the students acquire all necessary elements to get started on the right foot as social dancers. Introduction of lead and follow concept, connection with the partner and the floor, understanding of music, basics of social etiquette and navigation in the context of Argentine Tango. Register online (click here).
8:30 pm: Intermediate Tango class on technique & musicality. For students who can lead and follow comfortably in the embrace, circulate around the floor on the line of dance, make turns, pauses and other necessary maneuvers, and are familiar with tango music. This class dedicates more detailed attention to all the elements, in order to take your dancing to the next level. Register online (click here).
We work on technique and musicality. For students who can lead and follow comfortably in the embrace, circulate around the floor in the line of dance, do turns, pauses and other necessary maneuvers, and are familiar with tango music. This class dedicates more detailed attention to all tango elements.
Class 1: Walking and posture. Single and double time walk. History of Tango music.
Class 2: Forward and backward ochos. The “Era of Sextets”.
Class 3: Parallel, crossed system and sides, walk and sacadas en crossed system, changes of direction, turns and boleos. Orquestas Típicas of the Golden Era.
Class 4: Parallel, crossed system and sides, walk and sacadas en crossed system, changes of direction, boleos, turns and other circular movements. Vals and milonga.