Tango, Buenos Aires
I wanted to write everything.
From Claudiu Grosaru, Rumania.
From Claudiu Grosaru, Rumania.
If you visit Buenos Aires, even for a short time, you can’t leave without taking Argentine Tango classes.
Get an introduction to the secrets of the romantic Argentine dance at Escuela de Tango de Buenos Aires, an institution dedicated to promoting and preserving the art of Tango, very well located in the Congreso area (Balvanera), close to “Subte” (underground) terminals, at the very center of the city, counting on a staff integrated by the very best Maestros, who will inspire and instruct you in group classes as well as private lessons.
You would like also going to a milonga (Argentine Tango dance party) where you will see the best Tango show: the milongueros (people who regularly dance since decades) dancing passionately in their own environment. Escuela de Tango de Buenos Aires assist you in making it a pleasant experience.
The city of Buenos Aires is a work of art. It would be wonderful to guide you through its neighborhoods: Palermo, Congreso, La Boca, Puerto Madero, San Telmo and end walking on Florida Street at downtown. Please contact us.
Composer and lyricist
(16 February 1861 – 14 October 1919)
He bears the title of Father of Tango, a somewhat exaggerated qualification because there were many circumstances which originated our music. But his influence was so important in the beginnings and its development which made him deserve this designation.
He is the great transformer of the Spanish tanguillos, the cuplés, the habaneras, turning those musics into a River Plate rhythm.
A natural artist, he avoided no activity which enabled him to earn some money for a living. It is said that he was a typographer, circus clown and any other job he was required for.
He was also a cuarteador (a person taking care of an extra horse or joke of oxen for dragging uphill) in the neighborhoods far from downtown. He was a horserider who used to wait for the arrival of a big coach or a streetcar at the bottom of slopes to help them get out of the mud or to go uphill. This meant to fasten the vehicle with a rope tied to his horse and help it in the effort.
With a facility for writing, he devised stanzas for carnival costumed groups and numerous poems and prose writings for well-known magazines of the time: Caras y caretas, Fray Mocho and P.B.T.
All through his work is present the wit sarcasm, and his dialogues were thought for the common man’s tongue and were always referred to real situations in the leasehold houses, the neighborhood and, many times, to love affairs which portrayed the way of speaking and behavior of the lowest social level of our society.
His wit, his facility in speaking, helped him to mix up with payadores and to put forward performances of scarse formality and, sometimes, completely shameless.
Always accompanying himself on guitar, with a harmonica added, he succeeded in telling stories by singing, which encouraged the audiences at the low cafés and joints. Continue reading.
(14 February 1885 – 7 February 1942)
His story is part of the tango mythology, a legend, today very few who had witnessed his life or his art remain. His image was captured on the film Tango, premiered in 1933, where he can be seen with his partner Carmencita Calderón, just a girl under 20 years old.
He looked like as if he were not very smart from waist downwards, with a well upright body, but with too much feet movement, possibly due to the film maker´s instructions, to attract people’s attention.
His nickname remained for our everyday history as his definitive first and last names: El Cachafaz.
According to the lunfardo dictionary by Adolfo Enrique Rodríguez, cachafaz, means: rascal, shameless, insolent, rogue, idler.
It is possible he had been and it is possible he had not, his face inspired doubts. Combed a la gomina (with a sticky paste), the hair tightly pulled backwards, Indian-like features and pock-marked, he always appeared with a serious countenance on pictures and on movies. Read more.
“My classes aim to instruct and encourage the dance of Tango Salón Tradicional Argentino, a knowledge that I have acquired over more than 30 years of study with various teachers such as: Miguel Gutierrez, Eduardo Arquimbau, Mingo Pugliese, Pepito Avellaneda, J.C. Copez among others, with whom I not only learned to dance but also to teach dance, scene and choreography.
In my classes we work everything you need to dance tango on a dance floor: posture, musicality, balance, cadence, styles, different orchestras, lead and follow, adornments, codes, floor craft, etc.
The final goal is that all can access to enjoy a good tango dance and also to transcend our Buenos Aires’ culture for the next generations.”
He started dancing tango in his early youth among other young men at the practice studio of Crisol and Verné. Later he attended several carnival balls organized at local clubs such as San Lorenzo de Almagro.
Since then he never stopped dancing and attending the most important clubs of his time, like Club Unidos de Pompeya, Club Huracán, Club Social y Sportivo Buenos Aires, Club Social Rivadavia, Palacio Rivadavia, Club Almagro, Chacarita, Premier, Editorial Haines, etc. In his youth he often danced at the main tango bars of Buenos Aires, such as Picadilly, Sans Souci, Montecarlo, and many more.
At the early ‘90s, he started organizing “milongas” himself. From 2003 to 2009 he leaded “La Milongüita”, one of the most famous “milongas” in Buenos Aires. In 2002 he won the First Metropolitan Tango Championship in Buenos Aires. In 2003 he obtained the Tango Teacher degree released by Buenos Aires City Government. He was then authorized to teach at the Centro Educativo del Tango de Buenos Aires (CETBA), created by Masters and Dancers Gloria and Rodolfo DINZEL.
His passion for dancing as well as the harmony he shares with his partner and the gracefulness of his movements, capture and celebrate the essence of traditional TANGO.