Argentine Tango School

Marcelo Solis dancing Argentine Tango with Mimi on a colorful chrome light background

Understanding Connection in Argentine Tango

Understanding Connection in Argentine Tango

Marcelo Solis dancing Argentine Tango with Mimi on a colorful chrome light background

Before stepping onto the dance floor for the first song of a tanda at a milonga, introspection becomes key.

My energy and what I bring to my partner shape our dance, influenced by factors like sleep from the previous night, health, nutrition, etc. Tango, to me, is an offering of generosity, a crucial element to forging a deep connection.

Generosity mirrors the joy of giving unexpected gifts to friends, enhancing our bonds. This philosophy extends to Tango. Preparing for a milonga isn’t just about physical readiness but achieving emotional and mental balance. I avoid bringing negative emotions into the dance space, striving instead to share joy and positivity.

Personal grooming and a relaxed approach en route to the milonga are parts of my ritual, symbolizing respect for the event and participants. Connection in Tango starts with self-awareness, feeling grounded, and in tune with my partner’s presence.

I value dancing with those who share a common love for Tango, including students, as it transcends mere instruction, evolving into meaningful friendships. These relationships are based on mutual joy rather than obligation, a principle I emphasize when teaching the concept of connection.

Teaching in small groups or private lessons allows for personalized guidance, focusing on comfort and connection with oneself and one’s partner. Every individual and couple has unique challenges and growth paths, underscoring Tango’s absence of a one-size-fits-all approach.

As an illustration of profound connection, I reflect on Osvaldo and Coca Cartery’s dance at the “Porteño y bailarín” milonga anniversary in Buenos Aires. The audience’s familiarity with each other and the dancers showcases the deep, communal bonds within the Tango community, a testament to the essence of connection in Argentine Tango.

In my next article, I will talk about musicality. For now, I leave you with this concept:

The music is your friend too.

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Marcelo Solis dancing Argentine Tango with Mimi - Chrome background

Mastering the Art of Argentine Tango: A Roadmap to Dance Excellence

Mastering the Art of Argentine Tango: A Roadmap to Dance Excellence

Marcelo Solis dancing Argentine Tango with Mimi at our beginner class.

Building Your Tango Foundation: The Power of Solo Practice and Musicality

Regular practice incorporating walking, weight changes, pauses, pivots, turns, “paradas” (stops), “calecitas” (merry-go-rounds), and embellishments serves as the cornerstone of your dancing freedom.

The best part? You can enhance these crucial elements without a partner by your side.

But that’s not all. Argentine Tango demands solo dedication in various aspects.

Musicality, for instance, plays a pivotal role in your tango journey.

To hone your musicality, immerse yourself in active listening to Tango music, delving into the intricacies of what you hear.

This newfound understanding will elevate your dancing to new heights.

The forthcoming tips are universally applicable, whether you’re engaged in solo practice or dancing alongside your partner:

1- Enhance Your Walking Skills:

Unlock the Potential in Your Walking Technique Initiate your practice sessions focusing on walking.

Explore four different walking speeds: regular, fast, slow, and very slow.

Begin by mastering the slow pace, allocating 4 counts for each step.

Next, dedicate time to practicing at a regular pace, aligning your steps with each downbeat of the music.

To work on fast-walking skills, engage in what’s commonly referred to as the “corrida.”

This involves walking to a rapid rhythm following a quick-quick-slow pattern or a down-up-down sequence.

Tango invites you to transform your walk – and, by extension, your entire life – into a masterpiece of artistry.

More walking exercises…

2- Change Of Weight:

A ‘change of weight’ is essentially a nuanced form of walking. It takes place in one spot without any physical displacement.

When you begin your dance, consider incorporating at least one change of weight to infuse elegance into your movements. However, avoid excessive changes, as moderation is key.

Here, you’ll discover a selection of exercises aimed at refining and enhancing your ability to execute seamless changes of weight:


Approach these changes with a composed demeanor. When dancing with your partner, your execution of this element should convey a soothing and serene presence to them.

More change of weight exercises…

3- Pauses:

Pauses rank among the paramount components of Tango.

While honing your techniques, actively seek instances where you can incorporate pauses.

For instance, consider incorporating a pause during a salida to the side, also known as a “salida in 2,” as a prime example.

You can make a pause in position 3:

After change of direction:

4- Pivots:

To refine your pivot technique, you can commence with bar exercises.

In the absence of a bar, utilize a chair, preferably one with a high backrest, to assist in practicing forward and backward ochos. Place your hands on the back of the chair for support.

Afterward, push your limits by practicing ochos without relying on the bar or chair for support.

Work on forward and backward ochos with both displacements and without any displacement during your practice sessions.

5- Mastering the Art of Tango Turns: A Guide to Five Essential Techniques

One of the most effective methods for enhancing your turning abilities in Argentine Tango is through chair exercises. These exercises provide an excellent platform for refining your technique and balance, making them valuable to your practice routine. Incorporating chair exercises into your training regimen can significantly improve your turns and elevate your overall dance performance.

Chair exercises offer a controlled environment where you can focus on the precise mechanics of turning. They allow you to work on your posture, balance, and footwork, which is essential for executing smooth and graceful turns in Tango. The support provided by the chair also ensures that you can practice safely and confidently, gradually building your skills.

Find a sturdy chair with a high backrest to get started with chair exercises for turns. Position it in an open space with ample room to move around. Here are some essential exercises you can incorporate:

And exercises involving the 1-2-3 structure of the turns:

Ensure that you practice all exercises in both clockwise and counterclockwise turning directions.

Engage in chair exercises but without the use of an actual chair.

Another element frequently incorporated into turns is the “rulo.”

And “enrosques” movements:

6- Exploring the Technique of “Paradas” (stops):

Developing control over both your own inertia and your partner’s is a crucial skill in Argentine Tango.

A valuable practice method is to challenge yourself to halt your movement at any point within the first five elements previously mentioned.

A classic illustration of stops is the “sanguchito” or “mordida” move:

7- Unlocking the Elegance of the “Calecita” in Argentine Tango

In this element, the follower must align her axis over one of her feet, enabling the leader to maintain a continuous pivot in one direction.

See an example:

8- Elevating Your Tango with Exquisite Embellishments:

A solid foundation in your dance forms the basis for its beauty.

Think of embellishments as a natural expression of your well-honed technique rather than mere add-ons or flashy movements.

It’s crucial to understand that no matter how many embellishments you incorporate into your dance, if your foundational walk is lacking, it will detract from the overall appeal.

Embellishments should seamlessly emerge from the groundwork you’ve laid in your dance practice. They are not isolated tricks but rather an integral part of your dance vocabulary, enhancing the elegance and expression of your movements. So, focus on building a strong foundation first, and let embellishments naturally enrich your dance as an organic extension of your skills.

Here are a few instances of embellishments, starting with “Cepillo” (brush):

“Rulos” (circles):

“Cross and go”:

9- The Art of Musicality:

Elevating your musicality involves actively immersing yourself in the world of Argentine Tango music.

Listen to Tango music now!

Osvaldo Pugliese, Argentine Tango orchestra.

Important Considerations to Keep in Mind:

Embrace regular and mindful practice.

Ensure it fills you with joy. By prioritizing your own enjoyment during practice, you cultivate generosity in sharing this joy with your dance partners and fellow dancers on the milonga and class floors.

Furthermore:

Dancing shouldn’t be daunting – It’s a journey of joy, creativity, and self-discovery.

Dancing is your time for amusement, self-expression, and relaxation, a chance to socialize and unwind in a friendly environment. To dance with a sense of freedom and confidence, you’ll need to embrace a challenge greater than Tango itself – the journey of classes and practice sessions.

Moreover:

Prioritize self-care for peak performance in your dancing.

    1. Incorporate stretching and regular exercise into your routine.
    2. Cultivate healthy eating habits and ensure adequate sleep for enhanced dance performance.

To Summarize:

Dancing Argentine Tango offers a path to not only organize your life but also to empower yourself and discover meaningful life goals.

Ultimately, it’s a journey towards making life more beautiful.

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Considerations on the value of Argentine Tango

Considerations on the value of Argentine Tango

Argentine Tango dancing by Marcelo Solis and Mimi at Milonga Parakultural, Salón Canning, Buenos Aires, October 2022.

I am pleased to share with you some reflections on the value we give to Tango and dancing at the milongas, the place it acquires (or we allow it to acquire) in our lives as milongueros, professionals, teachers, students, etc.

These thoughts took the aphoristic form and different approaches: direct, metaphorical, philosophical, in the form of dialogues with a more or less imaginary or real interlocutor, as a game, and as poetry.

1

You can only dance Tango well if you prioritize it. Many believe that they prioritize dancing Tango, but mostly stay on the edge of it. Proposing to oneself the task of dancing Tango would perhaps imply a profound critique of our way of life, our prejudices concerning what we consider valuable: efficient, productive time, which enriches us in a way that can be “objectively” measured, accounted for through money, through which is appreciated by the most significant number of people and could be counted by the number of “likes” received, by the number of votes obtained, for prizes won, by the number of participants in a class or a milonga, or any event, or the number of tandas danced at a milonga; as opposed to a beautiful time, deep in complex and subtle emotions, subtleties and depths not accessible to all sensibilities, but only to those with enough courage and a taste for adventure, for powerfully transformative discoveries, of which we would perhaps be the only protagonists and witnesses. Of course, it is understandable that for the majority, for whom the subtle and complex is somewhat problematic, the objective amounts and monetary gains are reassuring confirmations of one’s beliefs and prejudices.

However, I am encouraged to express my doubts about whether it is possible to dance in general and to dance Tango in particular –considering Tango as the only way we still have to dance fully– without conducting an investigation and a critique of our assumptions and prejudices concerning how we conceive our lives. For example, the bias that what does not produce important economic gains is something of little value.

2

Most feel guilty for enjoying themselves. Considering that what does not imply suffering has no value, or its value is negative, is another prejudice.

The deep joy that Tango produces for those who enjoy it is not, however, the ultimate goal that makes us dance it. Instead, that joy is a by-product. It is the sensation that produces everything that allows us to become stronger and wiser, more sure of ourselves and our originality.

3

In our daily lives, we are always trying to fit more and more actions in the shortest time. This is probably where the habit of trying to put too many steps and embellishments in our dance comes from.

4

An academic studies his subject, and a religious studies his holly book.

The one who dances Tango studies his body, the music, and the culture of Tango and interviews the most expert milongueros in a framework of friendship to investigate the subjective experience of those who danced it long before and dedicated their lives to it.

5

With Tango, it would be demonstrated that the music, to be danceable, does not need to be superficial.

6

Dancing Tango is dancing well, which cannot be achieved by dancing with just anyone. At most, when the person I dance with doesn’t allow me to dance well, I can propose to “dance the best possible”. In this case, the experience of dancing is degraded; it does not become dancing Tango.

7

The dance is a truth proposition that can always be refuted, contradicted, improved, or partially modified by another dance. Truth here means a way of living, an answer to the question “How to live?”

8

Your dance can present to yourself your way of wanting and living, your ideals, your values as if you were another person who was watching you –something like the impression that seeing yourself in a video for the first time gave you– and if you agree with it if you are proud or ashamed of it, and consequently, if you are proud or ashamed of your life. Then, it would allow you to review your values, change them if you sincerely consider it necessary, or change your feelings concerning your values. It may even allow you to review and restore your honesty about yourself.

9

Learning to live would perhaps be learning to dance with the world. Manage times in a non-mechanical way: with emotion. Don’t rush. Don’t lose patience. Don’t stress. Always be able to move with elasticity, smoothness, and control. Balance in all aspects. Don’t run out. Arrive at the end of the day or any activity with an elegant finale.

10

Being a good dancer implies a search for greater balance, control, and ease in your movements, both physically and spiritually. Dancing could lead to a greater awareness of your own body. This would result in a concern to develop increasingly healthy habits and thus develop a more balanced relationship with the people around you and yourself. Dancing could mean getting to know yourself and people in general better. Dancing Tango would then be continually learning to see life from the perspective of a person who dances. Dancing Tango would be something like dancing your life.

11

Everything we incorporate –what we allow to reach us–: food, the people we allow to participate in our lives, what we read, the music we listen to, our acquired habits, etc., constitutes us and would shape everything we do, including our way of dancing.

12

Agility makes spontaneity possible.

13

Just as being happy is not the representation of being happy, dancing Tango is not the representation of dancing Tango.

14

What is dancing well? There are no objective answers that determine it. We can only refer to the emotions that it produces in us.

15

Sense of reality generated thanks to the Tango dance through the inevitability of the body. This is the opposite of virtual reality. However, there are possibilities to be deceived in Tango as well. For example, the memorized steps, focusing on the adjacent of Tango (the sexual, the emotional, the irrational, or the rational, etc.), leaving the actual body – the body that can endure a fight – eclipsed, hidden, postponed, avoided, eliminated.

16

The problem that appears when we do not have internal strength and elasticity is that we tense our external musculature, lose elasticity, take our bone structure towards a fragile rigidity, and become spiritually insecure and vulnerable. Bodily rigidity is also spiritual rigidity.

17

Dancing is a continuous improvement. Dancing –in its most profound sense– would perhaps be becoming the being of becoming, wishing, and acting so that our dance is better, more beautiful, more convincing, and more profound at every moment.

18

About looking at the dance floor. Watching to dance. At first, we see nothing. Being able to dance -knowing how to dance- would increase with that ability to see and understand what happens there. To look, one would also have to know how to be alone. Fear and/or the inability to be alone may not allow us to look. Not looking is not seeing oneself. Because of fear?

19

We may get lost in the infinite surfaces that Tango offers us, and we never explore its depth. When we discover Tango, we discover at the same time that there is something beautiful, deep, mysterious, and exciting in us. However, it could be very easy to stay there, in that initial dazzle, and not encourage ourselves to continue further, towards the interior of Tango itself, and of ourselves, perhaps because we find these two abysses terrifying, these labyrinths in which the most it is likely that we will get lost and never come out again. The truth is that once there, the labyrinth reveals that the essence of our human life is perhaps a labyrinth, an abyss.

20

We should pursue not objective but subjective purposes concerning dance.

We do not dance in the same way. For each of us, dancing means different things. I would say that for me, dancing may be a way of enhancing my humanity.

I would not say that I’m right about dancing Tango (or any dance), only that since we disagree, I prefer not to argue with you about this because, from what I can see in the way you dance, I do not think you have anything to say against my opinion.

However, I would happily share my understanding of what dancing is.

I cannot explain this with words alone because words can’t grasp more than a superficial portion of it.

I do not claim here to have any truth, only that I had achieved something regarding my dance which I can claim as successful, something that is not an achievement done and secured, but something that needs to be achieved every day, every time.

I may have a more profound understanding of what dancing means, or perhaps not. You may want to know more about my approach, or you may not care. The only thing we could claim as certain is our dances, every single one of them, at the moment we are dancing.

You may be a profound person. What is happening here is that you are not assigning the dance the depth state I see in it.

Does my approach contradict my joy, smiles, laughter, and lightness while dancing? I argue not. Laughing and dancing are really serious things in human life. Dancing and laughing are where seriousness begins.

You should never ask why someone doesn’t dance with you. It is not in good taste. There are no objective reasons. Taste and dance belong to the realm of the subjective.

You could agree with me on words, but more credible would be your agreement manifested in your commitment to your dance.

I do not claim to possess the truth here. Dancing is an absolute stranger to the truth.

I can’t convince you. You will agree with me only in what you already agree with yourself.

21

Perhaps most make the moves but still do not dance Tango.

Emotions: the subjectivity in the dance.

The moves: the objective.

Something you can’t fake. It is visible in your whole being, your posture, your moves. It is not what you are trying to show through your face.

Some emotions may be in conflict with dancing: anxiety, angriness, fear, shame…

Emotions do not come from yourself alone. Emotions, at least in Tango, which is what concerns us here, have roots not only in yourself but also in your relationships and your position concerning them; that is the milonga as a society, your teacher/s, your students, your peers, the ones you hang out with in the milongas, etc.

It is not the same to be a total stranger in a group, like Tango, as having friends that care about you, teachers that encourage you and help you to be a great dancer –because this is precisely what a good teacher wants from his/her students. I am talking here about the community of Tango as a whole, not in a localized sense, like the Tango community of the Bay Area. If the teacher you take lessons from in Buenos Aires is not at that milonga or local community you are part of, still his/her encouragement and love for Tango shape the emotions of your dance.

Your teacher cares about you as a human being. It is not about you making moves “perfectly”. It is about being able to express and explore your humanity.

22

Ultimately, all the subjective approaches to dance would be judged when we all are dancing or not and how, in two, five, ten, or more years.

23

Time plays in my favor. I get to be a better dancer. Does not matter how much I wait to dance with someone I want to dance with.

24

Don’t you dance? So you can take on enormous amounts of stress; you can deprive yourself of sleep; you can eat poorly, very poorly… In short, if you’re not going to dance, what do your body and health matter to you? What do your spirituality and depth matter to you?

25

In contrast to commercialized art, a humble, honest, and intimate art that spiritualizes and celebrates the body.

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Why do we choose to dance Argentine Tango with some people and not with others?

Why do we choose to dance with some people and not with others?

Argentine Tango dancing by Marcelo Solis and Mimi in the San Francisco Bay Area.

The first thing we should clarify is that possibly nothing in dance is absolutely conscious and voluntary and that chance always plays the leading role; I would even dare to generalize this introduction to all the processes of life and to everything that exists; but I am going to conform and remain in a rather humble place (which, coming from an Argentine, may arouse some incredulity), speaking only about the dance, restricting myself to a particular case of human life – although I would like you to know that I think that the dance (in this case the dance of the Tango, which I consider the kind of dance that is more dance than any other dance) is human life par excellence.
 
When we grow older and wise – if we weren’t fortunate enough to be born wise – our most practical, sound wisdom turns out to be that we shouldn’t spend our energies trying to control what is beyond our possibilities.
We can’t handle much more than ourselves, and what little we can control other than ourselves, we achieve anyway through great control of our actions and attitudes.
As we learn to apply this general principle in the particular cases that the development of time brings to us, Tango dancers, that is, we milongueros, find ourselves facing a problem that is not small: dancing Tango implies a strong dependence on other people, which, we continually learn, we cannot control.
 
Since the only thing we can access some control is ourselves, we learn to be more and more careful and meticulous in choosing the people to whom we grant the privilege of becoming dependent on them, of giving ourselves.
 
So we could talk here about establishing a contract with these people, a pact that has the beauty of not being manifest, not written, not spoken, and that can be freely terminated and renewed by any of the parties, a relationship of privilege and freedom that we might as well call friendship; which could not be objectively defined, with for example a list of principles and requirements. This contract, this friendship, will be constantly defined and re-defined by the subjectivities involved.
 
I am referring not only to the people with whom we dance; but also to the people with whom we like to chat, laugh, share or sit close; because in the milonga, what is our manifest objective, intuitive or involuntary, is to inspire ourselves, which is sometimes explained in words like “being happy,” and at the same time inspire and cause happiness in our colleagues.
 
On occasions we have danced with someone with whom we have felt such a connection, such an openness to express ourselves, such an encouragement to reveal our maximum capacities in the dance, that everything that was not dancing disappeared, and the world and the other couples on the dance floor were there in an almost imperceptible way; everything found its meaning and even the mistakes became necessary to that dance, so much so that, now we know, they were not mistakes but capricious choreographic creations, daughters of chance and of our strength, intelligence and preparation to integrate everything that happens in the thread of our choreography, of our improvisation, like pearls and precious stones, and exotic and unknown flowers and creatures, that nature made appear there, for us, for our enjoyment.

Will it happen again? And with the same person?

There are no guarantees for this. Neither people nor any code establishes it. Only the freedom inherent in a friendship that could come from a joyous and satisfying common experience.
 
However, even if we want that moment, that experience, and that state to return, we already know very well, if we are realistic, that nothing happens in the same way again. So, the dancer proposes a new goal each time: to wish and act following that wish, that the next time the dance, our dance, will be better.
 
And here we find that paradoxical problem: will the other person, the other people, want the same thing, something called better dancing, and that would mean at least approximately the same thing, or would it be complementary to what I call with those exact words?
 
This is a significant problem, and it appears here because dancing Tango is not at all something superficial. On the contrary, it requires we have the courage and the predisposition to face it, dedicate time to it, learn, study, observe, investigate, question, practice, create, do, recreate, and do countless times again, without worrying about quantities, because we could not dance Tango without being generous, starting with being generous with ourselves, with our living bodies, with our joy of being alive.

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Dancing Argentine Tango: A Philosophy of Life and the Art of Being Human

Dancing Argentine Tango: A Philosophy of Life and the Art of Being Human

Marcelo Solis dancing Argentine Tango with Mimi

To truly dance, one must live as a dancer lives.
By this, I do not mean dedicating oneself to dance as a profession. I wish to elucidate this idea through the following comparison:
 
If I were fond of riding a bicycle, I would require a well-crafted bicycle manufactured in a factory. It would be ready for me, with its tires inflated and its chain perfectly oiled, as soon as I hopped on and began pedaling.
 
The body and soul of a dancer are akin to this bicycle. Similar to how crafting a bicycle from scratch to ride it would be arduous, attempting to dance with an unconditioned, untrained, and unprepared body is equally challenging. Essentially, my body must be ‘manufactured’ beforehand, conditioned, trained, and primed to dance.
 
As I cannot dance without a dancer’s body, and since I have only my body at my disposal from the moment I rise each morning, I must ensure that it is always primed for the dance floor.
 
While I believe anyone can dance at any time with minimal preparation because being human inherently involves being a being that dances, dancing Tango, in my view, demands much more in terms of subtleties, skills, perception, and awareness.

It is akin to philosophizing about the fundamental aspects of life, contemplating the value of life itself and the reasons for existence. In this contemplation, language may not always serve us best; sometimes, silence might be the most appropriate response.
 
This silence, however, is not resignation but rather a celebration. It reveals that the absence of our everyday language may not be a hindrance but rather an aid in answering the profound questions we face in our solitary moments.
 
As music, dance, culture, and a philosophy of life, Tango is more than the sum of its parts. It evokes excitement, love, meaning, and a sense of fulfillment we often dreamed of in our childhood. Perhaps it is not through exhaustive technical study, training, and the application of objective principles that we attain Tango. Instead, these endeavors only prepare the ground, nurturing it until it becomes fertile enough for us to become dancers truly.

What do we, as dancers, desire?

Perhaps it is to transcend the limitations of our bodies and embrace the joy of movement fully. Happiness, rather than an end in itself, could be seen as a tool for a life imbued with purpose and meaning.
 
Understanding our bodies and their spiritual implications through training and knowledge is crucial in this pursuit. We can then carry this wisdom into our social and intimate relationships, recognizing ourselves in others and knowing ourselves better through this mutual recognition. This is what truly makes us dancers.
 
This is why I believe conventional marketing, as professionals understand, cannot aid me in finding new students, encouraging more dancers to join milongas, or promoting Tango in its true essence.
 
For me, Tango embodies Friendship. How can one market friendship? And if it cannot be marketed, does it lose its value?
My students and I share a profound friendship rooted in our shared love for a dear friend called Argentine Tango. ❤️

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