Ricardo Viqueira & María Darritchon dancing vals.

Ricardo Viqueira & María Darritchon dancing vals

Ricardo Viqueira & María Darritchon dancing vals

Ricardo Viqueira & María Darritchon dancing vals.

Ricardo Viqueira

Being a milonguero, Ricardo does not beat around the bush.

His teaching is all about dancing in the milonga. 

He is one of the most respected and sought-after teachers in Buenos Aires where he regularly teaches and in the rest of the world he is a well-known exponent of the “milonguero” culture.

Ricardo is renowned for dancing Milonga with Traspié and Canyengue. He was the man behind the revival of the historic and well known Club Sin Rumbo in the neighbourhood of Villa Urquiza. He also organized the Cristal Tango in Avenida San Martin in Buenos Aires.

He has been invited to teach in Italy, France, Spain, Germany, Portugal, Romania, Serbia, Switzerland, Brazil, the United States, Korea and China and the UK!

Watch Ricardo Viqueira & María Darritchon dancing milonga

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El Flaco Dani, Argentine Tango dancer milonguero.

El Flaco Dani and Luna Palacios dancing milonga

El Flaco Dani and Luna Palacios dancing milonga

El Flaco Dani, Argentine Tango dancer milonguero.

El Flaco Dani

(8 May 1936 – 10 December 2019)

His real name is Daniel García, but we all know him as El Flaco Dany, a milonga icon that has stumbled around the world.

A prototype of the porteño, he was born in the neighborhood of La Paternal.

He used to divide his life between Europe and Argentina, more precisely between Bucharest and Buenos Aires.

His many years as a habitué of the milonga gave him a great advantage in the tango salón teaching field.

His style has been polished by his uninterrupted fifty years of dancing. 

More about El Flaco Dani at www.todotango.com

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Ricardo Viqueira, Argentine Tango maestro milonguero

Ricardo Viqueira and Maria Darritchon dancing milonga

Ricardo Viqueira and Maria Darritchon dancing milonga

Ricardo Viqueira, Argentine Tango maestro milonguero

Ricardo Viqueira

Ricardo Viqueira is known for his ease, elegance, musicality, and masterful footwork.

Dancing in the milonguero style, he emphasizes keeping one’s own axis and the feet on the floor. As a social dance, it is necessary to adjust one’s steps to fit the space. He teaches his students to dance many steps and formations and to adapt their steps to the environment, be it around a room or the same steps in a circle without progressing forward.

While milongueros dance with cadence and pauses, they are not stopped by a crowded room. Ricardo teaches his students to recognize opportunities to change direction, alter their movements, and to create their own dance. As tango is a partner dance, Ricardo emphasizes the connection. Without connection, with whom are you dancing? He has developed simple techniques that help the leader mark the step and the follower to understand the lead.

People are often impressed with steps and choreography. But are they listening to music? Have they developed their personal style? Ricardo helps his students to move with musicality and rhythm, emphasizing pauses and simple rhythmical phrasing.

Ricardo takes one into the milongas of the tango world. While many of his students are teachers or performers, Ricardo is a milonguero teaching by day and dancing nightly at the local milongas. He openly shares antidotes and codes of behavior throwing in saucy tales of the how’s and why’s of the milonga scene. As a sensual dance, Ricardo feels one must go into the milonga with an attitude of success, remembering that it’s a game, and to enjoy – enjoy it all: the music, the dancing, and the social interactions.

Watch Ricardo Viqueira dancing Tango

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Pepito Avellaneda & Susuki de Sousa, Argentine Tango dancers and milongueros.

Pepito Avellaneda y Suzuki de Souza

Pepito Avellaneda y Suzuki de Souza

Pepito Avellaneda & Susuki de Sousa, Argentine Tango dancers and milongueros.

Pepito Avellaneda

(30 November 1930 – 29 April 1996)

“Dancing is everything for me, I feed on it.”

“I dance and I am nurtured.

I signed many contracts, for example in the provinces: Salta, Córdoba, Tucumán.

And I, even though I was not paid, I danced because I felt it.

That is to say, I did what I felt like to and I was also paid. That is wonderful. It means that I feed on tango, I enjoy teaching.

I spend all day long teaching. In Europe, they love me very much. So much so that I receive letters, they send me invitations, it’s very nice.

And I learned by myself. It was a question of trying, to make a step, another step. And then I dared.

Later the practice in clubs came, among men. That is to say, I led you, you led me: in other words, you learned to lead a woman. That to dance on Sunday, on Saturday.

We practiced creating some steps. There were no women at the practices. It was only with men. We practiced it to dance with our girlfriend, with our wife. It’s easier to dance with a woman.”

More about Pepito Avellaneda at www.todotango.com

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ana_maria_schapira._fundamentos_de_la_pista_musicalidad_cadencia_ritmo_circulacion_y_pasos_genuinos_del_salon_1_small

Ana María Schapira and Rubén Harymbat

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