Argentine Tango School

Tag: argentine tango

Alicia Pons & Luis Rojas dancing at Escuela de Tango de Buenos Aires.

Alicia Pons and Luis Rojas

Alicia Pons

is an elegant and accomplished dancer with refined technique and distinctive personality. Her ability to imbue the role of the woman with verve and style has made her one of the most sought after female partners in Buenos Aires milongas.

She is most noted for her beautiful foot play and the strongly sensual connection with her partner, which is done with humor and decorum. She exemplifies communication and presence in the dance, and this is a focus in her teaching for both men and women.

Alicia was trained in classical dance from an early age and as a young woman performed in some of Buenos Aires’ most well known theaters, the Colon, the Coliseo, and the Alvear. Her introduction to tango came later, and her first teacher was Graciela Gonzalez, whose women’s technique helped shape Alicia’s tango footwork. Alicia then gravitated toward the milonguero style and her first inspiration and male teacher in that style was Tete Rusconi, one of the most renowned milongueros of his generation.

She taught for a number of years with Cacho Dante, with whom she has performed at the Teatro San Martin as part of the City of Buenos Aires tango festival. Alicia has been teaching both private and group classes on her own in Buenos Aires and the U.S. for the last several years. She has become a very popular visiting instructor on the U.S. Argentine Tango workshop circuit, where she frequently is joined by Robert Hauk as her partner.

As a teacher, Alicia emphasizes the connection between the partners, and in particular the woman’s ability to not just follow, but to be an equal protagonist in the dance. Her knowledge of the mechanics of what makes the dance work in the “milonguero” embrace is unique.

Alicia’s teaching methods are grounded in her academic training. She holds a degree in Educational Science and Psychology, and she is currently an instructor for university level education students, in addition to her teaching, being a mother of two sons, and running her family real estate business. She is a very warm and caring person who loves to share her knowledge.

Luis Rojas

is an authentic milonguero with a passionate and elegant style. He transmits the pulse of Buenos Aires from his feet.

Luis teaches Tango in the Argentinean cities of Mar del Plata and Buenos Aires since 2004. Sponsored by the Argentine Consulate in Vienna (Austria), Luis toured Europe in 2009 and he continues returning to Europe every year since alternating his workshops in Austria, Italy, France, Belgium, The Netherlands, and Spain, and regular classes at the prestigious dance hall La Nacional of Buenos Aires.

If you are in the San Francisco Bay Area and want to learn to dance Tango, you can:

Luis Teisseire. Argentine music at Escuela de Tango de Buenos Aires.

“Bar exposición” by Carlos Di Sarli y su Orquesta Típica, 1954.

Luis Teisseire. Argentine music at Escuela de Tango de Buenos Aires.Luis Teisseire

Flutist, composer, lyricist and leader
(24 October 1883 – 3 May 1960)

He joined the Hansen’s staff as flutist, later he switched to El Quiosquito. He also joined the outfits that played at the dancehalls of Rosendo, Bevilacqua and Posadas, besides playing at the cheap cafés of La Boca, on Suárez Street.

Among his compositions we find unforgettable titles which total over 80 pieces. Continue reading at www.todotango.com…

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Angel Vargas. Argentine music at Escuela de Tango de Buenos Aires.

“No aflojés” by Ángel D’Agostino y su Orquesta Típica with Ángel Vargas in vocals, 1940.

Angel Vargas. Argentine music at Escuela de Tango de Buenos Aires.Ángel Vargas

Singer, lyricist and composer
(22 October 1904 – 7 July 1959)

He was the paradigm of the orchestra singer, to such an extent that when we refer to Ángel Vargas, we are inevitably reminded of Ángel D’Agostino, the orchestra leader of his greatest hits.

A singer with impressive personality, he is the symbol of porteño (from Buenos Aires) tango phrasing in the 40s. Vargas sings as only in the 40s tango was sung.
His phrasing was reo and compadrito but at the same time of an infinite good taste.

He had a sweetness which compensated for his small but masculine voice, he generated sympathy and was, above all, a charismatic singer.

Among his recordings these tango interpretations stand out “No aflojés”. Continue reading at www.todotango.com…

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Donato Racciatti. Argentine music at Escuela de Tango de Buenos Aires.

“Tu corazón” by Alfredo de Ángelis y su Orquesta Típica with Carlos Dante in vocals, 1955.

Donato Racciatti. Argentine music at Escuela de Tango de Buenos Aires.Donato Racciatti

Bandoneon player, leader and composer
(18 October 1918 – 27 May 2000)

As the historian Juan Carlos Legido says, to write the history of Racciatti is to write a part of the history of Uruguay and of tango in Uruguay in a period of over fifty years. I further say, not only of tango in that brotherly republic, but also in both banks of the River Plate.

Donato Racciatti contributed to the vogue of danceable and popular tango, with great acclaim from the commercial standpoint. He was very often hired throughout Latin America and in Japan. Continue reading at www.todotango.com…

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Pedro Maffia. Argentine music at Escuela de Tango de Buenos Aires.

“La mariposa” by Osvaldo Pugliese y su Orquesta Típica, 1966.

Pedro Maffia. Argentine music at Escuela de Tango de Buenos Aires.Pedro Maffia

Bandoneonist, leader, composer, teacher
(August 28, 1899 – October 16, 1967)

It is not known what secret gift made Pedro Maffia find in the core of the bandoneon sounds that nobody had discovered before.

Until the second decade of the twentieth-century bandoneon players tended to imitate the flute —gradually displaced in the early quartets— and the barrel organ with their instrument. After undergoing his childhood frequent beating with a chain made by his brutal father, who forced him to beg for money after each tango he played, Maffia was who delivered the bandoneon needed by this popular genre to leave behind the playful Guardia Vieja (old stream) and turn serious, concentrated, fairly dreaming and frequently sad. Continue reading at www.todotango.com…

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