Tag Archives: Culture

Gabriel Who? Gabriel Missé!?

We’ll be perfectly honest.  We were undecided about taking the workshops. Our technique in Tango couldn’t be any more different. That’s why, to help us make up our minds, we decided to email our friends in Seoul to get their opinion. Their opinion was that although our styles are completely different, taking lessons with Gabriel Missé is like taking a little trip to a Tango Museum.

That little piece of info combined with the fact that when Miguel Zotto was flown in for the same event* last year, we noticed (in pictures) that not many people had attended the workshops.  And so, we thought, why not?! We registered for three workshops on one night – each of which was an hour and 15 minutes long with 15 minute breaks in between.

*See below for more information about the whole Toronto Tango Summit event.

Small Class Size – What Up Toronto?!

We couldn’t have been happier that only a few other Toronto tangueros came out for the workshops on Friday.  It meant that we received a ton of individual instruction.  However, it was mind-blowing to NOT see anyone else there.  We couldn’t understand how people who have specifically said they love Gabriel’s dancing weren’t there.  We couldn’t understand how people who normally flock to any visiting instructor weren’t there.  We couldn’t understand why Toronto tangueros who have been learning from other “V-embrace” teachers weren’t there.  We just couldn’t understand… but we kind of did.

Why Missing The Workshops Made Sense (For Us and/or You)

TECHNIQUE

As we already mentioned, the difference in technical style was a big deterrent for us. EVERYTHING was different from what we’ve learned and from what we teach. From walking toe first, to leading 90% with the right hand/arm, to an embrace that barely touches… It just couldn’t get any more different. That’s why this was more of an academic and let’s-try-it experience than a let’s-change-our-dance experience. As teachers, we can’t be wishy-washy with our technique/style or our students will be confused – and we’ve been on that side of the coin as students! We’ve made up our minds about how we dance Tango, but that doesn’t mean we can’t expand our knowledge.

STAGE vs SALON

Aside from technique, it seems that every youtube performance we’ve seen of Gabriel is a choreography. We have not been interested in learning from dancers whose priority is Stage Tango. We truly believe that if you want to learn how to dance socially, you should learn from teachers who primarily dance socially.  Analogy: It’s like taking photography lessons from someone who shoots with film when you want to learn how to shoot digital.

BODY AWARENESS

The general tanguero with very little previous dance or body movement background often lacks a necessary sense of body awareness to learn from various teachers with differing technical styles. And yet it has almost become a cliche for people to say and believe they have the ability to pick and choose the essential points/technique from each Tango teacher. Given our extensive background in dance, body awareness is not a major issue for us and we are able to understand what our bodies are doing when we try different techniques.

However, body awareness is only one factor. The other factor is the idea of the “complete package”. We cannot use only one or two technical aspects of Gabriel’s dance and make it work within our technical style. When you learn the technique of one teacher, you need to learn it all.* These two factors are legitimate reasons why tangueros learning a different technique were probably better off missing these workshops.

*We would say that many people incorrectly believe that by learning every aspect of one teacher’s technique, it will make you a clone. It’s possible to look very different and have the same technique.  In fact, most people wrongly assume that our main and most influential teacher is Javier Rodriguez (due to Jorge’s similar body-type more than any other reason) when in fact it is Andres Laza Moreno.

Why Taking the Workshops Made Sense (For Us and/or You)

BECAUSE IT WAS GABRIEL MISSÉ!?

Gabriel is from Buenos Aires and learned from the Milongueros starting when he was a small boy. Many of the Milongueros he learned from have passed away and are considered icons in Tango.  He enjoys teaching specific movements that he learned from these Milongueros and he is very clear to tell the class that he teaches social tango and what he does in a performance is different.

Gabriel does not apologize for telling you bluntly that REAL and AUTHENTIC Argentine Tango is this, this, and this.  He also has no problem mocking current techniques and styles of dancing Tango or saying that many of the old dancers currently being called Milongueros are NOT Milongueros. He told the class to learn Spanish and respect Tango because it’s a dance from HIS culture. All things which would cause many North American tangueros to have a conniption fit.  We, on the other hand, found it honourable and respected him for it.

All this to say, we really enjoyed the workshops.

THE EVENT

Let us add that this event, the Toronto Tango Summit, entailed more than just workshops. In fact, the main event was the Grand Ball on the Saturday night which included dance exhibitions by Gabriel Missé & Analía Centurión and Roxana & Fabian Belmonte (the organizers of this event), and music by a live Tango orchestra. This year’s and last year’s Grand Ball were both very successful and were a good time for many dancers and non-dancers alike.


We *HEART* the Seoul Tango Festival

Lydia, from the super positive blog “Toronto Tango Blog”, contacted us the day we returned from our trip to Beijing (purely for travel) and Seoul (purely for Tango… and food :)  She asked the following questions:

  • What did you miss most about T.O. (Toronto) tango while you were in the Far East?
  • What new ideas did you get for your students here?
  • What are some major differences between the Seoul Tango Festival and the Toronto Tango Festival?
  • What do you see as the strengths of our Toronto scene
  • What’s coming up for MIM tango?
  • Oh yes, and did Kristina buy any shoes?

We already had plans to write a blog post about our experiences in Seoul.  We had such an amazingly perfect time that, truth be told, we simply were not looking forward to returning to Toronto’s Tango scene.  These questions left us with knots in our stomachs because the answers that came to mind only solidified the feelings and thoughts we already had.  After spending seven amazing nights in Seoul in order to partake in the Seoul Tango Festival and experiencing foreigner gringo Tango that had been pretty close to Buenos Aires Tango…  we were actually feeling quite depressed about our return.

So let us start by telling you about the festival.

The Seoul Tango Festival

The festival took place over five days with 300 people attending (maybe more?). Three couples were invited from Buenos Aires as “Maestros” to teach nine workshops each over the span of four days. There were seven milongas (five evening milongas, one daytime milonga, and one after-party milonga).

Over half of the workshops were sold out, but this did not mean there were 100 students in each class.  The numbers were kept fairly reasonable although perhaps a slightly larger studio space would have made classes even better.  We took all (nine) of Javier Rodriguez & Andrea Misse’s workshops and they were fantastic.  For those of you who believe that this couple do not represent the Tango of the milongas found in Buenos Aires or that they only teach sequences and non-milonga movement… perhaps you’ll rethink this after we give a little background info.

Before leaving on this trip, we had the great fortune of learning, once again, with the milonguero Alberto Dassieu here in Toronto.  This man is an incredible dancer, an incredible teacher, and an incredible person.  During both his visits he took the time to specifically point us out to everyone in the class in order say some very kind words about our dance and to tell everyone that we are the future of Tango.  Now here’s the reason we’re bringing him up: to make a quick and simple comparison.  In Javier & Andrea’s classes, we were taught fewer steps and sequences, reminded to dance smaller more often, taught more concepts, and taught even more culture than we were taught in Alberto’s classes.

Now if you can keep that in mind, imagine how incredible the Seoul Tango scene is… especially when we tell you how obvious an impact Javier & Andrea (among other traditional teachers from Buenos Aires) have had there. Javier & Andrea have been invited to teach in Seoul for the last five years.  They are, in large part, responsible for developing the Tango scene in Seoul; a scene infused with the tradition of the dance and a deep respect for it.

The milongas were jam-packed.  It was like being in a milonga in Buenos Aires… and we mean that on multiple levels. The milongas were held in beautiful studios with gorgeous, dark, hardwood flooring and the Grand Milonga was held in an amazing conference centre (with terrific food!). Everyone was dressed to the nines – no cargo pants, no sneakers, no hats, etc.  Many of the codigos were being followed… in ways we had never seen outside of Buenos Aires.  Perhaps 50-75% of all dancers were using the cabeceo, but among the best of dancers, 100% were using it.  Most men were walking women back to their seats after a tanda.  Only traditional Tango music played and in the traditional manner (i.e., TTVTTM with cortinas in between each tanda). Full tandas were danced too and rarely did a couple stay on the floor during the cortina.  No one tried to dance to the cortina.  Men were dancing with women… women were dancing with men.  The level of dance was very high. Everyone danced in “un abrazo” (an embrace)… and by that we mean close.

On the night of our performance, it was clear that everyone was extremely excited about the demos – demos by international dancers… NOT the maestros.  For us, our demo couldn’t have gone any better. We were actually calm and for the first time, we enjoyed dancing while being in front of an audience.  We ended up choosing our Tango song only a few hours earlier after finding out that no other couple was dancing to Di Sarli.

The audience was amazing. After each couple performed, they clapped long and hard so that each couple could bow to all four sides of the room – just like in Buenos Aires! Plus we didn’t stop hearing compliments for the rest of the weekend!? We’re not stupid or blind, we know that our performance is nowhere in the realm of the Maestros AND we were performing alongside some incredible international dancers/teachers.  And yet, we were sincerely told how beautiful, lovely, and elegant our demo had been.

Our demo in Seoul... Photo by Peilun Li

As for the dancing in Seoul… It was great! Jani’s “worst” dances (and there ended up being no bad dances) were still some of the best dances he’d ever had.  There are two main reasons for this.  The women who were in Seoul embrace fully and they create space between themselves and their partner’s hips.  On top of this, dancers know the music and are excited about it which puts pressure on the DJs to play really good music with no repeating playlists. And the DJs played great music. The dancers also completely understand floorcraft – although the huge issue that we observed (and funnily enough, Javier and Andrea later brought it up in their workshops) is that the floor doesn’t progress forward. You could dance a whole tanda and stay on only one side of the floor the whole time. However, leaders rarely if ever passed… and NEVER did a leader pass on the right side!

Now that we described the festival, let us answer Lydia’s questions:

What did you miss most about T.O. (Toronto) tango while you were in the Far East?

We were having an absolutely fantastic time in Seoul that we simply weren’t missing anything.  We had it all in Seoul: great workshops, great milongas, great music, and great dancers.  However, we really wished our friends and students could have seen and experienced all that we were experiencing.

What new ideas did you get for your students here?

Most of what we learned in Seoul only further confirmed that we’re on the right track with our students.  The focus of every class we took was the embrace and the walk – and that’s exactly what we focus on in our classes.  However, we realized that we need to help our students develop a critical “eye” for Argentine Tango.  There is simply too much out there being passed off as “Argentine Tango” when it clearly isn’t.

What are some major differences between the Seoul Tango Festival and the Toronto Tango Festival?

We think the Toronto Tango Festival is a really fun event.  Truly.  But it isn’t a festival completely committed to the promotion of Argentine Tango.  We just experienced an Argentine Tango festival in Seoul and it included traditional music, traditional dancing, and traditional teachers.

What do you see as the strengths of our Toronto scene?

The Seoul Tango scene showed us how a commitment by local teachers to teach (traditional) Argentine Tango can really influence a Tango scene… and it showed us just how far behind Tango is in Toronto.  We think Toronto is about 10-years behind. Yet Seoul Tango has likely been around for far less time.  The reason we think 10 years is because a radical shift in thinking is required and we’re not very optimistic about a radical shift occurring.  It means that IF there’s going to be a change, it’s going to be a long, slow process.

We ourselves are Tango infants in regards to the amount of years danced, but we were thinking about Toronto Tango’s history and we made the following observation: Toronto Tango’s foundation is heavily based on the teachings of stage/performance Tango dancers.  Don’t get us wrong, we have respect for some of those dancers, but we would like to see Toronto embracing the tradition of the social improvised dance of Argentine Tango.  All the elements that made the Tango in Seoul so incredible are the very elements that are missing in Toronto’s Tango.

We do think it’s really fabulous that Paradiso has brought great teachers like Enriqueta Kleinman, Graciela Gonzalez, Susan Miller, and Alberto Dassieu to Toronto.  However, we think Toronto is in need of an injection of youth (in the improvised social dance of Argentine Tango)… and I suppose that’s what we’re here for!  Unfortunately, it’s hard to get people (young and old) excited about Tango when the visiting teachers are “old” or not so supple.  That’s not to say we agree with that.  However, it takes most people a long time to see within Tango… and in Toronto, there is still a huge proportion of the community who continually demonstrate their preference to learn from stage/exhibition dancers and/or other young non-traditional dancers.  The other issue is that Toronto dancers need to stop learning from so many different teachers and choose just one or two.  As ex-ballroom and ballet dancers (which are standardized dances), we know that students are never encouraged to learn from multiple teachers.  So now take Tango (a non-standardized dance where teachers have different styles and technique) and we cannot even fathom why students don’t understand the importance of sticking with one or two teachers when they learn Tango (or any art form for that matter).  Actually, there’s a *3-part interview with Ney Melo that came out recently and he makes a comment about this which we completely agree with:

I say ‘If you try to be everything, in the end, you are nothing’. You cannot mix technique. If I want to dance like a certain teacher, then I will take classes from that teacher and do EVERYTHING that they do. I will copy everything about their dance and stick with their technique for a long time.

Those with no dance or body movement experience somehow think they suddenly understand all body movement and that they have excellent body awareness… when in fact these same people can barely get through the most basic 8-step sequence… alone!  One of the reasons a better dancer dances well is due to the combination of technique they use.

*Ney also makes some really keen observations about Tango in North America that are well worth the read:

Part I
Part II
Part III

What’s coming up for MIM tango?

We’re going to continue doing what we’ve been doing… and that includes offering TRADITIONAL Argentine Tango which is made up of a dance and a culture.  We refuse to sell out and we’ll continue to teach the Tango of Buenos Aires… the Tango of Javier Rodriguez & Andrea Misse… the Tango of Alberto Dassieu… the Tango of Andres Laza Moreno (our Maestro). We’ll also continue to teach our students the codes of Tango AND floorcraft.  Finally, we’ll continue to share our love for this dance while guiding our students on their Tango journey.

Oh yes, and did Kristina buy any shoes?

Yet another wonderful aspect of the Tango in Seoul is the fact that they have their own Tango shoe designer and maker in the city!!  Unfortunately, Koreans tend to have cute little feet and there weren’t any in Kristina’s or Jani’s sizes!


Women Leading

It should come as no surprise to people who read this blog that we do not like it when women lead in Tango.  To preface,  let us say we are feminists.  We believe in equal rights.  We are very open-minded and very liberal. Anyone who has been to our classes can attest to the fact that we don’t appear to have a traditional/stereotypical relationship.  K does the majority of the talking in front of a group.  She is outgoing and loud (and a little crazy).  Jorge, on the other hand, is quiet, calm, and very easy going.  Leaving our personal relationship aside, let us put it this way: If ever there was a woman you would guess would start up leading in the milongas, your first bet would be K.

However, K doesn’t lead in the milongas and here are the main reasons why we don’t like women leading (in general and especially in the milongas):

1) lack of culture and tradition

Tango is a traditional dance that calls upon a man to lead a woman.  It is part of the dance and it is part of the culture. In the same way that neglecting to use the cabeceo or proper floorcraft are a disrespect to the culture, so is a woman leading.

2) lack of “manliness” or male energy

Men are on average bigger and taller than women (Jorge is taller, but not always bigger – and there are plenty of men that are bigger, but not taller :)  Men are more likely to emit a male energy when they dance – women are not as likely to do so.  A woman is more likely to look wimpy and dance in a “feminine” way (not to mention often in heels!?). She is also likely to feel wimpy. As such, “wimpy” men are not very enjoyable to dance with either.

3) lack of reason

Yes, it may be important for female teachers to learn how to lead (although if you teach as a couple, this may be less important). That said, the majority of dancers on the floor are not teachers.  Yes, there are often more women in a milonga (but K has no interest in getting up on the floor to lead those extra women and has no problem dancing less). Yes, K practices leading (and has yet to lead a better follower than Jorge ;).  Although it definitely benefits a man’s dance to learn how to follow, it does not help a woman to follow better. It may indeed give her insight into the minds of and problems faced by leaders, but it will not do much to improve anything in her dance.

___

Traditionally, Tango is a “man’s” dance, but this does not negate the fact that the woman has an equal role.  The culture and tradition of Argentine Tango can be respected and followed even while it continues to evolve.  For example, we teach our male students how to embrace a woman so that both parties are comfortable.  Perhaps it is safe to say that in days gone by, the man chose his embrace without any input from the woman… and no woman would dare tell him to change his embrace.  Our students are taught that they will eventually find an embrace that is theirs, but they are also taught, for example, that having a left arm that bends at a far steeper angle than 90 degrees in going to put strain on a woman’s right shoulder and her back… and so not to do it.

In conclusion, let us make it clear that we are NOT referring to, nor are we against, couples in a homosexual relationship wanting to learn and dance Tango. We would only suggest that each person in the dance partnership embrace the expectations of whichever role they choose, be it leader or follower.


Tango is FUN!

In our previous post, we wrote about a special moment that rarely happens in an embrace.  It involves laughing.  Perhaps this will lead many to think it is not a rare occurrence… because Tango is FUN!

There is a “North American” Tango mentality that exists; a mentality that does not exist in the Tango of Buenos Aires.* In Buenos Aires, Tango is serious business.  It’s a passionate affair of the heart, the mind, and the body.  Portenos who Tango are in love with the dance, the music, the embrace, going to milongas, and yes, the nostalgia of it all.  They radiate intense energy while dancing and while listening to the music at their seats.  But are they smiling much?  No, not really.

We have been asked often why people don’t seem to smile while dancing Tango.  “Isn’t it enjoyable?” Our answer comes in the form of an analogy which coincides well with the horrible Tango media sound-byte: “Tango is the vertical expression of a horizontal desire.”  The analogy is this: When participating in sex/love-making with a partner, how many of you are smiling while doing so?  We think it’s safe to say that most of you are not smiling.  Does that mean it isn’t enjoyable?  No! Sex/love-making is serious business.

This brings us to the point of this post.  Regardless of the “style” or version of Tango being danced, we have observed the North American Tango mentality to be completely different from the Buenos Aires Tango mentality.  Looking at it from the North American Tango mentality (NATM), we have narrowed these differences into three groups: the “Enjoyment Factor”, the “Connection Factor”, and the “Being Nice Factor”.

Enjoyment Factor – the NATM requires Tango to be “fun”.  There is almost an expectation that we should smile while we dance.  There is a tendency for the cortinas (the interlude songs between the groups of Tango music) to be really upbeat and “fun”.  Finally, there is a need to make one’s dance “fun”.  In order to do this, one should “play” with the moves and the music, and your dance should be “unique”… and fun.

Look at that “fun” boleo!

Connection Factor – the NATM has an almost obsessive fixation on “connection”.  This is not in reference to the straight-forward glue-your-chests-together embrace connection, but more to do with the “elusive” connection talked about, blogged about, and “workshopped” about.  It remains elusive because it isn’t so elusive!

It has been our experience as students and teachers that the reason for this may have to do with the fact that the embrace is not being taught well, or more importantly, at all.  When students are taught to give their chests to their partner at all times and they are taught to “chase” each other’s chest at all times, “connection” becomes an almost obsolete term.

Being Nice Factor – Finally, the NATM is all about being “nice”. Forget about going out to dance Tango because you would like to have a lovely evening.  No, the milonga is the place to put your desires aside.  There is an expectation that you should dance with everyone and with as many people as you can, regardless of the dancer’s level/ability.  In some communities, you are also expected to hug your partner after the tanda (although the man may nevertheless leave you standing in the middle of the floor afterward).

We have said it before, but we’ll say it again: Tango is more than just a dance; it is a culture.  If the two are separated, we are left dancing a ghostly version of what Tango is.  For this reason, we do our best to live and exude the culture in our dance.

*We cannot speak to the mentalities that exist in Asia, Europe, or other places in the world.


Hugging Technique

Tango is, without a doubt, found in the music and the embrace.  It is a dance of the people – for the people.  We understand that and we only truly learned it and understood it after 8 months of living (and inhaling Tango) in Buenos Aires.  We also understand, as people who have danced the majority of their lives, that having good technique only enhances one’s Tango.  There is no debating that having better posture and good balance are going to make the dance feel better for both yourself and your partner.  Having “perfect” feet – well, that isn’t so important.

In Tango, we can all understand that the embrace is a hug and that we’re giving our partner a hug that lasts a whole song.  However, it has been assumed by some that there is no technique to hugging and people don’t need to learn how to hug.  If students need to learn to walk (and they do), hugging (which is something they do far less than walking) is definitely going to have to be taught.   If you think that hugging and walking are easy for Tango students, go observe a beginner class to see how the majority of students end up walking on bent legs (something they didn’t do before arriving to the class) with their hips and feet leading the way.  But this is a topic for another time.

We previously wrote about the “Culture of Touching” that exists in Argentina and how living in a country that does not have this type of physical interaction leaves many at an “embrace disadvantage”.  There is a reason that many people mock the North American hug with its minimal touching.

This might be a bit of an exaggeration…

We have been the recipient of innumerable awkward hugs (in and out of Tango).  Hugging may be natural, but it is NOT normal or comfortable for many people.  We have been given crushing hugs, limp hugs, half hugs, and soulless hugs (to name a few).  The truth is, many people DO need to learn how to hug – especially how to give consistent hugs in Tango to friends and strangers alike.


Copycats and Being “Unique”

 

This intro comment is going to confuse people slightly:  We’ve had our fill of hearing how everyone should learn and discover their “own style” of Tango.  “Be unique”, “don’t copy”, etc, etc.

Please read on:

Back in the good old days in Buenos Aires there were plenty of dancers to watch and learn from.  It was possible to absorb bits and pieces (aesthetically, technically, etc) from multiple AMAZING dancers.  No one went to a class with ONE role model; the milongas with all its dancers were the role models.

How is a student supposed to do that now?  Especially a student outside of Buenos Aires? All one can do is look to their teacher as a role model and (consciously or not) copy them in the beginning.  Only after years of dancing and feeling at peace with the dance can one begin to take an individual path.  Otherwise, dancers end up spending more time trying to look “different” and “unique” instead of actually dancing nicely with their partner.

The whole idea of finding your own “style” is quite ridiculous to us.  Firstly, we dislike the word “style”.  Ultimately, you can only  truly dance who you are – you can only dance “you”.  So if “style” means the way you stand, embrace, tilt your head, etc. (i.e., the external package), we repeat:  ridiculous.  There will be copycats, but you will see it right away when there seems to be more effort in replicating favourite steps rather than just dancing.   It will probably look soulless or forced.

Here is a very recent example of what copying looks like.  There is no denying that this couple (especially the man) is dancing someone else’s dance and not their own (and we all know whose dance it is):

This is an unfortunate example of how trying too hard to look and dance like your role model results in a completely unoriginal and soulless dance.  There is plenty of talent here, but it has been severely sacrificed.

Some people claim to have their own “style” – simply because the outer package looks different – but these same people (international and local dancers alike) are the ones you see doing Javier’s “moves”, Julio Balmaceda’s “moves”, Gabriel Misse’s “moves”, Osvaldo&Coca’s “moves”, or any other “youtube” move, one after the other.  That is far more average and dull than the people who may have similar postures as their favourite dancers, but actually dance their own dance.

It is the responsibility of a Tango teacher to teach proper technique (i.e., providing students with natural and comfortable postures and movements) so that partners don’t hurt each other or themselves.

It is the responsibility of a Tango Teacher to teach the concepts of Tango (i.e., embracing fully, taking care of the woman, dancing with masculinity/femininity, etc).

It is also the responsibility of a Tango teacher to teach the culture of Argentine Tango (which includes the music, the codes of the milongas, and more).

Withholding any of these or expecting your students to find them on their own is a sign of neglect and makes us wonder if these teachers even like Tango (and/or teaching it).

ANALOGY: Dear student, we want you to learn the Finnish language.  We won’t tell you what real Finnish language is, instead we’ll let you find it on your own.

Good luck with that ;)


One Dance for Another

Many tangueros speak of all they have given up in order to dance tango and how everything revolves around the dance – more than any other. Overall, it was the opposite for us. Having been competitive ballroom dancers, we actually spent more time dancing and practicing, spent more money (memberships, competitive outfits, private lessons, practices, competitions), and we were all-consumed by it. We didn’t read tango blogs – instead we researched our competitors, looked at competition photos, and shined our trophies (kidding ;) We traveled around the country competing and had we continued to live and compete in Finland, we would have begun traveling throughout Europe to compete. For us, dancing tango meant we had more free time than we’d ever had and more money … well in the beginning anyway.   Then the privates started.  -We are still aghast and disgusted by the fact that Tango teachers charge more for privates than National Ballroom Champions who are experts in FIVE or TEN dances rather than ONE and have generally danced far less time (not including any milongueros).-  Then the shoe fetish began.  Then the extra group classes we wanted to attend.  Then all the milongas and practicas… and finally, the plan for a pilgrimage to the Tango mother land.

Now, we breath and live Tango.  We listen to the music almost all the time (there wasn’t a chance we would have listened to Ballroom music all the time), we watch youtube videos, we read blogs, and  generally have Tango on the brain.  Whereas some people have difficulty adjusting their lives (friendships, etc) to this new love, it was something we were both used to doing with other dances.  We LOVE dancing and dancing has always been a passion for us.  Now that we have Tango, the passion has deepened and we feel the culture of Tango within us.

We couldn’t be happier that it all turned out the way it did.