Tag Archives: Javier Rodriguez

Perfection

We wrote this a while back when there seemed to be a shared Tango consciousness regarding great teachers having or lacking the ability to be star dancers and star dancers having or lacking the ability to be great teachers…

Mark at Tango Beat wrote, “Great performers in every art discipline are not necessarily the best teachers. Is tango the exception?” He makes a valid point and we have had the experience of learning tango from dancers who seemed to dance well, but couldn’t teach to save their lives. However, we have also been fortunate enough to have as our maestro, Andres Laza Moreno, who has the “wide spectrum of talent” that Mark speaks of. Andres is both an incredible teacher and a phenomenal dancer.

Meanwhile, Bora wrote, “People’s tolerance for your mistakes goes down when you enter the ‘experts’ circle.’ After all, who will want to learn from you or see you dance if you fail to live up to the occasion, even if it’s during a social dance at a milonga?” Although we understand and partially agree with this comment, it depresses us tremendously. We’ve witnessed performers flexing almost every muscle in their body in order to avoid making a single mistake. Yet those with an eye for it, can see all the “mistakes” happening underneath this guise. They’re only fooling those very people who don’t want to learn from people who aren’t “perfect”! It is satisfying and oh-so-real to see the Tango greats make mistakes and own them! THAT is real Tango; as is understanding that there are no mistakes in Tango; there are only miscommunications.

Thankfully, there are those who understand and have said that a good dancer does not necessarily make a good teacher, and a good teacher does not necessarily make a good dancer. Nor does that need to be the case. THANK YOU. The old adage “do as I say and not as I do” fits nicely here.

The two of us do not need to dance like Sebastian Achaval or Ricardo Vidort in order to be great teachers. And at least we have the wherewithal to know that we are not even in the same realm as some of those great dancers (although that doesn’t seem to be the case with most teachers)!  We can, however, still be excellent and lovely dancers with an ability to teach the most “advanced” dancers in our community… without being perfect or being perfect technicians. In fact, we have been told and reminded that Tango should NOT be perfect and it is during those times of “imperfection” that Tango can enter your dance (Gracias, Javier). That little comment is a Tango-jewel. It’s something we treasure and pass on whenever we get the chance.

Finally, back in our ballroom days, our teacher and coach (a National champion) told us that you don’t need to be a champion or among the best dancers to be an incredible teacher. Some people need to seriously reconsider why they think they need to learn from the “best” dancer who teaches in the world when they’re unlikely to ever dance better than the “worst” dancer who teaches in their community. We’re not saying this to limit anyone’s potential, but rather to encourage students to seek out the best teachers (especially in their own hometown) instead of only those they THINK are the best dancers.

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La Divina: Andrea Misse

Andrea Misse & Husband

Husband & Wife

Like a warm, gentle, breeze, Andrea caressed our lives and was gone.* We mean our lives – Jani & Kristina.

We first met Andrea Misse briefly in February of 2009 when we were taking a private with Javier Rodriguez. During our first 8-month visit to Buenos Aires, we were particularly interested in learning from male teachers. And in this way, we never thought to take lessons from Andrea. However, when one of our lessons with Javier was just about up, Andrea stopped by. Javier insisted that she dance with Jani. At this time, Andrea was VERY pregnant and it was quite the experience to dance with her. Jani had trouble comprehending what he had just felt with Andrea, but he knew without a doubt that she was the most amazing woman he had ever danced with. Once the lesson was finished and Javier was bringing us downstairs, Jani told Javier that he couldn’t believe how wonderful Andrea felt. Javier’s response was that Andrea not only felt and danced like the old milongueras, but she was a milonguera in a young woman’s body.

Andrea wouldn’t enter our lives again until our trip to the Seoul Tango Festival in May 2011. Taking all nine of Javier & Andrea’s workshops (12 hours), we were immersed in their Tango world. This time it was Kristina who was truly mesmerized by Andrea. How is she so balanced?! How do her legs do that? How does her embrace feel so soft, strong, and all-encompassing (yes, K asked to feel it)?! In all honesty, it was only at this point that Kristina finally and truly fell in love with Andrea Misse, the Tango Goddess.

During the festival, on the night we had performed, Jani cabeceoed Andrea for a tanda of Biagi Tangos. Feeling calm after a glass or two of wine, Jani felt like he danced in the clouds with La Divina Misse. Immediately following the first Tango, she sincerely told Jani that he danced very well. Common flattery, right? However, she also made a point of telling Kristina at the end of the night how lovely Jani’s dancing was and that he was a very good dancer. It was a very sweet gesture that gave us a glimpse into the lovely person she was.

Now fast forward to our current trip to Buenos Aires. We had previously been in touch with Andrea to let her know we would be here and that Jani wanted to take some lessons with her. The first 2 lessons were with Jani only, but Kristina didn’t miss out on the chance to observe the classes – taking notes for Jani and doing her best to visually absorb some of Andrea’s technique. Those 2 classes were so Tango/Life changing, that we decided that the next private would be 2 hours long – one hour for Jani and one hour for the two of us as a couple. And after those 2 hours, we booked another 2-hour lesson for two days later on Friday, December 30th.

Andrea pushed us both hard and was always quick to show how proud of us she was. After dancing a song with Jani where she had demanded that he not be scared to be more violent and more of a brute, she broke away from the embrace and a huge smile slowly spread across her face. After giving us helpful tips to make a calecita-like lean better and more beautiful, our subsequent attempt yielded a “SI!!!!!” and a “Hermosa!!!” And finally, after our last 2-hour lesson while we were thanking her for everything, she stressed how it had been a pleasure for her to teach us.

We were upset after that lesson because we didn’t know when we would have the chance to learn from her again. The next 2 days were “fiesta” days (New Year’s), she was leaving Monday for a festival in Neuquen and after the festival she had plans to go to the beach with her family. Little did we know that we would be one of the last students she would teach… and that we would never learn from her again.

HOWEVER, we were kindly invited to Javier (Rodriguez’) home for New Year’s Eve celebrations along with many other international Tango friends. What an incredible time we had… A 12-hour affair, from 8pm to 8am. Late in the evening (or early in the morning), Andrea, her husband, and their daughter dropped by for a visit. They were beaming with happiness. The little one was so shy, but once a carnival mask was strapped on, she became a different girl and it was then that Andrea and her performed a little choreography that included the cutest (and most appropriate) gancho and sentada combo we have ever seen. It was also during this night that Jani took what may have been their last family photo.

One day later, the news of Andrea’s death hit us, along with MANY others, hard. We had received a message in the evening of the 2nd to go over to Javier’s, but we thought it was for a get-together. It was only half-an-hour later, while checking Facebook, that we found out that Andrea was dead. It was an unbelievable shock and we hurried to contact others in Buenos Aires and get ourselves over to Javier’s where friends were gathering to comfort one another.

In many ways, we were kicking ourselves for not having taken lessons with Andrea during our last visit to Buenos Aires… but then we reminded ourselves that it obviously hadn’t been the right time then. This was now our time. And in this same way, we try to remind ourselves that Andrea is no longer here because it was her time to move on. We couldn’t be more thankful that she came into our lives.

Thank you Andrea for sharing a part of your life and your Tango with us.

Our thoughts, our prays, and our hearts go out to Andrea’s family and friends. We wish them strength and love during this difficult time.

*For those unaware, Andrea moved on from this world after being in a car accident (involving 4 cars in total) with her husband, her daughter, and her husband’s mother. The other passengers sustained some injuries, but are OK.


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.


Javier Rodriguez, Castration, and More

Oh Javier… how we love thee.

If you haven’t been fortunate enough to have learned from Javier Rodriguez, let us share some of his wisdom with you. But first, let us give you a mini-summary of Javier in his role as a teacher.

Javier is blunt, has no shame, and shares all that he has learned and knows about Tango without apology. We’ve heard that (North) American Tango dancers/communities have found him to be too abrasive and too frank (ex., he has no problem telling women to stop squeezing their “chichi“) and he doesn’t work as a teacher so that he can lie to you and tell you how good your tango already is.

In North America (and we’re starting to think in all English-speaking countries) everything needs to be sugar-coated and oh-so-positive. That’s why anything goes in North American Tango. We don’t want to be told what Tango is or how to do it. We’ll tell people to follow Gavito’s advice when he tells a class to only speak positively about Tango and to only say what we like  about a person’s dance (although we don’t know the circumstances behind that comment and in fact, he has told dancers to also notice what they don’t like),  yet we won’t listen to Gavito when he says the embrace and the walk are what make Tango what it is. We think we can do it better and we think we should change it to make it our own (while calling it by the same name).

Meanwhile, in Asia, many of the cultures may be more direct (How old are you? Are you married? Do you have children? Why not?). However, they sure as hell aren’t used to hearing about “chichis”. Yet it’s these same Asian communities that embrace the traditions of Argentine Tango and will happily do as they are asked. They respect and look up to their teachers.

With that said, let us divulge some wonderful insights Javier and Andrea shared with the class in Seoul:

Don’t Castrate Your Partner Women, pull your hips back and make room for the men. When you keep your hips flat, you castrate the man you are dancing with by stripping him of his freedom to walk forward without restraint.

Javier demonstrated this with multiple men and we don’t think there was a person left in that class that doubted this assertion.

Hierarchy Among Dancers  Javier & Andrea were asked about a problem that exists in various communities. What happens when the best dancers only want to dance with the best dancers, the mediocre followers only want to dance with the best leaders, and the mediocre leaders are left wanting? Javier responded (in a way that most of us North Americans don’t like to hear) that this is the way it is everywhere around the world… and this is the way it should be. If the mediocre dancers want to dance with the best dancers, they need to become better dancers. If the best dancers are already dancing with them, the mediocre dancers have no reason to improve.*

* There are too many dancers who no longer take lessons OR who only take lessons that teach new sequences rather than those that improve (BASIC) technique (which is where the problems lie).

Hierarchy on the Dancefloor  Many dancers understand the dancefloor setup now. There’s an outer lane and one or more inner lanes. Javier & Andrea told all of us what many people learn after going to Buenos Aires: The outer lane is for the best dancers. It’s for those who understand floorcraft and who can dance well. Those who cannot follow the rules of floorcraft and, more importantly, are not very good dancers, should dance in the inner lanes.*

*Swallow your ego and place yourself accordingly on the dancefloor. In the same token, deal with the crappy floorcraft and try to dance in the outer lane if you’re one of the better dancers in the community.

Our Thoughts on What Others May Consider IDOLIZATION

We’re not sure where the loathing of “idolization” has come from. We understand that some people take their idolization too far… and obviously a teacher is not a god. But it seems that people are loathing the fact that some dancers look up to their teachers as mentors – with respect and adoration. Those dancers who respect and learn from/follow one or two professional teachers tend to be the best dancers in a room. It’s those dancers who learn from anybody and everybody who CLEARLY show no progress in their dance.


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!


Who is Javier Rodriguez?

Let us begin with a quote a dear (tango) friend of ours made about Tango and Javier: “Not knowing who Geraldine and Javier are would be the same as saying you love ballet and you don’t know who Baryshnikov is.”

We are constantly amazed when people who love Tango have no idea who this couple are (were) and this is a thought we have had even before we came to Buenos Aires and before we finally decided to try a private lesson with Javier. We booked a private with him long after arriving in Buenos Aires and only after seeing him perform in Sunderland (a milonga here in Buenos Aires). It was there that we saw just how incredible and respected he is. After his performance with Stella Misse, the locals (including many milongueros) were on their feet and the sound of applause all but raised the roof!

Javier does not teach choreography unless it’s specifically what you are looking for. He dances an improvised Tango and his performances are improvised (unless it’s an OBVIOUS choreography – we say obvious because we have heard/read many people say/write that one of Javier’s demos was a good choreography when it was in fact an improvisation). Whether he dances big or small is completely dependent on the space he has. There hasn’t been a dancer/teacher/milonguero here who has has told us to dance small all the time. In fact, we’ve been told the complete opposite: When you have the space, use it!

Javier’s lessons have completely opened our eyes to what Tango is here in Buenos Aires. He has helped us to understand how porteños view and feel about Tango … how to dance with male and female energies… etc, etc… Javier can blow your mind and change your life with regards to tango. And he can do it in just one lesson.