Adriana Varela

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One of the biggest tango stars of today is Argentine tango singer Adrian Varela. She was born Beatriz Adriana Lichinchi on 9 May 1952 in Avellaneda. She is regarded as a talented tango performer and is known for singing both beautifully and sensually. A review by the BBC compares Varela to the Portuguese singer Mariza and no other contemporary female tango singer can rival Varela for sheer style and versatility.

Varela’s career launched in 1991 with a cassette tape called “Tangos.” Two years later, in 1993, she released her second album “Maquillaje” (“Makeup”). This record is particularly notable for her work with renowned tango artists, namely Roberto Goyeneche and pianist Virgilio Expositio. “Maquillaje” would go on to win the ACE (Asociación de Cronistas del Espectáculo or “Association of Show Writers”) awards for two years in a row. The ACE Award is a film and theatre award of Argentina that began in 1992.

Although she received some strong resistance from tango traditionalists, Varela’s fame continued to rise steadily. Between 1991 and 1996, she recorded three more albums:  “Corazones Perversos (Perverse Hearts)”, “Tangos De Lengue – Varela Canta A Cadícamo“, and “Tango En Vivo (Live Tango).” The latter was recorded live on June 1996 at the Coliseo Theatre in Buenos Aires. From 1996 to 1998, she grew even more in popularity. She performed at famous festivals, such as “La Mar De Músicas (The Sea of ​​Music)” in Cartagena, the Porto Alegre festival, and the Grec Festival in Barcelona. At the Grec Festival, Varela received a standing ovation that lasted for several minutes. She also held a recital in the woods of Palermo before an audience of 50,000.

Varela later participated in the Bajofondo Tango Club, an alternative electro-tango group. As lead singer, her notable performances with them include “Perfume” and “Mi Corazón (My Heart).” The group are considered tango innovators. In 1998, Varela joined the group Sexteto Mayor and recorded “Trottoirs de Buenos Aires.” Varela also enjoyed fame in other parts of the world. In 2001, she performed at the Chaillot National Theater in Paris and at Teatro Lope de Vega in Madrid.  In 2002, Varela was awarded the Carlos Gardel Award for Best Female Artist.

The tango singer resumed her solo career in 1999. Under the artistic direction of Uruguayan Jaime Roos, Varela formed the album “Cuando El Río Suena (When The River Sounds).” This album explored musical styles and is considered Varela’s international debut. Songs featured were written by José Maria and Pascual Contursi, Homero Expósito, Mariano Mores, and Roberto Goyeneche. In 2005, she released an album, “Encaje (Lace),” which included performances at the Ópera Theater in Buenos Aires. Varela won her second Carlos Gardel award in 2007 and that same year, held two performances in Santiago de Chile with the orchestra La Selección Mayor composed by great musicians of the genre and led by maestro Lepoldo Federico. Her latest album, called “Adriana Varela y piano” was released in 2014 with accompaniment by pianist Marcelo Macri.

Varela is also an occasional actress, having minor roles in films such as “Al Corazón (To The Heart)”, directed by Mario Sábato, and in Marcelo Piñeyro’s “Plata Quemada (Burnt Silver).”

The Origin of ‘Adios, Nonino’

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One of Astor Piazzolla’s most definitive works is ‘Adios Nonino (Farewell, Granddaddy).’ The tango was created by the Argentine composer as a way of saying goodbye to his father, who passed away in 1959. At the time, Piazzolla was on a tour of Central America when he heard news of his father’s death due to a bicycle accident. Dancer Juan Carlos Copes, who was with Piazzolla at the time, said it was the only time he had ever seen the composer cry.

Piazzolla, overcome with depression from the death of his father, his tour’s failure, and financial problems, went to New York, where he put together the piece.

His son, Daniel, spoke of this time, “Dad asked us to leave him alone for a few hours. We went into the kitchen. First there was absolute silence. After a while, we heard dad playing the bandoneon. It was a very sad, terribly sad melody. He was composing ‘Adios, Nonino.’”

The song was based on an earlier tango, ‘Nonino,’ which Piazzolla composed in Paris in 1954. He kept the rhythmic part, but added a long, melodic fragment with touching notes. Twenty years after it was published, Piazzolla said, “Perhaps I was surrounded by angels. I was able to write the finest tune I have written. I don’t know if I shall ever do better. I doubt it.”

Piazzolla’s parents, Vicente and Asunta, were of Italian descent and Astor’s daughter, Diana, called her grandparents by the traditional Italian names for Grandpa and Grandma–Nonino and Nonina. It was his father who pushed Astor towards music. The family had moved to New York and young Astor had been expelled from school for fighting. Vicente gave his son a bandoneon as a gift after seeing it a pawn shop.

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The eight-year-old Astor was not keen on the gift. In one interview, he said, “[My father] brought it covered in a box, and I got very happy because I thought it was the roller skates I had asked for so many times. It was a letdown because instead of a pair of skates, I found an artifact I had never seen before in my life. Dad sat down, set it on my legs, and told me, ‘Astor, this is the instrument of tango. I want you to learn it.’ My first reaction was anger. Tango was that music he listened to almost every night after coming home from work. I didn’t like it.”

The fact that Piazzolla wrote such a melancholic tango so far from his home during hard times, ‘Adios, Nonino’ has become a symbol of the Argentine diaspora. Argentines arrived primarily in the 1960s, searching for better economic opportunities, but it was the 1970s military upheaval that caused many of them to migrate.

Piazzolla refused to have any words set ‘Adios Nonino,’ but he finally conceded in the 1980’s when Argentine singer Eladia Blasquez played him a tape of her singing lyrics she wrote herself.

Below is an English translation of the lyrics:

From a scintillating star

he will signal me to come,

by a light of eternity

when he calls me I will go.

To ask him for that child

that I lost with his death,

that with Nonino he went…

When he tells me come here…

I’ll be reborn … because…

I am…! the root of the country

that modeled with its clay,

I am…! blood and skin,

of that Italian who gave me his seed…

Good-bye Nonino…

how long the road

will be without you

Pain, sadness, the table and the bread…!

and my good-bye…Ay…! my good-bye,

to your love, your tobacco, your wine.

Who, without pity, took half of me,

when taking you Nonino….?

Perhaps one day, I also looking back…

will say as you, good-bye… no more bets…!

And today my old Nonino is a part of nature.

He is the light, the wind, and the river…

this torrent within me replaces him,

extending in me his challenge.

I perpetuate myself in his blood, I know.

And anticipate in my voice, his own echo.

This voice that once sounded hollow to me

when I said good-bye… Good-bye Nonino.

I am…! the root of the country

that modeled with its clay,

I am…! blood and skin,

of that Italian who gave me his seed…

Good-bye Nonino… you left your sun in my destiny.

your fearless ardor, your creed of love.

And that eagerness…Ah..! your eagerness,

for seeding the road with hope.

I am your honeycomb and this drop of sunlight

that today cries for you Nonino

perhaps the day when my string is cut

I will see you and I will know there is no end.

Angel D’Agostino

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Argentine tango orchestra leader and pianist Angel D’Agostino did not achieve the same recognition as the likes of Anibal Troilo, Carlos Di Sarli, Osvaldo Fresedo or Juan D’Arienzo, but he was still a respected and admired figure in tango. D’Agostino was one half of “Los Dos Angeles” (“The Two Angels”). Jose Angel Lomio or Angel Vargas the singer of the two was also called “El Ruiseñor de las Calles Porteñas” (“The Nightingale of the Buenos Aires Streets”).

Before he became a professional in the tango scene, he was born Angel Domingo Emilio D’Agostino on 25 May 1900 in Buenos Aires. He was born into music, with a father and uncles who were all musicians. There was a piano at home that grew up playing often. Musicians Manuel Aróztegui and Adolfo Bevilacqua were frequent visitors and the latter’s tango, “Independencia,” made its debut at D’Agostino’s home in 1910. The young D’Agostino studied at a conservatory and even played in public. Their group was a trio, which included his neighbour Juan D’Arienzo. They were infantile at the time and when they weren’t paid for their performance at the Zoological Garden, they started a fire, which was soon put out.

D’Agostino quit high school, choosing to focus on music. He played for aristocratic families’ parties and at a night local, where he tried different rhythms, like ragtime. In 1920, he assembled his first orchestra, playing a mix of tango and jazz. One of his musicians was Agesilao Ferrazzano, considered by D’Agostino as the best tango violinist. Others included Juan D’Arienzo, Anselmo Aieta and Ciriaco Ortiz. When silent films were playing, D’Agostino’s group was one of the first orchestras to play at the cinemas.

The cabaret Palais de Glace, among others, hired his orchestra group, but they never went on tour. Supposedly, this was due to D’Agostino’s mysterious behaviour. He was something of a character in Buenos Aires. He was a skilled gambler and stubborn bachelor. Eva Peron once gifted him a clock, one of three of a unique design.

Tango - Angel D'agostino and Angel VargasIn 1932, D’Agostino met Angel Vargas, but they did not team up until 1940. Together, they recorded 93 pieces. In 1934, D’Agostino collaborated with Aníbal Troilo and the singer Alberto Echagüe to form an orchestra strictly dedicated to tango. There was also a time during the 1930s when he performed in an orchestra under the name “Carlo Vargas.”

D’Agostino’s style has been described as “folk-like” and “simple,” but he succeeded because of his clear language and simplicity. Angel Vargas’ voice, considered sweet and charismatic, allowed for an expression that made the audience understand the lyrics. D’Agostino himself described his style: “I shaped my orchestras with two conceptions that I never gave up: respect for the melodic line and rhythmic emphasis to make the dancing easier. When the singer breaks into the scene and displaces the musician from the spotlight, the orchestra was structured in such a way that music and singing did not interrupt the possibility of dancing. For that, the singer had to turn into one more instrument, a privileged instrument, but not apart.”

On 16 January 1991, D’Agostino passed away. He promised his friends he would die alone and he kept it.

Alberto Castillo, The Singer of the 100 Barrios

Alberto Castillo, Tango Singer

Born Alberto Salvador De Lucca, Alberto Castillo was a renowned Argentine tango singer and actor. Before he became ‘El cantor de los cien barrios portenos’ (‘the singer of the 100 barrios’), Castillo was raised in the neighbourhood of Floresta in Buenos Aires. He was the fifth child of Italian immigrants Salvador De Lucca and Lucia Di Paola. At a young age, Castillo was already interested in music, taking violin lessons and singing whenever and wherever he could.

Alberto Castillo, Argentine Tango SingerAt 15, fate struck when he was singing for his friends and the guitarist Armando Neira heard him. Neira added the young Alberto to his band, marking the young man’s professional debut under the name of Alberto Dual (and occasionally, Carlos Duval). Castillo went on to sing with the orchestras of Julio De Caro in 1934, Augusto Berto in 1935 and Mariano Rodas in 1937.

In 1938, Castillo temporarily left the music scene to devote his time to studying medicine, but by 1939 he was back again singing for Typical Orchestra Los Indios led by the dentist-pianist Ricardo Tanturi. Castillo began recording in 1941, his first hit being ‘Recuerdo’ by Alfredo Pelala. A year later, Castillo graduated with a gynecologist degree and worked as a professional physician from his parents’ house.

Alberto Castillo, Tango SingerEventually, Castillo gave up his medical profession to be a full-time singer. His style of entertainment at the time was considered unprecedented–the way he moved on the stage with his handkerchief hanging from his coat pocket, shirt unbuttoned, tie loose, and bouncing the microphone to and fro. He would even improvise boxing matches when singing ‘Asi se baila el tango.’ One of his most successful recordings was ‘Cien barrios porteños (the one hundred barrios of Buenos Aires),’ which gave birth to his nickname.

Castillo’s popularity was so great that, in 1944, when he sang at Teatro Alvear, the police had to stall traffic on the streets. Castillo eventually split from Tanturri and became a soloist. He also was a lyricist, writing songs such as ‘Candonga,’ ‘Yo soy de la vieja ola,’ ‘Muchachos, Esuchen,’ ‘Cucusita,’ ‘Asi canta Buenos Aires,’ ‘Un regalo del cielo,’ ‘A Chirolita,’ ‘Donde me quieren llevar,’ ‘Castañuelas,’ ‘Cadia dia canta mas,’ ‘La perinola,’ and ‘Año neuvo.’

Castillo started his acting career in 1946, first appearing in ‘Adiós pampa mía.’ He appeared in several more films like ‘El tango vuelve a París’ in 1948 with Aníbal Troilo, ‘Un tropezón cualquiera da en la vida’ in 1949 with Virginia Luque, ‘Alma de bohemio’ (1949), ‘La barra de la esquina’ (1950), ‘Buenos Aires, mi tierra querida’ (1951), ‘Por cuatro días locos’ (1953), ‘Ritmo, amor y picardía’, ‘Música’, ‘alegría y amor,’ ‘Luces de candilejas’ (1955, 1956 and 1958 respectively. The last three films also starred rhumba dancer Amelita Vargas.

But even as a man of music, Castillo still spent some time as sports physician. In December 1951, he tended to members of the Velez Sarsfield football team, which he supported.

Castillo recorded music well into the end of the 20th century, recording ‘Siga el baile’ in 1993. He passed away on July 23, 2002 and is buried in La Chacarita Cemetery in Buenos Aires.


Why Yoga is Good for Tango Dancers

Benefits of Yoga for Tango

What does Yoga have to offer Tango dancers?

Yoga is widely known to be highly beneficial to everyone in general. But in this article, let us focus on the positive effects it has on Tango dancers.

Dancers rely heavily on three things: coordination, balance and mobility. These are essential ingredients that enable dancers to dance freely and in control, and yoga can enhance these significantly.

Stamina for Tango

Yoga postures boost static strength in general. On the other hand, a dynamic class such as Ashtanga improves stamina. During arduous physical activities, we learn the deep breathing technique through the nose. You will find it extremely useful when executing difficult dance routines as well.

Mobility for Tango

Benefits of Yoga for TangoThe ability to move or to be moved freely is called mobility. When muscles lack flexibility, they hinder the movement of the joints. In order to become more agile, regular stretching is the easiest way to improve agility. It prevents muscle strains, as well as joint and muscle damage. With yoga, dynamic movements, strengthening posture and static stretches are combined to enhance overall mobility.

Maintenance of Joints

No matter how active your lifestyle is, regular stretching and recovery play a large role in performing at your optimal level. When you make yoga a part of your routine, your joints will start to move more freely and can function well with less likelihood of feeling any kind of pain. For Tango dancers (or any dancer in general), it’s important to be able to move freely without limitation or pain.

Coordination for Tango

Consciousness is a crucial part of training our coordination skills. We gently shift into postures and spend time in each posture to enable our minds to find our centre and to maximise our senses and feel every stretch of our muscles and joints in that position. Compared to everyone else, including those who practice other sports, dancers tend to find it easier to learn and execute asanas. This does not come as a surprise however, as dancers are more aware of their bodies because of the constant practice of coordination through dancing. Hence, yoga and dancing are mutually beneficial to each other.

If you haven’t tried yoga, it’s about time you give it a shot too!

Whilst dancing expresses the soul’s creativity and emotions, yoga identifies the inner self through breathing, mind focus and movements. Tangueros should definitely try it! Yogis should try dancing too. There are benefits in both directions.

Francisco Canaro, A True Star of Tango

Canaro, Francisco

Uruguayan composer Francisco Canaro is considered one of the tango world’s most popular artists. His recordings, both traditional tango and milongas, are noted as beautiful and melodic.

Canaro was born on November 26, 1888 into extreme poverty, with seven other siblings. His parents were Italian immigrants. Canaro was given the nickname “Pirincho” when the midwife noticed that his hair has a fuzz and curl like the head feathers of the South American bird of the same name.

The Canaro family moved from River Plate when Francisco was less than 10 years old and settled in the densely populated “conventillos,” an urban tenement in Buenos Aires. Unable to attend school, Canaro instead started working as a newspaper boy, a shoe shiner, a painter, and then as an apprentice at a can factory.

Despite his bitter upbringing, the young Canaro was enthusiastic about music at an early age. His neighbor, a cobbler, was his first teacher, showing him how to play the guitar and mandolin. While working at the factory, he built a violin out of a wooden fingerboard and the remains of an oil can. He taught himself to play this creation. According to Canaro himself, the first tango he played from heart was ‘El Llorón.’

At 18, Canaro made his professional debut as part of a trio in a town called Ranchos, a hundred kilometres outside of Buenos Aires. He started devoting himself to tango when he was introduced to bandoneonist and tango orchestra director Vicente Greco in 1908. Canaro went on to join Greco on several successful tours and produced records.

By 1915, at the age of 26, Canaro began conducting orchestras. His first headline was the first Baile del Internado, which was a comedy ball organized by the hospital interns to make fun of their doctors. The gala was held at the Palais de Glace and here, Canaro premiered ‘El Alacran’ and ‘Matasano.’ In 1916, he was the headliner once again, but for Bailes de Carnival, where he was met with such adoration that he was invited again and again. In 1921, for the Bailes de Carnival, he reunited a 32-piece orchestra, an orchestral mass unknown in tango until then.

Canaro’s music is considered to have reshaped the way society perceived tango at the time. Back then, high society did not entertain tango, at least not until Canaro’s orchestra.

Tango Lessons BrisbaneCanaro pioneered the incorporation of a singer in the tango orchestra in 1924, but only for the main part of the tango or the ‘estribillo.’ The first estribillo used by Canaro was Roberto Díaz. This ushered in the ‘estribillistas era’ from the mid-1920s to the late 1930s.

By 1925, Canaro toured the world, beginning in Paris, where tango was now in fashion. He also traveled to the United States. By 1926, his contracts expired and he was free from commitments. Canaro visited Italy to meet his grandmother.

After his absence, Canaro returned to Argentina. He also dabbled in musical theatre and film. He founded Rio de la Plata productions, although none of his projects proved to be commercial hits.

In 1956, he published his memoirs, ‘Mis 50 Años Con El Tango” (My 50 Years with Tango).’ Canaro was forced into retirement after being diagnosed with Paget’s Disease. He eventually passed in 1964 at the age of 76.

The Beginnings of Couple Dance

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Couple dancing was originally sequence-based where couples dance the same steps at the same time, except maybe the Boston which was a rhythmic dance that was a more difficult form of the Viennese Waltz but never really became popular. Then came Tango and it revolutionised couples dance into something that we all now know.

Tango really set the standard of couple dancing that is widely known in the world today.  It was the first couple dance in Europe that involved improvisation. It came to Europe around the early 20th century and probably began in France when Argentine sailors arrived in the port of Marseille where sailors danced Tango with local girls. There had been evidence that Tango was danced on stage in Montmartre, Paris in 1905 but it wasn’t entirely felt until 1912, when Paris was taken over by the Tango invasion.

Tango Lessons BrisbaneDuring that time, Argentina became one of the richest countries in the world. It was ranked seventh, even higher than Spain or Italy in terms of average per capita income. Although, the overall standard of living in Argentina was high, the poor became poorer whilst the rich became even richer. It became a trend in well-off families to send their children to Europe to either go to university or simply just to tour lavishly.

As expected, young men frequented places they weren’t supposed to visit and dated women their families would prefer they don’t marry. And it so happened that these young men were pretty good Tango dancers despite the fact that Tango was still not acknowledged by Buenos Aires’ elite society. But when these young men danced in Paris, the upper classes fell in love with it and became an instant hit.

1913 was the year Tango invaded the world. It was the couple dance that everyone was dancing throughout many parts of Europe. But of course, like all great things, there were many who disapproved of it. Nonetheless, Tango had already gained a foothold and grew quickly. Victorian corsets and hooped skirts were gradually changed into less constricting clothing to allow women to move freely when dancing Tango. Vertical feathers in women’s hats came into fashion to accommodate a partner’s embrace. Tulip skirts that opened at the front became the new trend as well as Tango shoes, stockings, hats, dresses, and basically anything that would make dancing Tango easier. This also meant that the majority of the outfits were in orange as it was the colour of Tango.

Tango’s popularity in Paris and throughout the rest of Europe has transformed it into an alluring couple dance that roused the interest of Buenos Aires’ upper class, which eventually swayed them into accepting the dance. And because of this, Tango was re-introduced to Buenos Aires, its original home. This has been evidenced by a book published in Buenos Aires around the First World War which says that it was written to teach Tango as it is elegantly danced in Paris. This turned into a total transformation of the dance as opposed to the tasteless, indelicate dance previously danced by the Buenos Aires’ lower class.

The Traditional Way Men Learned to Dance Tango

Tango dance Brisbane

During the early years up until the 1940’s, young men learned Tango the same way as everybody else did in Buenos Aires. Ask every elderly man in Buenos Aires how they learned to dance Tango and you’ll get the same response over and over again. They would often start with, “I was 12 years old and there was this pretty girl…”. Unlike 12-year-old’s now, 12-year-old’s in the 40’s or earlier were effectively young adults as they were full members of the workforce at such a tender age. Most of them would have left school at 11 and started working in factories like an independent adult.

It was right around this age when they started to feel attracted to the opposite sex. Back then, they did not have many options to meet girls. Tango was basically their only way of meeting young women and this encouraged them to an all-men dance practice to learn Tango. They will watch other men dance and eventually join in, dancing the part of the woman. When he had learned enough of being a follower, he would then be allowed to dance the man’s part with another young man so he can practice dancing the role of the leader.

Argentine Tango Classes BrisbaneThey will continue to learn dancing, alternating the roles of leader and follower until they are good enough or until they learn some more. They will then be asked to don a suit when going to a dance or milonga. The entire process starting from their first Tango practice until when they were allowed to attend milongas took way more time than you would expect. Most elderly men say it took them up to three years or more to be considered good enough for milongas. Back then, women would not dance with men whom they haven’t seen dancing before, so the young men’s first dance with them would have to be arranged. Milongas were filled with so many good dancers that women would not want to waste their time dancing with someone they were not certain could dance well, unless he was especially attractive. The scenario would usually be that one of his friends (who is more experienced in dancing) would ask a woman to dance with the boy as some sort of a favour. If it went well, then he can carry on dancing as other women would no longer hesitate to dance with him as they’ve already seen him dance. If it didn’t go so well, he’d have to go back to the practica and keep on practicing before he’d be given another chance. Nonetheless, men kept going to practicas even when they’ve become more experienced. They’d go for about a couple of hours each night to dance with beginners before going to the milonga. For them, real Tango dancing happens in practicas. The Milonga, to them, is just a way for them to get noticed by women.

Learning Tango could basically be compared to how a child learns language. First, they listen, then, after a few months, they would start to make noises imitating the sound of words. Slowly, they start to speak simple words and short phrases, then gradually learn how to speak sentences and carry a proper conversation in a few more years. The child may grow up to be a linguist or they may stay inarticulate. Nonetheless, the fundamentals of learning the language are just the same.

Source: http://www.history-of- dance.html

What Makes an Advanced Tango Dancer?

Advanced Tango Classes Brisbane

All tango beginners start at the same level but progress at different rates and in their own ways. They are all novices, often unsure about what to do first, how to walk, and how to embrace a partner. The first time at a milonga can be a harrowing experience for some as they take their first step into the world of dancing tango socially.

Ideally, it would take one to two years for a beginner to reach the intermediate level, another three to four years to reach an advanced level, and five more years to reach a master level. Then again, there isn’t really any standard as to how long it would take a person to progress into another level. It all boils down to their individual pace. Some would only take 3-4 years to reach the master level while others get stuck in the intermediate level for 10 years.

Advanced Tango Classes BrisbaneUnlike learning ballet, there is no prescribed order in progressing from one level to another. It’s just a matter of signing up for a particular class. It’s commonplace to find a variety of different levels of dancer in a single Tango class or workshop. Anybody can learn tango. Whether you’re musical or not, or whether you move easily or not, it doesn’t matter. You could be young or old. There is no right or wrong reason for wanting to learn tango. It may be to meet a potential partner, general exercise or the challenge of learning a new skill. What matters is that you enjoy the dance whilst you’re learning the basics and slowly discovering the wonders of dancing tango.

So how does one become an advanced dancer? Just like in any other domain, one has to have the passion and the drive to learn tango along with religiously following a routine of practice. However, one should not settle on just taking Tango classes or lessons. Going to milongas is also an important part of the learning process. On the other hand, if you keep going to milongas without properly learning the basics, you will only enhance your bad habits. It needs to be a good mixture of both.

Passion without dedication amounts to nothing in becoming an advanced tango dancer. This and, of course, good tango teachers to guide you and teach you what you need to learn are paramount. Unlike traditional professional dance education though, there is no standard way of teaching or a good way of dancing. It’s basically about what you want and what the teacher can offer you. Tango teachers are of every kind, not only in the style with which they dance but also the way in which they teach. There are no good or bad teachers, some are just more suited to different students. You just have to find the one whose style of teaching works best for you.

When can we say that a person is advanced in tango? Well, for starters, an advanced dancer has good posture, feels at ease when dancing, and someone who has a comfortable yet functional embrace. The leader is able to navigate around the floor safely whilst effectively leading their partner and the follower should be able to keep their balance without the leader’s help and complete their movements whilst maintaining connection to their partner.

We can say that a dancer is truly advanced when they know how to adjust their dancing to effectively dance with their partner, no matter what their partner’s level of expertise. No matter how good you are at dancing, you should be able to dance according to your partners ability.

Advanced dancers should also be musical, able to improvise easily, and, of course, someone who has a good understanding of the tango vocabulary. When you consider all of the aspects it takes to be truly an advanced Tango dancer, very few dancers actually can be considered such.

At the end of the day, however, whether you are considered an advanced tango dancer or not, it will always be about the connection that you create with your partner and the enjoyment you derive from dancing tango.