Going from the SIDE-STEP to the BACK-STEP during the mollinete is the biggest son-of-a-gun step in tango for followers and also for leaders. The follower has to pivot AND step behind her WHILE moving constantly around the leader. It’s a lot of work. She has to aim her foot perfectly while still moving her body […]

I’ve been dealing with this for years and had many teachers say I was shaking my butt too much while dancing or that my core felt invisible while I was doing figures. I’ve narrowed it down to three main issues so far: Not bending the knees during key moments. When changing weight, you have to

Technically? Yes. Statistically? No. Argentinians usually dance it better because it’s their culture, their music, their expression, and they have a higher concentration of tango and good dancers. It’s not about talent, it’s about culture. For some reason asking “Can non-Argentinians dance as well as the Argentinians?” will cause people to lose their sh*t.” But

One of the most frustrating concepts to understand as a leader is how to give “chest presence” to the follower. Suppose you’re upright and your chest is puffed out (not excessively) like Superman. That looks great but then you’re not touching your follower…she can’t “feel” your presence. Ok…so now tilt your upper body slightly so

I’ve been told I had a horrible embrace before. Well never to fear, I’ve assembled a bag of easy tips to remember. Probably not a bad idea to warm up with these for the first two tandas of every night to make sure you’re connecting before trying anything else (like fancy back-sacadas combos).

Milonga came first. Simple rhythmic beat, repeating 2 beats over and over with a skippety syncopation every other instance. Tango came next. They spread the milonga beat out into 4 solid beats to slow down the music, creating a frame for richer layers (like other instruments, singer). Vals is basically the (European) Viennese Waltz, supposedly