My broad experience, stemming from years of teaching and studentfeedback, has allowed me to create my own teaching style.
It is based on observaon, and on presenng informaon at the pace of the group and of each individual. I’ve specialized in personalized lessons, in which I take the me thatis necessary for the knowledge to be integrated. I promote a development of one’s own style, based on comfort, but always within tango aesthecs.
Mistakes are used as a springboard for creavity, and as a key to movaon. I also bring in other physical techniques when tango technique is not enough for comprehension. “Music is like an invisible band that leads the couple.” Music inspiresand condions the dance.Improvisaon is a key part of tango as a popular and a social dance.
It has a powerful structure, which is like the grammar of a language,and which gives us the necessary elements to create our own style and bring freedom to our dance. That structure is the “basics”, the “fundamentals”, the “essence” of tango. The secret is to learn its fundamentals, and to stop thinking that basics have no value, because they are the key to our dance and we need to return to them o$en, as they are recycled and renewed.
Follower (female) role
A follower-role pioneer in Germany. This role has evolved in the past years, and different practices have been developed (by others and by myself) outside of the couple work.
In particular, they involve exercises for the follower as a an individual and as the led person, in orderto increase confidence and comfort. The basic pillars of this role are waiting and reacting, being relaxed and yet attentive.
Following is not a passive activity; our attention is set on interpreting, reading, feeling what our partner is saying, because each new encounter is different and unique. Embellishments enrich our dance.
I teach when and in which music we can express them, within tango aesthetics.
I have developed, as an additional area, the milonga rhythm, for several reasons: there are not too many professionals who work with it, I believe it predates the tango rhythim, and I have danced with Omar Vega, who is considered one of the best milonga dancers, and triggered my own research. This rhythm is closer to African rhythms, and it is faster than tango.
I feel the body needs to respond with greater speed, reflexes must be activated, and all of this must be applied on the dancefloor. I also integrate some of its relatives: candombe, milonga campera, Brazilian rhythms, all of which enrich the milonga rhythm.