96 year old Argentine Tango dancer tells his story. Click CC for English Subtitles. Roberto Segarra was playing cards with a group of friends prior to the interview which took place in May of 2011 at Club Liber Piemont. Most of the video footage was shot in Marta Fama's Wednesday night milonga El Rodriguez https://www.hoy-milonga.com/buenos-aires/en
Roberto's 96 th birthday dance footage was shot on September 16, 2016 at Obelisco Tango in the Friday night Milonga de Buenos Aires. The final performance and the pictures of Roberto with his family and friends were shot at Club Fulgor in May 2011. Roberto was being honored for his lifelong contribution to tango.
Bonus material
The first dance that I went to was held in a dance hall that no longer exists and I am not sure there is anyone who knows it but it was called the “Lido de Palermo” (Lido of Palermo) and was located over there in the “Palermo Chico” area, as it's called over here, you know, “Palermo Chico”. I think it was on Juez Estrada Street, with the Osvaldo Fresedo Orchestra and the “Santa Paula Serenaders”.
There was a tango academy where there is now the Bachin Restaurant … er, no, Pippo … where Pippo is now. You know Pippo? … There, on Montevideo, between Corrientes and Sarmiento, a restaurant, Pippo. Well, there used to be a big hall … named “Academia Pedro” but they did not really teach there. They had female employees who would all dance very well, they were all tango teachers, and guys would go there to dance since they knew they would be dancing well. Because at that time, when you were starting to learn to dance, those who already knew would tell you “you need to go to the dance and ask out women who know how to dance well because that way you are going to learn faster. Don't ask ... as the tango says “no saqués paquetes que dan pisotones” (Don't ask out a “paquete” that will step on you. – Paquete is argentinian lunfardo for “a clumsy, heavy or overweight person.” ) … [unintelligible] … (Laughing) That's the way it is. They would teach you to ask out women who were good dancers … even it was only for a single song … even if she did not want to dance with you again … but at least you danced with a partner that danced well. That's what your elders taught you, and that's what we did … those of us that could. Of course, when you already knew how to dance well, you did not mind the feet as much, you started caring more about the woman who you asked out than her feet or footwork.
(Talking about during the 1970s and 1980s ) Even though the tango had not reached the stage where it is now, but there were places (to dance). There were definitely some places. There were just a few places but then it began to grow thanks to Piazzolla. Because Piazzolla was the one that started taking the tango abroad, in its classic form but he … Here's what I think: there are two people to whom we owe what tango is now. One of them was D'Arienzo in 1935 and Piazzolla in the Seventies or Eighties. Those were the two that raised the tango and tango is what it is now thanks to them. We have to be thankful to them. To learn more about Tango in Buenos Aires go to: http://lamilongadel126.blogspot.com.ar/
I have never seen the film "Tango Bar" with Raul Julia...I see that it's available in its full length on YouTube...
However, I would offer this version of La Cumparsita as an alternative sound track...
Or this one, for a little more energy...love the staccato piano and violin picking in this version...when I used to DJ, I would usually play two or three versions of La Cumparsita as the last song...chosen from the 40 or so versions I've collected over the years...
Chatting the night away in a cafe in Amsterdam with some friends, I was asked to describe what a milonguero is.
As it happens, it is something very difficult for me to explain. It’s one thing to be one — to feel it — and another, very different, is to be able to express its meaning in words that are clear for others, and give a real idea of what I think. But I will attempt to do it, trying not to hurt anybody’s feelings.
A milonguero is a slave of the music, the tempo, and the space. When he dances, music invades his body and is translated into his steps and his movements. He never misses a tempo. Such blending with the music is what produces a sensation that their bodies are actually speaking (chamuyan).
The milonguero dances level with the floor, managing space is essential for him, he follows the “ronda”. His steps, turns, and walks are always aimed forwards, he never overtakes another couple, he takes care not to cross other people’s path. He will do his thing (milonguea) in whatever space is left. He dances for himself and his partner, not for the spectators. He does not exhibit.
A milonguero stands out by the subtle way in which he manages space, his sense of rhythm and the intensity — or lightness — of the feelings he conveys. The pleasure he feels, he transfers with elegance to the woman’s body. She, in turn, follows him, generally with eyes closed. She follows like the perfume he is wearing, she sticks together in this joyful journey. She dances apilada to him — but not like “cannonball necklace.” Apilarse doesn’t mean hang — this is not always visible for others, but he can certainly feel it.
A milonguero is inspired by the orchestra, the piece, or the woman. He also allows his emotional states to influence the dance. Before beginning a dance, he will take the woman in his arms, listen to the music, feel their respiration, their heartbeats, and only then will he take the first step.
Fortunately, each milonguero dances distinctively. Their personality, style, and cadence are unique to each one. There is plenty of variety among them, with a rich diversity of steps and dance experience. Although they sometimes give in to admiration, their priority is always the woman and the sentimiento (feelings — the main motivation for the dance). They are anonymous. Sometimes timid, and very concentrated. They do not dance much, they are demanding when choosing the music and the partner. One or two tandas well danced will make the evening.
A milonguero will dress very smart, he will be very careful with the shining of his shoes, the crease of his trousers and [his] perfume. You’ll see them sitting at the table checking out the floor and the minas ; they only ask for a dance with a head movement (“de cabeceo”) or an eye movement (“de ojito”). Meanwhile, there are also the milongueras — many, and very good. They are ageless. Their posture, the charm of their footstep, and the subtleties of their movements make for the man’s inspiration, and it’s them who make the man shine. They are simply chiche bombon!!!
I believe it makes no sense to claim that someone is number one or the best, or that one owns a step, or to say that others have stolen somebody’s step. We’ve all learned from the rest and adapted what we learned to our personality. And we will continue to learn from each other in a never-ending process. That is how we enrich our dance, the tango. The tango, like feelings, doesn’t have and never had an owner.
Dancing (milonguear) as well as learning to dance, should be a joy, not an exigency, competition, or hard work; there is enough of that already in our every day life. Our duty and responsibility as teachers does not consist in overwhelming our students with our skills and knowledge, but to be able to communicate these with sentimiento (feelings) and simplicity. We must therefore avoid mistaking our dancing or performing abilities with our teaching abilities. It’s essential, not only [to] count the number of students we have — which is certainly important financially speaking — but also to make an honest balance and observe how many of our students are milongueando in the salons. We must be sincere with ourselves if we wish to see the tango grow.
I wish to express my humble gratitude for entrusting me, for all the students in all the places I have visited as a teacher. Also to their teachers (including all styles and nationalities), for their passion in promoting Tango, and who have not permitted that I feel alone anywhere I go, even if I do not speak their language or ignore their customs. The Tango in all the tango corners of the world I have visited makes me feel at home wherever I go. Bailando tangos uno nunca esta sólo.
This article was originally published in “La Cadena”, a tango magazine in Holland; “El Once” in London and “Tandoneon” in Madrid.
Re: the Cacho Dante quote I just posted...he's the one dancing in the video down below with Sally Potter (from 0:30 to 0:58) in this scene from "The Tango Lesson". You will also notice Gustavo Naveira, Fabian Salas, and Omar Vega (RIP).
Re: the title of this post - it's a 1998 article by Cacho Dante - and the source of the quote. Here it is, by Cacho Dante: The Tango and Trapeze Acts By Cacho Dante, Milonguero de Buenos Aires November 1998
Thirty years ago, the tango wasn't a trapeze act. It didn't have choreographies, and the woman was not just a follower, she was to whom the tango was dedicated. Around that time, under the pressure of the dictatorship in Argentina, many milongueros stopped dancing. They were tired of getting picked up by the authorities every weekend to see if they had a police record.
Some milongueros went back to the neighborhood clubs where they had to dance with their neighbors,their cousins, the sisters of friends—all under the watchful eyes of mothers. It was an enormous bore.
The guys at that time had already surpassed the stage of steps. They had already passed through the filter:When they didn't really know how to dance, they did 20 steps; when they knew a bit more, they did 10; and when they really knew what they were doing, they danced five...but with real quality.
The rest they learned from the orchestras at the time: how to navigate the dance floor; how to lead the rhythm. They danced then to some of the best orchestras live every day, Osvaldo Pugliese, Anibal Troilo,Juan D'Arienzo, Francisco Canaro, Alfredo Gobbi, etc.
Later, everything changed. The tango climbed onto the trapeze and became choreographed. And it became a dance of the deaf. The dance floor today also sometimes seems like a war zone. Women don't even get the chance to choose their partners. Men snatch them from the tables as if they were fruit in a supermarket bin.
When some of the milongueros returned to dance, myself included, we wanted to be in style, to learn choreographies. But it was late for that because for us it was more important to be appreciated by the woman than to be admired by those who liked to be seen. Women chose the tango milonguero. They embraced the old guys and then later embraced the young ones as well. Even if we milongueros are fat and bald, we still carry our heads high and have plenty of women to dance with.
Sometimes you hear that tango milonguero will die with the last milonguero. But those who say that don't seem to be aware that the last one is only 17 years old and is already teaching the dance.
Nowadays, we dance to orchestras and singers that are long gone. The sons of the great orchestra leaders,as children do, did not listen to their parents. Today, unfortunately, there isn't really any new music to dance to. The orchestras now knock themselves out to follow the singers, whereas in the old days the singer was just another instrument.
The tango, some say, is growing. Others say it is getting fat. I believe it is swollen, like someone who has eaten too much. Luckily, the example of the milonguero exists and it is not by chance nor just because it is something in vogue that some young people here and other people abroad dance in a close embrace and fly. To fly, you must have your feet firmly on the earth. We Pugliese fans plant our feet on the dance floor and we fly with our torsos. There is no other way to dance the silences and the pauses. With D'Arienzo,you dance in fourth gear, with Pugliese, in first. For Pugliese, you must lower the turns and with D'Arienzo, lift them.
The tango is a feeling that is danced. That's why it is not choreographed, though it can have sequences,like all feelings. You can dance love, rage, happiness, pleasure, every mood. The tango is not a dance to demonstrate ability but rather an interpretation of feeling. It is not just moving your feet and posturing.The tango is Argentine, but it belongs to all those who understand its feelings and its codes.Guys, to dance tango, you must listen to the heart of the woman.
Tete Rusconi y Silvia Ceriana :: Photographer: Carlos Vizzotto
Born: January 9, 1936
Died: January 7, 2010
Two days before his 74th birthday. Young. Too young to die at 73, especially when "80 is the new 50" or whatever they are saying.
Apparently he was dancing as usual at Milonga El Beso on Wednesday night, appeared to everyone to be in perfect/usual health and humor, but then died in his sleep of an apparent heart attack.
There was a wake held for him in Buenos Aires at midnight last night.
I never met Tete Rusconi. I watched countless YouTube videos of him dancing. He was inspiration for many of us. He was a milonguero, known for his vals, with his arms extended out like a kid pretending to be an airplane.
And fly like a kid he did, floating across the dance floor like no other.
Others, who knew him, could say more, could share their stories, share his stories. From the little bit I have gleaned over the past five years, hearing bits and pieces about him, he was a larger-than-life character. A full-of-life kinda guy. And he obviously loved tango and the people of tango.
The milongueros are a dying breed. Literally. Dying off into extinction. I'm sure there are videos and interviews with him, but it seems a shame that these gentlemen are dying and we are losing them, their stories, their personalities, their knowledge of the dance, their love and light and quirks and whatever. But this is a subject for another post.
Here is the background information from the "Tete y Silvia" website:
Pedro “Tete” Rusconi is the foremost teacher of the close embrace style of Argentine Tango, genuine Tango Salón.
Since 1996 Tete and Silvia have been dancing and teaching together. They have toured throughout Europe including Germany, France, Switzerland, Italy, Holland, Spain, Belgium and Sweden as well as the USA.
They offer group and private lessons and dance in exhibitions and performances.
They have participated in many international Tango Festivals. Tete and Silvia pay special attention to the compass, the sensitivity of the dancers, and the freedom of the movement.
Their tango-waltz classes are internationally acclaimed. Tete is noted for his individual style of musicality; Silvia is a master at tango technique and expression of the dance.
Their approach to teaching is complementary and their unique style encourages students to explore the tango for its personal and individual meaning and interpretation.
Paul Pellicoro (New York) included Tete & Silvia in his book "Paul Pellicoro on Tango" (2002). This book features the most important tango teachers from the last thirty years.
There is a section on the Tete y Silvia website about his friendship with Pina Bausch . The met in 1994 when Pina saw Tete dancing in Plaza Dorrego. I'm not sure when she died, but the information about their relationship is touching.
I makes me wonder if they were more than friends. Who knows? But they are dancing together now.
Dancing upon that thread of energy we call tango.
I leave you with this, Tete y Silvia dancing to Canaro's "Claro de Luna" at Porteño y Bailarín back in December of 2005. Video courtesy of Ney Melo.
Back to add some stuff...from their website..."up close and personal" with Tete y Silvia...on the subject of tango...
Tete by himself :: by Tete Rusconi
I can only tell the truth. Let’s not disguise Tango because it will get ruined in the end. No offense, I love Tango so let us please not disguise it.
Tango can be danced in a thousand different ways, but let’s step on the ground in the first place, because that is where we ought to dance to the music. Let’s not forget pleasure and love for Tango.
Kids these days tend to dance in the air. You can do many nice things, but please do them on the floor. Great Masters did all those nice things but mostly on the dance floor. The music, the beat of Tango is very beautiful. It’s a shame to ignore this.
On or off a stage, a dancer must live the music. Please wake up and realize what you do with the music, otherwise the moment will come when Europeans will return and try to sell Tango to us. I speak from the heart. I’m just another guy who dances.
I’ve taught workshops to teachers abroad, I never thought they could surpass our dancers. I wouldn’t like this to ever happen. There are people here that can dance ferociously well. So let’s stand up within our axis and avoid looking down to the floor.
Let’s not dance for an audience but for ourselves. Even on stage one has to dance for oneself; it shows better. Not because I’m showing others I should forget who I am or what music I’m dancing to.
There’s two to Tango. No dancer can dance without a lady. And a lady can make her partner stand out when she really understands him.
Even if Tango becomes a job you must not practice it without the music. You cannot teach “a step” for its own sake.
I appreciate your disposition to understand even though we do not always agree. My first loyalty remains with Tango: without the music, there is no dance, no Tango.
No teacher, no learner. The true teacher can only transmit the teaching that the Music has left him.
Silvia by herself Silvia Ceriani
A word is becoming familiar in all tongues throughout the world: Tango.
Tango refers to a specific scene, a man and a woman embrace and pace to the same tune and then some others join, and again a few others until they put together that everlasting merry-go-round: a milonga.
I was gifted with the chance to learn Tango from a man who dances it with his body and his soul, always giving priority to the spirit of the music, sensibility and freedom of movement.
Therefore, teaching to me is to share this treasure, aware that these concepts are valid for other styles and practices.
I believe that this ART which arises from movement will be the first and last faith in the world, and to dream that for the first time in this world men and women will achieve this result together.
Let me give you this piece of advice; don’t leave this world without dancing one tango.
And here is some additional information I found about Tete y Silvia on "www.TangoTales.com" There is a wealth of information here - interviews, letters, a link to a documentary about Tete - good stuff. Wow. How did I know know about this site!? There appears to be a regular radio show and Podcasts for iTunes. Tons of stuff here...check it out...
Which led me to this, on Rick McGarrey's website "Tango & Chaos". It's titled "Without Fear" and is about Tete.
Lastly, and finally, followers who have danced with Tete please leave a note, a story, a memory...thank you in advance...and thank you, dear readers, for making it all the way to the end of this post.
10 Jan 2010 :: Thanks to Cherie for finding this one...
[Note that Kely Posadas died on April 27, 2009. She and Facundo had ended their partnership in 2007. She was 69 years old.]
I first ran across Kumiko Ueki's interviews on Facebook. There are three interviews so far on her blog "Cuartito de los Milongueros" - Facundo Posadas, Raul Bravo and Jorge Torres.
It's obviously very important to get all the information we can from the people who have been around tango the longest - to record it in any way possible for the historic record - interviews, video, articles, reviews, documentary films. I would guess that not enough is being done in any organized or complete fashion to document the early years of tango. Much of it may ultimately be lost forever.
She has graciously granted me permission to re-post here. Many thanks to Kumi for her interest and efforts.
Facundo Posadas is one of the few old milongueros that remain in the tango scene. He has been dancing tango since back in the 50's, which was still in the tango golden age. He may be the only Afroargentine that tours around the world, known by his dancing and teaching Tango, Milonga and Candombe.
How long have you been dancing tango? How old were you when you started?
I’ve danced for many years. I started 55 years ago in youth meetings that we called “Asaltos”; the girls used to bring cakes and the boys refreshments. That was my beginning at 13 years old and Gavito was 11 years old at that time. Did everybody dance tango back then?
In those years people danced a lot and in those meetings. We listened to tipica (orchestra) and Jazz; tipica for “Tango” and “Jazz” because everybody danced that rhythm at that time. Hardly ever a Tango Orchestra was performing alone, in general it was accompanied by a Jazz Orchestra.
Did you go dancing with your friends or with your partners?
In those years, because we were so young we went dancing with a group of friends (male and female); we were not thinking to have exclusive partners or girlfriends.
What were Milongas like back then?
In the 50’s and 60’s, people danced respecting the line of dance. Nobody was hardly ever pushed or tried to pass the dancers in front of them. If someone didn’t dance well people had the patience to wait until the end of the song. In those years, the codes were respected. If there was no order, it is impossible to enjoy the dance. Why do we respect the order on a highway? Not being aware of this would create a serious chaos. Well the same applies for the dance floor. Nowadays people don’t respect it and produce chaos. They don’t care to follow the codes and have no clue about dancing in the place where the couple in front of you has left the space free. In those times they did care about this. A good dancer (leader) must have enough resources to dance and not to let his partner (follower) to be hit by other dancers. This I call dancing well.
Which Milongas did you go?
As the years passed we left the neighborhoods for “milonguear” (dance tango) in downtown. We went around to many different dance floors following the orchestras of our preference wherever they played. Many Saturdays we went to listen and dance with “Carlos Di Sarli’s Orchestra”. We stayed until one in the morning then immediately ran off to another place because “Anibal Troilo’s Orchestra” was playing. And another Saturday, for example, we went to see “Osvaldo Pugliese’s Orchestra” and later “Juan D’Arienzo’s Orchestra” as well, and this we called “Doblete”, (double night).
When was the most exciting time in the tango for you? “Tango Golden Age”
My beginning in the tango scene was in the “Golden Era” with friends who were older than me. There were “reales milongueros” (real tango dancers), and if they saw that you had a real style, they would invite you to practice. But if your purpose was only to spend time there just for fun they didn’t pay attention to you. They had us walk for months, and they said to us that in order to build a solid house one must have a solid foundation. No figures or tricks. If you don’t know how to walk, to step, or to put your feet in the right places; then you will never know how to dance despite what you believe.
Do you have any interesting or funny stories about tango from back then?
I have lots of memories and anecdotes of places that happened in my life. I remember that being very young I got into a cabaret called “El Dragon Rojo” (The red dragon), located at Uruguay Street between Peron and Bartolome Mitre’s streets. When I was going down the stairs, a man of my skin color stopped me, telling me that I was too young to be there. But he would go with me for some time and then I would have to leave. Imagine the jokes that people made on him because he was with a ‘negrito’ (little black). Many years later, I found out that this gentleman was “El Principe Cubano” (the Cuban prince). He accompanied Juan D’Arienzo for many years as his master of ceremonies. I also had the fortune to work with Jose Bassos’ Orchestra.
When was the first time you traveled overseas to teach tango? And which country was it?
My first trip to U.S.A. was in 1997 when I was invited to L.A. by Kobayashi who was a student and friend of Gloria and Eduardo Arquimbau and also the Director of the Tango Ballet in Tokyo. I continued my tour through Reno, invited by Alberto and Valorie. And Danel Bastone and Maria opened my door in NYC, and they made sure that I follow Bob Drosky through Montreal and Chicago to a place called “Tango nada mas” (Tango, nothing more) that was baptized by Gavito. To all these people, I owe my stay in U.S.A. until today and much more because I’m waiting for my residence and I will live my future days in North Carolina.
What do you enjoy most about tango?
I enjoy everything that tango offers me, all its passion, all its melancholy, the scent of a woman’s skin, her skin through her hands and cheeks, her perfume, her heartbeat. Mixing everything at once we get a cocktail called “Sensuality”; and without this chemistry, there’s no tango. They feel the same when they are in our arms, that we have to be gentle with our marks and movements, stepping correctly and simultaneously on the beat. We must dance INSIDE THE MUSIC and not before, it’s not possible to dance and then listen.
What is “Good Milonguero”? How could we become one?
To become a good milonguero, we need to respect who have more experience and not to be anxious to dance. The tango is patience; the tango waits; it’s an unattainable challenge that never ends. As the years pass, we must dance with more dignity. We can’t try to imitate the young ones, we can’t do what we were doing when we were 20 years old. We should dance thinking of our dance partners; be elegant with our moves; be subtle and transmit it to the person that we have in our arms.
In tango, we talk a lot about elegance. Could you explain what is elegant and what is not? What makes a dance beautiful?
How to be elegant while you're dancing means to have a good standing, to be relaxed; to step firmly and with precision; to make controlled steps and movements. We must lead our body wherever we want to go and not the other way around. It is very gratifying to see a good dancer making few figures; more than five in tango is too much. Just walk well. In the walking, one can see the elegance, and this is the most difficult thing in tango. Many people who have danced for more than 20 years do not know how to walk. They've been studying only figures, and in order to know how to walk, they will have to start all over again mending it and crossing through a long journey, erasing everything and starting from scratch.
Please tell us if there’s anything else that you would like to mention.
About tango wardrobe: In almost every opportunity of going out dancing women prepare themselves with anticipation, making this special event a ceremony. They dress with the best they have in some cases. They choose their stockings, shoes, dresses, etc. Almost always they match colors along with perfumes and hairstyles. To dash away with her sensual legs, they wear fishnet stockings, and by the way, who doesn't want to look at them with them? Men used to respond with the same coquetry, it was mutual respect. Nowadays on almost all dance floors, we see some men in jeans, shirts outside the pants, and snickers. Some don't even shave and their hair doesn't look very clean, not to mention the lack of perfume or deodorant. When I started dancing I noticed that women didn't accept dancing with men who weren't neat; they gave us the example or punishment that way. We all made sure to look good and most of all to have good breath, which one cannot hide in this cheek-to-cheek dance. The way to respect our female dance partners in the good tango is to be able to never give up these essential codes. We must learn again to respect those that accompany us in our embrace; like men used to do before the codes disappeared. We should come back and be men no machos.
In New York, we often have trouble with the “line of dance”. Could you explain what is line of dance to us, and what are the general rules? Are there any techniques we should know, or to practice to make it happen?
People on the dance floor have to respect their own line of dance; one cannot dance tango in zigzag. Imagine a highway where everybody circulates as they wish? To be able to follow the line we must stand at ninety degrees and return to the circulation, don't go any step backwards. And in very few opportunities, one could dance forward counterclockwise. I would say that there isn't any technique for this, only to be aware that we aren't alone. The dance floor is for everybody and not just for a few.
Tango has changed since you had started dancing. How do you feel about the changes? And do you have any messages and advise for us who are continuing to carry on the culture and to dance Tango?
Since I started, Tango has changed a lot. Many people in the dance halls today dance in order to be seen and neglect their partners just to show off.
These days the number of people dancing tango seems bigger. The tango went across borders. The dance made of one heart and four legs have conquered almost all societies of the world. It's wonderful how tango opened a door of communication, interlaced together without knowing the languages in order to enjoy this musical walk. It will never cease to be. Even if someone wants to change it; there will always be a milonguero defending it; is part of the culture.
I don't want to offend anyone with my beliefs or with my words; they are only supplication. From my almost sixty nine years of age, my humble wish is to not waste it or take it for granted, or try to change it. And if you dance with respect, the tango will give you the immense happiness that you were looking for.
The August 2007 issue of B.A. Tango -- Buenos Aires Tango magazine contains an interview by Tito Palumbo with Theirry Le Cocq of France.
He relates how he began with tango after meeting his partner Veronique at a swing dance. Although they had classes with different teachers in France, they never found anyone able to talk to them about the roots or culture of tango. Teachers only talked about technique, they didn't talk about feelings. He and his partner eventually travelled to Buenos Aires in 2000 and discovered another world. He asked someone to tell him who the best milonguero was, and Ricardo Vidort was pointed out to him in El Beso.
Ricardo became his friend and advisor, like a father. He learned that tango is not only a way of dancing, but a way of living. In the past he danced nonstop. Now he enjoys it in a different way. He doesn't need to dance nonstop, but watches and listens. This is what he found in Buenos Aires.
He comes once a year for three weeks or a month with Veronique.
Thierry says, I think the future of tango is milonguero because life is like that. We have to combine life experiences with technical knowledge. When we master both, we start appreciating the emotion of this dance. A full and calm emotion. It is better to learn this philosophy early, rather than later, when it is too late. This is what I try to show when I dance here, a little technique and a bit more of emotion dancing with the melodies that the composer provided. All this is my personal search. I will always remember Ricardo Vidort without whom none of this would have happened
