Escuela de Tango de Buenos Aires

Antes de conquistar Nueva York, el Tango ya había encendido París. Este video de la serie Historia del Tango explora la posibilidad de que Valentino haya visto bailar a Casimiro Aín y Jasmine en el cabaret Princesse de París. Aín y su compañía llegaron a Nueva York el 15 de noviembre de 1913.

Before Tango conquered New York, it had already set Paris on fire. This short from the History of Tango series explores the possibility that Rudolph Valentino saw Casimiro Aín and Jasmine perform at the cabaret Princesse in Paris. It is also plausible that Valentino and Aín met, since many Argentinians in Paris shared Italian heritage and language. Aín and his company arrived in New York on November 15, 1913, becoming part of Tango’s early transatlantic expansion.

A forward ocho is the combination of forward walking and pivoting. In this short Argentine Tango exercise, we begin from the position of a forward step: axis aligned over the supporting leg, free leg extended, and the ball of the foot ready to receive the weight. As the weight transfers, the pivot begins in the torso and travels downward through the body in a spiral until it reaches the foot. Use this exercise to improve balance, axis, weight transfer, and clarity in your forward ochos. Subscribe for more Argentine Tango technique, exercises, and movement insights.

A brief highlight from the concert of El Ensamble de Guitarras de la Academia Nacional del Tango, presented on April 6, 2026 at Av. de Mayo 883, Buenos Aires, during the first academic plenary of the year. Directed by Rodrigo Albornoz.

In this excerpt from Tango, Our Dance (Jorge Zanada, 1988), María Nieves speaks with rare honesty about what Argentine Tango meant in her life. Her words remind us that Tango is not only dance, but passion, identity, and a way of being in the world. Today, this testimony carries even more emotion, as we remember one of the most unforgettable women in the history of Tango. María Nieves lives forever in Tango.

Tango begins where steps end. This is what we train:connection, musicality, and presence. Argentine Tango Mentorship ProgramSan Francisco & San Jose + Private & Online 👉 https://escuelatangoba.com/marcelosolis/argentine-tango-mentorship-program/

At a Buenos Aires milonga, Blas Catrenau reminds us that Tango is not fashion, but living tradition.

This video is part of a series on the lost diversity of Tango. When Tango resurfaced in Argentina in the late 1980s and early 1990s, dancers could still witness in the milongas a generation formed during the Golden Era and its immediate aftermath. They did not all dance alike. Their ways of walking, phrasing, embracing, turning, and conversing with the music were immensely varied. In this video, we can observe Leonardo “Petaca” Lerman and Marta Antón, and through them, remember that Tango was never one single style. It was, and can still be, a living diversity.

In this short video, I practice slow forward and backward ochos using a chair exercise to refine pivot quality in Tango. The focus is on controlling inertia, using the whole body through dissociation, and becoming aware of each stage of the pivot. Slow work develops control, sensitivity, and the kind of awareness that supports a clearer connection with a partner. 💃🏻🕺 If you practice Tango, this is a simple but powerful way to improve your movement from the inside.

En 1920 el cabaret Princess de París reabre bajo la dirección del músico argentino Manuel Pizarro. Entre los invitados aparece Rodolfo Valentino, quien años antes había sido compañero de cuarto del músico Celestino Ferrer en Nueva York. Este episodio conecta el Tango, París y el nacimiento del star system de Hollywood.

In 1920 the Princess Cabaret reopened in Paris under the direction of Argentine musician Manuel Pizarro. Among the guests were Mistinguett, Georges Carpentier, Maurice Chevalier, and a young Rodolfo Valentino. This short video tells the story of the moment when Tango intersected with the rise of Hollywood.

Silla = punto de conexión en el espacio. Mantené el torso “con” la silla mientras las piernas caminan alrededor (adelante, costado, atrás) con pivotes. Sumá ochos adelante, ochos atrás y combinaciones. Torso calmo, piernas libres.