By the time I took my first lesson, which occurred in a small town in Germany, neither had I known anything about argentine tango, nor had intended to learn that; it was a pure coincidence. I suspect what intrigued me and pushed to take the second lesson was the way of leading-following in tango, which I was supposed to believe in: a bizarre system in which the woman responds to "a signal coming from the man's chest", how funny! Well, I gratefully admit I had good teachers, and the second class turned things upside up.


Later, staying for a short while in London, UK, where the variety of tango styles is almost as great as that of women's tango shoes, I realised that the tango world is huge, much bigger than a dance can encompass. But the real discovery of that world began after my first (Toronto's second) tango festival. Since then tango turned into more than a delightful dance, but also a search for the common mechanism that allows two antipodal people comfortably communicate on the dance floor. This is what makes tango so appealing to me: its capacity to be a piece of art with its beauty and emotiveness, and, at the same time, a chess-like theory with its rules and logic. To name just a few of the instructors, who helped perceive this logic and inspired me to get involved in this kind of art, the Argentinians Pablo Villarraza & Dana Frigoli are outstanding teachers and dancers. Of North American ones, I especially acknowledge classes with Alex Krebs, Jaimes Fridgen and Tara Fortier.

There are way too many fascinating videos to list, but I have picked ones that I could recall upon writing this bio:
Sebastian Arce & Mariana Montes
Pablo Villarraza & Dana Frigoli
Geraldine Rojas and Javier Rodriguez
Luna Palacios & Oliver Kolker
Pablo Inza & Moira Castellano
Julio Balmaceda & Corina de la Rosa