I have visited many first level classes, and I continue to do so, to confirm that a dance which has evolved fantastically in superior levels has yet to do so in the early learning stages.

It is vital that the teaching material, from the beginning, be immediately applicable and explain the reasons “why”. I would have liked to have had from the beginning the resources I describe here, in order to enjoy more and to reach the creative stages of Tango sooner. After a more winding path, full of mistakes, doubts and flaws, I intend to prevent this from happening to those I can reach.

Discovering a better way to teach has served as a slap in the face, as I realized that I was using an obsolete methodology. From then on, I worked hard to change content outlines and to give new fundamentals, improving methodologies and incorporating resources, with invaluable patience on the students’ part.

As there are so many different styles and theories according to every teacher, perhaps self-teaching is the key element to create one’s own more-or-less-supported explanations.

But I believe in self-teaching having tried many different theories. I believe in logic of movement when you have spent time studying it. I believe in searching for the right method to apply to different groups of people who are joined together by common interests. Unfortunately, this is how the Tango teacher is made.

I have had the chance to open beginner courses of Tango many times, and thus have been able to add more aspects to take into account, as well as to test, correct and prove the best methodological approach for students.

I have not spoken about Tango definitions or history. I have not filled up pages with bibliographical data. I have offered my experience at the service of whoever would like to learn from it to create better dancers.

When you read this piece of work, at first glance it seems to be a cold statement, detached from innumerable feelings Tango can generate.
I think teachers transmit contents which make students’ lives easier, and pave the way to logic of movement and economy of effort. Only when there is a comfortable relationship between the bodies can we allow the sensations to flood through us.

I can explain what dancing is about and what students should pay attention to in order to enjoy, yet personal experience is absolutely non-transferable and teachers should not determine students’ ability to sense the dance.
Because of this, I do not intend to explain to my students what my sensations are like nor how they should feel tango.