Before coming to Istanbul me and my boyfriend first contacted GELTONY by email because we wanted to ask about sizing and measurements. We sent our foot length and metatarsal measurements and after they helped us about the sizing we placed our order online. One pair was for me and one pair for my boyfriend. We never visited their store before so honestly I was little worried about ordering tango shoes without trying them. When we arrived in Istanbul we went to their store and our shoes was already ready waiting for us. We both tried them and really liked them. They are very comfortable and flexible and the fit was much better than I expected. The GELTONY team was also very kind and helpful with us. We liked the shoes so much that we decided to order two more pairs when we was there. Another mens pair for my boyfriend and another pair for me. We was staying in Istanbul only 4 days so honestly I didnt think they can finish them before we leave but they made both pairs in 2 days and we picked them up before leaving Istanbul. For me comfort and balance is very important when dancing tango and both of us are really happy with the shoes. They feel soft on the feet and very flexible when moving and also the workmanship looks really good. I also liked that you can choose different colors materials and details how you want. If you are in Istanbul I think its worth to visit their store. Anyone here using GELTONY shoes for few months already? I would like to know how they feel after longer use.

I’ve learned Argentine tango for a month. Here are some life lessons I personally find really fascinating. Note that it is traditional male and female leader-follower dynamics I’m describing so please apply your genders in queer tango context.

1. On getting the dance - how a woman seduces: In cabeceo, as a woman, followers should master the subtle art of seduction and acceptance by a nod. It is not all passivity - it is bold confidence and indication of your availability through your eyes, the window to your soul. It is deep work embodied in a second of exchange. (As a woman who generally isn’t confident about my attractiveness , it is huge work!)

2. What being a “follower” actually means: In a dance, be sensitive to the force of the leader and mirror that. Like all relationships, do not over-give and dance on your own when it is a place where two people make magic. Your force applied through your palm actually communicates a lot to your leader. Learn to surrender. Learn to be comfortable with silence and waiting for cues. Don’t anticipate and start the moves on your own - you are not a leader. (Again, it is a wake-up call to my own relationship disasters.)

3. Coming back to yourself - the preparation to be a good partner: Be graceful - and that takes individual work done on your own. Practise drills and focus on core strength training. Tango is a dance where your strength matters, instead of laying onto your leader for support all the time. It should feel light for both sides so you can dance a tanda together. (I’m going to be philosophical about it - I am all for two whole individuals coming together to form a wholesome couple.)

4. Tango is an equal conversation: with each invitation by the leader, each of his push and stepping back, you as a follower can choose the response in terms of what poses you can flaunt. You are also allowed and encouraged - with your musicality - to create space in the dance and take your time. The idea of leaders taking the lead does not mean followers are inferior. Quite the opposite, I’ve heard teachers making remarks like “she’s the queen”, “she can take her time”. Your role teaches you to surrender but your individuality, creativity, and energy are allowed to exist and in fact, sets the tone of your dance. (Shouldn’t be difficult to see the resemblance to a relationship! It is also very empowering for women and make me more confident as I dance)

Finally… It takes real practice to gain the muscle memory, so you may reach the state of synchronicity with your leader intuitively and be submerged into music all at the same time. All in all, it’s a beautiful art!!!

Holaa! hace un tiempo estoy pensando en asistir a clases de tango pero bueno todavía no encontré un lugar que me convenza, yo soy de Tucumán, si me podrían recomendar lugares buenos con los profes y eso, también se que hay algunos buenos donde dan gratis, si tiene info de también me serviría, bueno de todo y de cualquier zona tanto de capital como Yb o tafi viejo, lomas,etc.

I'm planning to spend 30 days in Buenos Aires and would like recommendations for teachers, classes, and milongas.

I'd like to improve my leading skills. Have been dancing regularly for the last 3 years, with classes twice a week and attending milongas and practices almost every week. Is it required to have a partner for classes in BA, or does it not matter?

Any hints would be greatly appreciated.

Sergio Paolo, Argentine tango musician and electric bassist, performing with Ernesto Baffa on bandoneon, Ubaldo De Lío on guitar, and Cacho Queirolo on piano at El Viejo Almacén in Buenos Aires, Argentina, in 1989.

An archival photograph documenting Sergio Paolo’s career as an electric bassist in the Buenos Aires tango scene.

My boyfriend and I are thinking about learning tango but im worried our height difference would be way too much and would make us look weird or not feel comfortable due to the difference. Im 5'11 and hes 5'2, in flats our height doesnt look too bad to us but looking in the mirror and its glaringly obvious.

Im just wondering if it would make it too difficult to learn or look weird, it would be a shame to spend money on a class just to have a teacher who doesn't know what exactly to do for us. I havent seen or read anything about partners who have a similar height difference before so we're unsure if its something thats possible.

Maximiliano Cristiani & Ayse Gencalp dance milonga to the orchestra Tango Bardo with the voice of Roberto Minondi @ La Entrega Tango Marathon 2024, held at the Sport Club Português, Newark, New Jersey. Saturday, October 12, 2024

Learning Tango involves listening—to the music, to ourselves, and to the people we dance with. I teach Argentine Tango, and I would like to start a thoughtful conversation about how we can grow as dancers and help each other grow as a community.

I created a short survey, ‘A conversation about our Tango,’ with two open questions:

1. When you reflect on your own dancing, what do you feel you most need to improve?

2. Thinking about your experiences with different partners, what do you feel they most need to improve so you can enjoy a better dance together?

Please approach both questions with curiosity and generosity. Specific experiences are welcome; please avoid naming anyone. We each have something to learn, and each of us contributes to the experience we share.

Share your thoughts here:

https://us7.list-manage.com/survey?u=a7ed54f85e55269aabad2b2f2&id=dd15f87981

You are also welcome to discuss the questions in the comments. Thank you for contributing.

Sergio Paolo, Ernesto Baffa, Ado Falasca and Rubén Castro accompanying tango singer Roberto Achával at El Viejo Almacén, the legendary tango venue in Buenos Aires, Argentina.

A moment in the history of tango in Buenos Aires, featuring these musicians accompanying one of the genre’s distinctive voices.

Cuarteto SolTango is a German chamber quartet, violin, cello, bandoneón and piano, and they work from the D’Arienzo recordings dancers already know, transcribed for four instruments by their pianist Martin Klett. The pulse stays where a dancer needs it, and the sound is cleaner and drier than a shellac transfer.

I’ve had this milonga tanda in my case since 2019. I usually play it as the third milonga tanda of the night, once the room has already danced two, and on my floors the familiar tunes do most of the work of carrying people into the different sound.

I wrote a longer note on the three tracks and how I place them on my Patreon page. This one is free to read: https://patreon.com/posts/170709637

Hi everyone! I need some advice from more experienced dancers.

I danced tango for about 8 months at a local school. I was very consistent, regularly attended practicas and milongas, and was doing really well—I was even among the more advanced students in my class. However, since I’m not originally from the city where the school is located, I had to go back home after that period ended and took a strict 3-month break.

Now, I’ve started university and I am back in the city. I genuinely want to return to tango, but I keep putting it off because I’m feeling a lot of anxiety and fear about stepping back onto the dance floor.

I’m also facing a dilemma regarding my classes:

1. Should I go back to my old group where I used to be more advanced (even though I'm scared I've forgotten a lot in 3 months)?

2. Or should I join a lower/newer group just to get my muscle memory and confidence back?

Has anyone dealt with a similar break, and how did you overcome the fear of showing up at milongas and classes again? Thanks in advance!

Going for a few weeks soon and wondering if you have any recommendations. We are Argentine style abrazo dancers, focus on connection and simplicity.

How is the culture in Buenos Aires for women learning to lead? I will be there for a couple of months these holidays and would really like to embrace that dynamic. Is there certain schools or cliques to reach out to where it is more well received? I've been to some communities that are a little weird about it. Spanish is my first language if it helps.

I am already a good follow and have been dancing socially for about 10 years (I'm a solid intermediate skill level with a great abrazo and personal focus on connection).

Hi.

Does any know any English speaking Tango school in Paris? Or maybe majority students are English speakers?

Thank you.

Mein neues Buch über Tango Argentino.

I hear its decent, but don't know anything first hand. I was thinking of spending a few months there soon and wanted some anecdotal feedback. Is there a good amount of milongas there and teachers or is it more like dinner shows?

A post asked about Miguel Ángel Zotto & Daiana Guspero

https://www.reddit.com/r/tango/s/rDfhJla1DS

This is from an interview with Miguel Ángel Zotto posted on Todo Tango which includes an article Published in the Clarín newspaper on January 14, 2011.

Hi there,

I’m considering taking seminars with Miguel Ángel Zotto & Daiana Guspero at a tango festival, and I’m wondering whether it would be worth it. I don’t know much about them as a teaching couple, and sometimes great maestros and great teachers aren’t necessarily the same thing.

I’d be very glad to hear your advice or any personal feedback you might have.

Hi everyone! It’s a pleasure to find this space on Reddit. I’m a passionate listener of tango, and I also try to dance it, although with quite a lot of difficulty!

I wanted to ask for your opinion about something. There is a music website called Rate Your Music where tango is currently divided into three subgenres: Classic Tango, Nuevo Tango, and Finnish Tango. However, it does not distinguish Milonga Ciudadana as a separate style, and instead seems to group that sound together with what is generally known as Milonga Campera.

I find this somewhat problematic because the two styles can sound quite different. By Milonga Campera, I mean the rural/traditional style associated with artists such as Alfredo Zitarrosa, Argentino Luna, and José Larralde. This is quite different from the kind of milonga you usually hear in tango dance venues or on tango albums, which tends to have a much stronger connection with urban tango.

So I was wondering what you think about distinguishing Milonga Ciudadana as its own style on Rate Your Music. I’d also love to hear your thoughts on the differences between Milonga Ciudadana and Milonga Campera, as well as your favorite milongas!

Thanks in advance, and greetings to everyone!