The Vanishing Art of the Milongueros: Studying Recordings of their Dancing that Preserve their Legacy

February 18, 2018
  • Milongueros have served as role models for developing male tango dancers for decades, first in Buenos Aires, and thereafter throughout the world. Milongueros value the tango embrace and the emotions shared with one’s partner. Their compact movements respect the space of other dancers on the milonga dance floor. The direction of their movements (i.e., navigation) prevents contact with other couples on the floor. The unique contribution of milongueros is the interpretation of tango music in their dancing.
  • Developing tango dancers have learned how to dance from milongueros through direct instruction and through observation of their dancing in the milongas of Buenos Aires. However, with each passing year, due to death or poor health, there are fewer and fewer milongueros from the Golden Age of Tango available to serve as role models for tango dancing.
  • In the place of milongueros, tango instructors who are stage performers, practitioners of Tango Nuevo, and tango dance competitors have become the new role models for tango dancing worldwide; the expansive exhibitionist movements taught and demonstrated by these instructors fail to provide tango students models for effective navigation in the milonga. Partner connection through the embrace is lost in movement through various partner distances and orientations. Musicality becomes subordinate to utilization of a repertoire of steps. For women, movement of the feet in the air in various directions replaces maintaining a comfortable partner connection as a focus in dancing. This Evolutionary Tango is creating a new identity for tango that is different from that of the Traditional Tango of the milongueros.
  • Fortunately, there are numerous recordings of milongueros dancing tango from which contemporary tango dancers can learn to improve their understanding of the essence of Traditional Tango dancing that evolved in the Golden Age. These recordings preserve the vanishing dance art of the milongeuros. Demonstrations of tango dancing usually provide the clearest visual images of milongueros dancing. Rarer recordings of milongueros dancing in the milongas of Buenos Aires provide good examples of navigation on the social dance floor.
  • This post presents recordings of milongueros dancing tango, in particular those milongueros with whom First World tango dancers are familiar. Their interpretations of popular classic tango music for dancing are compared to recorded interpretations of the same music by contemporary instructors of Evolutionary Tango, in order to show the contrasts in style. An Appendix of video recordings of the dancing of milongueros is provided for further study.


Milongueros are men for whom dancing tango in the milongas of Buenos Aires has been a central part of their lives for decades. These men have preserved the traditions of tango in their dancing, in their knowledge of tango music for dancing, and in their adherence to the codes of behavior at milongas. They had their initiation to tango during the Golden Age (approximately 1930 – 1955), when classic tango music, milongas, and tango culture flourished throughout Buenos Aires.

Milongueros have served as role models for dancing tango for decades. However, most milongueros have either passed away or have poor health that prevents them from dancing. Therefore, authentic role models for traditional tango dancing are vanishing. As the Golden Age in which tango traditions were established fades from the consciousness of tango dancers, so does adherence to tango traditions. This has significant implications for the future of tango dancing, particularly for the entire world outside Buenos Aires, where direct exposure to tango traditions has been rare. The absence of preservers of tango cultural traditions allows for a market driven reformulation of tango that loses the essence and unique qualities of tango. To some significant degree, preservation of the dance images of milongueros in video recordings provides an understanding of the manner of dancing of the milongueros. At this point in history and in the future, this will be all that remains.

Learning to Dance Like the Milongueros  

During the Golden Age of Tango, most men first earned to dance tango from other men, either informally or more formally in practicas, typically held at community centers. (Some men initially learned to dance from family members.) Women did not participate in practicas because their social lives were controlled more strictly. Some of the men from whom they learned at practicas were or would have been considered to be milongueros, men whose experience dancing tango actively guided the development of other male dancers (i.e., through interactive learning). Reports of this initial phase of learning to dance tango are often nonspecific with respect to its duration, except to indicate that it was ‘long’ (The Traditional Way to Learn to Dance Tango). At some point the tango dance student was told he was ‘ready’ to go to the milonga. His initial experiences at the milonga consisted primarily of observing experienced dancers (i.e., observational learning). In this phase the milongueros provided models for dancing tango which developing male dancers could emulate.

Since the Tango Revival in the mid 1980s, the conditions for learning to dance tango have changed due to changing social and economic conditions. In Buenos Aires, instructor focused group classes with both men and women students have become the norm for learning to dance tango, thereby resembling, in this respect, First World social dance classes. In some cases private instruction for an individual or couple could be provided. However, few milongueros have taught tango dancing in these classes and private lessons, because they have been interested primarily in dancing in the milongas. Neverthless, some milongueros have taught tango dancing. In any case, in Buenos Aires, the dancing of milongueros in the milongas still has served as an example for developing tango students to emulate, although fewer are dancing there with each passing year.

The experiences of First World tango dancers in learning to dance tango have been very different from that of porteños. People from First World cultures began having their first exposure to Argentine Tango in the late 1980s and 1990s by attending tango stage productions casting Argentine dancers. In some of the early shows (e.g., Tango Argentino), dancers with Buenos Aires milonga experience participated and there were some scenes depicting milongas, but the dancing did not accurately represent the Tango de Salon of the milongas in that movements were enlarged in order to be seen, were made more dramatic to captivate audience interest, and were choreographed rather than improvised (Stage Tango / Show Tango / Exhibition Tango / Tango Fantasia / Tango for Export). Tango stage productions piqued the interest of performance attendees in tango dancing, thereby creating a demand for instruction in tango dancing. Numerous stage performers met this demand by teaching First World developing tango dancers a simplified version of dancing including elements of stage tango. Notably, in this manner of dancing tango there was no embrace between partners, thereby bypassing one of the primary characteristics of dancing tango (The Essence of Tango Argentino). By the end of the 1990s, this manner of dancing tango, which became known as ‘salon (style) tango’ in English speaking countries, had become the predominant form of dancing tango in First World tango social dance events advertised as ‘milongas’.

Beginning in the mid 1990s Susana Miller from Buenos Aires recruited milongueros Pedro ‘Tete’ Rusconi and Cacho Dante to teach in North America and Europe a manner of dancing she labeled as ‘milonguero style tango’. This style of dancing differed from the so-called ‘salon style tango’ taught by most tango instructors by incorporating an embrace maintained throughout the dance as well as smaller, relatively inconspicuous movements. (Salon Style Tango, Milonguero Style Tango, and Tango de Salon in Buenos Aires and in North America). This ‘milonguero style tango’ taught by Miller and some of her North American and European students resembled the Tango de Salon Estilo Milonguero (Estilo del Centro) danced by milongueros, but in the absence of the milongueros themselves teaching (as became commonplace), these instructors could not provide examples of the complexity and uniqueness of the dancing of milongueros. In general, developing tango students in North American and Europe had limited exposure to Tango Estilo Milonguero in their home environments, and the information they received was conflated with conflicting images provided by instructors teaching a modification of tango dancing designed to appeal to the cultural tastes of First World cultures (Trans-Cultural Diffusion and Adaptation of Tango Argentino in the 20th Century). Nevertheless, despite the abundance of misinformation regarding social tango dancing provided by tango instructors, some developing First World tango dancers traveled to Buenos Aires to witness the tango danced in the milongas – Tango de Salon – of which Tango Estilo Milonguero, broadly defined, has been the most prevalent stylistic variant [Tango de Salon: the Tango of the Milonga (Part II of ‘Tango Styles, Genres and Individual Expression’)].

Beginning in the early 2000s, variations and derivations of Tango Estilo Milonguero, often labeled as ‘close embrace tango’, became a popular dance style in First World countries. In the United States, organizers of the Denver Tango Festival invited North American and European tango instructors, most of whom had learned directly from Argentine instructors, to teach ‘close embrace tango’ [The Rise and Fall of Tango Milonguero in North America in the 21st Century (Highlighting the Denver Tango Festival)]. This festival, as well as later similar festivals in San Diego and Atlanta, became gathering points for aficionados of ‘close embrace’ tango. However, these festivals rarely included milongueros on their teaching roster, with the appearance of Ricardo Vidort at the Denver Tango Festival in 2005 (video) perhaps being the only such occasion. After Gustavo Naveira, co-founder of Tango Nuevo, taught workshops in 2009 in Boulder, Colorado (a suburb of Denver), advertised as ‘Tango Milonguero’, the Denver Festival (and the San Diego and Atlanta festivals) began to replace (First World) instructors teaching their (‘close embrace tango’) interpretation of Tango Estilo Milonguero with instructors teaching more contemporary adaptations of tango (e.g., Tango Nuevo, Tango Campeonato) that were becoming the stylistic variants of choice for aspiring tango students.

In 2006 the Chicago Mini Tango Festival was initiated and focused primarily upon teaching various representations of Tango Estilo Milonguero, with Susana Miller and Maria Plazaola from La Academia de Tango Milonguero in Buenos Aires as the primary instructors. In subsequent years, several milongueros were invited to teach tango, including Pedro ‘Tete’ Rusconi (2007), Roberto ‘Pocho’ Carreras (2008), Ruben Harymbat (2008 & 2009), and Alberto Dassieu (2010). The instructors invited to the Chicago Mini Tango Festival subsequently toured North America and taught Tango Estilo Milonguero in local tango communities. However, during the 2010s the Chicago Mini Tango Festival, which had been the only North American tango festival that regularly had hosted milongueros to teach, has shifted away from Tango Estilo Milonguero to Tango Campeonato as a primary focus (See 2018 instructor list and accompanying videos).

In the late 2010s there have been few, if any, milongueros invited to teach tango in North America, primarily because there have been fewer active milongueros available to invite, due to mortality or poor health. To have danced in the milongas of Buenos Aires, even during the end of the Golden Age in the mid 1950s, one would need to be about 80 years old or older in 2018. One milonguero who is still teaching tango outside Argentina is Ernesto Hector ‘El Flaco Dany’ Garcia, who has recently been living part of the year in Romania (Todotango) and teaching tango (primarily) in Europe. In 2018, there do not appear to be any milongueros teaching tango in North America. Nestor La Vitola, who toured North America in 2008, still appears to be teaching tango in Buenos Aires. Cacho Dante also still appears to be teaching tango in Buenos Aires. Pedro Sanchez, with whom many First World tango dancers have studied tango, may also still be teaching in Buenos Aires.

Nevertheless, with the few exceptions mentioned above, for the most part today there is only one way to learn to dance tango from the milongueros of the Golden Age of tango – by observing their dancing, of which there are two means to do so, either by watching those still dancing in the milongas of Buenos Aires, or by studying the video recordings of their dancing. For those who do not travel to Buenos Aires and directly observe dancing in the milongas there, the only accessible means of observing milongueros dance is via video recordings. These recordings are of two types – recordings of their social dancing in the milongas of Buenos Aires (see Jantango’s YouTube collection, as well as Milongueros Dancing Tango in the Milongas of Buenos Aires) or recordings of their demonstrations (typically at milongas), of which there are many available on YouTube. Since it is this latter category that reaches the widest audience, an examination of some of these recordings is insightful for the purpose of evaluating the exposure of developing tango dancers to role models for tango dancing today.

Examination of Recordings of Tango Dance Demonstrations: Milongueros vs. Contemporary Tango Instructors

The recorded demonstrations of milongueros dancing tango are a lasting resource for developing tango dancers to consult in their education regarding how tango has been danced for decades in the milongas of Buenos Aires. Although recordings of milongueros dancing in the milongas provide the ultimate verification of their dancing in the appropriate social context, and should be studied in any case, most recordings of this dancing are brief and the observer’s view is often obstructed by the movements of other dancers; the recordings of demonstrations provide an unobstructed view of dancing to a complete song.

Referenced below are recordings of the demonstrations of tango dancing for 6 milongueros, 5 of whom are deceased at the time of this posting. There are 2 demonstrations each for tango, vals, and milonga. These men have all taught tango in First World countries. The demonstrations of the milongueros are contrasted with tango dance demonstrations given by popular contemporary Argentine tango instructors who tour in First World countries. This contrast is provided to indicate the different images presented to developing tango dancers by contemporary tango instructors compared to that provided by milongueros. These different images have different influences on the development of tango dancing in First World milongas.


1. Carlos Di Sarli “Comme il faut”

a. Ricardo Vidort (1929 – 2006) & Myriam Pincen

This dance is characterized by small steps and therefore slower movement. The repertoire of movements is diverse but limited to standard elements of tango social dancing, including walking inside and outside partner, in parallel and crossed feet positions, sometimes resulting in a cruzada, as well as back ochos, the ocho cortado, and clockwise and counterclockwise giros. Ricardo times his movements in close connection with the rhythm of the music. The embrace is maintained throughout the dance, which in conjunction with the softer and slower movements communicates an impression of an intimate partner connection.

b. Julio Mendez & Mariana Galassi

This dance is characterized by long steps and therefore rapid movement. Opening the embrace creates space for conspicuous movements. The repertoire includes numerous elements designed to attract attention, such as arrastres, back sacadas, colgadas, cuatros, deep sacadas, ganchos, high boleos, planeos, sweeping turns and volcadas. The long rapid steps and high kicks would create navigational hazards on the milonga dance floor. The dance is directed outward towards the audience, not inward within the couple’s embrace.

2. Juan D’Arienzo “Amarras”

a. Ruben Harymbat (1939 – 2015) & Enriqueta Kleinman

This is a relaxed dance, with the partners maintaining the embrace throughout the dance. Both Ruben and Enriqueta keep their feet close to the floor with small steps, creating a smooth dance. Much of Ruben’s dance consists of walking, using both single and double time steps in playing with the music, but he is never in a hurry. His steps are simple, including some back ochos, the ocho cortado, and giros, but with the exception of several sacadas, nothing that is particularly attention attracting. Enriqueta occasionally uses subtle ornamentation; the few boleos she uses are all led and maintained close to the ground.

b. Ezequiel Farfaro & Noelia Hurtado

This dance is characterized by long steps and therefore rapid movement. Ezequiel’s use of paradas on several occasions breaks the connection with the music. His dibujos are conspicuous in covering a wide radius. Noelia lifts her feet high off the floor on several occasions, and even her low boleos have a wide radius. On a few occasions Ezequiel uses deep sacadas as well as a deep gancho (i.e., both make contact high on the thigh); use of these movements at a milonga could be considered vulgar because of their invasiveness. There is frequent interwrapping of legs that is a conspicuous feature of this dance.

B. Vals

1. Juan D’Arienzo “Pabellon de las rosas”

a. Pedro ‘Tete’ Rusconi (1936 – 2010) & Silvia Ceriani

Tete and Silvia dance in an embrace throughout the dance; the position of their arms is stable. They use small steps and keep their feet close to the ground. Neither Tete nor Silvia use adornments. Tete keeps Silvia’s turns compact. He is constantly playing with the rhythm of the music, alternately stepping on either 1, 1 & 2, and 1, 2 & 3 of the vals rhythm. He also creates pauses and suspensions in Silvia’s dance, giving her time to complete her movements.

b. Daniel Martinez & Adriana Salgado Neira

Daniel and Adriana’s dance is characterized by flexibility in partner position, including an embrace, an open hold facing each other with both hands on the partner, a side by side position with both moving facing and moving forward and arms outstretched forward in the direction of movement (0:16 – 0:19) [a modified promenade position], a one hand hold transition position, and the al reves position (1:29 – 1:40). Their dance is rich with conspicuous adornments, including high kicks by Adriana, and ganchos and large radius dibujos by both dancers. Other stage tango moves include jumps and lifts and twirls.

2. Juan D’Arienzo “Valsecito criollo”

a. Alberto Dassieu (1936 – 2013) & Elba Biscay

Alberto and Elba dance with their feet close to the ground, taking small steps. The dance is structured around small radius turns. Alberto waits for Elba to complete her movements. He repeatedly plays with the rhythm, stepping on counts 1, 1 & 2, and 1 & 2 & 3 of the vals rhythm. Neither Alberto nor Elba use adornments during the dance. They maintain their embrace throughout the dance.

b. Fernando Sanchez & Ariadna Naveira

This dance begins with Fernando and Ariadna dancing facing each other at arm’s length and the entire dance sequences through numerous variations in partner hold, including an embrace, dancing side by side, release to a one hand hold with an under arm turn, as well as a complete separation of partners. These changes in partner position occur rapidly. Close partner connection is not emphasized in this dance. Back sacadas are used by both Fernando and Ariadna as part of the changes in partner orientation. To add to the exhibitionist nature of this dance, Ariadna lifts her legs high off the floor and directs these movements outwards on several occasions, which would be a collision hazard on the milonga dance floor.

C. Milonga

1. Francisco Canaro “Milonga sentimental”

a. ‘El Flaco’ Dany Garcia (b. 1936) & Silvina Vals

Dany leads the dance with smooth, soft steps. He engages in considerable improvisation involving changes in timing (in conjunction with the rhythm of the music), varying degrees of weight changes, varying foot positions, including numerous changes of direction. He leads small radius turns. With the exception of a final high boleo, Silvina conservatively interjects soft, discreet, and relatively inconspicuous adornments (mostly taps) that accent the music. An embrace is maintained throughout the dance and, with the one exception noted, feet are kept close to the floor.

b. Chicho Frumboli & Eugenia Parilla

 This dance is very dynamic, including changes in posture, the embrace, and the position of the feet. There is noticeable vertical movement of the torsos throughout much of the dance. Eugenia repeatedly lifts her feet off the floor in walking and often uses high kicks. Chicho’s left arm is active in shifting Eugenia on her axis, which does not always remain perpendicular to the floor; this results in vertical swaying of the shoulders and the hips. The dance begins in an embrace, but the embrace is opened about one-third of the way into the dance, at which point movements become larger and more varied, including rapid changes of direction at several points. In addition to high kicks by Eugenia, other conspicuous movements that are uncharacteristic in dancing milonga include an arrastre, a back sacada, a colgada, and a saltada. This is a dance designed for display not for close connection with one’s partner.

2. Francisco Canaro “No hay tierra como la mia”

a. Osvaldo Cartery (1939 – 2015) & Coca Cartery

Osvaldo and Coca take small steps close to the ground, using simple movements such as walking, la cunita, and the ocho cortado. They use small radius turns. They do not use adornments. Their movements are not hurried, even when transitioning into a quick time rhythm. They maintain the embrace throughout the dance, in a stable body position, without significant vertical movement.

b. Sebastian Arce & Mariana Montes                

This dance is characterized by sharp and rapid movements, including stomping and kicking high off the floor. There are conspicuous vertical body movements while walking. There are numerous variations in partner position utilized, including an embrace, an open hold (with rapid changes in partner body orientation at times), a one-hand hold, and complete partner separation. Numerous exhibitionist stage movements are used, including lifts, jumps, ganchos and sentadas.

Contrasts in Tango Dance Role Models: Traditional vs. Evolutionary Tango

The Traditional Tango of the milongueros focuses on the embrace, the connection between man and woman, and the interpretation of the music. It is in the embrace that emotions are shared. In their dancing, milongueros show that they value the embrace, by maintaining it in a comfortable position. The message communicated by contemporary Argentine tango instructors is that the embrace is a starting point along several dimensions of varying distances and orientations between and around partners that are explored for movement possibilities. Lost in this transition is the intimacy of which tango is capable. Instead, this Evolutionary Tango is built on outward display.

The Traditional Tango of milongueros is characterized by small partner-oriented movements, with little fluctuation in the vertical plane. This results in a soft and smooth progression across the floor that supports a calm and stable partner connection. Much of the dance of Evolutionary Tango instructors consists of rapid progression, punctuated at times by vertical movements (e.g., ganchos, boleos, cuatros, saltadas) and quick changes in orientation or direction in the horizontal plane.

In the absence of large and conspicuous movements, expression of the music becomes prominent in the dance of the milongueros. Musicality is evident in changes in velocity (but rarely size or intensity) of movements, as well as by pauses and suspensions. Evolutionary Tango instructors indeed have musical expression, often translated into intensity of movement. The musicality of these instructors often becomes obscured behind the rapid movements along different spatial dimensions.

With the loss of milongueros from the worldwide tango scene, mostly what remains as an example of tango dancing is the exhibitionist dance of the Evolutionary Tango instructors. In Buenos Aires, the example of Traditional Tango dancing is maintained in the traditional milongas, and by tango instructors who teach this manner of dancing. In contrast, in First World countries, there is rarely the community standard of the traditional milonga [Do Milongas Exist outside Argentina? (The Milonga Codes Revisited)], with regional encuentros milongueros serving as the only refuge for tango traditionalists. There are still a few traveling tango instructors who visit First World Tango communities and teach their interpretation of Tango Estilo Milonguero, but most are women (e.g., Susana Miller, Alicia Pons, Monica Paz). Their instructional content is not inherently misrepresentative, but inevitably incomplete. A woman instructor may be able to communicate effectively the woman’s experience dancing with milongueros (in terms of the woman’s role in partner connection and communication), but cannot convey the experience of milongueros as creative improvisers of movement linked to tango musical variation. Given that musicality is such an essential feature of dancing tango, workshops given by these instructors are often reduced to practicing step patterns. Argentine men who dance Tango Estilo Milonguero and travel to teach are an almost extinct class, and men from First World countries who teach their interpretation of Tango Estilo Milonguero can only communicate what they have learned, which is a knowledge of the dance that has been diminished by cultural filters and considerable distance in time and space from the milongueros who have danced in the milongas of Buenos Aires for decades. This is not to say that studying with these aforementioned instructors is a complete waste of time and money, but it is insufficient to achieve mastery of the dance.

In contrast, almost all Evolutionary Tango instructors travel as couples, with the male instructors generally capable of demonstrating clearly their skills in exploring the spatial dimensions in partner connection. Since it is the man who leads and thereby determines the character of the dance (although women can certainly apply their influence in kicking), Evolutionary Tango instructors have a greater impact on the development of dancing within tango communities. Therefore, in First World countries, the influence of Evolutionary Tango instructors and their disciples is more prominent, and it is not at all surprising that many First World milonga floors have become a stage for exhibitionism.

Given the nearly complete departure of milongueros from the First World tango scene, the most authentic role models for Traditional Tango dancing are no longer available in First World tango communities. Instead, a brand of Tango Milonguero (or ‘close embrace tango’) is marketed under the One Tango Philosophy umbrella, and in a blatant misrepresentation Evolutionary Tango instructors have even been inserted in place of milongueros in the depiction of Tango Milonguero (see Wikipedia: Tango Milonguero). Indeed, Evolutionary Tango instructors such as Gustavo Naveira & Giselle Anne, Homer & Cristina Ladas (video) and Joachim Dietiker & Michelle Marsidi (video) [the latter two couples under the guise of the ‘close embrace tango’ rubric (Variations in the Tango Embrace – ‘Open Embrace’ and ‘Close Embrace’ Styles of Tango: The Evidence from Buenos Aires Milongas)], teaching as couples and offering the embrace in tango as one option among many variations for dancing tango socially, have displaced Tango Milonguero only instructors as role models for social dancing.

In order to develop a deeper understanding of the tango dance of the milongueros, today it is necessary to study the recorded legacy of their dancing. Of course, the subtlety of their dancing may not be appreciated without prior exposure to Tango Milonguero. Instructors who specialize in teaching Tango Milonguero may be helpful in providing an introduction to this style of dancing. Immersion in the traditional milongas of Buenos Aires (not the tourist traps or practicas nuevas) is also a necessity for understanding the how milongueros dance tango. In any case, with repeated study of the way milongueros dance tango, a tango dancer will be developing a manner of dancing that is appropriate for the social context of the milonga, as well as rich in the interpretation of classic tango music for dancing.


APPENDIX: Milonguero Video Library

Included here are recordings of milongueros’ dance demonstrations and dancing in milongas. Recordings of this type may be difficult to find if one searches for tango videos on YouTube without specific mention of the names of milongueros.  The milongueros selected here are known in First World countries either because they have taught tango there or because tango dancers from First World countries have taken classes or private lessons with them in Buenos Aires. These videos could serve as a course of study for developing tango dancers. An astute observer will notice the stylistic differences among the milongueros, in choice and style of movements and in interpretation of the music.

Additional videos of milongueros dancing are available in Jantango’s video library.


A. Ricardo Vidort (1929 – 2006)

– Demonstrations

(1) with Myriam Pincen: Di Sarli – Comme il faut (Tango)

(2) with Myriam Pincen: Canaro – Chique (Tango)

(3) with Liz Haight: Canaro – Poema (Tango)

(4) with Liz Haight: Fresedo – Tigre Viejo (Tango)

(5) with Anna Maria Ferrara: D’Arienzo – Milonga vieja milonga (Milonga)

– Dancing in milongas

(1) Lo de Celia (1)

(2) Lo de Celia (2)

(3) Bien Jaileife


B. Pedro ‘Tete’ Rusconi (1936 – 2010)

– Demonstrations (all with Silvia Ceriani)

(1) Laurenz – Orgullo criollo (Tango)

(2) Biagi – El recodo (Tango)

(3) D’Arienzo – Pabellon de las rosas (Vals)

(4) Calo – Bajo un cielo de estrellas (Vals)

(5) Laurenz – Paisaje (Vals)


C. Ernesto Hector ‘El Flaco’ Dany Garcia (b 1936)

– Demonstrations

(1) with Silvina Vals: Canaro – Milonga sentimental (Milonga)

(2) with Luna Palacios: D’Arienzo – Milonga vieja milonga (Milonga)

(3) with Muma Valino: Canaro – Milonga criolla (Milonga)

(4) with Elina Roldan: Caceres – Tango negro (Milonga)

(5) with Maria Plazaola: Canaro – Milonga del 900 (Milonga)


D. Ruben Harymbat (1939 – 2015)

– Demonstrations

(1) with Enriqueta Kleinman: D’Arienzo – Amarras (Tango)

(2) with Alicia Pons: Fresedo – Tigre viejo (Tango)

(3) with Susana Miller: Donato – El acomodo (Tango)

(4) with Ana Maria Shapira: Troilo – Flor de lino (Vals)

(5) with Enriqueta Kleinman: Canaro – Negrito (Milonga)


E. Alberto Dassieu (1936 – 2013)

– Demonstrations

(1) with Eva Garlez: Pugliese – El arranque (Tango)

(2) with Eva Garlez: Pugliese – A Evaristo Carriego (Tango)

(3) with Paulina Spinoso: D’Arienzo – El cencerro (Tango)

(4) with Elba Biscay: D’Arienzo – Valsecito criollo (Vals)

(5) with Paulina Spinoso: Donato – La tapera (Vals)

– Dancing in milongas

(1) Glorias Argentinas (1)

(2) Glorias Argentinas (2)

(3) Plaza Bohemia


F. Osvaldo Cartery (1939 – 2015)

– Demonstrations (All with Luisa ‘Coca’ Anaclerico Cartery)

(1) Di Sarli – Ensueño (Tango)

(2) Donato – El adios (Tango)

(3) Canaro – Noche de estrellas (Vals)

(4) Canaro – No hay tierra como la mia (Milonga)

(5) Canaro – La milonga de Buenos Aires (Milonga)

– Dancing in milongas

(1) Caricias


G. Roberto “Pocho” Carreras (1931 – 2012) 

– Demonstrations

(1) with Nelida ‘Nely’ Fernando: Pugliese – La tupungatina (Tango)

(2) with Rosita Cove: Calo – Un crimen (Tango)

(3) with Nelida ‘Nely’ Fernando: Canaro – Milonga del 900 (Milonga)

(4) with Nelida ‘Nely’ Fernando: Canaro – Reliquias porteñas (Milonga)


H. Pedro Sanchez (b 1935)

– Demonstrations

(1) with Tina Ferrari: Di Sarli – Nobleza de arrabal (Tango)

(2) with Tina Ferrari: D’Arienzo – Hotel Victoria (Tango)

(3) with Cherie Magnus: Di Sarli – Alma mia (Vals)

(4) with Eva Garlez: Canaro – Negrito (Milonga)

– Dancing in milongas

(1) Lo de Celia


I. Jorge Uzunian (b 1930)

– Demonstrations

(1) with Myriam Pincen: D’Arienzo – El cencerro (Tango)

(2) with Heather Whitehead: D’Arienzo – Champagne tango (Tango)

(3) with Haydee Malagrino: D’Arienzo – Papellon de las rosas (Vals)

(4) with Milva Bernardi: Orquesta Tipica Victor – Intima (Vals)

– Dancing in the Milongas

(1) Lo de Celia


J. Nestor La Vitola (birth date unavailable)

– Demonstrations

(1) with Veronica Olivera: Pugliese – Emancipacion (Tango)

(2) with Monica Paz: Pugliese – Para dos (Tango)

(3) with Veronica Olivera – Canaro [unidentified] (Tango)

(4) with Enriqueta Kleinman: Canaro – Milonga de antaño (Milonga)


K. Osvaldo Centeno (1937 – 2017)

– Demonstrations

(1) with Ana Maria Shapira: D’Arienzo – Ya lo ves (Tango)

(2) with Monica Paz: Troilo – Cachirulo (Tango)

(3) with Erzsebet Tamas: D’Arienzo – Pensalo bien (Tango)


L. Oscar ‘Cacho’ Dante (b 1939)

– Demonstration

(1) with Monica Paz: Di Sarli – Ensueños (Tango)

– Dancing in Milongas

(1) Porteño y Bailarin

(2) Plaza Bohemia