<![CDATA[El Encuentro Tango - Tango lifestyle - Blog]]>Sat, 07 Mar 2026 06:37:02 +0100Weebly<![CDATA[Juan Carlos Caceres and the African roots of tango]]>Fri, 01 Nov 2024 10:22:55 GMThttps://www.tangosverige.com/tango-lifestyle-blog/juan-carlos-caceres-and-the-african-roots-of-tango
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​The African contribution to tango trace back to the legacy of enslaved Africans brought to Argentina, Uruguay, and Brazil during the colonial era, and their descendants. Many Africans were forcibly transported to Buenos Aires and Montevideo, the two major cities in the Río de la Plata region, particularly from regions in Central and West Africa, such as what are now Angola and Congo.

Tango and milonga etymology
The very term “tango” may have African roots. Some researchers trace it to the Yoruba word shangó, which refers to a drumbeat or gathering space for dance and music in African traditions
(editor's note: a Congolese musician once told about Tango meaning "time" in a language from the Congo region). Others link it to the Kikongo term tambo, meaning “to gather.” The term “milonga” as well is believed to have African roots, originating from the word mulonga, which in the Kimbundu language (spoken in Angola) means "words" or "news.

The 3 main influences
Juan Carlos Cáceres, the Argentine musician, painter, and musicologist, was a passionate advocate for recognizing the African roots in tango. Cáceres and other historians identified three primary African influences that shaped tango:

- Candombe: the candombe rhythm was foundational to tango’s development. The Candombe is an Afro-Uruguayan and Afro-Argentine music and dance form originating from the drumming traditions of African descendants in the Río de la Plata. This rhythm features syncopation, a key characteristic of tango’s unique beat structure
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Candombe in the streets of Uruguay
- Contradanza (or Habanera): The contradanza was popular in Spain and spread throughout Spanish America during the 18th century, mainly in Cuba. The contradanza arrived in Cuba from Europe in the 18th century, primarily introduced by French colonists who fled Haiti during the independence wars. Initially, it was a formal dance with a binary rhythm, but in Cuba, it transformed into the contradanza criolla, adopting a more syncopated rhythm thanks to the influence of African rhythms brought by enslaved Africans on the island. One of the main features of the habanera is its distinctive syncopation, which marks the 2/4 or 4/4 meter with a “slow-quick-quick” pattern. This syncopation creates a fragmented rhythm that probably had a significant influence on tango, giving it its unique character. In the habanera, the off-beat accents mimic drum patterns from West Africa, producing a sense of tension and release in the music—an effect that tango also seeks to achieve.
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Cuban contradanza criolla dancers
- Milonga: the milonga rythm was influenced as well by the habanera/contradanza criolla rythm and the payada, a form of sung poetry often accompanied by guitar, common among the gauchos (Argentine cowboys) in the rural Pampas. The payada developed into the milonga campera, an early form of milonga that incorporated guitar and singing. This form of milonga was slower and more narrative, with a 3/4 or 6/8 time signature similar to Spanish folk forms.
Over time, as rural musicians migrated to urban centers like Buenos Aires, this milonga style began merging with urban African and European influences, becoming the faster-paced milonga porteña associated with city life. It adopted the 2/4 or 4/4 time signature and developed a more danceable rhythm, appealing to dancers in both Buenos Aires and Montevideo.

Juan Carlos Caceres and his musical exploration of the roots
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Juan Carlos Cáceres (1936–2015) was an Argentine musician, painter, and composer who dedicated much of his life to exploring and celebrating the African roots of tango. Known for his deep, soulful voice and expertise in piano and trombone, Cáceres was a unique figure in the world of tango, advocating for a more inclusive understanding of the genre by highlighting its multicultural origins—especially its African influences, which are often overlooked in mainstream tango narratives. His work, particularly the album Tango Negro, became a cornerstone for its  tango’s history.
At this link on Spotify, you can listen to the album "Tango Negro",
​and here below some tracks including the eponymous Tango Negro. Enjoy!
Sources for the article:
Robert Farris Thompson - Tango: The Art History of Love (2005), Horacio Salas - El Tango (1986),  Marta Savigliano - Tango and the Political Economy of Passion (1995), Jorge Luis Borges - Evaristo Carriego (1930), Néstor Ortiz Oderigo - La música de los negros en el Río de la Plata (1952), Horacio Cárdenas Cáceres - El Tango y Sus Raíces Africanas

]]><![CDATA[What it really takes to learn Argentine Tango - our guide]]>Tue, 06 Dec 2022 10:30:45 GMThttps://www.tangosverige.com/tango-lifestyle-blog/what-it-really-takes-to-learn-argentine-tango-our-guide
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​Dear tango lovers,

your instructors at El Encuentro Tango have thought about drafting a guide for you, tango dancer, to help you achieve that objective and desire that is at the heart of the reason why you are reading this very guide: becoming a great argentine tango dancer, one that is sought after on the social dance floor and most importantly, that receives great joy and happiness from the practice of this art.
This guide is the fruit of more than 40 years of combined personal and professional experience, especially as students ourselves. It is designed for you in whom the tango passion is starting to grow and who would like to have a reference on how to make this journey the most pleasant and successful. If you are an absolute beginner, you might find this page more useful  (link here).
If you follow and reflect on the principles that are contained on this guide, we can guarantee you will go a long way in your tango journey and achieve what today might seem nearly impossible.
Because this is what happened to us: tango is  an essential part of our lives that contributes to make them worth living: we would therefore like to share with you what our journey has been and our tips - on how we got from beginners to madly in love with tango - with the hope to inspire you now and in the future to get lost in more and more beautiful tango embraces! Enjoy :)


The right mindset 

- Don't give up, and you will succeed: Argentine Tango is one of the most beautiful dances and creations ever conceived by the human being, and also a difficult art and discipline that requires consistency, passion, commitment, grit, patience and the ability to navigate frustration.
In our instant gratification societies, we are increasingly losing the capacity to stick to hard goals. 
Think of a great achievement in your life you are particularly proud of. Was it very easy to achieve or did it required a lot of work?
Same goes for  tango. If you like it, stick to it and don't give up. The rewards will be tremendous, and will have positive consequences that will reverberate and illuminate your path far beyond the dance itself.

- Grit and frustration : We all had that one lesson when we thought we had unlocked the mystery of tango, to then understand a meager 30% of what the teacher said the following week.
This is perfectly normal and also incredibly frustrating. The ability to not throw in the towel after such moments, is a big determinant in your long term capacity to learn tango - and not only tango. We have seen students starting with very little control over their bodies, who ended up a few years later as fantastic tango dancers.  What did they had in common? Grit (=perseverance and passion in the pursuit of a goal).

- Learning tango is not a linear process: Following on the above, tango is not a linear process. Sometimes we discover many new things in a short period of time, to then languish in our improvement some time after. But... This is only what is visible on the surface.
In the background, there is another process taking place: our bodies, minds and muscles are constantly working, adjusting and fine-tuning what we are learning behind the curtains. When the right time comes, our efforts will be repayed and our improvements will blossom and become a sudden - and very rewarding - "a-ha" moment . There is an expression in Argentina and in tango to describe exactly this feeling: "me cayó la ficha"  (the coin fell; I suddenly realized).

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 How to learn and practice

- Enjoy the process: tango is there to be enjoyed. There are few things as beautiful as melting in an embrace with someone. Enjoy the journey and the moment you are living and dancing, because that is the single most important thing: to enter a class with open heart, open mind and willingness to explore together with your classmates and have the time of your life dancing!

- Be active in the classes: Ask and inquire during the lessons. It takes courage to ask questions, but just remember: everyone has questions but few dare to ask. Which group do you want to be part of?

- Ego, humbleness and feedback: Don't let your ego prevent you from growing. Constructive  feedbacks are part of the process, and we shouldn't take them personally. It is never a feedback on us as people, only on something we are learning. Separating consciously the two is important.
​Imagine if your instructor would tell you all the time that you do everything great... first, think about how likely it is, second: how will you know when it's really going to be great and what to stick to and what to eliminate? It takes a lot of effort to learn tango and it requires a lot of humbleness.
Finally, feedbacks between peers should be constructive and positive, and we should always ask if the other person wants to receive it. In any case, if you are stuck with some movement, call your teachers: they will help you untangle it.

- You will not learn to dance argentine tango only going to classes: this is a hard one to swallow for many, but we feel obliged to  tell you the truth.
If you only come to the courses, you will not learn to dance argentine tango in the way you desire, and your dance skills might remain at a superficial level.
If we compare two people who have been dancing "for a year", it turns out that one spent 30 hours going to classes, and, during that time, the other spent several hundreds in classes and social dance floors. Believe us, it makes a HUGE difference. It is during milongas and practicas that we gain fluidity and grace, this is where we have real contact with our partner. Start attending milongas and practicas as soon as possible, even after your first class. This is why...

- The practica is really the best time to learn, and we look forward to support you during it: practice time is simply is the most important time for your development in tango, and where we usually fall in love with this dance!
The practica is a social dance event, but not only: it is a moment you can use to ask us all the questions you want and clarify all your doubts.
This is a time to try things, to make mistakes and break patterns to find new ones. It is the time to dare and push the limits of what we believe we can do, and having loads of fun while doing it. All this is not always possible during a class. You don't need to come at our practica on Mondays if you can't for schedule reasons; make sure to attend one of the many practicas and tango events that take place during the week in Göteborg (at this link you can see the tango calendar of the city).
We are very glad to even stay overtime, if this means that you learn more and get more out of it. If you are passionate and eager, we get excited and happy, it's that simple. Use this time wisely and we promise you loads of fun, and a faster highway to the tango olympus ;)

- Our partners:  respect, choosing the right one and changes : Look for the causes of mistakes first in yourself,  focusing on finding who's guilty for the mistake will not push your development forward. 
On the contrary,  it is fundamental to have a caring and collaborative approach towards your partner. Both of you are trying your best to make it work. Relaxation and accepting mistakes as a part of the learning process will make everything more enjoyable! You are there to have fun and learn, and this should come in first place.
Consider choosing a partner at your level who wants to develop like you and put the same amount of training as you plan to do, and with whom you feel comfortable and safe; finally, try to change partners in the classes and social dance as often as you can.

- Consider additional training:  tango is a wonderful dance, but requires some level of body control to start with. If you have serious problems with balance and control of your body, we really recommend you to consider additional training like pilates, yoga or anything that works with strengthening your body, core and balance.
If you don't have any problems with the above, remember that any additional training like the above mentioned will still  dramatically speed up your learning process.


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Orchestra tipica "La Andariega" playing in Auckland. Three bandoneons, three strings, double bass and piano

​Musicality & Connection to the Music

Musicality is the soul of Argentine tango. While technique and connection with your partner are essential, true magic happens when you also connect deeply with the music. The best dancers are not just those with impeccable technique but those who can interpret the music with feeling, timing, and creativity.

1. Understanding Tango Music: The Pillars of Musicality
Tango is not just a single rhythm—it is an intricate dialogue between melody, harmony, and rhythm. To start developing your musicality, familiarize yourself with:
  • Rhythm: The foundation of tango music. The steady beats guide your basic steps.
  • Melody: The emotional layer that gives character to a song, guiding your expressive movements.
  • Dynamics: The variation in intensity and speed within a song, allowing you to play with pauses, accelerations, and dramatic movements. Just as when the orchestra subsides, so our movements will. And if the dynamics increase, so may the size and the power of our movements.
  • Phrasing: Tango music has natural phrases, just like sentences in speech. Learning to recognize them helps structure your dance logically and elegantly. Usually, tango songs come in blocks of 8 beats. These blocks will reappear in a sort of "question/answer" dynamic with each other. Try paying attention to classics from Carlos Di Sarli, for example, and you will certainly notice this pattern!
2. The Big Tango Orchestras and Their Styles
Different orchestras create different moods, and experienced dancers adjust their movements accordingly. The "Big Four" of tango are:
  • Carlos Di Sarli – Smooth, elegant, and lyrical. Ideal for flowing movements, walking, and a soft embrace.
  • Juan D'Arienzo – Known as "El Rey del Compás" (The King of Rhythm), his music is energetic, rhythmical, and perfect for sharp, staccato movements.
  • Osvaldo Pugliese – Dramatic, intense, and full of dynamic. His music invites a deeper emotional connection and sophisticated interpretation.
  • Aníbal Troilo – A mix of rhythm and melody, offering both opportunities for sharper dynamics and more lyirical interpretation.
 Exercise: Listen to a tango song and try to identify its style. Is it rhythmic or melodic? Playful or dramatic? Imagine how you would move to it before you even step onto the dance floor.

3. How to Listen to Tango Music Like a Dance
Many dancers don’t take enough time to develop their ear for tango music. Here’s how you can train your listening skills:

A. Passive Listening (away from the dance floor)
  • Create a tango playlist and listen while commuting or relaxing.
  • Pay attention to how different instruments (bandoneón, violin, piano) interact. How are the instruments changing in intensity? How are they interacting with each other?
  • Try clapping or tapping the beat to develop a natural sense of rhythm.
B. Active Listening (with a partner or during a class)
  • Mark the beat with simple steps, noticing the strong and weak beats.
  • Try "walking" a song without dancing complex figures—just matching your steps to the rhythm and dancing the melody in between the steps. Most dancers in Buenos Aires' crowded milonga do very simple things with a lot of emotion and intention.
  • Pause and change your movement when the music slows down or intensifies. Try to match your phrases and pauses with the 8 beats of the tango phrases.

4. Using Pauses, Accents, and Dynamics in Your Dance
One of the biggest mistakes beginner dancers make is moving constantly without respecting pauses in the music. Silence and stillness can be as powerful as movement.
  • Pauses: Don’t feel the need to step on every beat. When the music slows down, allow yourself to pause, breathe and fully experience the transitions between the movements.
  • Accents: Many tango songs have strong beats or dramatic notes—these are opportunities for quick embellishments, weight shifts, or dramatic stops.
  • Dynamics: Some parts of the music are soft and subtle, while others are bold and intense. Adjust your movements to reflect this contrast.
    Exercise: Try dancing one song using using a simple sequence of steps. First try only slow movements. Then, dance the same song again using quick, sharp steps. Finally, try a mix of both, depending on what is happening in the music. This will help you become more aware of musical changes.

5. Understanding the Different Rhythms in Argentine Tango
Argentine tango is not just one type of music. There are three major musical styles within the tango family:

A. Tango Marcato 
Marcato (meaning “marked” in Italian) refers to a strong, accented beat in tango music. It’s usually played by the piano, double bass, or bandoneón, giving the music a grounded, driving force. Marcato is what makes tango feel steady, rhythmic, and clear for dancers. As in most Western music, the strong beats are  on the 1st and 3rd note of the measure.

Marcato in 4: all the beats are accentuated in the same way. Found in rhythmic tango orchestras like Juan D’Arienzo and Francisco Canaro.; ideal for clear, grounded walking and rhythmic steps.

Marcato in 2:
Accents only on the first and third beats of the measure 
​complexity;  Creates a suspended feeling. Often found in orchestras like Osvaldo Pugliese and Anibal Troilo.

Syncopation
  • Common in most tango orchestras
  • Syncopation challenges dancers to adapt, using pauses, quick rebounds, or fluid weight shifts.
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B. Tango Vals (3/4 time signature)
The rhythm is continuous and circular, creating a natural flow.


C. Milonga (Fast-paced, 2/4 time signature)

Milonga music has a lively, playful character with a bouncy feel.
Movements should be smaller, simpler, and lighter—no need for long pauses or complex figures.
The key is to keep up with the fast pace while maintaining relaxation in the body.

 Exercise: When dancing milonga, focus on small, rhythmic steps instead of large, slow movements. Keep your knees soft and embrace compact.

5. The "orquesta tipica": what are the elements of a tango orchestra?

An orquesta típica (typical orchestra) is the traditional ensemble used to perform Argentine tango music. Its instrumentation is carefully crafted to balance rhythm, melody, and emotional depth, creating the rich and distinctive sound of tango.
A typical orquesta típica includes:
  • Bandoneóns (usually 3–5): The signature tango instrument, responsible for the expressive breathing quality of tango — dramatic, melancholic, and sharp.
  • Violins (often 2–4): Bring lyrical flow and ornamentation, especially in melodic or romantic passages.
  • Piano: Adds rhythmic foundation and harmonic color. Pianists in tango often improvise fills and syncopations.
  • Double Bass: Provides the pulse — grounding the music with strong, steady rhythm (especially in marcato style).
  • Sometimes Cello or other strings, and in most orchestras, vocals (especially in late 1940s and beyond).
Learning to recognize the character of each orchestra is key to dancing musically — their unique “voices” will shape how you move, pause, and connect.

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A beautiful Argentine Tango embrace: intimate and connected

The Tango Embrace: A Living Connection

The tango embrace is the foundation of the dance—a space where two bodies communicate through subtle energy, not rigid force. A good embrace is flexible, warm, and inviting, allowing comfort, fluidity, and clear communication between partners.

1. The Myth of the stiff Tango Embrace
A common stereotype is that Argentine tango is danced with a stiff, rigid frame. This misconception often comes from misunderstandings of posture, the influence of ballroom dance aesthetics, or an attempt to create artificial stability. In reality, a stiff embrace limits movement, disrupts connection, and makes dancing feel mechanical and uncomfortable rather than organic.
Many beginners unconsciously tense up, fearing instability or loss of control. But tango is not about holding fast your partner—it’s about sharing an an embrace while having our own balance at all times (or almost, with some beautiful exceptions ;) ).

2. Why the Embrace Should Be Flexible
  • Adaptability – Tango is an improvisational dance. The embrace must adjust to different steps, dynamics, and partners. Try to think of it as a conversation: when are you most open to change your mind or opinion, when you are having a tense or relaxed, heart-felt  conversation?
  • Breath & Relaxation – Breathing is our best friend in dance, tango and in many other disciplines. Investigate its power, listen to it. Listen to how it suggests what you need and what you need to let go of in your posture and overall energy level.
  • Freedom of Movement – The dance involves pivots (turns), weight shifts, and circular motions. A flexible embrace accommodates these changes without restricting the partner.
A common phrase in tango is: “Hold with your heart, not your hands.” The connection should come from presence and intention, not from excessive physical tension.

4. The Warmth of the Embrace: an embrace coming from the heart
A truly inviting embrace comes from intention. When partners approach with warmth, openness, and the willingness to connect, the dance transforms. The embrace is not just a position—it is a silent conversation, a shared experience, and the heartbeat of tango itself.

Choosing the right level and expectation vs reality

- Choosing the right level: Choose the level of the course according to your real current skills, not on how many courses you have attended.
If you have attended one course and then stopped for a year, and repeated the same pattern again (or any variation on the theme similar to this), you will probably gain more by going back down a level and refocusing on the basics than trying to learn things you're not yet well prepared for. Remember, humbleness: let's always keep in check the balance between our expectations and the current reality.
Yes, our ego will not be very happy for this; but our hearts and tango learning will eventually thank us for this, when we will look back.
Same goes If you have attended only courses and very little social dancing: even if the label of the course you want to attend says "advanced" (and you took several courses before this), most likely you are  still not really prepared for it.
Finally, if the teacher decides that you should be in a higher group, do not worry: you will be the first to know.

- "Finally the mystery of tango will be solved at the advanced course!" (or...?) : there is a common pattern among some students who want to skip levels and jump directly to advanced courses. It seems like all the previous courses cover unnecessary stuff, and that the mystery of tango will finally be unlocked and prophetically revealed to them during the advanced course. Needless to say, this is a common and big mistake. 
All the courses are tailored to the individual students. This means that we know what you need and how to give it to you, regardless of the course you subscribed to, which is just a label. 
What course you subscribed to does not really matter. You will still learn a lot, regardless of which course you subscribed  to- or found a spot  in. 
Trust us on this, be patient and you will be rewarded with a faster and more solid learning experience. If you skip levels, your tango will always be built on a shaky foundation.

- "I want to develop with dancers who already dance well" and other pitfalls: we hear this one quite often as well.  Everyone wants to dance with someone better, the harsh truth is: those we desire to dance with  also want to dance with someone better than them! It is pretty easy to solve this: get out there and go to milongas, practicas and dance as much as you can. You will soon be invited by good dancers as well, even more if they start to see you as a "regular".
When it comes to classes and the slow and steady development, you need instead to choose someone at your level to develop with.

- Stick to the basics and come back to them as often as possible. If you have serious problems with balance, walking, pivots, and all these instabilities result in a stiff embrace and dance, keep focusing on the basics. You can see all the most advanced dancers attending beginners courses. This is because they have understood the necessity to go back to developing and improving the core of their movement in tango.  This is the real key to solve the mystery of tango. Sorry, no shortcuts ;)

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​Tango etiquette and navigation of the dancefloor in the social dance events

Dancing Argentine tango socially (at milongas) is more than just moving to music — it’s about entering a shared cultural space, where awareness and kindness matter just as much as skill. The experience is more enjoyable, respectful, and welcoming when everyone follows a few key principles.

1. La Ronda: The flow of the dancefloor

The "ronda" is the navigation and circulation of the dancefloor. In Argentine tango, we dance counter-clock wise and circulating around the room. Try to stay in your “lane” and avoid zigzagging.Do not overtake the couple in front of you unless they are clearly standing still, and when doing so, do it from the left side of the couple in fron of you

2. Leader’s Responsibility: Smooth & Safe Navigation
  • Be aware of your sorroundings - leave some space between you and the couple in front of you.
  • Use compact movements and adapt your steps to the available space.
  • Avoid sudden backsteps without being aware of the available space
3. Follower’s Role: Awareness & Connection
  • Be mindful of space, avoiding large back boleos or extended movements in crowded areas which can result in painful kicks (with heels ;)...)​




4. The Cabeceo & Mirada: the Tango ritual

Tango invitations are traditionally done with eye contact and a nod — not with words. This silent exchange, called the mirada (eye contact) and  cabeceo (nod gesture) , is a respectful and subtle way to ensure both people want to dance with each other.
🟢 Dancers make eye contact and invite each other through a discrete gesture. When both agree, they walk toward each other along the side of the floor, not across it.
🔴 If we do not wish to dance, we try to avoid intercepting other participants' looks across the dancefloor, and that's it!

 Why use the cabeceo?
It empowers both dancers to choose and decline invitations gracefully and preserves the sense of dignity for all. It's also part of tango's poetic, respectful nature. The dance ritual starts already with this small, silent cerimony
✅It’s perfectly acceptable to verbally invite someone you know well. Just be prepared to receive a “no” with grace — it’s seldom personal. This is precisely why the cabeceo and mirada exist: to make invitations easier and refusals gentler. When inviting someone you don’t know, or at larger and more traditional events, using the silent ritual of the cabeceo is both respectful and encouraged.

5. Personal hygiene: bodily smells are normal, especially after a long day out, so no big deal, we are humans. Make sure to bring some deodorant with you or to put some on before the class, and make sure to try to have a fresh breath as well. Even if our partners tolerate us during our not-so-bright days when it comes to personal fragrances, these are difficult to ignore and take away some of the pleasure of sharing an intimate dancing moment with another person.

6. Other tips:
- It is ok to give and receive feedback during a practica (practice session) if both dancers agree to do so and ask beforehand if the other wants to receive feedback. Teaching or giving feedback during a pure social dance event like a milonga (and in general talking while dancing) is generally considered a big no-no.


Glossary of Tango Terms

Essential vocabulary for dancing, learning, and navigating the tango world

🔸 Abrazo (“Embrace”)
The physical connection between partners. Can be close, open, or flexible. A good abrazo is relaxed, supportive, and constantly adapting.

🔸 Adorno / Decoration 
A small, often improvised embellishment like a tap, flick, or circle done by either partner to decorate a moment in the dance — often during pauses or slow phrases.

🔸 Dissociation
A fundamental movement principle in tango where the upper body (torso) and lower body (hips/legs) rotate in different directions or at different times. Think of it as a spiral.

🔸 Pivot
The main way we turn in tango, generating a spiral/dissociation and turning on one foot around ourselves

🔸 Caminata / El Caminar
Tango walking. The most fundamental movement in tango, expressing presence, balance, rhythm, elegance and musicality. Walking in tango is never “just” walking — it is the soul of the dance.

🔸 Ocho
A figure-eight pattern traced on the floor with pivoting steps. Commonly seen as forward ochos or back ochos. An essential movement for followers and leaders alike.

🔸 Axis
Our bodies in tango move like a line in space. That line, that goes from foot to top of the head, is called "axis" in tango.

🔸 Barrida (“Sweep”)
A move where one dancer (often the leader) gently “sweeps” or guides the partner’s free foot along the floor using their own foot, as if drawing a line. It’s a delicate, coordinated movement requiring balance and timing.

🔸 Boleo
A quick rebound movement where the follower’s free leg swings sharply around due to torsion and release. Can be low (close to the floor) or high (dramatic and sweeping).

🔸 Cabeceo & Mirada
The traditional non-verbal invitation to dance. Mirada is the eye contact from the follower; cabeceo is the responding nod from the leader. This respectful ritual avoids awkward rejections and preserves the flow of the milonga.

🔸 Cortina
A short piece of non-tango music (usually 20–30 seconds) played between tandas at milongas. It signals dancers to leave the floor and reset.

🔸 Giro
A turning movement around the partner, usually by the follower, composed of a sequence: forward – side – back steps around the leader. Used in circular figures and to express musical phrasing.

🔸 Gancho (“Hook”)
A dynamic movement where one dancer’s leg hooks around their partner’s leg or body — often sharp and dramatic. Requires trust and clear communication to execute safely.

🔸 Leader & Follower
Two roles in tango. The leader suggests direction, rhythm, and structure. The follower interprets, completes, and enriches the proposal. Both roles are creative and interactive.

🔸 Milonga
  1. A social event where people gather to dance tango.
  2. A musical style, more rhythmic and lively than traditional tango, danced in 2/4 time.

🔸 Parada
A pause or “stop” in which the leader halts the follower’s motion, often inviting a decoration. It creates dramatic stillness and invites play.

🔸 Planeo
A slow, spiraling movement where one dancer’s free foot traces a wide arc on the floor, often during a pivot or turn. Graceful and lyrical, often used in romantic music.

🔸 Sacada
A displacement where one partner steps into the other’s space, pushing their free leg aside. It creates dynamic interaction and movement through contact and timing.

🔸 Tanda
A set of 3–4 songs by the same orchestra or style, danced with the same partner. It allows continuity, musical immersion, and a shared experience.

🔸 Vals (Tango Vals)
A musical variation of tango with a 3/4 rhythm (like a waltz). Dancers use continuous, circular movements with fewer pauses. Fluidity is key.

🔸 Volcada
An off-axis figure where the follower leans into the leader's support and is gently rotated or pivoted. Requires trust, control, and a solid embrace.

🔸 Salida
The “start” or opening of a tango phrase. Often used to describe common beginning sequences, but can refer to the intention behind initiating movement.

🔸 Enrosque
A tight spiral or pivot, usually done by the leader while turning on one foot. A signature of advanced tango technique — compact and elegant.

In the beginning, we can have a hard time remembering everything, therefore: respect, compassion and care for others will always be more important than just remembering some rules.  An elegant tanguero/a is a polite, warm, caring and respectful person.  Very simply, a pleasant person to be around, not only to dance with. 
Tango is poetry, community, healthy addiction, unpredictability and surprise, passion, authenticity, mindfulness…in other words: life at its best. And we hope that by reading this guide, you can feel one step closer in the right direction to enter this world with confidence, having loads of fun with your fellow dancers!
Did we forget something? Comment below and let us know your thoughts! We might add them to the guide.
A warm tango embrace to you,

El Encuentro Tango

]]><![CDATA[Musica maestro! Tango playlists and blog updates]]>Tue, 15 Sep 2020 19:12:37 GMThttps://www.tangosverige.com/tango-lifestyle-blog/musica-maestro-tango-playlists-and-blog-updates
​Dear Tanguer@s,


we hope you are having a great week!
We truly wish you to fall in love with this dance and to have the dedication, passion and perseverance to allow it to change your life forever, as it did to many of us.
Picture
Astor Piazzolla - the most known and innovative tango musician and one of the greatest musical minds of the 20th century.
Musica!
A great part of our love for tango comes from the music: its depth, its sensuality, its wide array of emotions and styles.
Below you will find the links to the playlists that we use during the lessons and other playlists too.
​The playlists can be found on Spotify - is therefore recommended to create an account (there is a free option) to enjoy the music. Click on "save playlist" to have them present on your music selection.
Alternatively, a a very diligent and passionate student of our school (Alara) has created some Youtube playlists with the same songs present on the Spotify ones.
The invitation is to dig deeply into this genre and discover its timeless beauty and subtleties.
And here's how:

El Encuentro Tango lessons: tango to dance, playlist used during the lessons. This playlist is tango for the dance floor in a nutshell. It contains a bit of every musical style and some of the most famous tangos for dance floor.

El Encuentro Tango lessons (Youtube)
El Encuentro Tango lessons playlist (Spotify)

Tango to listen: a  playlist to enjoy while drinking a tea or a glass of wine..or to dance in a more unpredictable way!
A journey through tango music history, from some of the unforgettable masterpieces all the way to tango jazz. electrotango and contemporary tango. Relax and enjoy!

El Encuentro Tango to listen playlist (Spotify)
El Encuentro Tango to listen playlist (Youtube)

Milonga: a fast and energic type of tango, seen once a month during our  courses.
Encuentro Tango Milonga (Youtube)
El Encuentro Tango Milonga (Spotify)

Tango vals: a faster genre of tango in 3/4 
El Encuentro Tango Vals (Spotify)

A bailar!
]]><![CDATA[Tango Lyrics and Poetry - Sueño Azul (O. Fresedo - R. Ray)]]>Sun, 09 Feb 2020 19:47:26 GMThttps://www.tangosverige.com/tango-lifestyle-blog/tango-lyrics-and-poetry-sueno-azul-o-fresedo-r-rayToday we will explore one of the most romantic orquestras: Osvaldo Fresedo and his dreamy "Sueño Azul". 
You can listen to it in its traditional version and in its modern rendition by "Romantica Milonguera". Enjoy!
​(translation: Julian Castro)

It was
A wonderful blue dream 
One of that night of dreams
Far distant...
Today,
that my youth is gone already
That romance lives on in my heart
Flower
that has never withered
In me...

Light
that the wind of sorrow
Enlivens more!
It was only a minute of illusion
That extends in my life
In the faith of love!

Our shadows met
One far off night already long gone
And you soared like a lark
With the morning light...
Conqueror of the distances
Your memory is with me,
It could more, even your fragrance,
​Than the forces of oblivion.

It was
A wonderful...(repeat chorus)

In the voice of the murmurs
Of the mysterious nights,
Are carried like lullabies
her loving words...
And I sweetly fall asleep
Because I know you're with me,
as a kiss, here on my forehead
And as love above oblivion.

Fue
Maravilloso sueño azul
El de esa noche de ilusión
Que está distante...
Hoy
Que ya se fue mi juventud
Viviendo está mi corazón
Aquel romance...
Flor
Que no se marchitó
En mí jamás...
Luz
Que el viento del dolor
Aviva más!
Fue solo un minuto de ilusión
Que se prolonga en mi vivir
En fe de amor!

Se encontraron nuestras sombras
Una noche ya lejana,
Y volaste como alondra
Con la luz de la mañana...
Triunfador de las distancias
Tu recuerdo está conmigo,
Pudo más, aún tu fragrancia
Que las fuerzas del olvido.

Fue
Maravilloso... (repeat chorus)

En la voz de los murmullos
De las noches misteriosas,
Van llegando como arrullos
Sus palabras cariñosas...
Y me duermo dulcemente
Porque sé que estás conmigo,
Hecho beso, aquí en mi frente
Y hecha amor sobre el olvido
]]><![CDATA[Tango lyrics: Vuelvo al Sur - Astor Piazzolla]]>Fri, 22 Mar 2019 09:28:48 GMThttps://www.tangosverige.com/tango-lifestyle-blog/tango-lyrics-vuelvo-al-sur-astor-piazzollaIf tango is not just a dance, lyrics become the spoken truth of this secretive universe, and the most tangible part of its culture.
Today we propose the masterpiece ​Vuelvo al Sur ( I return to the South) from Astor Piazzolla, in a delicate and emotional version from Caetano Veloso.
​
Enjoy!
Vuelvo al Sur, 
como se vuelve siempre al amor, 
vuelvo a vos, 
con mi deseo, con mi temor. 

Llevo el Sur, 
como un destino del corazon, 
soy del Sur, 
como los aires del bandoneon. 

Sueño el Sur, 
inmensa luna, cielo al reves, 
busco el Sur, 
el tiempo abierto, y su despues. 

Quiero al Sur, 
su buena gente, su dignidad, 
siento el Sur, 
como tu cuerpo en la intimidad. 

Te quiero Sur, 
Sur, te quiero. 

Vuelvo al Sur, 
como se vuelve siempre al amor, 
vuelvo a vos, 
con mi deseo, con mi temor. 

Quiero al Sur, 
su buena gente, su dignidad, 
siento el Sur, 
como tu cuerpo en la intimidad. 
Vuelvo al Sur, 
llevo el Sur, 
te quiero Sur, 
te quiero Sur..
I return to the South 
like one always returns to love, 
I return to you , 
with my longing, with my apprehension.

I carry the South 
like a destiny of the heart, 
I am from the South 
like the melodies of the bandoneon. 

I dream the South, 
immense moon, reversed sky
I look for the South 
the open time, and its thereafter. 

I love the South, 
its good people, its dignity, 
I feel the South, 
like your body in the intimacy. 

I love you South, 
South, I love you. 

I return to the South 
like one always returns to love, 
I return to you 
with my longing, my anxiety. 

I love the South, 
its good people, its dignity, 
I feel the South 
like your body in the intimacy. 
I return to the South, 
I carry the South, 
I want you South, 
I love you South...
]]><![CDATA[Tango and mindfulness]]>Thu, 01 Mar 2018 12:01:33 GMThttps://www.tangosverige.com/tango-lifestyle-blog/tango-and-mindfulnessWe all have heard about mindfulness meditation and practices, but what does it mean exactly? And how is it connected to tango and most importantly, to our everyday life?

According to the Great Good Center of the University of Berkeley, mindfulness means "maintaining a moment-by-moment awareness of our thoughts, feelings, bodily sensations, and surrounding environment.Mindfulness also involves acceptance, meaning that we pay attention to our thoughts and feelings without judging them—without believing, for instance, that there’s a “right” or “wrong” way to think or feel in a given moment. When we practice mindfulness, our thoughts tune into what we’re sensing in the present moment rather than rehashing the past or imagining the future.
Though it has its roots in Buddhist meditation, a secular practice of mindfulness has entered the American mainstream in recent years, in part through the work of Jon Kabat-Zinn and his Mindfulness-Based Stress Reduction (MBSR) program, which he launched at the University of Massachusetts Medical School in 1979".

Are you curious on how mindfulness works in practice? It is very simple and requires almost no effort. In fact, studies demonstrated that 10 minutes per day of meditation will change the very structure and chemistry of your brain; check out this two  short videos: on the positive effects of meditation, and on the very meaning of mindfulness: presence of heart.

Tango and mindfulness

What is the connection between tango and mindfulness?
​
Tango is a complex universe of creation, whose unique feature is the pure improvisation. And what opens the possibility to improvise more and more complex geometries, while staying in balance and harmony with our partner?  Presence and the capacity to act in a moment. In other words, the instantaneous coincidence between decision and action.
In this sense, dance becomes then an expression of awareness, attention and consciousness arising from both participants. Presence and connection in the dance means also to be engaged in what I like to call "active abandonment", a state of flow in which improvisation arises from a conscious and progressive letting go of  predetermined pathways, as we embrace and continuously adapt to emerging possibilities.
In order to achieve certain states, we can prepare ourselves through practice and different kinds of meditation, like the body scan, a widely practiced mindfulness meditation.
It is about paying attention and focusing on what is happening in our bodies in a non-judgemental  way, focusing on our present experience, in order to listen to ourselves before we listen to our partner.

A body scan mediation can last from a few minutes to hours. Here are some links to guided meditations for beginners; give it a try if you wish to understand this exercise better because you won't regret it :)

- A 3 minute body scan meditation to cultivate mindfulness (3 min)
​​-  A body scan meditation to bring your attention inward (12 min) 
-  Beginner's body scan meditation (30 min)


Still curious?
One book amongst others:
Mindfulness: an eight week plan for finding peace in a frantic world
The book features a programme and presents simple techniques that everyone can easily learn and apply to improve health and wellbeing. 
And...what is your personal experience with presence, mindfulness and tango? Comment below if you wish :)



]]><![CDATA[Tango lyrics: Solamente Ella - Lucio Demare]]>Thu, 21 Dec 2017 14:36:58 GMThttps://www.tangosverige.com/tango-lifestyle-blog/tango-lyrics-solamente-ella-lucio-demareToo often an essential part of tango culture is neclected: lyrics and tango poetry.
If tango is not just a dance, lyrics therefore become the spoken truth of this secretive universe.

Today we propose an unforgettable gem from Lucio Demare: Solamente Ella. The lyrics are written by Homero Manzi, one of the greatest tango poets ever existed.
You will find the original version, plus a modern version by La Romantica Milonguera orchestra.
Enjoy!
Ella vino una tarde y era triste
fantasma de silencio y de canción,
llegaba desde un mundo que no existe.
Vacío de esperanza el corazón.
Era nube, sin rumbo ni destino,
tenía la ternura del adiós.
Mi paso la siguió por cien caminos
y un día mi fatiga la alcanzó.

Ella,
piel de sombra, voz ausente.
Ella, en mis brazos se durmió.
Juntos, sin saberlo torpemente,
aprendimos duramente
las verdades del amor.
Ella, floreció bajo la luna.
Ella, renació para mi afán.
Juntos, sin angustias, sin reproche,
sin pasado, noche a noche,
aprendimos a soñar.
She came one afternoon and she was sad
ghost of silence and song,
she came from a world that did not exist,
empty of hope was her heart.
She was a cloud, without direction or destiny,
she had the tenderness of the farewell.
My steps followed her through one hundred roads,
and one day my fatigue reached her.

Her,
skin of shadow, absent voice,
Her, in my arms she fell asleep.
Together, clumsily unaware,
we harshly learned
the truths of love.
Her, flourished under the moon.
Her, reborn for my longing.
Together, without anguish and reproach,
without past, night by night,
we learned  to dream.
]]><![CDATA[Tango  shoes: how to choose the first pair? A short guide]]>Wed, 18 Oct 2017 13:51:50 GMThttps://www.tangosverige.com/tango-lifestyle-blog/tango-shoes-how-to-choose-the-first-pair-a-short-guide
Tango shoe from bandolera
A model from a very popular and renowed brand for female tango shoes: Comme Il Faut
Let's face it: tango shoes look great, and they are also an integral part of our movement. But how to choose our first pair in order to dance comfortably and in good balance? Here as some tips:

  • Size: shoes should fit comfortably, but not be large enough for the foot to move inside. The toes shouldn't hang outside of the shoe, and it shouldn't be longer than the foot (not more than 1/2 cm approximately).  Between a slightly tight shoe and a wide one, always go for tight, since they will be made with leather and stretch with time.  There is also the possibility to have them stretched by a professional.
  • Heels: tango shoes for women come with with heels that usually span from 6 all the way up to 9 centimeters, depending on the brand and model. Heels help followers find their balance more easily during many steps such as the caminata (backwards walk), adding elegance and refinement to the tango. It is highly advisable to start using proper argentine tango shoes as soon as possible, since the feeling of a training dance shoe and a "real" tango shoe can differ quite much. It is also recommended to start with lower heels and then go up when and if one feels ready. Tango shoes for men usually come with heels between  1,5 cm to 4 cm, with higher heels used only in more traditional contexts and almost disappeared from today's dancefloors. 
  • Features: for women, choose always shoes with strap on the ankle, since it provides additional support.
  • Sole:  soles for both roles usually come in suede or leather. Suede requires more care (they need to be brushed) , whilst leather have more durability and usually slide better.  Usually suede soles are more flexible, which adds more connection to the dance floor, but they will provide less "support" to the foot. Which one is best? There is really no answer here and it depends on personal taste: try both and see for yourself how they feel.

Where to find?  There are several possibilities:
​          - Huracan (https://www.huracandanceshoes.com/en/)
         - Concordance (https://www.concordanceshoes.com/ )
           -  Alegriatango (https://www.alegriatango.gr/)
  
  • Post on Facebook groups: you can try to search if there is someone selling second hand shoes, or ask around to more experienced dancers if they are willing to make you try a pair (that you could afterwards buy online, for instance). There are also some independent sellers in Göteborg and other areas, who buy in stock and order online cyclically.
  • "Dansbutiken" in Göteborg and "Dans på rosor" sells dancing shoes and sometimes tango shoes as well : https://www.dansbutiken.com/dansbutiken-goteborg , https://dansparosor.se/om-oss/

Other famous brands: NeoTango, Comme Il Faut, 2x4, Fabio Shoes, Flabella, Lolo Gerard

In case you are interested in your first purchase and couldn't make up your mind about it, don't hesitate to contact us or comment below ;)

​Hasta luego!
        -  
]]><![CDATA[Tango - A brief History]]>Thu, 25 May 2017 21:53:42 GMThttps://www.tangosverige.com/tango-lifestyle-blog/may-25th-2017tango dancers in argentina dancing on the streets
by Susan August Brow

The exact origins of tango—both the dance and the word itself—are lost in myth and an unrecorded history. The generally accepted theory is that in the mid-1800s, the African slaves who had been brought to Argentina or their descendants began to influence the local culture. The word “tango” may be straightforwardly African in origin, meaning “closed place” or “reserved ground.” Or it may derive from Portuguese (and from the Latin verb tanguere, to touch) and was picked up by Africans on the slave ships. Whatever its origin, the word “tango” had acquired the standard meaning of the place where African slaves and free blacks gathered to dance by the time Argentina banned slavery in 1853.

During the later part of the 1800s and early 1900s, Argentina was undergoing a massive immigration.
In 1869, Buenos Aires had a population of 180,000. By 1914, its population was 1.5 million. The intermixing of African, Spanish, Italian, British, Polish, Russian and native-born Argentines resulted in a melting pot of cultures, and each borrowed dance and music from one another. Traditional polkas, waltzes and mazurkas were mixed with the popular habanera from Cuba and the candombe rhythms from Africa.

​
Most immigrants were single men hoping to earn their fortunes in this newly expanding country. They were typically poor and desperate, hoping to make enough money to return to Europe or bring their families to Argentina. The evolution of tango reflects their profound sense of loss and longing for the people and places they left behind.
Most likely, rudimentary dance forms that may have been known as “tango” were developed in African-Argentine dance venues. These venues were frequented by compadritos, young men—mostly native born, poor and of mixed ancestry—who liked to dress in slouch hats, loosely tied neckerchiefs and high-heeled boots with knives tucked casually into their belts. The compadritos took the dance to the Corrales Viejos—the slaughterhouse district of Buenos Aires—and introduced it in various low-life establishments where dancing took place: bars, dance halls and brothels. It was in these tenements where the African rhythms met the Argentine milonga music (a fast-paced polka). Soon new steps were invented and took hold as a new form of dance that combined traditions from many cultures. Exactly when and where the various forms of dance and music combined to create what became widely understood as tango is unclear. What is clear was that tango was considered a dance from the poor barrios.
Although high society looked down upon the activities in the barrios, well-heeled sons of the porteño oligarchy were not averse to slumming. Eventually, everyone found out about the tango and, by the beginning of the twentieth century, the tango as both a dance and as an embryonic form of popular music had established a firm foothold in the fast-expanding city of its birth. It soon spread to provincial towns of Argentina and across the River Plate to Montevideo, the capital of Uruguay, where it became as much a part of the urban culture as in Buenos Aires.
The worldwide spread of the tango came in the early 1900s when wealthy sons of Argentine society families made their way to Paris and introduced the tango into a society eager for innovation and not entirely averse to the risqué nature of the dance or dancing with young, wealthy Latin men. By 1913, the tango had become an international phenomenon in Paris, London and New York. There were tango teas, tango train excursions and even tango colors—most notably orange. The Argentine elite who had shunned the tango were now forced into accepting it with national pride.
The tango spread worldwide throughout the 1920s and 1930s. The dance appeared in movies and tango singers traveled the world. By the 1930s, the Golden Age of Argentina was beginning. The country became one of the ten richest nations in the world and music, poetry and culture flourished. The tango came to be a fundamental expression of Argentine culture, and the Golden Age lasted through the 1940s and 1950s.
Tango’s fortunes have always been tied to economic conditions and this was very true in the 1950s. During this time, as political repression developed, lyrics reflected political feelings until they started to be banned as subversive. The dance and its music went underground as large dance venues were closed and large gatherings in general were prohibited. The tango survived in smaller, unpublicized venues and in the hearts of the people.
The necessity of going underground combined with the eventual invasion of rock and roll sent the tango into decline until the mid-1980s when the stage show Tango Argentino opened in Paris. Once again Paris was ground zero for igniting tango excitement worldwide. The show toured the world and stimulated a revival in Europe, North America and Japan that we are part of today.



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