Seminars of Thematic Program




    Seminars of Thematic Program

The objective of the Thematic Program Seminars is a deep developing of a certain element or choreographic idea. This central theme is studied in its all aspects. 


The Thematic Seminars have a specific program that includes everything we believe necessary to know really in depth the given central theme. That means that on one side, will be studied all the technical specific elements that belong to the central theme and its application to a principal sequence, and on the other side, the development of that central theme applied to the most usual combinations.


The developed Seminars until now are:

  1. "Axis Inclination - Colgadas & Volcadas" 

  2. “Changes of Turn Direction"   

  3. "Rhythm, Phrasing & Musicality"   

  4. "The Embrace & The Posture"

  5. "Sacadas & Boleos"


  6. "Sacadas" 

  7. "Differences between Tango, Vals & Milonga" 

  8. "Tango Milonguero"

  9. "Deep Basics"

  10. "Tango, Milonga & Vals, for social dancing"

  11. "Tango, Milonga & Valz, Rhythm & Phrasing"


  12. "All Turn Secrets in Detail & Combinations" (including Vals & Milonga)

  13. "Tomas, Barridas & Pasadas"

  14. "Ganchos"

  15. "The Fundamental Walk"

  16. Fundamentals of rhythm applied to most important tango choreographic ideas including embrace different distances

Frequently we give a Thematic Seminar after a General one, in the same month, but these Seminars are not continuity of any previous one, therefore, it is not necessary to have attended a General one to be able to attend the next Thematic one.




 Brief Explanation of each Seminar


1) " Axis Inclination - Colgadas & Volcadas" Seminar

We consider the inclination of the follower’s axis, as a tool capable of bringing dynamism to the dance, which means that apart from bringing action and risk, it solves a number of traditionally static situations of the tango dance, providing more harmony and continuity to the movement. We will work in this seminar how to use this tool (the inclination of the follower’s axis) in all kind of steps and situations, analyzing posture, arms, hips, resistance of the Man (leader), inclination degrees of the woman (follower), etc, in order to print that new dynamics to the dance.


2) “Changes of turn direction” Seminar
The changes of turn direction are fundamental to deeply understanding the structure of the dance and from that understanding, greatly improve the quality of improvisation. The concept implicit in the changes of turn direction, we firmly believe has been, if not the main fact, one of the elements that have triggered the amazing choreographic development of the argentine tango occurred in the last 20 years.

We will work in this seminar all kind of choreographic ideas,  but through the analysis of the changes of turn direction of the woman (follower) around the man (leader), which is something that we are continuously having  while dancing at the interior of the dance couple. 

So not only we treat the specific 3 main “changes of turn direction”, that applied to a principal sequence they result as very beautiful figures, but also how to apply them to all kind steps and situations, what provides a lot of new possibilities to the tango dance.

That analysis is really deep, and proposes a really  modern view of the tango dance technique. It is also important to say that this program particularly contains a lot of material to work with.

We also insist in a very important aspect necessarily related: its rhythmical possibilities. We'll try regular timing, doubles and special cases. All these variants will require a thorough exercise of control and precise handling of space of course, ...but most of all a very fine listening...

3) "Rhythm Phrasing and Musicality" Seminar

The relation between the movement and the musical stimulation is (and will always be) one of the basic elements that build the dance, that’s why it results of extreme importance its exploration, analysis and development, for the solidity of the dance.

We will work on the three areas: rhythm, phrasing and musicality, using sometimes choreographic sequences and their multiple rhythmical variations, and sometimes certain premises tending to exercise specific aspects of the dance that vary in function of the emergent ambit of the music. On other side, the sequences and choreographic ideas used in this seminar, will correspond to the most usual combinations in tango and particularly those that frequently present rhythmical difficulties.  



4) “The Embrace and The Posture” Seminar
The Posture is theme of the most extended and unsolved discussions about how must be used in the dance, probably because it is the most representative element in the tango image, of the eternal man-woman relationship that exists within the tango. We firmly believe that the tango dance must be “functional”, that means that the quality in the dance doesn’t exist without the “functioning harmony”, and this harmony is the result of the correct leading and following, the correct upper body’s position, the relative use of the arms, the perception of the base axis, the use of the spaces, the control of the distances, etc, etc. It is clear that in all these elements, the Embrace and the Posture are 100 % involved. So we’ll work all these elements and others more, to know deeply the problems of the Embrace and the Posture, in order to improve fluidity and harmony in the dance, and therefore make it more pleasant. 

We’ll also take care about, as a second priority, shape, attitude and body lines. The tango dance must be beautiful to the sight, apart from fulfilling all the internal requirements of the couple dance.



5) "Sacadas & Boleos" Seminar

We consider the Sacadas and the Boleos , two of the most important tango choreographic ideas.

The tango has, among a lot of others things, four or five choreographic ideas. That turn to be the most important ones, due to their representative essence, that means they are identifying the tango genre.

Whenever, that are seen in choreography, a Sacada, a Boleo, a Gancho, or a Barrida, will be recognizable, the argentine tango presence.

This program treats, specifically these two ideas: Sacadas & Boleos, through their complete constitutive structure, exploring possible variables, execution technique, rhythmical application, and their combination possibilities.

This seminar contains a large number of sequences, steps and variants; it is worked rapidly and intensively, permitting a vast vision of the choreographic spectrum.

It also results as a very good opportunity to board the general technical training of the tango dance, as are proposed throughout the sequences many coordination problems, its solution notably improve the general control.



6) "Sacadas" Seminar

(The Description will be completed soon)





7) "Tango, Milonga & Vals Differences" Seminar

The idea of this seminar is to study the existing dance differences between the three typical orchestra correspondent rhythms: the Tango, the Milonga & the Vals.  These differences are here analyzed through all the aspects of the dance. Here is a list of these aspects:

Differences in the structure

Differences in the use of rhythm

Differences in the musicality

Differences in the mechanics of the steps

Differences in the tempo

Differences in the flow

Differences in familiar figures to each rhythm

Differences in the type of movement

And this list could continue. Must be understood that each one of these rhythms requires a different attitude and a different movement texture from the couple that self expresses dancing. The three ways of dancing emerge basically from the same system, but not everything is possible in each one of them, and the final result is totally different. This seminar brings to light the type of change that is necessary to apply to a step or choreography, in order to “convert” it to one or the other rhythm. It is also an optimal opportunity to train personally the rhythmical aspect of the dance, as along the seminar we frequently change the rhythm, what obliges to a higher adaptation speed to rhythm and a higher concentration on the listening.



8) "Tango Milonguero" Seminar
It is a program based on the rules of the social tango dance. That means that we’ll study here all that we believe is necessary for a good dancing in a “milonga” reasonably crowded. There is a particular embrace, a kind of steps manageable at reduced spaces, with lots of rhythm and a high level of concentration on the music and on the partner. We’ll work in this seminar, a very subtle technique through the upper body turns that permits the control of the space and the movement in all directions, keeping the minimum distance inside de couple. We also work here on the attitude that has a great influence on the dance results, and takes a basic role in the milonga context, where the social meeting is the regular situation.  Another important element in this ambit is the particular use of the memory that privileges the “reaction at the moment”; we look forward to mobilize the improvisation through the use of small modules or short sequences, conveniently organized, very useful to easily solve the dance. We also include in the program some quotes about historic items of the tango dance which are the connection that brought us to what the Tango Milonguero is today.



9) "Deep Basics" Seminar

The Material will be a special program that contains a revision of the most important Argentine tango choreographic ideas, presented through combined sequences that we do consider them "interesting".

Why are we considering them "interesting combinations" ? Because of two reasons:

1- These "combinations" are setting specific coordination problems and the solution notably helps to improve  general dance control.

2- We truly believe these combinations have, in addition, a particular beauty, sometimes focused on the "shape", sometimes on “dynamics", sometimes on "structure".

The program will strive for 2 complete sequences of at least 3 important ideas each, per class. One of these sequences will be ample, will have big movements and changes in the distance of the embrace. The other one will have smaller movements, less or no change of the embrace’s distance, and lots of rhythm that means more socially danceable in a crowded milonga. Both sequences will require coordination, sensitivity, adjustment, etc.

Then, through these sequences we arrive to the detection and isolation of basic problems of the tango dance that are later deeply analyzed and studied. At the same time, the usage we are having of these elements within the sequence becomes an “example” always useful and applicable to other variations.



10) "Tango, Milonga & Vals, for Social Dancing" Seminar

As you know, dancing in the milonga, ie the social event of the tango dance, always includes the three rhythms historically addressed by the “Orquesta Tipica” (traditional ensemble: piano, bandoneon, violin and bass), namely: the Tango, the Milonga and the Vals. In this seminar we study the three rhythms through sequences and steps as usual, but always bearing in mind that these figures are only suitable, feasible, and interesting to be done in the field of social dance, ie reduced spaces, with other people dancing around and with the possibility to leave at any time in the direction needed.
We study how to keep the "walk", the momentum, as to assert the "lead and follow", how to harness the pace at our convenience, and how to shape the embrace without losing the previous ... Moreover, the understanding of the structure of the three rhythms can develop the ability to adapt what is already known in a rhythm on the other. Yes ... we know ... are many things ... but precisely for this reason is to face it as a seminar. Dancing in the milonga seems easy but actually is not.



11) "Tango, Milonga & Vals: Rhythm & Phrasing" Seminar

Argentine tango dancers, since many decades have always tried to explore the dance extending their skills to other rhythms. As we know, the rhythm of waltz with its 3 times and its leafy historical ascendancy, took its place in the popular taste of Buenos Aires, through the particular touch, timbre, color and speed that the essentially tango typical orchestras gave to it. This means that this waltz we refer to was always approached by dancers who are and have been mainly tango dancers. Obviously it has been applied to this waltz the same structure of tango steps, where logically the man leads and the woman follows, and where a code of walking and a mechanism of coordination is established, but the whole system adapted with great skill at the different pace of the waltz and its particular continuity in the phrasing. A similar situation can perfectly be considered when it is about Milonga's rhythm. In this seminar we will study this process of adaptation that serves and has served curiously for the creation and development of numerous choreographic ideas, figures and steps, which have historically excelled in all three rhythms properly.



12) "All Turn Secrets in Detail & Combinations" (including Vals & Milonga)

This seminar consists in the thorough analysis of the act of turning in all its facets. Keep in mind that the slightest change of coordinates in the orientation of the upper body of the dancers, is somewhat already installing some kind of rotation in the development of the couple dancing. It is also known that almost all, or at least mostly, tango choreographic ideas involve some sort of rotation, either from one of the dancers, or the couple as a whole. We also know from experience that often turns occur without the control of the dancers, and on many occasions in an attempt to control them, movements and positions, are forced with unsatisfactory results. We will accurately study in this seminar, how to manage these shifts in both its technical and structural aspects, how to detect the presence of a turn, and how to take advantage of them in order to give effect to the natural flow of the dance.



13) "Tomas, Barridas & Pasadas"
(The Description will be completed soon)


14) "Ganchos"
(The Description will be completed soon)


15) " The Fundamental Walk"

The “the fundamental walk” seminar aims to deepen the understanding and management of the tread on the tango. In order to achieve this goal, we'll put the emphasis on making lots of technical exercises and their subsequent implementation in dance sequences designed for that purpose. It is a work of concentration and it is essentially  a "training", because although both: the understanding of the technique and the coordination with partner are necessary, the proper execution of movements and therefore its beauty and harmony, depend much on "muscle habituation" thereto. So rather than making new combinations, or facing coordination problems, we’ll try to improve what is already known through the accuracy of tread and control of the legs in the walk.

Sometimes people think that tread technical exercises are for beginners, but actually they are for everyone: beginners and advanced.  

Beginners will benefit from the exercises as long as they get used to a certain type of movement, even when having to overcome coordination problems and finding extremely difficult to pay attention to the details of the tread.

So it is a knowledge that will serve "a little later" in their career as dancers, as it is necessary to have the control of the coordination already functioning well, to deal with the way you walk, and that longer corresponds to an "advanced" dancer.

Advanced dancers for their part can get the benefit of this training in the act, as they do not need to focus their energy in previous issues.

We hope you enjoy it.






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Revised: 2016-07-01 .



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