Program 2019

Now you can choose among our three Musicality Workshops for all-level dancers!

Led by: Leandro Diaz and Mauro Andrés Mauceri.

Music live by Guitar-Bandoneon duet “Cosae Mandinga”

What do we dance to when we are dancing a tango, vals or milonga song? Meaning, to which elements that the music propose us are we connecting to motivate our movements and our dancing? Many times the most common answer to these questions is that we connect to the beat, or in Spanish “El pulso”. This element alone can sometimes be monotonous, regular and only a few times can be altered inside a tango song, and although it’s a very important element we believe that there is a lot more inside a tango song that just the beat. But, to which other elements can we connect to inspire our dancing then?

In this Workshops we will get inside the tango universe of music elements that exist and are easy to appreciate. Without being too technical we will name and differentiate using famous recordings and live music the moments of a tango song, its basic elements, structures, motivs and seccions that build tango as a language. Because first of all tango IS a language, and like any language it’s coherent and decodable, but in order to get to dance it in connection with its essence, "a conscious listening" is critical. Drawn from our experience as teachers and milonga musicians we recognize that the biggest challenge is to dance interpreting all the music elements that happen during a song, to let yourself go through recognizing the musical moments. Our exercises and explanations are oriented in improving this connection.


-This workshops consists of 90 min activity
-We recommend attending to this workshop with a dancing partner, since many explanations and concepts will be approached along with dancing moments with music live.
-Though advisable, this is not a requirement for taking part in the seminar.
-This is a workshop on musicality with live music examples, aimed to produce a conscious listening in the dancer, regardless of their level. Therefore, no steps or dance techniques will be taught.


 Workshop I - "Melodic structures"

Length: 90 min

The melodies are built in the exactly same way as the spoken language, during this intensive Workshop we will teach you how to dance exclusively to the melodies, to anticipate their endings, to flow with the cadences and to articulate/organize your dance in a melodic way.

Dynamic Excercises with live and recorded music, three hours of diving into the melodic world of tango music.

This is our insignia workshop, the one you should take first to really dive into tango world. We have been teaching this kind of workshop for 3 years in a role and for this new upcoming tour October 2017 we have renewed it totally. New exercises, new examples and new live music.


Workshop II - “Milonga de mis amores, valsecito amigos”

Length: 90 min

Milonga is a very special Rhythm, among its roots we can find criolla, afro (from the slaves brought to America) and European (the most famous example being the Habanera). We consider ourselves fans and experts in this beautiful subject sometimes feared even by the most skilled tangueros.
The valcesito is probably a "left behind" rhythm when teachers approach musicality, not for us! There is a lot inside Valcesito criollo to discuss and learn!

 -A little bit of history… the parents of the milonga.
- How to understand the melodic structures in the milonga.
- The bigger structures, (Intro - A - B)
- Sebastián Piana and the first milongas (3,3,2)
- Rhythmic aspects of the milonga
- The habanera bass
- A little bit of history… the coincidences and the main differences between the European valz and the valcesito criollo.
- How to understand the melodic structures inside a Valsecito
- The characteristics of the different themes inside a Vals.
- A/B forms
- Minor and major themes


Workshop III - "Styles and fundamental forms in tango music" 

Length: 90min

How much can we say about the different styles in tango? When does one begin and the other one end?
How do orchestras influence each other and which are their main differences?
This is an invitation to discover a “concious listening”, from little to bigger we will approach historic paradigma changes in how we dance and play tango.  From little changes in the instrumental forms that bring new colours to old classics up to enormous harmonic innovations that radically changed the face of tango history.
How does all this influence our dancing? Which resources can we use to make a difference? Which examples do we know of each era?
First Part:
One song, many interpretations
Listening to different versions of the same song will help us learn how orchestras develop their own kind of language and how to organize our dancing having this in mind.
D’arienzo’s way, DiSarli’s way, Pugliese’s way, they all differ but nevertheless they also share a huge amount of information.
Some of the examples we will revisit:
Corrientes y esmeralda : Darienzo, Pugliese, Angel Vargas, and live music by Cosae Mandinga
Derecho viejo:  Darienzo, Fresedo, and the live music version of Cosae Mandinga.
Arrabal Amargo: Gardel, Fresedo, Cosae Mandinga
Second part:
Contracantos – “counter melodies”(Our dear Carlos DiSarli)
What is a “contracanto” and how does it work? Moments of the song in which they appear.
We will discover that “contracantos” are a persistent resource inside Carlos DiSarli’s music, the usage that the maestro gives to them and how do they live among the original melodies, the sum of all the melodic elements.
Some of the examples used in this part are:
A la gran muñeca, comme il faut, Bahia Blanca






Cosae Mandinga Tango




Tour Days left | Días que faltan para la gira: 04.24.2019 21:00

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