Some people like to study stage tango movements because if they can't get people to pay attention to their low key, boring social dancing, they can kick it up a notch by flinging their partner into outer space (and other people)!
Does anybody really want to study how to dance well on a crowded dance floor anymore? Where the best dancers can express the music with the simplest movements while they are shoulder to shoulder with the couples around them?
Milongas in Buenos Aires - YouTube
Maestros Blas Catrenau and Myriam Pincen dancing on a VERY crowded dance floor. Perfection!
I don't know about others, but I think this is the highest form of Tango expression. I leave ambitions about winning championships and showing off for other people!
Osvaldo and Coca performing a beautiful Vals at La Nacional - "Con Tu Mirar"
Today would have been Osvaldo's birthday. We remember the first time we celebrated Osvaldo's birthday, we were at Confiteria Ideal on the closing night of Martha and Manolo's Camicando festival in 2007. It was the first time that we were in Buenos Aires, and Osvaldo and Coca were teaching milonga at the festival. It was a wonderful night - live performances by all the maestros of the festival, live music by Tubatango, and even a group performance by the students. A night to remember!
Our dear milonguero friends and maestros were full of life, living their tango lives to the fullest with milongas every night, busy teaching schedules and teaching tours lined up for months in advance. In a blink of an eye, we have lost Alberto, Martha, Osvaldo....and we miss them every day.
Last night we were talking to two veterans of Toronto Tango, both have been dancing Tango for over 20 years. They had seen and experienced even more of the old maestros than we had, the ones that passed before we even started learning. How quickly things change in life and in Tango! A mere five, ten years ago, tangueros and tangueras all around the world wanted to dance with the milongueros and like the milongueros.
Now everyone wants to train and dance with the newest and shiniest cookie cutter competition winning couple, learn the fanciest figures and adornos, and maybe even win a competition themselves. Milonguero? What is that? Those old people danced strange and funky. They didn't follow competition rules. We don't want that!
Luckily we have the magic of Youtube to keep examples of the old style milonguero dancing alive and accessible to all - along with hundreds of videos of performances by Osvaldo and Coca. When Osvaldo was alive, they performed almost every night and everywhere they went. They were beloved, and they always brought down the house.
Would there be a day when everyone will become tired of Tango turning itself into Ballroom dancing? Would they re-discover the Milongueros and want to dance in the old way?
As a follower, I hate it when a leader "practices" on me in a social dance (that means "milonga") setting.
Recently, I danced with a relatively new local leader. He was a eager lesson taker and had improved quite quickly. He could dance all evening non-stop and he had quite a lot of the "good followers" on his dance card.
He was also quite aggressive (and clever) in befriending Man Yung and I in order to ask me to dance.* Can't really say "no" to a "friend", can you?
* Has someone used this tactic on you? Do you use this tactic yourself sometimes to get dances with people who aren't cabeceoing you? This can be a subject of a whole post by itself.
The first couple of times I danced with him it was "ok". Sometimes it is easier to just go ahead and dance with someone who is a "friend" even though it isn't "great", rather than rejecting them and risk being seen as "unfriendly", not "nice" or maybe even "an asshole".
Unfortunately (or maybe Fortunately) he had just taken a slew of private and group classes with some visiting teachers and he couldn't restrain himself from unleashing his newly acquired steps and adornments on me, even if it meant tripping over his own feet and almost falling on his face. Obviously he didn't know how to do any of those new steps well yet but what a fantastic opportunity to PRACTICE on an experienced follower!
That was wonderful because it turned me completely, utterly, WTF off and I didn't care about being rude or unfriendly the next time he asked me to dance. I could turn him down guilt-free!
In my opinion, when social dancing, it is inappropriate to practice stuff you don't know well on your partner UNLESS they have consented to it beforehand. It is also inappropriate to practice in a milonga if it will be disruptive to others on the dance floor.
Ideally, practice on people who are not your regular dance partner (or any practice at all) should only be done in a class, or in a practica where it is understood that people are there to practice.
When I lead I like to err on the side of caution. When introducing a step (that I actually know I can lead) to a follower, I stop immediately at the slightest sign that either of us are stumbling. I am not going to try, try, try again until we both get it.*
* Yeah Man Yung, stop heckling me on the sidelines when I am dancing with some of the best milonguera followers in Toronto - I am NOT going to practice NOTHING on them so there!
I don't think being able to lead or making (or forcing) followers do a gazillion trillion steps enhances the dance experience. Rather, I think there is more merit and enjoyment in being able to connect with a follower on a level that is comfortable for the follower, and being able to express and communicate the music and feeling in Tango simply, WITH LIMITS ON WHAT YOU CAN DO.
To quote W. Somerset Maugham "To write simply is as difficult as to be good." Applies to writing, applies to dancing too.
I was joking to a woman leader in ballroom/latin dance a few weeks ago about how NONE of the followers I was dancing with wanted me to throw some back sacadas and enganches at them to spice things up.
She laughed and said, "Yeah, me too - I ask my followers whether they wanted me to do a triple axle double salchow and they all said no too!"
So, if you want to practice, find your OWN partner and go torture them with the complete step repertoire of Forever Tango at your leisure. If you are lucky your partner will be a super adornista and she will have a great time toe tapping and foot flicking all over you too!
Recently, we received an email from the renowned milonguero Juan Ventura Esquivel and his lovely partner Thomasina Gabriele with links to their Tango exhibitions in Portland.
We wanted to share their beautiful milonguero performances here! They are dancing to Tangos by Fresedo and D'Arienzo:
Juan Esquivel y Thomasina La Mariposita en Portland 08-08-13 - YouTube
Juan Ventura Esquivel -- Thomasina Gabriele bailan el tango-- La madrugada-- - YouTube
Juan Ventura Esquivel is one of the core members of the show "Milonguisimo". We had the great fortune of seeing him perform at the show in Glorias Argentinas the first time we were in Buenos Aires. We had the pleasure of bumping into Juan numerous times at milongas in Buenos Aires over the years. He and Thomasina are great friends of Osvaldo and Coca so sometimes we even get to go to the milongas with all of them together.
It's really cold in Toronto these two weeks - snow and ice and wind chill up to minus 27 C! Not even a hug could make us warm!
Freezing at Centennial Park last week (No, the hug did NOT help)
However, did you notice Thomasina's gorgeous strapless dress with the colourful birds design in the video? OMG I wish I had that dress! It is the most enchanting dress ever. Makes us think of springtime even in the middle of winter.
We recently received a comment on one of our old posts from way way way back in 2010. I had mentioned in the post that our great friend and teacher Alberto Dassieu had told me three little things that took my following to an entirely new level - but I didn't actually say what they were.
So Mikhail very kindly made a comment (And thank you for reading our old posts, by the way!) and asked me whether I could share Alberto's advice.
Sure! What Alberto told me was (Drum roll please):
1. Do not go faster than the leader
2. Do not stick out your hips/butt when you are doing a giro
3. Do not do any adornments unless the leader gives you opportunity to
I will also throw in the advice that the legendary Osvaldo Cartery gave me:
1. Pick up your feet! (Meaning don't drag your feet on the floor making feet draggy sounds when you are walking. Yeah, I know that's four words and I had said "three words" - and it was three, in Spanish, and I forget exactly what they were but that's what they meant.)
A lot of you out there may be going "Pffffft! I ALREADY KNEW THAT!" and "But that's what everybody says!" but hey, those little things were EXACTLY what was wrong with the way I was dancing. They are still my golden rules and I follow them to this day.
People seek and receive a lot of advice about Tango. I know some dancers who take every single group class and private class available from local and visiting instructors regardless of the style or ability of the said instructor (That's right, I look at some of these instructors and think "WTF? Should they really be teaching?") and continue to pester the instructors for more tips at milongas outside of the classes.
With so much time, energy and money thrown into Tango you would think these people would be really really fantastic dancers and teaching their own classes by now!
Reality is they don't improve. They keep on dancing the same ol' way OR WORSE, they get so confused by the landslide of good, bad, conflicting and/or irrelevant advice they completely ruin their dancing.
I think what it boils down to is judgment - or luck. You either have to "know" when someone is telling you something that won't work (or is a total crock of bull****) - or you have to be really lucky and meet the right teacher at the right time who tells you just the right thing and nothing more or less.
We were lucky and we had really great teachers who didn't bull**** us and knew what they were talking about. Some other Tango Professionals/Long-time veteran dancers gave us advice too, and I'd say we exercised some really good judgment about most of it.
So off the top of my head, here's a random sample of some advice that we had received over the years which we followed or did not follow:
1. "It doesn't matter what shoes you wear to Tango!"
That was stupid and dangerous advice. Man Yung followed this advice being a newbie (and because he likes a challenge) and wore street shoes with non-slip ridged soles.
This story ends with him wrecking his feet and bleeding all over our carpet.
2. "You have to do MORE adornments and show off to people your beautiful footwork!"
Maybe this is good if you are an instructor selling "Happy Spectacular Tango Fancy Feet Whizzing Flicking Tapping Drill" workshops.
Otherwise, this level of adornistatic enthusiasm truly ruins your following. See above Alberto's advice to me.
3. "To look more grounded and "Milonguera", your feet have to stick to the floor with every step."
Tried it, filmed it during studio practice, and it didn't work. Trying to make your feet stick to the floor doesn't make your feet look like they stick to the floor.
However, relaxing your feet and ankles and NOT dragging them on the floor (as per Osvaldo's advice above) makes your feet look more grounded and "Milonguera". Go figure.
4. "A leader has to keep his left arm back while dancing - you have to be able to put an umbrella in that space between left hand/shoulder. All good Tango leaders practiced with the umbrella!"
This is great advice. I have observed that most women leaders actually get this (WITHOUT practicing with an umbrella!) and have their left arm in the correct position. Do you know why women leaders get this? Because they have all been on the receiving end of a man leader who DOESN'T do this. If the leader has his left arm pushing forward the follower ends up with a really really (and sometimes permanently!) sore right shoulder.
I have been told I am one of the most comfortable leaders to dance with. That's because I have had the most permanently aching sore wrecked right shoulder from leader left arm pushing and I don't want to inflict that on anyone I dance with (yes Man Yung hint hint).
5. "Remember to Pause while dancing."
Absolutely mandatory advice.
You think Tango happens when you are doing a triple gancho boleo volcada enganche piña colada with a banana split and a cherry on top?
It's all happening the Pause, baby! Yes it is!
6. "Dance no more than ten (10) steps during the whole milonga."
Our Maestro and friend El Gallego Manolo told us this and he knows a gazillion steps.
There really isn't any need to do all gazillion at once. If you are doing a gazillion it means that for at least a trillion billion of them, you aren't that familiar with them and you are practicing steps at a milonga which is a no-no.
In any case, from a follower's perspective a walk and a giro feels exactly the same whether the leader is doing them regular with two legs one after the other, with a hop, skip and a jump, or with a costume change in a telephone booth in between.
7. "Be natural."
Osvaldo told us this. You shouldn't be dancing Tango like "I AM DANCING TANGO NOW!"
Tango walking is just like any other walking (Osvaldo would mime taking Coca by the hand and walking down the street to the market).
Man Yung explains: "If you eat an apple, you just eat an apple. You are not trying to impress people with your apple eating skills, you are not showing to people how elegantly you are eating an apple. You are just eating an apple."
8. "I have no more advice for you. You are fine as you are!"
Alberto said this to me. And he was right - at some point you don't need any more.
However, Alberto, Osvaldo and Manolo always had more advice for Man Yung. Lucky Man Yung!
The last of our original four cats died at the end of September. It was a very difficult and sad time, but he had a long and happy life. Two of our cats were strays we found on the street; the two others we adopted from the local shelter. We had them before we started Tango, so they accompanied us on our Tango journey and witnessed all the ups and downs of our Tango adventure - and were really mad at us whenever we disappeared for two weeks to travel to Buenos Aires!
It was devastating to come home after a milonga late at night and have no kitties waiting for us at the door. Sometimes we would forget that we had no more cats and we would open the door thinking he was still waiting patiently in his usual spot for us.
Man Yung didn't want to adopt any more cats. He complained it was too much work to clean and care for cats, and he was getting older and too tired to deal with another cat. And we can't travel guilt-free if we have pets at home.
Actually I think he was most afraid of having to go through the grief of losing another cat.
I knew we had to adopt another cat. There are so many cats in shelters waiting for their forever homes. Having a cat is beneficial to mental and physical health and we would be doing a good deed.
And a home doesn't feel like a home unless we have a cat.
After much debate, we went to the shelter and adopted a feisty tiny two year old Tortie. She had been found abandoned with her litter of kittens. We don't know what happened to the kittens (the shelter wouldn't tell us) but when we got back to our condo, Mrs. B jumped out of the carrier and made herself home right away like it was destiny.
It's been only four weeks but it feels like we have had Mrs. B forever already!
Man Yung with Mrs. B, wearing his brand new
Alice Starmore Kinsale fishermen's sweater that I knitted for him.
It is a huge bonus that Mrs. B lets him carry her around like she was a baby :-)
Mrs. B doesn't Tango she doesn't know what the fuss is all about. No partner is good enough for her! Joking aside, she can only be the sole cat in a house because she is very territorial and she attacks other cats. She is great with people though. A complete cuddle bug who purrs up a storm.
Mrs. B may not want to Tango (with other cats), but loving and caring for her and all of our original kitties IMHO made us better dancers. And better people (hopefully). There's nothing more wonderful than to infuse our dancing with all the (kitty cat) love in our hearts.
A couple of years ago a very respected veteran Toronto Milonguera told me that a Milonguero Encuentro could not be organized in Toronto.
I was surprised she would say that. There seemed plenty of "Milonguero Style" Toronto dancers in Toronto. It's not like everyone is flocking to Nuevo Tango. Why wouldn't an Encuentro work?
She was right, of course. There are maybe TEN really good Milonguero Style dancers in Toronto now.... and most of them don't even come out to dance anymore.
Another Toronto Milonguera told me recently that she goes through phases of not wanting to come out to dance. It was just too disheartening, arriving at some of the more popular milongas in town, anticipating a having a good time dancing - but leaving disappointed because:
1. The FIVE really good Milonguero Style leaders have all decided to stay home (and not get kicked in the shins at the crowded and crazy popular milonga);
2. Being asked to dance and having to dance with Flingy leaders who just want to do ten million giros, enganches and ganchos - all in the same tanda. And not leading them very well either.
3. Not being asked to danced by any of Competition Tango Laddies, because they like to stick with the Competition Tango Ladies who have all gone to the same classes as them and have been trained by the same Competition Tango instructors and therefore have a chance to understand WTF they are leading.
4. Being asked to dance by any of the Competition Tango Laddies, and then not knowing WTF they are leading because hey, she never learned the same "Choreography".
5. Not being asked to dance, or refusing to dance, because it's a raging seething sea of Flinging and Tango Competition Choreography out there.
#1-5 above means no fun AND it also means the Embrace is dead. Or dying. Or people think the Embrace is something that it is isn't what it really should be.
Even Flingers and Tango Competition Choreographers can write f'g beautiful, literate, convincing, bring tears to your eyes essays about the Embrace. They truly may believe they are good/excellent/Tango Gods of Embrace because they have lots of dance partners/placed well in a Tango Competition/Teach and Perform Tango.
But come on, are they even Embracing?
Flingers only need the "embrace" like a Judoka wants you to put your hands on any part of his or her body in a fight. Someone's gotta be touching you in order for you to execute a (Judo) move on them.
Please hold me tight... so I can throw the s*** out of you.*
Tango Competition Choregraphers look like they have perfect embraces - of course, they score points for them in Competitions! The better the "look", the higher the score. Some of these types of dancers will "rearrange" their partners embrace (basically by pushing them out of it) so it would look better and they will have some space to do some nifty Tango Competition Standard movements and adornos.
No, no, no!
I am in the minority I guess in the Brave New Tango World of flinging and competition but that's not the Embrace for me.
I won't Embrace someone just so I have a grip on them and can make them "do stuff".
I am not Embracing someone in a certain way so that I would "Look Good" and "Score Points".
Embracing someone and thinking "Moves!" or "Looking Good!" is a failure to Embrace.
To Embrace, you have to be completely present in it, not elsewhere with your thoughts.
You have to give your whole Embrace to your partner, and in return they have to give their whole Embrace to you.
All those Tango pauses you are supposed to do with the music? They aren't to show off your Tango posture or to show off your ability to pause strategically to win points and admiration. They are moments to feel the Embrace more deeply and intensely.
And to connect with your partner completely.
Dancing Tango without the Embrace is like stuffing your mouth with shovels of food, but Tasting absolutely nothing.
*By Mhultstrom - Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=27764362
A couple of Toronto's more notorious high kickers and reckless Tasmanian devil whirligig flingers just participated in the Canada Tango Championship last week. I shuddered and eye rolled until my eyes disappeared into the back of my head when I received word that they were competing.
There was big collective sigh of relief all around when neither of them placed in the top three. Thank God!
Do we really need these freakin' dangerous dancers to believe that they are entitled, via "good results" in the competition, to kick and knock the bejesus out of everyone around them? Hell no! Now don't laugh, but I truly believe that since their heads are so inflated with their own imaginary greatness already, placing in the top three will make their heads so big they will start hitting people with their faces when they dance.
However, the fact they didn't "win" this time only gives me temporary comfort. I'm sure they are going to try try try again. And one of these days they are going to make it into the top three, or maybe even WIN, because you can actually win these things (especially in Canada with it's small pool of dancers) by being persistent and signing up year after year after year. Once the "best" tango couple wins, there's going to be a vacuum and the "next" best will win the next time. And so on, and so on. One of these days, your local obnoxious kicker/flinger is going to make it and unfortunately, not because they've miraculously become better, or more caring dancers.
As you know we are NOT fans of the "Tango Competition". It has set a rather superficial and skewed standard of what is considered "good" in Tango in order to make what is not quantifiable quantifiable for ease of judging and now, as we have rightly predicted back in 2008(!), the Tango Borg has taken over the Tango Universe.
Coming to a Tango Community near you! Or maybe they are there already :-(
These days, thanks to "Tango Competition", a lot of dancers believe that the only indicator of "good Tango" is how much one can conform to Tango Borg standard, a great deal of which is about looking attractive while dancing and not breaking rules. Unfortunately, few or NO points are going to be given for any of the following:
1. Creative, original, idiosyncratic steps.
2. An embrace that makes you melt.
3. Musicality that makes you smile.
4. Ability to adapt to any partner - regardless of size, height, experience - and make them feel wonderful and not inadequate or awkward when they dance with you.
5. Ability to dance on very crowded dance floors without hurting yourself, your partner or other people. That means being agile, considerate AND also means being able to edit the stuff you do and still make your dancing lovely and fun, and being able to restrain yourself from showing off the whole goddamn space-hogging figure you were taught/invented.
6. Being completely bad-ass skillful with the cabeceo.
7. Being a top notch Chamuyo bull-shitting flirty charmer with your partners. And making them laugh!
8. Willingness to dance with ladies who have been sitting all night and haven't been invited to dance because they are not young/attractive/skinny/or don't conform to Tango Borg standard of beauty and skill.
9. Being "yourself" and no-body else in Tango. Unless you were born Tango Borg, in which "yourself" means same same same as everyone else who is competing and you will probably WIN.
10. Just being a great person and a joy to meet and talk to at the milongas. We have some wonderful people like this in Toronto Tango. They make everyone feel welcome and at ease and everyone loves seeing them at the milongas. They may even organize Tango events for charity. Beautiful souls.
The important things that makes Tango truly Tango for us unfortunately does not score points in Tango Competitions and it really seems like to us that this whole competition thing is rapidly making Tango go to Ballroom competition Hell in a hand basket.
Yes, we have been talking about this topic FOREVER (more blog whining can be found here) but do people ever listen?
Billy Joel - Just the Way You Are (Live 1977) - YouTube
I've been thinking about writing about this topic for a long time but have hesitated/procrastinated because honestly, I didn't want Man Yung to read this and get mad.
OK, honey, remember you promised that you won't get mad?
I used to admire dancers most for their skill. For their musicality. For their elegance, their walk, their moves, or even, ha ha, their "authenticity", whatever that may be.
Yes, all of the above is still admirable, but there's something that trumps all of that.
It's so rare that in fourteen years of dancing and watching other people dance, I have only seen it in three (ok, maybe four) couples.
Those three couples (or four) were so into each other AND into each other's Tango that they didn't give a rat's ass about ANYTHING else.
Now, when you are a couple in Tango, things are not necessarily going to be "Happily Ever After".
You may have met before Tango. Or you may have met while dancing Tango.
You may have the most wonderful relationship outside of Tango. Or not.
You may think you are better at Tango than your partner. Or worse.
You may wish that your partner could dance better. Or you wish that you could dance better because you feel your partner isn't exactly happy about the way you are dancing.
You may have an ideal image of what you and your partner should look like or dance like in Tango and let's face it, your partner's skill, height, looks and dress does not fit into those parameters.
You may prefer to dance with other people not your partner. Or you want to dance with your partner very much, but he/she seems to prefer dancing with other people rather than you.
Or neither of you want to dance with each other really. Or you only want to dance together sometimes for appearance's sake because after all you guys are a couple but let's sit apart in the milonga so that other people won't be afraid to cabeceo us (separately).
Why not one person stay home and play mahjong/watch Netflix/do some online shopping while the other goes obsessively every night to milonga? Or, in order to avoid any kind of confusion for other tangueros/tangueras that you may be together, why not go to different milongas on different nights...on different continents?
Now, the following describes US (and I just had to google "Irene and Man Yung Tango Kill Argue" to get to the link without having to sort through all our past posts):
And people still go up to us and say to us, "Wow, you guys dance so beautifully together! You guys look like you are so in love!!!!"
Thanks for the compliment, but we are NOTHING compared to the three (or four) couples I've seen.
Man Yung keeps on saying to random ladies he dances with, "Love means never having to say you are sorry".
Well, there's absolutely no place for apology in the Tango of those truly blessed couples.
No need to say sorry to each other - when the leader isn't really leading right and the follower isn't really following right. Nothing is a "mistake", you know each other's Tango so well you just carry right on over any glitch.
No need to say sorry to anyone around them - when the intensity of their uninterrupted eye to eye staring vertical tango love making is making other people think "For God's sake go Get a Room!"
No need to say sorry to Tango itself - because it doesn't matter how cheesy or "wrong" their Tango is, their all-consuming "Love" makes it right.*
* You look at them and objectively, they are dancing all wrong and ridiculous but it looks fantastic because they are so much in sync and have so much chemistry. So there.
Do you know what I'm talking about? In fact, the turdier they dance, the more it shows how much they truly love each other because they just DON'T CARE. They can be dancing like s*** or maybe not like s*** but it doesn't matter because they are thinking all the time their partner is TANGO PERSONIFIED and OMG TANGO WITH HIM/HER IS THE BEST TANGO IN THE HISTORY OF ALL TANGO.
Yes I envy that and wish that Man Yung and I can be like that instead of "Irene and Man Yung Tango Kill Argue" but oh well.**
** Man Yung says: "No, I cannot be like that, Irene! My goal is continuous self-improvement, and that includes Tango. I am constantly improving MYSELF in Tango by watching Youtube vids on continuous loop for more steps. You must too! No rest in turdy Tango for the wicked Mwahahahaha! Crack the whip! Back to work! Roll that watermelon!" *** *** This post is totally serious and we have discussed this topic together and we really do admire those couples for the way they love each other and love each other's Tango. A love like that is even better than winning any Mundial!
The first time we went to Buenos Aires, we were eager to see a number of dancers live.
One couple we would have loved to see dancing in the milongas was Pedro Vujovich and Graciela Cano. They had won the Metropolitano (Buenos Aires city-wide) competition in 2005 and we saw snippets of them dancing in Oscar Hector's Milonguisimo show in a youtube video.
The few seconds we saw of them dancing in the video of the show were totally awesome - their musicality was impeccable and their style completely unique. However, when were in Buenos Aires we didn't have an opportunity to catch them and shortly after our visit we heard that Pedro had passed away.
We have been searching for videos of them dancing every since. We discovered recently their son Gustavo had posted some videos on Youtube of Pedro and Graciela dancing as a tribute to them. Here's one of them dancing an exhibition of Tango, Vals and Milonga:
PEDRO VUJOVICH - GRACIELA CANO - SOLO TANGO - YouTube
There are quite a few more videos of them dancing in Gustavo's youtube channel, including videos of them while competing. It's fantastic that we are still able to see these examples of their dancing, it's such a treat.
Confession: Man Yung has been trying to steal Pedro's steps! But he has not been successful. I think it's because Pedro and Graciela's style of dancing formed organically from decades of dancing together and you have to look at it as a whole. It is impossible (as Man Yung has learned) to take out and dissect/steal any one part of it!
We had the pleasure of meeting Graciela once when we went to Club Oeste and Man Yung even had the opportunity of dancing with her. She's a beautiful dancer and we were happy to know that she still went to dance in the milongas.
A short and charming biography of Pedro Vujovich can be found on the Todotango website here.