Carlos "El Tordo"

El TORDO TANGO

Tango Master - Tango Dancer

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who-am-i

Who am I

Academia Nacional del Tango de la República de Austria

President of the  National Tango Academy of Austria  with headquarters in Salzburg, corresponding to the Academia Nacional del Tango de la República Argentina

Director of the Escuela Europea de Tango

Director of the “European Tango School” with headquarters in Salzburg, Austria, created by the president of the National Tango Academy of the Argentine Republic Horacio Ferrer.

Academic Member of the Academia Nacional del Tango de la República Argentina

Carlos “El Tordo”; Academic Member Corresponding of the “National Tango Academy of the Argentine Republic” Resol. CD0013/2007

 

STYLES

Five different styles of Tango Canyengue

(danced at the beginning of Tango history up to 1930 approx.)

  • Tito Lusiardo’s (taught by Master Luis Grondona).
  • Rodolfo Cieri’s (two different ones)
  • José Vazquez ‘s “Lampazo”.
  • Ovidio José Bianchet’s “El Cachafaz”. The latter nourishes El Tordo’s style proper and it was permanently analyzed through Carmencita Calderón, since her dance partner “El Cachafaz” died in 1942 and El Tordo did not meet him in person.

Tango genre

  • Orillero (1930-1945) Pepito Avellaneda’s school.
  • De Salón (1940-1950) Lampazo-Petróleo and Cieri’s school.
  • Contemporary.
  • “Milonguero” style

Milonga genre

  • Syncopation
  • Traspié (“stumble”)
  • De Salón ( Juancito Luna-Lampazo’s style).
  • Orillera (Pepito Avellaneda´s Style)

Creole waltz

  • Crossed style

AWARDS

  • Medallas del Milonguero, Club Sin Rumbo, “La Catedral del Tango” Buenos Aires
  • Asociación de Bailarines de España (ABA)
  • Premio de Presidencia de la Nación
  • Teatro Broadway; Elba Cristian Producciones
  • Auditorio Enrique Granados, Leida, España

WORKS

  • Author of “Tango Roots”, a three-act musical (Spain 2006)
  • Author of “The Milonguero’s Encyclopaedia”, audiovisual teaching and testimonial work, which covers all the history of Tango dance.
  • Author of “Tango Alive”, audiovisual seminar on the History of Tango, danced live, shown for the first time in Istambul, Turkey (2004)
  • Ex President of “The Tangoworld Society”, United Kingdom.
  • Ex President, Director of Tango and Artistic Activities at the “International Association of Latin-American Culture” (AICLA)
  • Ex-tango master of “The Dance City”, National Dance Agency of England.
  • MareaTVchannel, Buenos Aires, Director of Tango, Arts & Institutional Matters

PRESS & INTERVIEWS

Graphic press

  • Revista “La Milonga”. Buenos Aires, Argentina.
  • Diario “Gazzette”. Londres, Inglaterra.
  • Diario “Persembe”. Estambul, Turquía.
  • Diario “Tutkunun”. Estambul, Turquía.
  • Diario “Times & Star”. Londres, Inglaterra.
  • Diario “La Razón”, Buenos Aires.
  • Diario The Cronicle, Newcastle, Inglaterra

Radio and TV interviews

  • Salzburg TV, Austria
  • Radio5, Salzburg, Austria
  • The Kurier, Austria
  • “Una Cita con el tango” Esquina Homero Manzi, Día Nacional del Tango, Buenos Aires, Argentina.
    bcnTV
  • BBC Radio Cumbria, Programa Good morning Cumbria’s.
  • Buenos Aires “La2x4 Tango 92.7”
  • Radio Ciudad 102.3 FM

ARTISTIC GODFATHERS

Ben Molar

  • Creator of the National Tango Day.
  • Academic of the “National Tango Academy of the Argentine Republic” and the Academia Porteña del Lunfardo.
  • Honorary President of the “Asociación Gardeliana Argentina”
  • Founder Member of the “Casa Argentina en Tierra Santa”
  • Board of Director´s Member of the Asociación Amigos de la Calle Corrientes.

Ms Carmencita Calderón

  • Illustrious Citizen of the City of Buenos Aires; ex dance partner of Ovidio Bianchet “El Cachafaz”

 

About my nickname El tordo

I was a very young boy and interested in the health, so that I began a workshop to be able to take the blood pressure. In the Milonga I had many friends to practise and little later already they were receiving me jockingly shouting ” take care, that the “tordo” (the “tor-do”) comes “, which in the slang of Buenos Aires, called Lunfardo, means “the doc-tor” Because usually they invert the order of the syllables in some expressions.

And already I could not separate of this funny epithet nevermore.

 

 

 

my-teachers

My Teachers

maestro01aMy uncle, Héctor R. Luissi

Teacher of the Independent Athletic Club (Avellaneda, Buenos Aires, 1952). Of him I learned Tango dance and Milonga

 

 

maestro02aMy mother, Norma Luissi

She learned to dance at 12 years old. Her first teacher was Alberto Marino, singer of Aníbal Troilo and great tango dancer.
At 15 years old she was gaining contests of Milonga style with “The Turk”, a dance celebrity of the epoch.
In the year 2000 she gained the Buenos Aires Championship of Tango (“Torneos Bonaerenses”).
In the year 2004 she won the Tango Dance Golden Medal (“Torneos Bonaerenses” again).
She taught me Tango dance and crossed Waltz

 

 

 

maestro03bMaster Pepito Avellaneda

His famous “orillero style” began after the 50´s. He taught me Tango and Milonga “orilleros”

maestro04cMaster José Vazquez, “Lampazo”

He taught me the Tango de Salón and the Milonga de Salón; (not the european ballroom style but the one that was cultivated by the “high society” and was centring especially on Carlos Di Sarli and Osvaldo fresedo´s orchestras), and he was a very important Canyengue Master for me too.
Lampazo was also Master of the actor and Hollywood´s Oscar Award Mr. Robert Duvall.
Was Master in the “Weeks of Tango Milonguero” of Stanford’s University.
He intervened as dancer in 14 movies. Lampazo was a pupil of the big Master Carlos Estévez “Petróleo” who in the 40s developed the dance that we know now, specially the Salón style.
The characteristics of “Tango de Salón” are “posture, elegance and compás (rhythm)”.
This style is obligatory in the World Tango Championship of Buenos Aires.

maestro05aCarmencita Calderón

Ex dance partner of “El Cachafaz”, (dance up to his death in 1942), my artistic godmother helped me to understand the style of dance of this famous top dancer of the Tango History.

 

 

 

 

maestro06aRodolfo Cieri

Deceased in the year 2000, in 1933 gave his first exhibition of the canyengue style learned of his father, José Cieri. Rodolfo also has developed his proper style of canyengue. I have received also his foundations to interpret the Osvaldo Pugliese and Pedro Laurenz´s orchestras, and a style of “primitive” Milonga.

 

 

 

maestro07aLuis Grondona

Canyengue, Tito Lusiardo’s style. In the 50s Juan Canaro gave him a scholarship to study canyengue with the famos actor and dancer Tito Lusiardo, co protagonist of several movies with the most popular icon of Buenos Aires: Carlos Gardel. Thanks to Grondona’s generosity I could learn the style of that famous dancer.

my-philosophy

 

El Tango también puede ser liberador. Porque vas a hacer tantas cosas por la gente, les vas a dar tanta alegría que le vas a cambiar la vida a más de uno

Carlos El Tordo

 

 

courses

Courses

Beginners level

 

  • The start, its variations
  • The embrace, its variations
  • Backward and forward “ochos”
  • Stops
  • Sandwitch or “mordida”
  • Half moon
  • Left and straight “molinete”
  • Simple “kick off”
  • Walk (I)
  • Simple chain left and straight (I)
  • Simple scales
  • Simple swept
  • Simple ocho cortado
  • Simple change of direction
  • Syncopation
  • The mark (to guide)
  • Cadence
  • Simple hook
  • triple “kick off” left and straight
  • Figures (I)
  • Creative system (I)
  • Ornaments
  • Improvisation (I))
  • Milonguero´s codes
  • Ladies technique (I)
  • Dance hall circulation

Se estudian las orquestas

Juan D’ Arienzo década del 40 // Troilo del 40 // Héctor Varela // Rodolfo Biagi // José Basso
Alfredo de Angelis // Ángel D’Agostino // Ricardo Tanturi // Carlos Di Sarli // Osvaldo Fresedo

Intermediate level

 

  • The start, its variations
  • The embrace, its variations
  • Backward and forward “ochos”
  • Stops
  • Sandwitch or “mordida”
  • Half moon
  • Left and straight “molinete”
  • Simple “kick off”
  • Walk (I)
  • Simple chain left and straight (I)
  • Simple scales
  • Simple swept
  • Simple ocho cortado
  • Simple change of direction
  • Syncopation
  • The mark (to guide)
  • Cadence
  • Simple hook
  • triple “kick off” left and straight
  • Figures (I)
  • Creative system (I)
  • Ornaments
  • Improvisation (I))
  • Milonguero´s codes
  • Ladies technique (I)
  • Dance hall circulation

Se estudian las orquestas

Juan D’ Arienzo década del 40 // Troilo del 40 // Héctor Varela // Rodolfo Biagi // José Basso
Alfredo de Angelis // Ángel D’Agostino // Ricardo Tanturi // Carlos Di Sarli // Osvaldo Fresedo

 

Advanced level

 

  • Giros compuestos
  • Enrosques compuestos
  • Traslaciones
  • Igualación
  • Inversión de abrazo
  • Voleos con respuesta
  • Conversión de voleos
  • Cambios de plano
  • Cadencia (III)
  • Caminada (III)
  • Traslación de ejes
  • Saltos (I)
  • Sacadas (II)
  • Cadenas (III)
  • Escalas compuestas
  • Sistema creativo (III)
  • Ganchos (III)
  • Figuras (III)
  • Adornos
  • Improvisación (III)
  • Técnica femenina (III)
  • Giros compuestos

Orquestas

Juan D’ Arienzo posterior a los años 40 // Osvaldo Pugliese // Osvaldo Fresedo // Baffa-Berlingieri
Pedro Laurenz // Osmar Maderna // Julián Plaza // Donato Racciati

Contemporary

 

  • Embrace´s variation
  • Inverted system
  • Colgadas
  • Volcadas
  • Voleos (IV)
  • Hooks (IV)
  • Jump (II)
  • Turn (III)
  • Figures (IV)
  • Ladies technique (IV)
  • Improvisation (III)
  • Specific dynamic

Orquestas

Piazzola // Gotan Project // Osvaldo Pugliese

 

Milonga Porteña

 

MILONGA”PRIMITIVA”

This style of dance is related to the early milongas composed by Sebastian Piana, which had a slow rhythm.

MILONGA “POSTERIOR”

This follows the early milongas although faster in rhythm. This form later led the way for the milongas to come:

Orillera: The most popular milonga style, as danced by the school of Pepito Avellanada.

De traspié: This style is characterized by the traspié, the rapid displacement of the feet by small straight or circular steps.

De contratiempos: This style is characterised by the use of the “sincopa”.

 

De salón: This special style is inherited from Maestro Lampazo, who had received the style from the great milonguero Juancito Luna.

Vals criollo: Vals Criollo is the interpretation which Criollo composers created from the European Vals with the sentiments of their homela. They preserved the original style when composing the Valses primarily to be danced.
It has also been called Vals Cruzado after its own proper steps.
The Vals criollo becomes ” Cruzado” when this sequence is used, just as we would use the basic eight step in the traditional Tango.

Canyengue

 

The word “Canyengue” comes from Afro language and means “to walk rhythmically”.

Four styles of old Tango “Canyengue”, which used to be danced until 1930. José Cieri´s style, Rodolfo Cieri´s style, Tito Lusiardo – Luis Grondona´s style and José Vázquez (Lampazo)´s style.

This was the earliest form of Tango, as the creators envisioned the dawn of the formation of this wonderful dance. The knowledge of this dance is truly a treasure as the pioneer Teachers and the ultimate Masters of this dance have already passed away.

Canyengue is particularly important, if not essential, to be able to understand, dance and “feel” the original Tangos of “Guardia Vieja (Old Period)”.

From a technical point of view, it can be observed that the dancers “share the axis”. It is evident the embrace is closed in the upper part of the torso.

Tango Argentino

Tango from 30s and 40s

Both styles are traditional way of interpreting the music of these periods. The abandonment of “two by four” rhythm led the milongueros develop new dance steps and specific solutions for each musical line. Therefore we see the appearance of “ocho cortado” or “ocho milonguero” suitable for the rhythm of 1930s where the both “ocho” movements, forward and backward, we see today are for the rhythm of 1940s. We can also make a technical observation: The dancers’ axes became somewhat separated in the 1930 and practically independent in the 1940s.

Tango de salón

Tango de salòn developed based on the music from the orchestras of Osvaldo Fresedo and Carlos Di Sarli. The basic tenet of this style is to hold “posture, elegance and rhythm”. Tango de salòn has its own figures. In general terms these figures stem from the “walk “, mastery of which by itself has always been difficult and the objective of the true milongueros. The first advocate of this style, without doubt, the Maestro Carlos Estévez (Petróleo) and consequently his student Josè Vàzquez (Lampazo), who was in return the teacher of Carlos “El Tordo”. Until then, the embrace of the dancers was clearly “closed”.

De salón

La música y las orquestas han ido de la mano con el desarrollo de la historia del tango; así también ha ido variando el baile.

Contemporary

Contemporary Tango has been developed based on the actual musical currents which delve into the Tango of today. The axes, by this period, are clearly “divergent”, visible in the upper part of the body i.e. in the “colgadas”.

Fantasy tango

Includes Tango for stage for professionals.

Classes and Groups

Private classes

The private classes are of 75 minutes. There is destined to one person or one couple.
The clothes must be comfortable and the ladies must use skirts that allow to verify the position of knees and feet. For Milonga it is convenient the shoes do not slide too much. In the canyengue, where the axes are shared, it is specially important the shoes do not slide too much.

Groups

Groups must be divided in levels in order that nobody loses time and besides, equal number of men and women.

activities

Activities

  • Performance for the United Nations, Austria Center, dance partner: Heide Schmollgruber – Viena
  • Big exclusively presentation Schloss Velden, of “Los 14 con el Tango”, Ben Molar´s fundamental work, with the Academic Members of the Austria´s National Tango Academy – Salzburg, Austria
  • www.tangocarintia.com Villach – Salzburg, Austria
  • Performance for the Embassy of Argentina, Innsbruck, dance partner: Heide Schmollgruber –Viena
  • Performance for the Embassy of Argentina, Albertina passage, dance partner: Heide Schmollgruber and Tangoseduccion ensamble – Viena
  • “The nose of Gardel” – Kleinestheatre – Salzburg, Austria
  • Theatre The Jazzit – Salzburg, Austria
  • Carnival Festival in StiegelKeller – Salzburg
  • Tango-Finissage im MdM Rupertinum
  • MIt Duo Milonga, music live – Salzburg
  • Nikki Seifert Tanzshule – Salzburg
  • Lesung mit musikalischer Untermalung Amphitheatrum – Salzburg
  • Canyengue Workshop – Salzburg
  • Salzburg National Tango Day Celebration in Nikki Seifert Tanzschule – Salzburg
  • “Tangoball” – Salzburg
  • Salzburg Programm Mozartango Wochenendfestival
  • Performance in Muhlldorf – Deutschland
  • Festival der Kulturen Museum der Moderne Salzburg
  • Parkhotel Milonga Villach
  • Marmor Saal – Salzburg
  • Holiday Hin Milonga Villach
  • Schlosswirt Anif – Salzburg
  • Galery Seywald Salzburg
  • “El Morocho del Arrabal” – Buenos Aires, Argentina
  • Castel Leopolds Kron – Salzburg
  • “Barok i Tango Festival” Akademia Muzyczna w Katowicach – Poland
  • Interdance Dance School – Salzburg
  • Kulturzentrum Gnigl Salzburg
  • International Festival Kolory Polsky – Polonia
  • “Giorno Nazionale del Tango”, Terrazza Seifert
  • Corsi settimanali di Tango Argentino e Canyengue Dance School “Evita Easton” – Salzburg
  • Workshops in Traunstein – Germany
  • Workshop in Villach – Austria
  • International Workshop SIBA von Peter Breuer
  • Landestheater and SIBA´s Ballet Director – Salzburg
  • Wolfsberg – Austria
  • Theatre´s performence The nose of Gardel Salzburg
  • Corsi settimanali presso la scuola di danza
    “Niki Seifert” – Salzburg
  • Corsi settimanali presso la scuola Interdance Salzburg
  • Workshops in Lodjch (Studio-danza: Salsaproject) –Polonia
  • Workshop: “Tango; comunicazione senza parole”. Festival der Kulture – Salzburg
  • Castel Franziskischlössl – Salzburg
  • Bailes de Salón “Partenaire”, Granollers – Spain
  • Bailes de Salón “Ball Centre” – Spain
  • “Up and Down” – Spain
  • Lesseps – Spain
  • Escuela Nuria Quiles – Spain
  • Escuela oficial “Doctor Trueta”, Poblenou – Spain
  • Fôrum Universal de las Culturas” – Spain
  • Semana Argentina de Barcelona – Spain
  • Hotel Oriente, Día Nacional del Tango – Spain
  • Museo Marítimo de Barcelona – Spain
  • “Encuentro de Culturas”, FASAMCAT – Spain
  • Harlem Jazz Club – Spain
  • Macroscope – Spain
  • Exhibición Teatro Poblenou – Spain
  • El Prat de Llobregat – Spain
  • Olot, Pirineos – Spain
  • Auditorio Enrique Granados, FASAMCAT – Spain
  • Alicante – Spain
  • Carlisle – England
  • Tullie House. Museum and Art Gallery – England
  • Ireby – England
  • Whitley Bay, Newcastle – England
  • ¡Vamos! Festival, Newcastle – England
  • The MEA House, Ellison Place, Newcastle – England
  • Pena de Bandoneon, Rugby Club – England
  • Semana Cultural Argentina, Newcastle – England
  • The Tango History, Unitarian Church – England
  • Int. Grand Festival 2006, City Hall – England
  • Patio de Tango, Durant Hall, Newcastle – England
  • City Council, Newcastle – England
  • Universidad Naval, Armstrong Building – England
  • Patio de Tango, Newcastle, julio 2007 – England
  • Rainbow Trust 20th Anniversary Ball – England
  • Tango in Cumbria – England
  • Cockermouth – England
  • BALTIC Centre for Contemporary Art – England
  • AAnnette – England
  • The Black Swann – England
  • The City Hall – England
  • Tv BBc – England
  • Día Nacional del Tango, Buenos Aires – Argentina
  • Teatro Colón, Mar del Plata – Argentina
  • La Cachila – Argentina
  • Festival Danzas Nativas – Argentina
  • Círculo Trovador – Argentina
  • Sanón La Campana, Mar del Plata – Argentina
  • Sunderland,“La Milonga del Mundo” – Argentina
  • Maipú 444 – Argentina
  • El Arranque – Argentina
  • La Ideal – Argentina
  • Salón Canning – Argentina
  • El Viejo Correo – Argentina
  • Centro Asturiano, Mar del Plata – Argentina
  • Salón La Milonguera, Mar del Plata – Argentina
  • Antares Hall, Mar del Plata – Argentina
  • Eli-Roci Concert, Mar del Plata – Argentina
  • The Sauro Hall, Mar del Plata – Argentina
  • E&R Theatre, Mar del Plata – Argentina
  • Teatro La Campana, Mar del Plata – Argentina
  • López de Gomara S.F., Mar del Plata – Argentina
  • Marea TV Cable, Mar del Plata – Argentina
  • Teatro Broadway – Argentina
  • Annan, Tango Extravaganza – Scotland
  • Annan, Dumfries & Galloway Arts Assoc. – Scotland
  • Solway Argentine Tango Society – Scotland
  • Annan Fesival, octubre 2006 – Scotland
  • Escuela Ayshegul Betil – Turkey
  • Graz – Austria
  • Salzburg Estudio 13 – Austria
  • Salzburg Salón Quo Vadis – Austria
  • Salzburg Anphitheatrum – Austria
  • Salzburg Paris Lodronstrasse Studio – Austria
  • Salzburg Marmoolsaall – Austria
  • Salzburg PeterBreuer Salzbug Ballet – Austria
  • Salzburg Evita Easton Ballet School – Austria
  • Salzburg Maria Lobe – Austria
  • Tango-Finissage im MdM Rupertinum – Austria
  • Mondsee – Austria
  • Villach Anphitheatrum – Austria
  • Villach Tango Carintia – Austria
  • Villach Wolfberg – Austria
  • Liubijana – Slovenia
  • Frankfurt – Germany
  • Ginebra, Salon Alpino Suizo – Switzerland
  • Bari – Italy
  • Trani – Italy
  • Montreal, U. du Québec à Trois-Rivières – Canada
  • Buenos Aires, First International Tango Congress 2013, speaker at a conference about Tango dance-styles. – Argentina
  • Second performance Albertina passage, for the Embassy of Argentine, Vienna, with Tangoseducción dance company. – Austria
  • Institutional representation, Cracovia, Waweltango 2013, – Poland
  • Ucrania, Dniepropetrovsk, workshops 2012. – Ucrania
  • Ucrania, Dniepropetrovsk, Institutional representation 2012. – Ucrania
  • Ucrania, Crimea, workshops and performances 2013. – Ucrania
  • Ucrania, Crimea, Institutional representation, Cracovia, 2013. – Ucrania
  • Casinos Austria, performance 2013, Baden. – Austria
gallery

Gallery

My recent activities

 

Contact

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