Gustavo Naveira & Giselle Anne in New York, May 2013











Calendar  -  May 2013




days time Workshop subject level
Friday 24th 12:30 to 2:00 pm 1 Walking Technique Intermediate
2:30 to 4:00 pm 2 Changes of Turn Direction - Crossed & Normal System Interm / Adv
4:30 to 6:00 pm 3 Sacadas of Long & Short Trajectories Advanced  
Saturday 25h 2:00 to 3:30 pm 4 Walked & Planeo Turns Intermediate
4:00 to 5:30 pm 5 Internal & External Enganches Interm / Adv
6:00 to 7:30 pm 6 Front Ganchos - Man & Woman Advanced  
Sunday 26th 2:00 to 3:30 pm 7 Rhythmical Modules - Traspies & Corridas Intermediate
4:00 to 5:30 pm 8 Milonguero Embrace & Volcadas Interm / Adv
6:00 to 7:30 pm 9 Colgadas plus Rotation Advanced   
Monday 27th 2:00 to 3:30 pm 10 Milonguero Crosses & Turns Intermediate  
4:00 to 5:30 pm 11 Boleos & Cuts - Double & Consecutives Interm / Adv
6:00 to 7:30 pm 12 The Embrace Distances Advanced  



Saturday 25h

Great Milonga at DanceSport  10:00 pm
Tango Show by Gustavo Naveira and Giselle Anne  -   11:30 pm
(Tickets at Dance Sport)




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Price  (US Dollars) 




1 Workshop

1hour & half teaching by G&G

$ 40 
per person




Payment Options


                   In Advance
Deadline for advance payment: Thursday May 16th, 2013

% off on the total amount of your purchase until March the 15th

10 % off on the total amount of your purchase until April the 30th

  • Bank transfer to Gugi LLC

  • Check to Gugi LLC


  • Pay Pal  (additional PayPal fee applies)

                   At the door:
  • Check to Gugi LLC

  • Cash


All registrations will be accepted after the payment is made.




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For Registration Please click here



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The place where Workshops & Milonga are going to be held




The whole event, Workshops & Great Milonga including G&G's performance, will be held at the very nice halls of DANCESPORT, one of the most prestigious tango places of New York.




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Waiting List for "non partnered"


Please note that this form is NOT for Seminar & Workshops registration, this is only to be on the list of people looking for a partner. The link for the Seminar & Workshops registration Form can be found above in another box. Thanks.

G&G in New York City

How to be in the list:

  • Those who are looking for a partner may be recorded on a waiting list that can be seen below, there is one for men and another for women.

  • To be registered on the waiting list you can send your information by filling out the form below and we'll publish it shortly:



Name   E-mail  
Country   City, State  



Mark the Workshops that you
want to attend and for which you have no partner

G&G in New York City
days time Workshops
Level subject  
Friday 24th 12:30 to 2:00 pm 1 Intermediate Walking Technique
2:30 to 4:00 pm 2 Interm/Adv Changes of Turn Direction - Crossed & Normal System
4:30 to 6:00 pm 3 Advanced Sacadas of Long & Short Trajectories
Saturday 25th 2:00 to 3:30 pm 4 Intermediate Walk & Planeo Turns
4:00 to 5:30 pm 5 Interm/Adv Internal & External Enganches
6:00 to 7:30 pm 6 Advanced Front Ganchos - Man & Woman
Sunday 26th 2:00 to 3:30 pm 7 Intermediate Rhythmical Modules - Traspies & Corridas
4:00 to 5:30 pm 8 Interm/Adv Milonguero Embrace & Volcadas
6:00 to 7:30 pm 9 Advanced Colgadas plus Rotation
Monday 27th 2:00 to 3:30 pm 10 Intermediate Milonguero Crosses & Turns
4:00 to 5:30 pm 11 Interm/Adv Boleos & Cuts - Double & Consecutives
6:00 to 7:30 pm 12 Advanced The Embrace Distances














  • The agreements to team up for the classes of "G & G in NYC - May" must be made by stakeholders without our intervention. We only publish the data, without taking responsibility.

  • We do NOT require registration as a couple for the workshops, but we recommend to try to agree partner with in order to ensure that you have the opportunity of practicing the material during the entire class. You are permitted to come to the class without a partner, but it is not common that you will find a partner to work with.

  • While it is possible to find a casual partner, with whom to make the class, that fact is not usual.

  • Please consult us with any concerns.




City - Country


Leader or Follower

Intended  Workshops





City - Country


Leader or Follower

Intended Workshops




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Languages    -   Video/Sound - Recording

viñeta Language
The Workshops are going to be given basically in English. There will be also support for Spanish, French and Italian speakers.



viñeta Video/Sound - Recording
It's not permitted to use video cameras,  nor sound recording devices during the Workshops. Those who wish can film themselves during the pauses just in order to memorize




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From the total of 12 classes, there will be 4 workshops for intermediate, 4 workshops for a bit more advanced dancers and 4 workshops for fully advanced and professionals.


Despite the level of the workshop, we don't require a particular level to participate. We think that, even for beginners, it is an opportunity to learn, and a valuable experience.


Anyway, the material of these workshops, should be useful for dancers of all levels, including those who are involved in teaching, as it goes through structural development and coordination issues.








Description of the workshops


1    Walking Technique

The walk of the tango is the main support which sustains the natural attitude and the serenity of the dancers. The domain of the walk gives the dancers a great range of possibilities because the main problem of the "basic harmonious movement" is solved. The dancers of the old generation already said without further deepening but looking beyond the wisdom of experience: “learning to dance the tango is learning to walk”. We’ll work then on the possible combinations, the technique of the tread, and the adjustment in time and space with the partner. We’ll insist on the details, and give regular practice exercises which we believe will help very much. is good to remember that when feet attack the floor in the correct way the whole image is highly improved. We could even say: the tango dancer appears !


2    Changes of Turn Direction - Crossed & Normal System

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. In this class we will see not only those changes of turn direction that the woman makes around the man but also how to solve them using either a Normal or a Crossed System. This requires careful partner coordination, and a precise handling of the simultaneity of the tread.


3    Sacadas of Long & Short Trajectories

The “Sacada” is another one among the important figures of the Tango. It is essentially a visual effect by which a leg of one of the dancers in the couple moved one leg of his/her partner taking his place. Logically, and like in many other cases, the success on this figure is based on that effect’s adjustment and precision. Now, in this adjustment, the speed of the legs’ movement will be crucial to be able to reach the exact place at the exact moment… We’ll work on that.


4    Walked & Planeo Turns

The structure of “Planeo” & “Walked” Turns is the basis for understanding the functioning of the tango. Are the two main ways to turn and are present in virtually any combination of rotation. Their knowledge is essential to resolve with ease any situation that arose in improvisation. Also the technique for its realization is very important, especially in women holding pace, tread and weight transfer in a particular way. We'll thoroughly work on all those details.


5    Internal & External Enganches

We call Enganches (hooking) the taking of the partner's leg with an enveloping movement directed to the floor. Then, once we understand the idea, it turns out that there are as always, many different ways to achieve it: right, left, inside, outside, forward, backward, etc. While we go through variations, we’ll see that these are figures that do not require much space for its realization but require a great couple internal space management. The technical work of these figures brings to light the rotation of the torso, a crucial element, applicable in numerous situations of the dance giving softness and fluidity of movement.


6    Front Ganchos – Man & Woman

The Ganchos (hooks) are undoubtedly the most representative figure of the Argentine Tango. From the knowledge we have today about its structure, in this class we’ll focus on a particular group: the front hooks. These hooks have a difficulty level quite important because they not only require precision and adjust in time and space, but also necessitate a lot of action and mobility.


7    Rhythmical Modules – Traspiés & Corridas

The link between movement and musical stimulus is (and always will be) one of the basic elements that make up the dance, so it is extremely important its exploration, analysis and development, for the strength of the dance. The subdivision of time is the main element of rhythm, and the famous "corridas" and "traspie" add flavor to the dance. But the dancer must not only have this knowledge but should also develop sensitivity to react at the right time. We’ll work on that...


8    Milonguero Embrace & Volcadas

The “Volcadas”, modern term and technique of an old choreographic idea (off-axis situation of women in the couple inward, toward the man), have the magic of almost "draw" the shape of the “milonguero” dance. Moreover, almost naturally occur when the milonguero embrace is correctly positioned, and is allowed to have the walking pace. The technique is precise, the ornamentation is multiple, and rebounds are a logical consequence but... hey guys, not losing the embrace is what makes it dramatically true!


9   Colgadas plus Rotation

The “Colgadas” (Hanging - off-axis position of women out) although figures in themselves, are also an essential dynamic of the dance. We’ll then see the main problems of this situation and what to do to handle them on improvisation. Also will be addressed the general structure of possibilities and variations. And finally we’ll focus on one of the main problems: the natural rotation they generate...


10    Milonguero Crosses & Turns

For a long time there have been discussions about the nature of the "milonguero" style. Too often this discussion has gone to statements such as: "the true milonguero is the one that dances with feeling." While it is true that in this form of dance there is an emotional side surely the great responsible for the success of the style, it is also true that there is a technique that explains how to get this image. We will study in this class, how are the "milonguero" women's crosses, the reasons for this so special design and how the man has to mark (lead) to achieve such results. Once crosses are understood, turns are the biggest challenge. We will study what should be considered to rotate smoothly danceable maintaining the milonguero embrace.


11    Boleos & Cuts – Double & Consecutives

The Boleos, another one of the genre identifying figures, can be analyzed in different ways, given the many aspects that make up its technical execution. Through one of these, we can generally agree that the Boleo  is a kind of "rebound", but we will also call "rebounds" to other movements that are not considered boleos ... In this class we will study how the very idea of ​​"rebound" with the corresponding treatment can lead to the creation of two completely different figures.


12    The Embrace Distances

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.














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Revised: 2014-05-06 .



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