Acknowledgments
I
have passed through many tango lessons and practices
that have helped put together this vision of the tango
over many years and epocas, but lowe the most to
"10
de Carmona," of course particularly to Norma Gomez
Tomasi and Ernesto Carmona, and also Marcelo Varela and
Joe Rodrigo Corbata. I am particularly indebted to the ana-
lytic lucidity of Norma for her pedagogical insights that I
often use in this book. Pepito de Avellaneda was my first
teacher and helped me understand what I was to seek in his
world.
My Argentine friends have watched me somewhat in-
credulously and indulgently. Rosana Guber, after innumer-
able drafts, finally danced. Alfredo Moreno helped me to
hear the tango. Alfredo, Rosana, and Daniel Alva-
rez went with me to concerts we will never for-
get. Fernando Maresca, generous in every pos-
sible sense with his time and his space, helped
ask questions and find important answers. Estela
Rodriguez and I danced and thought about our
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