“Caroline has a warm, gentle and very patient way of working with students that appreciates their strengths, abilities, and the diversity that they bring to tango.

I have become more confident and playful as a dancer and more comfortable expressing myself in tango and in life thanks to working with her!”


A unique combination of influences

As well as the rigorous, investigative pedagogy of the DNI Tango School, I bring tools for improvisation and creativity from the world of contemporary dance. Combined with biomechanics, performance practice, community projects, music theory and more than 15 years’ experience teaching all age groups, levels and abilities – these are the elements which come together in the classes I teach.

My Training

  • 6 years as a member of the DNI Tango School & Company in Buenos Aires, directed by Dana Jazmín Frigoli
  • 3 years at CETBA (Centro Educativo del Tango de Buenos Aires), History of Tango programme (social & cultural history, musicalisation (TDJ), lunfardo, music history)
  • El Intérprete_The Performer intensive programmes with Melina Seldes, Buenos Aires
  • Guest student at Espacio LEM, Buenos Aires, 2013-14
  • Vocational dance training and Choreology intensive at Trinity Laban Conservatoire of Music and Dance, London
  • 200 hour yoga teacher training, Frog Lotus Yoga, Andalusia

About ‘my’ tango

As a social dance, above all, there is no ‘one way’ to dance, to teach, or to enjoy tango. Having lived for several years in Buenos Aires and experienced the huge variety of social spaces, for me it is important to recognise this beautiful dance as a reflection of the society we live in, not museum piece! When I teach and when I dance, these are the ideas I bring with me.

Tango has codes and traditions but it is also a living, breathing phenomenon. Understanding its history helps us understand the codes which make it possible to enjoy and the traditions which connect us to its origins; but we can and should let go of the rigidity of that society’s attitude to gender, sexuality and race.

Roles which were traditionally dictated by gender can be danced and enjoyed by anyone, however they identify. I don’t teach ‘without roles’ because my hope is that my students can participate in social dancing in shared spaces wherever they are, and the roles are a key part of managing that space; but I will always use ‘leader’ and ‘follower’ in my classes, rather than ‘men’ and ‘women’.

The embrace is an act of trust and we must take care of each other and respect our partners’ comfort and security. Especially in this period post-social distancing, we can all be sensitive to our partners while we dance. The invitation, the embrace and the movement teach us about consent and finding balance when we are close to each other.

Casa Palestina, Buenos Aires. Ph Gabi Ferreyra 2022