Alejandra Gutty

Guide | Class Map

Available Categories

Two categories organize the work: Specials and Trainings.
One to go deep into a specific topic; the other to sustain your training over time.

You can combine them in whatever order you need.

SPECIALS

They are seminars.
Condensed transmission: a high density of information in a short time, with precise direction.
One or several axes are explored to open questions, organize ideas, and give you concrete material to keep developing.

Available now: Adornos | Intensivos

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Tango Training

It is practice in the present: knowledge is not delivered as a “finished package,” but built through doing, observing, and refining what is alive.
Information emerges in dialogue with what is happening there — with bodies in motion and with what gradually reveals itself.

They are the Wednesday group classes in Buenos Aires.

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Class by class

Both roles. Individual practice. Class duration: 29–35 minutes. Full seminar: 2 h 10 min.
Single classes or Pack x4 with 20% off. Learn more about INTENSIVOS

  • INTENSIVOS C1 —PLANEOS: Rotation and opening. —view class
  • INTENSIVOS C2 —CUARTAS: Line of the legs. —view class
  • INTENSIVOS C3 —VOLEOS: Release and direct. —view class
  • INTENSIVOS C4 —REBOTES: Pushes and unloads. —view class
  • INTENSIVOS PACK x4 — 20% OFF + two months of unlimited access
    —    PLANEOS + CUARTAS + VOLEOS + REBOTES. —ver pack

Follower role in heels. Individual barre practice. Class duration: 13–19 minutes. Full seminar: 1 h 25 min.
Single classes or Full Seminar with 15% off. Learn more ADORNOS

  • ADORNOS C1 —‘The character of your footstep’: Foot details throughout the entire journey of the step. —view class
  • ADORNOS C2 —‘‘Playing in the air’: Drawing the ocho forward and backward. —view class
  • ADORNOS C3 —‘The arrow and its trail’: Projected energy and what lingers behind.—view class
  • ADORNOS C4 —‘Parada y passé’: A suspended moment with a precise line. —view class
  • EMBELLISHMENTS — FULL SEMINAR
    All 4 classes together with 15% OFF + BONUS Intro to Embellishments and Warm-up.     —view Pack


Both roles. Individual and duo practice. Duration: 40 minutes to 1 h 5 min. About TRAININGS

#23 — TORSO & SHOULDER GIRDLE | Do we lead from the torso or from the hands? —view class
We differentiate torso and shoulder girdle, and the lead from both places, looking for a blend between them depending on when and why.

#11 — CAMINATA – WALKING | Straight leg or bent leg? —view class
The walk, the cadence. Available knees vs. locked knees.

#66 — Pivots, Ochos, Steps and Sacadas | How do we find “neutrality”? —view class
We study the vertical axis, spirals, how to create space, and how to find ‘neutrality.’ We practice in pairs with a sacada in forward steps, going in different directions with over-rotated pivots.

#2 — BODYWORK | Ideas about the embrace. —view class
We work on the range of muscular tone. We study the lead: the journey from the first impulse to the arrival. As an example, we use a beautiful and challenging sacada sequence with over-rotated pivots in both roles.

#18 — THE IN-BETWEEN | Responding vs. reacting. —view class
We work with spirals: dissociation and torsion. We put these concepts into practice with a short parada sequence. We draw the back leg spiraled and expansive.

#87 — SPIRALS | Pivots & Voleos. —view class
We study the positioning of the torsos in relation to each other. We practice forward and back voleos, and finish with a dynamic loose-pivot exercise in a “giro in line” sequence, both roles voleoing at the same time.

#15 — THE 3 EMBRACES | How do we modify the embrace? —view class
How, when, and in what way. We study details of three types of embrace. We work with a sequence that includes a cross exit and a big parada in the cross, modifying the embrace through precise and sensitive cues.

#70 — THE WALK | Experiencing the journey of the step. —view class
Progressively stretching and bending the legs without changing the level of flotation. Using flexion to leave and to arrive. A half-turn sequence with plenty of pivot and dynamic effects.

#30 — THE PIVOT | Connection, coordination & limits. —view class
Spirals, pivots, and their stopping points. We work on expansive dancing through coordination and synchronicity. We practice a “giro in line” sequence with a stop in the forward cross to change direction.

#99 — THE EMBRACE | Distance & connection. —view class
The back as a place of power, and “the chest to embrace.” Connection and distance between the bodies in tango dance. We use a sequence that constantly modifies the distance, passing through the three embraces also studied in class #15.

🎾 PELOTITAS Pack X4 — 4 classes = 4 videos with 10% OFF. For both roles. Individual and duo work. Unlimited access for 2 months. VIEW PACK

#51 Pelotita 1 — WALK | Pushes, support & rotation. —view class
We study the contact of the feet with the floor after activating sensorial awareness and “texturizing” with the small ball. Small, medium, or long step? With or without rotation? We use the tile as a “sequence” to train each moment of the step with awareness.

#43 Pelotita 2 — GRADUALITY | Signature exercise. —view class
What does it mean to HAVE WEIGHT? Stability, awareness, balance, and weight. Weight in both legs: the standing and the free one. The journey of the step. Corkscrew energy: releases and pushes. The sequence is a deep sacada in a back step.

#37 Pelotita 3 — PIRIFORMIS | Traveling through the journey of the step. —view class
With the small ball, we massage the piriformis: releasing groin, hip, pelvis, and lower back. We study hip direction through the foot–sit bone relationship. We work on a super-deep sacada sequence that ends in a powerful planeo.

#93 Pelotita 4 — PIVOTS | Pushes, spirals & voleos. —view class
We study the sensation of push and release through the small ball to integrate it into pivots. We practice individually, and as a consequence, “soft power” voleos emerge in duos: plenty of rebound, internal spiral, and verticality in the oscillating axis.

If it's exciting to even think about it, imagine doing it.

Looking for Suggestions?

The EMBRACE, the WALK, and the PIVOT dialogue with one another.

Sometimes, to practice better, we need to work on one specific aspect, focus on one part, and then bring it back into the dance as an integrated whole.

We’ve organized this selection into three axes to help guide where to begin — or where to continue.
Wherever you start will be right. The structure is designed so you can build your own path.

Choose a class and begin.

#99 — THE EMBRACE | Distance & connection. —view class
The back as a place of power, and “the chest to embrace.” Connection and distance between the bodies in tango dance. We use a sequence that constantly modifies the distance, passing through the three embraces also studied in class #15.

#15 — THE 3 EMBRACES | How do we modify the embrace? —view class
How, when, and in what way. We study details of three types of embrace. We work with a sequence that includes a cross exit and a big parada in the cross, modifying the embrace through precise and sensitive cues.

#2 — BODYWORK | Ideas about the embrace. —view class
We work on the range of muscular tone. We study the lead: the journey from the first impulse to the arrival. We use as an example a beautiful and challenging sacada sequence with over-rotated pivots in both roles.

#23 — TORSO & SHOULDER GIRDLE | Do we lead from the torso or from the hands? —view class
We differentiate torso and shoulder girdle, and the lead from both places, looking for a blend between them depending on when and why.

  • INTENSIVOS C2 —CUARTAS: Legs lines. —view class
  • INTENSIVOS C4 —REBOTES: Pushes & releases. —view class

  • ADORNOS C1 — “The character of your step”: foot details throughout the whole journey of the step. —view class

#11 — WALK | Straight or bent leg? —view class
The walk, the cadence. Available knees vs. locked knees.

#70 — THE WALK | Experiencing the journey of the step. #70 —view class
Progressively stretching and bending the legs without changing the level of flotation. Using flexion to leave and to arrive. A half-turn sequence with plenty of pivot and dynamic effects.

#51 Pelotita 1 — WALK | Pushes, support & rotation. —view class
We study the contact of the feet with the floor after activating sensorial awareness and “texturizing” with the small ball. Small, medium, or long step? With or without rotation? We use the tile as a “sequence” to train each moment of the step with awareness.

#37 Pelotita 3 — PIRIFORMIS | Traveling through the journey of the step. —view class
With the small ball, we massage the piriformis: releasing groin, hip, pelvis, and lower back. We study hip direction through the foot–sit bone relationship. We work on a super-deep sacada sequence that ends in a powerful planeo.

  • INTENSIVOS C1 —PLANEOS: Leg rotation. —view class
  • INTENSIVOS C3 —VOLEOS: Release and direct. —view class
  • ADORNSOS C4 — “Parada & passé”: a suspended instant in a precise line. — View classADORNOS C2 — “The play in the air”: Drawing the ocho forward bujando el ocho adelante y atrás. —view class
  • ADORNSOS C4 — “Parada and passé”: A suspended instant in a precise line —view class

#66 — Pivots, Ochos, Steps & Sacadas | How do we find “neutrality”? —view class
We study the vertical axis, spirals, how to generate space, and how to find “neutrality.” In duos, we practice a sacada in forward steps, moving in different directions with over-rotated pivots.

#18 — THE IN-BETWEEN | Responding vs. reacting. —view class
We work with spirals: dissociation and torsion. We put these concepts into practice with a short parada sequence. We draw the back leg spiraled and expansive.

#87 — SPIRALS | Pivots & Voleos. —view class
We study the positioning of the torsos in relation to the other person. We practice forward and back voleos, and finish with a dynamic loose-pivot exercise in a “giro in line” sequence, both roles voleoing at the same time.

#30 — El PIVOT | Conexión, coordinación y topes. —ver clase
Los espirales y pivots y sus topes. Trabajamos un baile expansivo desde la coordinación y sincronicidad. Practicamos una secuencia de ‘giro en línea’, con tope en el cruce adelante para cambiar de dirección.

#30 — THE PIVOT | Connection, coordination & limits. —view class
Spirals, pivots, and their stopping points. We work on expansive dancing through coordination and synchronicity. We practice a “giro in line” sequence with a stop in the forward cross to change direction.

Choose a class and start now.

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