ven though he was born on the then narrow Corrientes Street and spent his early childhood in Europe, he alternated his life between the family farm ‘La Porteña’ (in San Antonio de Areco), the city of Buenos Aires and France.

He used to play guitar and sing; but when the rich kid was around eighteen he improved his elegance and good bearing, and began to master the art of dancing. So, «a blend of poet and well-to-do boy» —as Horacio Ferrer would define him—, he would take tango to Paris along with his friends Alberto López Buchardo, Roberto Levillier, Vicente Madero and Miguel Tornquist, among others that made it popular between 1905 and 1913.

Then, Ricardo Güiraldes was that ‘playboy’ whose tango was equally enjoyed either in an aristocratic Parisian salon or in a brothel. In 1912, a year before he let people know his poem Tango, he would show his dancing cuts (cortes) with the guest Yvette Gueté, at the house of the marquise de Reské.

Once Victoria Ocampo said: «Ricardo launched tango in Paris to much acclaim». Güiraldes himself, in his autobiographical novel ‘Raucho’, would allow some space about our dance. But maybe it was the poet Ulyses Petit de Murat, in whose tango “Bailate un tango Ricardo”, best described him: «Ricardo Güiraldes dances like bursting out from life…»

And in that line all was said.