ango came to him by heredity and because he was born under a lucky star. When he was around thirteen he was already dancing. He was from Mar del Plata, but as a kid he was raised in Avellaneda and he began to be known as an amateur dancer in neighborhood clubs. Then he used to frequent the Sportivo Valentín Alsina, among other milongas in the southern area.

On one occasion Juan Canaro hired him as a dancer for his orchestra and César Tito Lusiardo taught him to handle the front of the stage.

With the passing of time, together with his wife Mirta Sol, he developed a leaning posture, an embrace and a weary walk which was identified as canyengue style.

On different trips outside Argentina he won recognition and respect. Part of that way of dancing is still found in videos on the Internet, kept among the treasures of the Solo Tango TV Channel – in which he appears along with Marta Antón – and in an instructional video he recorded along with his wife, entitled Los Reyes del Canyengue.

Luis Grondona generally had a fresh sense of humor, a frank look and a cunning, amicable spirit. He was a master and a generous dancer, always attentive to following the music and keeping the rhythm.

He taught dancing to generations, made exhibitions wearing a hat and a neckerchief, and rekindled the study of a dancing style which seemed to be lost. Merely with that, he earned enough laurels to be included in the Hall of Fame of the great dancers who built the history of tango dance.

The author is instructor, dancer and researcher of tango dance. He is author of the Nuevo glosario de tango danza, La pista del abrazo and Tango FAQs. www.tangosalon.com.ar / info@tangosalon.com.ar