ike other pioneers of tango dance, he was born towards the late nineteenth century when the firuletes (contortions) were drawing the outskirts of town.

Little by little he was acquiring fame while he contended against El Cachafaz and Elías Alippi, among others. Later, that skill led him to the stage and since 1912 the aristocratic Hotel Bristol of Mar del Plata had been hiring him for the summer seasons. There he danced tangos, among gavottes and rigaudons, together with La Gallega María, until the time he realized that people preferred his agile tangos. He even taught privately accompanied by the young pianist Juan Carlos Cobián.

But one year later, along with Petra Gómez, he won the first dancing contest held at the Palace Theatre witnessed by the most outstanding members of the society and so he began an eminent career.

Hence, he traveled to Europe and on his comeback he taught on Santa Fe and Cerrito, just around the corner of Enrique Saborido’s studio.

Juan Carlos Herrera was a recognized man, an outstanding dancer of his time and a teacher that developed a theoretical-practical method for the study of our dance; but he especially united popular sectors with high society, as if with his behavior he might have taught us that a hug never was the heritage of a special class.

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