WELCOMETO JONATHAN Y OLIVIA’S                                                   

                 PERFORMANCE VIDEOS


Please scroll down to read about the distinction between our performances and the tango milonguero social tango that we teach.

Jonathan y Olivia perform to "Se Dice De Mi" -Milonga by Quinteto Princho and Roberto Firpo beginnnig with a beautiful tango apilado/tango nuevo fusion. August 4, 2023 at Dance Blvd, San Jose, CA.

Jonathan y Olivia perform to D'Arienzo's "Miedo" in the Tango Milonguero style in Berkeley, CA   July 9, 2023

Jonathan y Olivia's tango performance to Osvaldo Pugliese "Cascabelito" in the tango milonguero/apilado style of Carlos Gavito in Berkeley, CA on July 9, 2023


Jonathan y Olivia perform Milonga to Juan D'Arienzo "La Espuela" in Berkeley, CA   July 9, 2023

Jonathan y Olivia perform to Pugliese's "Silbar De Boyero" in the Tango Milonguero /Apilado style of  Carlos Gavito at Dance Blvd, San Jose, CA  August 4, 2023

Jonathan y Olivia perform Milonga to Francisco Lomuto's No Hay Tierra Como la Mia at El Chamuyo Milonga in Cleveland Ohio on 6.21.2019

Jonathan y Olivia perform to Pugliese's 'Don Agustin Bardi' om June 21, 2019 at El Chamuyo Milonga in Cleveland, Ohio

Jonathan y Olivia perform Vals to Alberto Castillo's 'Violetas' at El Chamuyo Milonga in Cleveland Ohio 6.21.19


Jonathan y Olivia perform to Osvaldo Pugliese's "Esta Noche de Luna"  and to Juan D'Arienzo's "Yapeyu" on November 12, 2016 at the CMC Milonga Capp Theater in San Francisco CA.

Jonathan y Olivia perform an Argentine Tango Salon/Milonguero/Nuevo fusion to Juan D’Arienzo’s ‘El Ingenerio’ at the 2nd Annual MCM Valentine’s Day Milonga February 14, 2015.

Jonathan y Olivia perform Salon Milonguero Nuevo Tango Fusion on 8.24.14 in San Luis Obispo

Jonathan y Olivia perform to D'Arienzo's "Paciencia" in the Tango Milonguero Style of Ricardo Vidort in San Luis Obispo on 8.23.14

Susanna Miller and Jonathan Perform Milonguero Style at The Belrose Theater to Enrique Rodriguez

Susanna Miller Workshops coming to The Belrose 7.27.14!

Jonathan y Olivia at The Belrose 11.2.13 during The Belrose Milonga

incl. Jonathan's birthday waltz, Seth and Ville live.

Jonathan y Olivia's improvisation performance with The Redwood Tango Ensemble at MCM Concert Series 2.14.14

Jonathan y Olivia perform at St. Orres 10.19.13 in the style of Carlos Gavito

Jonathan and Olivia perform Canaro's Sentimento Gaucho in the style of Ricardo Vidort at St. Orres 10.19.13

Tango Milonguero to D'Arienzo's 'Compadron' -- Jonathan y Olivia in Mendocino, CA 4.27.13

Tango Milonguero (Apilado) by Jonathan y Olivia a La Pista in San Francisco 3.21.13

Jonathan y Olivia perform Tango Milonguero in the apilado embrace at La Pista San Francisco, CA 3.22.13

Argentine Tango Salon Milonguero Nuevo Fusion Performance to Introduccion Al Angel by Astor Piazzolla at Kunst Stoff San Francisco (below): Jonathan y Olivia -- December 3, 2012

Santa Cruz - (below) Jonathan y Olivia perform a Salon Milonguero Fusion performance to Pugliese's Quejumbroso followed by a Nuevo performance to Nora Jones "Man of the Hour"

Salon Milonguero Nuevo Argentine tango fusion performance to Introduccion Al Angel at The Belrose in San Rafael, CA -- Jonathan y Olivia --

Jonathan and Olivia perform Argentine Tango in the Tango Apilado Embrace to "En Esta Tarde Gris" by Anibal Troilo and Roberto Goyenche on July 4, 2011 at Union Square, San Francisco, CA.

In a blog from Tango Voice, the writer (see excerpt below) accurately identifies the video of our stage performance to "Milonga del Angel" to include a fusion of Nuevo, Salon and Apilado/Milonguero styles. The writer also correctly states that the "expansive sweeping movements" demonstrated in our stage performances are not suitable for a milonga (these are stage performances afterall). It is also true that our stage performance pieces to PIazzolla's "Milonga del Angel" and "Introduccion Al Angel" as well as our performances to alternative contemporary composers such as Nora Jones or classical composers such as Max Bruch, are not typically played at milongas. In general, our stage performances are designed to show our depth and breadth of skill in executing a beautiful and elegant fusion of Salon, Milonguero and Nuevo styles, in a sensual and elegant manner that is uniquely different from the usual stage salon performances.


When we teach private lessons, tango classes and workshops, we do not teach our large sweeping stage movements unless we are specifically teaching workshops on Nuevo Tango or specifically requested to teach it in a private lesson. Instead, we focus on teaching fundamental walking technique and technique for Tango Milonguero and Salon Milonguero styles. It would be a mistake for anyone to conclude that our ongoing classes and workshops incorporate the larger movements that one enjoys in our stage performances. We will soon post videos on tangoapilado.com showing our pure Tango Milonguero performances and hope that anyone who is curious about learning to dance Tango Milonguero from us will have the benefit of watching these videos and know that they will be taught true to form Tango Milonguero technique. Also, one can view our Salon-Milonguero technique in the US National Competition videos below.


Tango Voice Excerpt:

Jonathan Yamauchi & Olivia Levitt teach tango in the San Francisco Bay area in California. They identify renowned stage tango dancer Carlos Gavito as a major influence. In advertising, their workshops have been classified as ‘nuevo milonguero’. A video of one of their performances provides an additional perspective on what type of tango dancing constitutes ‘nuevo milonguero’. This is a performance danced to the nuevo tango composition ‘Milonga del Angel’ by Astor Piazzolla. The apparent contribution of Tango Milonguero is the embrace with direct frontal alignment, the woman’s arm extended over the man’s shoulder, and the apilado posture (Salon Style Tango, Milonguero Style Tango, and Tango de Salon in Buenos Aires and in North America), which is maintained throughout most of the performance. Volcadas, calesitas, ganchos, sacadas, and high boleos are inserted into sequences while the embrace borrowed from Tango Milonguero is maintained, but at times the embrace is also opened to perform a giro with a lapiz and enrosque at one point, and to insert a colgada at another point. The performance alternates between showing characteristics of Tango Milonguero at some points, Tango Estilo del Barrio (sometimes called ‘Tango Villa Urquiza’) at other points (Tango Estilo Villa Urquiza) [Tango Estilo del Barrio (versus Estilo Villa Urquiza) / Tango Estilo del Centro (versus Estilo Milonguero)], and Tango Nuevo at other times still. However, the expansive sweeping movements that sometimes elevate off the floor make this kind of dancing unsuitable for the pista of the milonga. Since Tango Milonguero is designed for the milonga, it cannot be considered a variation of Tango Milonguero or a role model for dancing at the milonga. The music – Piazzolla’s “Milonga del Angel” also lacks the clear rhythmic structure suitable for dancing at a milonga and indeed none of Piazzolla’s music is used for dancing at traditional milongas in Buenos Aires where Tango de Salon / Tango Milonguero is danced (Music Played at Milongas / Tango Social Dance Venues). Perhaps Yamauchi & Levitt are being (unintentionally) accurate in labeling their dance Nuevo Milonguero, a modification of Tango Nuevo with elements of Tango Milonguero, rather than Milonguero Nuevo, a modification of Tango Milonguero with elements of Tango Nuevo.