Teach what you know well
A quick search on the internet can reveal many dance schools (not just Tango by the way) offering all kinds of classes and seminars with exotic-sounding topics. For the unsuspecting student – mostly the relatively new people initiated into the dance – such options are mind-boggling.
Personally, I follow a simple rule-of-thumb:
If a teacher can’t dance something on a regular basis, most likely he/she will not be able to do a good job of teaching it, no matter how good the teaching credentials.
The analogy is very much like having someone “cramming” by reviewing videos or secret manuals and then rolling up to the class half an hour later to regurgitate some rote-learned skills AND expect to get paid!?!? I mean, I’d rather look at those videos myself and save some trouble… 
Popularity: 1%
Musicality
Recently some followers questioned the value of taking classes on musicality. To me this was rather strange, which I can only put down to having experienced bad teaching in the past. In my opinion, musicality goes way beyond recognising the stereotypical generalisations for each of the major orchestras, e.g. Pugliese is only represented by his La Yumba beat, D’Arienzo means only the ric-tic-tic marching rhythm and Fresedo means always a certain romantic silkiness. Musicality in a technical sense is more to do with how we can recognise the phrasing in the music, the syncopations, the change from rhythmic to melodic, just to name a few. Ultimately, it allows us – leaders and followers – to transform a series of steps into a moving dance.
So, is there any point for a follower to learn and understand musicality?
Popularity: 48%
Teaching of Tango
Almost any Tango teacher worth his salt – be they of the “resident” variety or the travelling maestros – would have (or should have) struggled with these questions at some point in his teaching career: What do I teach to the students? And in what order should I present what I know?
It goes without saying that considerations for a resident teacher who may (or may not) choose to take on the responsibility of helping a community to grow, i.e starting from raw beginners, will be different from the “hit-and-run” strategies of visiting masters, who may be in town for a weekend or two for a festival or intensive workshops.
Popularity: 40%
Evolution of the embrace
Once upon a time, all Tango dancers in Singapore danced in an open embrace.
Fast-forward to present, close embrace dancing is the norm rather than the exception during a typical milonga.
Speaking for myself, I can clearly remember the first time a girl (she was already an experienced dancer at that time) came very close to me, and this was within the first two months – no formal classes and before my first workshop – of my Tango journey, I was literally petrified! Come on, what was I supposed to do? There was simply no space to move.
Popularity: 46%