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  The macho seducer typically thinks he is the active party but in fact is in bondage to the seducee, in slavery. The genuine seducer has to devote all his attentions to the seduction for a period to accomplish the seduction, and in the process, is effectively enslaved by the seducee until the seduction is successful. In bondage means being drawn to something in an obsessive way.


Beauty adored

  Much beauty is adored in an adoration process. The length of the leg can turn into an arousal, especially if a tanguera is wearing nylons. The foot and shoe however, are the most worshipped. Points of attraction which erotic symbolism idealises are the size of the foot, curve of the arch and instep, the length and straightness of the toes, the texture and complexion of the skin, contours of the heel and ankle, the softness of the sole, and if possible, even the foot odour. Each segment is exalted to an ideal perfection and an exquisite part to kiss, bite, caress, lick and fondle. The fetishists attraction to the foot (or shoe) is because it has exactly the characteristics considered most attractive and elegant in the female personality. Foot fetishism is a variation of normal intimacy. The foot is a very tactile organ which gives sensual pleasure to both partners. Foot tickling can itself provide a pleasant foreplay as well as an erotic response. The devoted foot artist will voyeur feet in the same way others seek the opportunity to view people dressed in tight clothing. They are naturally attracted to feet dressed in open design footwear such a high heel sandals. The focus of their attention is on the behaviour of the owner especially in the way the person uses their feet in non verbal ways. Also the act of lacing does it, especially in a milonga salon, the way the cord is being drawn through eyelets, around hooks and the female ankle. High heels and nylons are considered symbols of playful defiance, and heightened sexuality. The shoes became the trademarks of the naughty girl. The height and size of shoes have erotic connotations. High heels are considered to make even the average bottom look more pert, round and trim. According to experts buttocks protrude by 25% just by wearing ankle breakers. Effects on the posture have been studied and the change in the body's centre of mass causes the back to curve, breasts to jut forward, the buttocks to hike up and the legs to look and sexy. The calves and ankles appear shapelier and the arches heave from the shoes. High heels also restrict movement and are therefore perceived as a form of enslaving which some people find erotic.

  Originally the word fetish or fétichisme was thought to come from Portuguese "feitico" and derived from the Latin, "factitius" or "facere", to do or to make. The man-made object was worshipped in obsessive fashion because of its magical powers, a lucky talisman. By the nineteenth century, the term fetish had been extended to refer to anything, which was irrationally idealized, something that exists only as an idea. It became firmly associated with sex and the attraction of certain portions of the female body, or specific articles of female attire. Examples of body parts, which attract the fetishist, include feet, hair, buttocks, breasts and objects. They include gloves, lingerie, hose, leather, brassieres, and garters.

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  For a true tanguero man, his superior skill at dancing was counted as a determining factor in his popularity, a measure of his machismo, as in a championship. In El Torneo de Ritmo y Sensualidad such as a Mundial de Tango, for all who join the competition, the women look for the perfection and they are not not satisfied to just being beautiful (En cada caso, las mujeres buscan la perfección y no se conforman con ser hermosas ). Also they fly or move in such a way that it seems that they do not touch the floor to move in the rhythm, grasped to the males, who shine less but work more. The men show that, at least in the tango, it is possible to be virile well and refine at the same time, challenging, protective and boldly. They mark the rhythm and devote themselves to defy the envy of others with the prettiest woman and better ballerina (Ellos marcan el ritmo y se dedican a desafiar la envidia de los otros con la mujer más linda y mejor bailarina). At the other side is the public, el público que sabe de tango, and the juries who almost cannot explain how there are going to decide who are the best and who wins.

  It looks as in he beginnings of tango. The immigration wave did the Buenos Aires city population rate swell with lonely men, resuling in a demographic sex ratio population of 1 male to 0,6 female in 1914. At that time, as there was an extreme shortage of the opposite sex, a strong macho competition and an import of females through a woman-traffic was inevitable. Approximately 30.000 garotas were working in 2000 brothels. As tango was related to the brothels, it was a scandelizing act for a woman but the fact that it was danced with prostitutes, broke dancing habits. Couple dancing changed into a sort of erotic struggle, showing some provoking behaviour. By the 1920's, fundamental changes in attitude with regard to women's sexuality had taken place. Most significant was the idea that women by their very nature were now considered sexual and they should show their sexuality by looking sexy. They had to wear make-up and the right clothing. The hair style of the 1920's was the bobbed look, corsets were out. Women were now insisting on comfort and freedom of movement in their clothing to match their increasing social roles.

Shaping an assertive sexual image is typical tango.

  In a way, a lot of baroque can be seen in the tango dance attitude. The baroque artist wishes to create constant sensation of movement. Barock rocks the spectator, touchingly and affectingly shocking the public. Dynamism is el ideal artístico del Barroco. The barok leaves the classic serenity and wants to express a world in movement and agitation of the senses. Baroque is the time of the feeling. Personages appear in very dynamic positions, with very expressive faces and moulin rouge gestures. The time spirit in which barok grew was that of a changing society.

Tango-E-Vita, multilingual Belgian website which focuses on the many different dimensions of performing and experiencing Argentine Tango Dance as a living, ongoing event. Online multimedia such as instructional video-clips on guiding technique and views of shows. Articles in English, Dutch and other languages, with information and thoughts on the manner and quality of couple dancing and, regarding the mind-body relation and the act of exploring non-verbal communication, the powerful contemporary value of it. A special attention for multiple perspectives on gender, social class differences and mentality changes in the history of Tango Argentino.

  Today, former actress Eva Norvind is making a movie about the tangos in Argentina, the picture is called: Gavito, su vida y su tango - Carlos Gavito, his life and his tango. The project was born by her taste to the famous Argentine dance: "I have danced the tango for a long time . The main subject of the film is on my teacher who finishes dying". She started it in may 2005 and hopes to finish it next year.

  Regarding tangodancing, sexual image and the so-called submissiveness of women in tango, Eva Norvind's background will maybe give it a special touch. She is an independent film and video producer as well as a psychosexual counselor in NYC. She was born Eva Johanne Chegodayeva Sakonskaya in Trondheim, Norway, on May 7th, 1944, the daughter of Russian refugee Prince Paulovic Chegodayef Sakonsky and a Norwegian sculptress. She is the sister of Georg Kajanus, London based singer and composer, and she is the single mother of Mexican actress Nailea Norvind. Besides the name Eva Norvind, she has also worked under the pseudonyms Ava Taurel and Eva Hultgreen. Having moved to France at age 15 with her family, she entered the field of entertainment when she won the second prize in the beauty contest at the 1960 Cannes Film Festival where the reward was a minor role as a German tourist in Marcel Moussy's Saint Tropez Blues (1961). Shortly thereafter Eva changed her name to Eva Norvind when she became a showgirl at the Follies Bergere and began acting at the Comedie Francaise. In 1962 Eva moved to Canada and then to New York City, where she worked as a showgirl and Can-Can dancer in cabarets, as well as a lunch-time Playboy bunny. Upon finishing high school in 1964 she took a bus to Mexico City to study Spanish over the summer and was recruited by a television producer to act a small part in a TV variety show. Because of her Nordic beauty, voluptuous figure, and daring attitude she rapidly became a film actress and a sex symbol in the Mexican media. In 1968, still living in Mexico, she became a freelance photographer covering fashion and celebrity news in Paris and New York. She also worked as a journalist specializing in film, covered international film festivals and got Latin American exclusives with major Hollywood talent from Paramount and Universal Pictures. She then worked in film distribution, buying European films for the Mexican Cineteca and selling Mexican films to Scandinavian Television.

  In 1980 Eva returned to New York to study film production at NYU. She produced shorts and promotional films within the health field, and worked as associate producer of feature films in the development stage with Ziegler Films in Berlin and the Kibbutz Association in Israel. In 1985 she became fascinated with the exploration of the erotic power exchange and invented a pseudonym for herself as dominatrix Ava Taurel. In 1987 she founded Taurel Enterprises, Inc, a New York-based company that specializes in dom/sub psychodrama for counseling, erotic role play and video production for health related services. As a coach Ava enjoys working with women who wish to assert their personal and sexual persona, whether it be for their own personal relationships or performance in the media. She gives lectures at national conferences worldwide, to both health professionals and lay audiences. In 1996 she received her MA in Human Sexuality and Health Education from NYU and pursued graduate studies in Forensic Psychology at John Jay College of Criminal Justice. Eva Norvind is a respected sexóloga, and her work on the power and the consensus in the relations is very serious and professional. In 1999, Eva trained the actress René Russo so that could be obtained convincing sexual scenes in the film The Thomas Crown Affair, next to Pierce Brosnan; René undressed for the first time in front of the cameras, and needed an expert professor. It is as having one double life. Eva Norvind: the fatal blonde that arrived at Mexico with ten dollars and transformed into a star, personage of fiction, daughter of the royalty in exile, psicosexual, dominatriz consultant. A woman who receives calls of the studies to train actresses.

  Eva Norvind, the Norwegian who came to learn to dance tangos, spent long time without the world to knew about her fascinating life. In 1997 however, feminist filmmaker Monika Treut (1954) made Didn't Do It for Love (1997), a documentary about Eva's life, which premiered at the Toronto Film Festival, followed by the Berlin International Film Festival, among others.The German director Monika Treut's docu pushed Eva's (private) life back in the public storm. "Eva, la mujer del látigo, is an unconventional sexual pioneer", says Treut who wrote a university thesis on "The Cruel Woman. Female Images in the Writing of Marquis de Sade and Leopold von Sacher Masoch". Treut's documentary traces Eva's search for the wellspring of her obsessive and dark sexuality. Treut's Didn't Do It For Love is a biopic, a portrait of Eva Norvind alias Mistress Ava Taurel. The film touches identity issues such as the significance of taking on a new name (Eva's father also changed his, in a post-WWII attempt to hide his aristocratic origins), but it's really the Eva show right down the line, and Eva is nothing if not an attention-getter.

  Her controversial life and work has been documented in many books and other movies. In 1996 she was featured in Whipped, a documentary by Iana Porter and Sasha Waters which premiered at The Chicago Underground Film Festival and was screened at the Anthology Film Archives in NYC two years later. Whipped is a documentary which features three ‘life-style’ dominatrixes and owners of major New York dungeons; Carrie Coakley, Ava Taurel, and Sonya Blaze. Whipped focuses on the relationship between the dominatrixes and their male slaves and highlights their everyday politics and feminist activism. In one of the most endearing scenes of this documentary, Ava Taurel introduces a class of women apprentices to the principles of female domination, a set of coded performance practices which can be applied to private sex practices or public sex work. The film shows the entire class break out in laughter when one apprentice hesitantly whips a male submissive in front of the camera. Taurel’s workshop teaches women to gradually accept and embody the role of the mother/domina, to interpret and act out the role in front of diverse clients, to acquire the technical skills to endorse the fantasy as a material practice in the private imagination.

  When she started out in the 1980s, Ava was a pioneer in coaching the assertive sexual image. - `I was like the queen of the town,' Ava says, recalling the time before Madonna's book Sex helped bring the joys of spanking to a wider public. `I had four different places and I paid an enormous rent and enormous advertising fees. And then it began to decline.' - Now it's been damaged by the media, by stereotyping, by anyone wanting to do it. It's not just this business, it's any business. The moment you start commercialising, you kill something.'

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