The magic of tangodancing
    Last modified: 05 oct 2010

  Why do such a difficult thing as tango, when there are other couple dances ? What is the surplus pleasure ? What is the difference ?

   
    Click here to see the difference

  Argentine tango, milonga and tangovals are very soft private dances with visual focus on the leg movements, and are examples of irrational dancing, personal improvising creativity. 

  In tangodancing, the feet of the dancer are not bound to a schematic designed plan, even tangovals has no clear repetetive pattern like the Viennese waltz. The dancer is free to decide what he will do on the music he hears. This is a new orientation of couple dancing. As most dances have a rational-pattern which can be predicted by the follower, the ballast of previous perceptions about strict rules has to be thrown overboard and replaced by a real communication contact, creating a direct non-verbal dialogue. This requires permanent attention and body connection.

  It means that the concept of leading and following in tango is radically different then in predictable dances. The lady follows by "feeling" her partner's chest-changes. Inside the dance-hold which is a spiral, the partners feel the circular movements. The more the other is sensitive towards you, the more the experience will be intensified. Attention, awareness of the dancing experience is the focus. Inside the energetic circle of the tango's close embrace, the tanguera is aware of the tanguero's movements which must be clear and simple, giving one step-direction at the time, and he should go about it with a quiet and relaxed manner, and he has to be relaxed to be fast. The movement power is generated from the lower abdomen and legs. Upper body strength and muscle-tonus can extent the elastic guiding, especially when the tanguera is doing a boleo. There is no pushing or pulling by the man and he also must listen and respond to the way the lady moves. She has the abilities and capacities to sabotage, to delay and to dislocate the effect of leading. This gives the man a dynamic dimension of uncertainty, which is a good test for his frustration level. This is the addictive thing, for both.



  One can also see it as follows: the man initiates her a leg-movement and the "bonnefemme" gives expression to it. Without her attentive response to his unpredictable signals, he cannot dance. The woman gives the freedom to the man to express herself by forming the dance, he is responsible for giving to her a safe, structured space in which she can express herself freely according to his playing and she can play back. The goal is a pleasant dance experience that gives memories. The term closure can be used, it is approaching together, a coming closer, a narrowing of a gap. An incomplete closure, is called unfinished business or frustration. A complete closure is called satisfaction, it is dancing a tango that gives an inside kick, as if awakening something.

  In Argentine tango, the act of stepping is philosophy, physically walking a fluent stream of energy, continuously flowing and graceful in shape. But beauty is more than being graceful, if tango is erotic, it is manipulative and violent too. A passion needs unpredictable surprises and breathless rhythmic accumulations, as in Mozart. It deepens the contact and gives an energy-kick, physically. This can be seen in the stepping. The tango rhythm is based on the 2x4, 2 strong beats on 4:
  1   2   3   4
A way to make this 1-2 -mark visible in the act of stepping is ...
on 1 : lifting the knee and the heel of the foot, and slowly starting moving = expanding like a bandoneón.
on 2 : stretching the leg, fast like a clasp-knife, and putting the foot down like a knife-thrust, a thrusting flash, a strong stab to the heart, una puñalada with an Argentinian Facón.
  As stabbing happens fast, quick, the duration of the marking moment is extremely much shorter than the earlier lifting of the knee, the extending. That contrast gives a striking tension, a noticeable suspense.
It looks like:
_______1_______ ... /2\ _______3_______ ... /4\
etc...
It sounds like La Yumba ....click for pronunciation audio
  In dancing, as in knife-fighting and boxing, it is nice to know that the flexibility of the body increases when the feet are in a more open \ /-position rather than close together, stiff.

Click here for Tangowals tangovals clip

More online Tangolessen videoclips updated


Much more here !

  Inside the dance hold which is a close embrace circle, the opposites do not come together in synthesis as if losing one's identity, the paradoxes are maintained and sometimes the extremes reappear clearly in the dance. Duality means that the opposites must be shaped separately. You can't dance unless you are who you are. A creative experience is something that happens between people, the playground is found on body experiences. These body experiences with their biological energy make a third space. In this space there is no resolution or transcendence between the contradictions, they make part of the play. In dance, a contrast evokes a more dynamic body-connection than continuously moving in the same line.

  Duality is typical for our western culture, it seems to be an essential, delicious and addictive stimulus. It feeds the imagination. Our imaginations need it to keep engaged. Without a contradiction within your action, a split, you can't develop a structure of motion. An obstacle makes the objective, the longing visible. Contrast, the opposite, a contra-point is needed. A sandwich-mordida is such a contra point. The woman trespasses the man's privacy and makes a gancho like a happy hooker. A counter-boleo is for the man a great contra point. The leader makes a counteraction which is in opposite to the woman's moving direction, a sort of counterpunch, coup de fouet, a throw followed by a soft whiplash thus giving a quick reply and counteracting the woman's movement.

  In tango, men sometimes dance together. This may seems strange, contradictory, odd. The image of the male dancer has always carried machismo stereotyping. Dancing is about several emotions and feelings, which men are not all supposed to show. Dance however, is technique too. Men invented the tango dancetechnique, including the female part. In fact, a tanguero has to know the woman's movements from inside out to be capable to guide a tanguera. A reference is Antonio Todaro. He had a special fondness for dancing as follower and as an innovator, he had fun expanding the follower's part. He is also famous for his skilled Tango Doble Frente / double front (tango al reves - inversed/reversed) in which the woman has her back to the man and the man embraces her around the waist, so both dancers face the front/public, it is a very historical style of tango invented by the popular milongueros of the 1940s. All steps that one dances in the regular, or "derecho" position, can be danced al reves. Men created ballet too, yet dancing is now seen as a female art in which masculine dancers assist the women. Men's contemporary role seems to be more directed into guiding the woman.

  As the orgins of tango are related to the brothels and the fact that it was danced between men and prostitutes in a marginal lower class area, broke rules and dancing habits. Couple dance got another character, an opposition between what is inside you and what is inside me. The dance got a more violent temperament, something of a struggle. A danza prohibida recognizes that the use of erotic beauty is manipulative and violent too. A passion needs unpredictable surprises and breathless rhythmic accumulations, they give an energy-kick, as in Mozart. The ritual symbolism of tangodancing is connected with sensuality and disastrous desires such as sexual teasing. The prostitute was viewed as a She Devil. She seduced men with her tricks and through the clothing she wore. So there is nothing more "tango" than nylons and highheels. High heels are considered symbols of playful defiance, the heightened sexuality of el estilo sexy. These shoes became the trademark of the naughty girl, so captivating our Moulin Rouge imagination.

     

  The interactive nature of pair dance gives lots of opportunity for partners to subtly affect each other. This means that there is a 3th beat-pattern dimension. Underneath the "quick quick slow"-steps and the living pulse of the music, grows a dialogue of rhythm in the couple's dance interaction. When two people dance together, what they do affects each other in a profound and ongoing way. A dialogue exposes, maybe something of a courtship “dance” rhythm, the bottomline is chemistry.

  Improvisation and playing are key elements in dancing tango. The central part of social dancing is dancing together. It can be done dead seriously and with some laughing and playing on the dancefloor. In a couple dance, it is crucial to have fun dancing together.

YouTube illustrated tangopages:
Dance interpretations on Gallo Ciego
Walking the tango rhythm
Walking Seduction
Dance is a physical need
Tangowals tangovals Milena Plebs Ezequiel Farfaro and other clips
Online Tangolessen videoclips videolessen updated
Carlos Gavito and Maria Plazaola
Showclips Forever Tango - great milongueros

Selected YouTube TangoVideos:
1. TangoClass - instructional vídeos - TangoLessons
2. Milonga and Candombe dancing
3. Tangovals clips - Tango waltzing - Valse - Tangowals
4. Great Tangoclips - fast internet access needed
5. Fast Links to Selected Tango Dance Vidio Updates

  The longer and the more you dance, the more your technique improves, the smoother your dancing tends become. You get to know the steps you are doing better, so you embodie them more completely, at faster tempos, with less than no thought, adding embellishments, going inside and beyond the so-called official dance figures and play together, which is the true meaning of social dancing.

  The social dancer's skill is to know how to choose the most effective move at that moment, optimize the energy available at that occurrence, as well as turn the hints offered by the partner into an unique, unusual personal conversation, not a monologue by the leader.

  When there is magic in couple dancing, it's key is self-knowledge. It's about expressing emotions, sensitivity. Sensualism is tactile and emotional. To communicate in a dance, when the feeling it is not explored and experienced by the own body, is very difficult. Guiding and following are one. So, a dancer should try to to be able to reach his emotional resources, his basic emotions. Our mind is not just in the brain, it is also in the body. Emotion creates the bridge between mind and body. Strong emotions make us to remember things. And... some impulses keep the emotion down. It takes energy from our bodies to keep the emotion unexpressed. These suppressed emotions are locked up and lodged in the lower body. When an emotion moves up, it can be expressed, made explicit aware. In that realization process, a person is expressing the mystery of mind-body communication. This introspection makes him more able to move from inside out.

  A demonstration, besides illustrating a new tango figure, can give new, inside perspectives which increase one's awareness of normal human movement potential, so developing an effective understanding of kinematic (motion) and kinetic (force) concepts through the act of dancing. To sense, experience and examine body movements in a nearly microscopic analysis, is a central theme in dance and the method of Moshé Feldenkrais. But in the Feldenkrais Method and other techniques such as Frederick Alexander, it is not about learning to move in a limited number of "correct" ways, nor about having "the good posture", nor about "judging" or about replacing your old habit by mirroring "the image of the model", but about awareness through movement. It is about sensing and to be able to shape movements throughout experiencing the little differences which you try out. Does it intensify the inside dance ?



  The level of indirectness, distance, depends mostly on the amount of feedback one is getting from the partner. In this, the woman has more impact and control than the leading man. The woman can activate a series of “body signals”, bit by bit, like a soft laugh or singing, perhaps coming closer, which ignite the curiosity of the man thus lightning him up. Hands too are important, the way people touch each other. A hand has a lot of expression. These things are related to the close embrace-hold philosophy "Estilo Milonguero", also called Apilado or Villa Urquiza (in reference to the Sunderland club). In the liberal ‘twenties, both men and women went to crowded tango clubs and confiterías, where they danced very close socialized, intima y sensual, the woman’s head over her partner’s right shoulder, so he could whisper in her ear and visa versa. The level of the man’s commitment is highly correlated to the frequency which the woman sends out these signals, much of this serving to reduce the man’s sense of insecurity.

  Relaxation, gradual becomming more and more at ease, to be as relaxed as a cat, is the primal goal. A relaxed mind leads to relaxed muscles, which is essential for a good performance. Before making the first step, let the mind enter the body center which lies below the navel, it tranquillises and makes you move from inside out. This way, the impulse to move is coming more from the body than from the mind. The motion starts from the body below the waist and above the thigh, the body is thus going into the step, it is stepping from the hips. The weight of the hips exert a force which optimizes the use of energy. The intention, the outcome, is to be highly bodily involved in the moment as it happens. Leaving space for being spontaneous, keeps the muscles relaxed. It refers more to being aware, alert, open, more than it refers to performing a task, a figure which one has in mind. An act of will power makes the muscles tense, which can be seen in the way of stepping.

  Best is to start a tango just by walking, doing no figures. Match the steps to the music, just listen. The energy and the way a body moves from A to B is the magic, not A and B. Doing this rhythmic stepping, the music comes more into the focus than the stepping of a figure. The figure is there, but in the background. Walking the music is the foreground. Music has nuances and an organic cadence. It grows, changes and becomes more itself. When letting the body flow on the rhythm of music, a perfect, personal tempo grows which is not the same as the mechanic time-pitch of a metronome.

  Argentinian tango dancing is an event, a performing art. Something happens inside people. It is achieved through engaging many sensory channels simultaneously. Intensity relates to all senses, they are all engaged during performances. Perceptions of performance are mostly seen from the point of view of the audience, reducing it to the privileged senses which are sight and hearing. Visual channels only perceive visual phenomena, it is as making a split between mind and body.

  The more a dancer gets a greater response variability, interactive competence and higher sensitive attention towards the partner during the interaction, making him or her feel exclusive in the game, the more the whole body is involved in the rhythmic structuring of tango. To be effective, the leader must involve a degree of flexibility, improvising, that of being able to harmonize and synchronize with the partner. Every move is according to the partner’s response. The main goal, the know why, is to build an intriguing bond with the partner, reaching a genuine connection while dancing.



  Leading and following as mutual conversation is a challenge. Even more in today's high-pressure environment and single-gender morality. Modern women have learned to carry the responsibility, to be independ and not to be led. It is difficult to leave the responsibility for guidance and creativity to the man. It can be seen as submissiveness. Yet, in order to make a dance possible, the woman is not submissive, she is sensible. A man can find it very uncanny to step out the corner, face a cool look and to lead "the direction" in a self-confident, dominant or socalled macho manner. Yet it is about a state of high sensitivity, mutual understanding. These misconceptions or psychological barriers are deep grounded in modern society's war roots. These environment tensions, pressures, have great impact upon the nervous system and are much more difficult to "beat" than the dancefigures.

  Tangodancing is a growing non-verbal communication between two persons. The "corps-à-corps"-contact is a new language exploration. It is known that dance and music evoke the human quality of being expressive. They arouse and excite life-sustaining energy and can bring back lost qualities, as if there is an embodied collective memory that can be remembered when the body takes over. The expressive value of dance movements informs us about our personal life, it gives mind’s hidden information directly from our living body. This body language understands the nature of being and existence, it can open something desired.

  If the dancer takes the time to walk this path, all of the figure-steps can be integrated "en passant" in the dance practice. Obviously, some conversations will be a failure, that's the challenge. Each part of progress requires a well-developed ability of self-evaluation and visualisation, which is a way to improve the quality of your dancing technique, your expressiveness. Best is to start just by walking, doing no figures and match the steps to the music, just listen.

  Dancing is like playing. It is a creative experience wherein people meet each other. Dancing gives a safe, social accepted playground to be sensitive to each other's signals in an unique, limited duration of time. It is not wholly the domain of either participant. When the potential space is polluted, that is, dominated too strongly by one side, there is no creativity, no play, no space for experience. To dance, one does not have to know the choreographic steps. The feeling within is the treasure and rhythm is felt inside. Rhythmic movement is a language. For this, close body contact is essential.

  The way a dancer feels about dancing and his awareness of the act, makes a tremendous difference in how the interaction is embodied. The dancer is generating and expressing a unique emotional experience at the moment of the performance, it's a phenomeon that happens. The more genuine the emotion, the more developed the technique, and the more focused the dancer's intention, the more the dancepartner and the audience will feel what the dancer is experiencing, and the more emotionally satisfying and artistically excellent it will be. Seeing good dancers will give an aha-erlebnis, like a discovery. In a way, tango is a way to the inside. It is introspective, the music is examining what is inside yourself, catching a feeling of inner beauty. The key sources for feeling beautiful are sensitivity, relationships and meaningful life activities such as truely dancing together. Tango is an introverted dance in an extroverted world.

  At the same time, a lot of baroque can be seen in tango, especially in the shows. Spectators mostly "witness" classic beauty, as if it's harmony is in another world, on stage is made no effort to seduce the audience. Baroque however, contrasts openly with the ideal of harmony that the Renaissance advocated. 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 gestures. The time spirit in which it grew was that of a changing society. The misery in the field dragged to many farmers towards the cities, where they hoped to improve their quality of life, but they ended mostly in delinquency. For the baroque bourgeois who desires to sky and land like a compadrito, the only compatible attitude is duplicity, double-dealing, acting in bad faith, deception by pretending. Thus, the spectacle has the intention to act on the viewers, to be manipulative.

  Tango is introverted and extroverted, it involves some role-playing. As there is nothing more "tango" than nylons, seamed fishnets tights, sexy nylons lengthen the leg and are super soft to touch, they are just the thing to put on for a special date... or dancing tango. These clothes alter an appearance. The way a body is clothed, refers to conscious and unconscious uses of disguise. Dressing is a ceremonie, an extremely effective heighten up technique, it is an act of re-imaging an entity, masking, masquerading till a new authentic identity is acting.


Click for tangoclips

  This complicated way of dancing was the start of Argentine Tango, musicians adopted their guitar playing to this danceform, so creating the tangomusic. The 2x4 base-rhythm of Tango is the Habanera, brought by the negroes who travelled from Cuba's Havana to Brazil and Argentina. Later, around 1900, the bandoneón made by Heinrich Band, he called it Band-Union, added the sad sound to the music and made it slower. The first tango cantado was "La Morocha", having inside the couplet-structure of variety song. In 1917, with Carlos Gardel's "tango canción", tango becomes a trilogy: music, song and dance.

  1955 is the beginning of a dark period for tangodancing. Through the changed political situation and the new morality, social couple-dancing dies out. Rock 'n Roll is in, tango is out, becomes folklore, no way to date a girl, not modern. Without a dancing audience, the "Orquesta tipica" dance orchestras become "reliquias". Astor Piazzolla catches the characteristics of the present modern-day. The contemporary sound is more symphonic and the new orchestra is the Tango Nuevo Quintet.
Tangodancing survives the dark period thanks to the tangoshows. A theatrical activity, mostly featuring male dancers dressed in 1940's gangster clothing and women in their cabaret outfits, including fishnet stockings, very highheels and dito behavior. The dance technique is specially adapted for a stage performance, a choreography with more fantasia, called "Tango por enscenario". The subtle rhythmic cadence movements, which are the pleasure of salondancing, are no stage spectacle for an audience at a distance, but a saltito jump is a must.

  The tango dancing revival begins in Europe, around 1979. Fantasy tango is taught by show dancers, it is an open-hold style for stage. Around 1984, the revival jumps to Argentina. Tango, mostly fantasy dance technique, is taught again in Buenos Aires. In 1995, the Milonguero close-embrace salonstyle begins to grow again. So, the last 10 years there is a style mix of "fantasy-salón". The beautiful thing about emotional expression in dance is that there is no right or wrong.

  Tangomusic has for every person a different emotional significance. This multiplicity of meanings is reflected in the lyrics and makes the music a reflection of one own's life. Themes of love, fear, politics, loss, sex, beauty, danger, yearning, intimidation, jealous envy, laughter, and even violence all present themselves musically and poetically in the mirror of Tango Croillo.

  Played on the guitars of the poor immigrants, these universal Cultural influences include the Waltz, the African Candombe, the native Musica Criolla, Musica del Sur (southern folk music), the Spanish Tanguillo as well as American Jazz. And with instruments of the Old World, the violin, cello, bass, piano, along with the distinctive bandoneon, this fusion of influences is interpreted uniquely by Spanish speaking immigrants who expose their Italian origins with names such as Biagi, Manzi, Basso, D'Arienzo, Tanturi, Pugliese and Piazzolla.

  But the essence of Tango Argentino is more than this melting pot of lyrical and melodic influences. It is the bodily dance that is the living image of its understanding. It shapes a sculpture of nostalgic resurection into the sensual, beautiful and sad sounds, evoking lifelike images within the mind. For without the sensual dance that accompanied this music, there was no historical reason, no cause, no impulse to cultivate the music so intense.

Today's Globalization of Tango
  Since 1955, tango as a social dance died for some time, till 1985. Foreigners, prior to the Argentineans, brought it back to live, creating the boom of tango revival and made operate a millionaire business. Classes of dance, CD, TV programs in Japan and China, magazines, artist tours, restaurants, ringtones and www radio programs in MP3 format. It is a business that does not recognize borders. Studies had indicated that anywhere in the world the 2x4 rhythm would generate businesses among 2500 and 3000 million dollars. Argentina however, only participates with hardly 300 million dollars in the musical business of tango. Practically non of the tango CD's in the worldwide market have an Argentina label, mainly they are published in Spain and even in the United States. But la globalización is a process that just begins and Argentina is catching up fast.

The Capital of Tango
  At the present crisis whith the enormous devaluation of the Argentinian peso, the Bonaerense people who live on the tango live on the tourists. The tango championship counts on several features like markets for clothes and the shoes that are used to dance tango, and also jewels, discs and photographies. Between the competition-pairs that arrive from the outside Argentine, there are some coincidences: all take advantage of the trip to become qualified taking classes and, of course, concurring to whatever milongas they can. Many are to the front of their own milongas, academies or companies of dance. And they do not speak to gain the championship as objective of the trip, but rather to learn, to amuse themselves, to live the experience, to represent well their countries... The economic situation indicates that the more devaluated, the more friends of the foreign. So the supply is the tangodistrict, with hotels five stars including, milongas for all the tastes.


Click here for a trip to Buenos Aires

Nederlands:
  Samen speels leren bewegen is de magie, en leiden is volgen. In tango zijn de bewegingen niet gebonden aan een voorspelbaar patroon. De leider improviseert op de muziek en geeft dit door aan de danspartner. De dansfiguur zit in de lichaamsbeweging van de aangever, niet in zijn hoofd, zodat de volger het aanvoelt. Lichaamstaal is de taal van het lichaam, het is dus nodig de aangeleerde dansfiguren in het lichaam te integreren zodat het lichaam ze begrijpt als eigen en zinvolle handelingen: de betekenis, de intentie, is duidelijk voelbaar. Door deze integratie worden ze tevens opgenomen in het lange termijn geheugen, zonder deze verwerking vergeet men ze... ze hebben geen betekenis gekregen.

  De methode van Feldenkreis (Feldenkrais) herstelt deze harmonie tussen hoofd en buik, dit via een geleidelijke ontwikkeling van een meer accuraat lichaamsbewustzijn-lichaamsbeeld. Dit brengt een bewuste herontdekking van het eigen lichaam en verfijnt het lichaamskontakt. Men leert de beleving bewust waarnemen en ermee omgaan.
Feldenkrais : "Pas als ik weet wat ik doe kan ik doen wat ik wil".

Hoe? ... Door een steeds meer evenwichtige verdeling van onze aandacht over ons gehele lichaam, krijgen we een completer lichaamsbeeld. We worden we ons bewuster van elke inspannig/verandering die elk lichaamsonderdeel apart doet, langzaam beseffen we wat er gebeurt en hapert.
Dit laatste komt vaak door overbodige spierinspanningen die de effectiviteit van een beweging hinderen.
De leidraad is een minimum aan inspannig en een maximum aan effect. Dit bereikt men via skeletbeweging en spierontspannig. Het geeft een vloeiende energetische doorstroming.
Met deze groeiende zelf-waarneming veranderen we bewust bewegingspatronen en het zuivert tevens onze denkwijze.

  Tango is samen in één lichaam zijn, dansen met vier benen en plagen is beminnen. Muziek heeft de kracht om uniek contact te maken met jezelf en de ander. Tango is sensueel en brengt het lichaam tot beroering. Een voorbeeld van tactiel contact: Wanneer ik , zoals een blinde, een wandelstok neem.... dan stopt mijn gevoel niet bij dat hout, ik voel doorhéén de stok, het wordt een deel van mij. Dit is een wezensverandering, iets-buiten-mij... wordt een deel van mij. Zodra ik me echter terug naar de-stok-op-zich richt, dan wordt het opnieuw een objekt, iets-buiten-mij. Dit fenomeen gebeurt veel tijdens het dansen. Gaat mijn gewaarwording doorhéén mijn partner, of niet... Tijdens het dansen is het hoofd is leeg, de bewegingen zijn lichaamservaringen. Geen... ik denk, dus ik... doe bewegingen, deze vertrekken vanuit het hoofd naar het lichaam. Dat zijn gedachten die het lichaam in bezit nemen, spookzelfbeelden.
Volgens de Franse filosoof Merleau-Ponty (1908-1961) schuilt onder de bewuste akten van het ‘ik denk’ een lichamelijk ‘ik kan’, dat op een ’voorbewuste’ en onpersoonlijke wijze de waargenomen omgeving organiseert en structureert. Het bewuste denken heeft als basis een ‘zwijgend denken’ dat is gelokaliseerd in zintuigen en ledematen. Merleau-Ponty noemt dit het ‘lichaam-subject’ (corps sujet). In onze dagelijkse omgang zijn we niet meer gewoon om mensen lijfelijk te benaderen. Onze levenssituatie brengt tevens spanningen, stress mee die ons lichaam onder druk zet. De danskunst is een weg om de taal van het lichaam te herontdekken. Zo komen we als vanzelf een stapje dichter bij het oorspronkelijke gevoel.

Bewegingszin stelt ons in staat om van binnenuit onze eigen bewegingen waar te nemen, dit door de spanningsverschillen in onze spieren. Van belang is beweging, afgewisseld met momenten van rust. Door een goed ontwikkelde bewegingszin kan men met de ander meebewegen en gevoel ontwikkelen voor non-verbale dialoog, een communicatie met zichzelf en de omgeving. Het ontwikkelt het vermogen om innerlijk mee te voelen. Deze sensorische integratie verbetert de zelfwaarneming en het zelfvertrouwen. Het vastleggen van een bewegingszin vraagt een onderzoek naar hoe je een beweging doet, of hoe iemand anders een beweging uitvoert. Een beweging wordt meest als ‘juist’ beoordeeld wanneer het een vertrouwde beweging is maar, zoals alle zintuigen, de bewegingszin is niet altijd onfeilbaar.
Frederick Matthias Alexander (1869-1955), een Australisch acteur, ontwikkelde de Alexandertechniek. Om een goede coördinatie te vinden, leidt het tot niets om een beweging te ‘verbeteren’ door er gewoon een andere voor in de plaats te stellen. Herken de verkeerde, overbodige spierinspanningen, maak het onbewuste gedrag bewust en dan gebeurt het juiste uit zichzelf, als in een aha-erlebnis. Leren tijd nemen is hierin fundamenteel. Zo komt men steeds dichter bij een neutrale toestand, een innerlijke rust van waaruit het evenwichtige groeit.
We zijn gewend om de vorm voornamelijk via de ogen op te nemen. Door goed te kijken kunnen we innerlijk meebewegen met de vormen, kan zelfs onze tastzin geactiveerd worden en als het ware de spanningen in het beeld voelen. Maar het werkt nog beter in de andere richting: we kunnen uitgaan van de bewegingszin en de tastzin en vanuit deze zintuigindrukken het beeld proberen te begrijpen. Beeldvorming rond dansexpressie die zich vanuit tactiele waarneming ontwikkelt heeft een groter vermogen om innerlijk 'bewogen' te raken. Zo beleven we een sculptuur, een voorstelling, van binnenuit, het visuele beeld is gereduceerd, de sculpture wordt uitgehold tot enkel de kern te zien is, de innerlijke essentie, zoals Rodin's Balzac.



Spanish:
  Nada hay tan íntimo y público a la vez… como bailar. El tango, como toda manifestación popular, nace espontáneamente en Argentina, resultado de la necesidad de expresión del pueblo, a fines de la década de 1870. Es el lenguaje del cuerpo que permite al alma expresar sus sentimientos, pasión y fuerza que crea y se recrea en la belleza y la dinámica del movimiento. Fuertes emociones, en particular, que llevan a los órganos a un punto de exaltación que espontáneamente se manifiesta a si mismo a través de movimientos más o menos rítmicos que constituyen lo que se podría considerar como danzas naturales. Las expresiones espontaneas, como tambien el arte de bailar, pueden ser descritos como una expresión de los sentimientos por medio de los movimientos del cuerpo mas o menos controlados por el propio sentido rítmico. El baile, como arte era utilizado para varios propósitos. El arte existe en todos lados de la ciudad y en formas infinitas.
    La sensualidad del tango, la conexión corporal, puede ser muy pesada, apasionada, y seria. En el tango no existía la regularidad de las viejas danzas como el vals o la polca y por eso fue necesario creer una técnica en la cual la pareja podía realizar una figura en el momento sin anticipación. El lugar donde se desarrolló más el tango al principio del sigo XX fue dentro de las burdeles donde los hombres bailaban en una forma mucho más sensual que permitirían las estrictas reglas sociales de la sociedad respetuosa. La mujer tenía que seguir siempre el hombre paso por paso moviéndose con sus caprichos y así se fue formando la estructura de la danza que se sigue bailando hoy en día. En un baile tan íntimo, no se puede bailar con cualquier hombre. Así que la mirada tiene un papel muy importante en la cultura del tango. La mirada en el baile es intima pero liviana. La mirada también existe en relación al publico, que está siempre presente en los milongas. El tango es como un espejo, en su capacidad de reflejar todo el desarrollo de una identidad social y relaciones sociales.
  Las transformaciones en el espíritu del tango
    La pregunta que se impone, es: ¿ por qué el tango, música del instinto sexual y de la algarabía prostibularia se convierte en tan pocos años en un discurso que afirma valores morales tan opuestos a los que le dieron origen? ¿Por qué el placer se transmuta en condena y el regocijo en melancolía ?
    Entre 1900 y 1910 ese incipiente tango que se expresaba en prostíbulos y arrabales de las afueras de la ciudad, empezó lentamente a ganar terreno en los cabarets y pequeños teatros de Buenos Aires. De sus origines el tango fue una expresión cultural degenerado muy particular a la situación social Argentina, pero cuando el tango fue aprobado al exterior se convirtió de repente en una imagen de la identidad nacional. Igualmente, se concretan ciertos símbolos sociales que pasarán a formar parte del folklore ciudadano. Para los élites Argentinos el tango todavía pertenecía a otro sector de la sociedad, y implicaba una identidad ajena de los inmigrantes, los guapos, las prostitutas y todo un mundo nocturnal y peligroso de la calle. La música es otra forma de arte que es muy importante en la cultura argentina. Muchos argentinos hablan de ella con tanta pasión y orgullo. La historia del tango entra así en un contexto más amplio de historia de gente exiliada y ilegítima en búsqueda de una identidad propia, reconocimiento y dignidad.
    El tango, apadrinado por los grupos sociales que el centro no admitía: inmigrantes, veteranos del ejército, ex-esclavos, todos proletarios en busca de una nueva vida que superara el perfil miserable y promíscuo de su marginación. El Lunfardo, una lengua que muchos asimilan a gente de mala vida, empleada para que resultara incomprensible a las autoridades. En ese "idioma" popular ya por entonces característico de los bajos fondos, predominan los términos de diversos dialectos italianos, con algo de café gitano español y el argot francés. El tango lo elegirá posteriormente como su lengua predilecta, ya ampliamente divulgada por el teatro y el intercambio personal que se hacía en los numerosos sitios bailables, y otros lugares no muy santos, entre "niños bien" del centro y "compadritos" orilleros. Así, el tango pasa a los cafés y bares del centro, donde el contacto entre las diferentes clases sociales resulta ya cosa normal y corriente. Es en los salones donde comienza una nueva etapa para la música ciudadana, sea como música como para danza. Cuando el tango "se hace decente", sin cortes ni quebradas, para alegrar fiestas de familia, viviendo un notable auge que arranca a principios de la década del '30 y eclosiona con una popularidad sin igual entre 1940 y 1960. Cuando se extiende a toda la ciudad y se convierte en la música de Buenos Aires, cuando proliferan compositores y poetas, es el mismo tango el que dice de sí mismo ser un veneno que fascina, capaz de llevar a las almas más nobles por el camino del mal. Hoy, merced a la llegada de oleadas de turistas extranjeros que hacen florecer la economía e incentivan la inversión en locales de entretenimientos y academias de baile, el tango está viviendo un renacer que algunos años atrás nadie hubiera imaginado.

Italian:
  Nel tango Argentino, il concetto di guidare e seguire, è radicalmente diverso di nei balli prevedibili. La donna segue "sentindo" i suoi corpo-cambiamenti del partner. Nel cerchio energetico della posa di ballo, è consapevole dei suoi movimenti che deve essere semplice, dando un'indicazione al tempo, e dovrebbe andare di esso in un modo rilassato. Non ci è spingere o tirare dall'uomo. Deve sentire anche e deve rispondere ai movimenti della donna. Ha le capacità e le capacità di sabotare, ritardare e dislocare l'effetto di guidare. Questo dà una dimensione dinamica di incertezza, di che è un test buono per il suo livello di frustrazione all'uomo. Questo è la cosa di addictive, per entrambi.
  Teoria della Gestalt.
  Per raggiungere il successo è necessaria un' idea creativa, e la soluzione può essere trovata solo dopo aver operato un cambiamento di prospettiva nel considerare gli elementi disponibili. La capacità di inibire le informazioni irrilevanti è strettamente connessa al successo nella soluzione dei problemi. Durante la soluzione di un problema è necessario infatti elaborare un notevole numero d’informazioni, dopo la loro elaborazione solo alcune, quelle rilevanti, devono essere mantenute attive in memoria, mentre le altre devono essere inibite e scartate. In particolare, l’integrazione delle informazioni rilevanti in una struttura coerente permette una corretta e completa rappresentazione mentale del testo del problema. Nei problemi, quando finalmente si supera il punto cruciale e si sente finalmente di aver imboccato la via che porta alla soluzione, si ha la caratteristica sensazione di soddisfazione per l'avvenuta scoperta. L'Aha Erlebnis, sensazione di profonda gioia di chi trova improvvisamente la soluzione. Sottolineano l'importanza di stimolare un pensiero "produttivo" e non solamente conoscenze di tipo "riproduttivo". Troppo spesso infatti alcuni comportamenti dei docenti indeboliscono, o addirittura ostacolano, le capacità spontanee e creative degli alunni.

Portuguese:
  No tango argentino, o conceito da direção e seguir, é radicalmente diferente do que em danças predizíveis. A mulher segue "sentindo" as modificações de corpo do seu parceiro. Dentro do círculo enérgico da postura de dança, ela é consciente dos seus movimentos que devem ser simples, dando um ponto cardeal no momento, e ele deve ir sobre ele em uma maneira relaxada. Lá não é arremetendo ou é puxando pelo homem. Ele também deve sentir-se e responder aos movimentos da mulher. Ela tem as capacidades e capacidades para sabotar, atrasar e deslocar o efeito da direção. Isto dá ao homem uma dimensão dinâmica da incerteza, que é um bom teste do seu nível de frustração. Isto é a coisa viciante, para ambos.

French:
  Dans le tango d'Argentine, le concept de guide et suivre, est radicalement différent que dans les danses prévisibles. La femme suit en "sentant" les changements de corps de son partenaire. À l'intérieur du cercle énergique de la posture de danse, elle est consciente de ses mouvements qui doivent être simples, en donnant une direction à l'époque et il devrait en aller dans une manière détendue. Là n'est pas poussant ou tirant par l'homme. Il doit aussi se sentir et répondre aux mouvements de la femme. Elle a les capacités et les capacités pour saboter, retarder et disloquer l'effet de guider. Cela donne à l'homme une dimension dynamique d'incertitude, qui est une bonne épreuve pour son niveau de frustration. C'est la chose addictive, pour tous les deux.