How to improve your feminine image through movement...
[ETYMOLOGY: 14th Century: from Latin femininus, from femina woman]
It strucks how unbelievably empowering it is to do tangosteps in a genuine feminine way. Simultaneously, you become your most open, your most vulnerable and your most powerful.
One tanguera, who preferred to stay anonymous, claimed the tango gives women a renewed sense of sex appeal. Argentinean Tango really transforms people, it really changes lives for the better. It has changed marriages, and it's changed the way they walk through life. There's a kind of sensuality in them that might have been fighting to get through before. Being a perfect woman means expressing yourself from within. It is combining one’s inner feelings with one’s outer appearance, allowing one’s self to be softer, kinder, perhaps even vulnerable at times, while also being more nurturing and loving. It also means letting go of some of your male strength, which is controlling, aggressive, or competitive. It's simple, feminine body language says : Female ! But women have been encouraged throughout the ages to keep their bodies square and linear while exercising. We don’t use sexuality because we are scared. Maybe the history of tango can help.
Tango was born during Buenos Aires’ flourishing prostitution business, when thousands of male labourers found themselves pumped into a city with a serious deficit of women. The innocent story goes that every night, hundreds queued up outside the most popular brothels. To keep them patient, the brothels hired orchestras to play in the streets. Then one night, two men stepped out of line, held each other firmly and so the tango was invented. True is that owning a woman capable of earning a good living at a brothel became a passion. For the women, prostitution was a response to poverty because of the hunger, religious and political persecution that many European ladies had faced in their former homelands. Arriving in Buenos Aires, this was for the bonnefemme a reasonable trade to make for the freedom from poverty, especially if she could hook a niño bien. In this triangle with high stakes, dancing tango was a diabolic seduction.
So, how do you develop a natural female walk ?
Practice ...
Getting the body moving in a more feminine, more curvaceous way is daily movement technique and more. The Martial arts and many of the Eastern meditative practices, religions and medicine have long been aware of and harnessed the body’s energy centres. Most martial artists will spend a long time learning to centre their energy and focus because without that, the techniques won’t work. One of the key energy centres is the hara. This is the centre of your life energy and also your sexual energy. It's about 2 –4 inches below your belly button or around that area, from the centre out to the sides. When you feel sexual desire for someone chances are you will have sensations here. When you focus your attention on this point and regulate your breathing, you become more solid, centred. Place your mental attention on this area of your body and begin to breathe in and out slowly. This is your true personal power in action.
You can begin to move now, you are beginning to extend your energy around your body. Do this often and become aware of feelings there and notice the difference. You will feel muscles you never even knew you had as you unlock and discover a side of yourself that you've kept captive for years. Strive for a naturalness that you don't have to think about. A natural movement unlocks the hips, it stretches and strengthens your body and moves you into the flow of your own female form. It will make a difference in your dancemovements.
click here for more walking Philosophy
Argentine Tango dancing is an event and dance is a performing art. Performing is the doing or acting out of something, it brings a sense of artistic satisfaction. From the Latin word agere meaning "to do", this is precisely what acting is.
The origin of the word dance is: Danser, Dansn , to draw; akin to dinsan to draw, the act of drawing spatially closer. Drawing can exist on two levels: action drawing and gesture drawing. Gesture drawing is related to action drawing, both involve the principle of movement, but it goes further than action drawing. Action drawing only deals with physical movement: the action line, the axis. When you do a drawing of what a tiger or a panther looks like, your drawing can be correct and competent but it will only be what the animal looks like, its appearance without a deeper emotional content. Physical movement however, has a nonphysical counterpart, a deeper intention: its essence, its movement identity, character. Borges said, the infinite tango takes to me towards everything. Y desde él construye la eternidad apoyado en sus tigres y sus espejos, que el tigre es el guapo elegante y ágil que mantiene la muerte a mano.
A performance comprises an event, something happens in people, they behave in a particular way in the presence of other people. An event is something that happens (phenomenon - phenomenology, the phenomenal body keeps in touch with life's impulses within the body. Merleau-Ponty), in an unique limited duration/time, for example a football match, a Pugliese tango. In information processing, an event is a change in the properties received by an observer after being transmitted from an object.
Seeing a good performance will give an aha-erlebnis, a discovery of a new gestalt, the phenomeon that happens. Sometimes the dividing line between performer and audience may become blurred, as in the living participatory dancetheatre where people might get involved in the theatrical event. In dancing bodies connect, this connection is a potential event. Positive things can happen:
Liking (Friendship) : intimacy
Infatuation (Love at first sight) : passion
Empty love (Charity) : commitment
Romantic love : passion + intimacy
Companionate love : commitment + intimacy
Fatuous love (Whirlwind romance) : commitment + passion
Consummate love : commitment + passion + intimacy (bingo)
From a gestalt point of view, the connection is inevitable if the other is an aha-experience. Lets get back to the female walk. What is the essence ? The best way to catch it is by looking into yourself. How does it feel ? Practice in a mirror, good for a check-up but better to feel it with your inner-awareness through movement (Moshe Feldenkreis, Rudolf Steiner). Get inspiration from video's or... go to milongas !Milonga - (3 meanings)So, get all dressed up and hit the milongas. Yes, tangoing is a beautiful bonding experience. Allowing your body to move the way it wants to move naturally, being overtly sensual without apology, gives an enormous sense of satisfaction. If you dare you can create yourself an alter ego, a more daring persona passionata, developing a steamy new you will help you shed your inhibitions and leave you free to do anything you want. ImproTango, improvise ...
1. an Argentine social dancingplace (salón) where three types of dances are danced, namely the Tango, Valz and the Milonga styles.
2. A style of dance to a fast beat music composition; similar to Tango written in 2/4 time. The Milonga is a Spanish dance first originated in Andalusia.
3. Cabaret girl, dances with many men.
In Buenos Aires the Gauchos danced it in what is called a closed position (close embrace - milonguero) , in the lower class cafes. Here their interpretation of it emerged into what today is our Tango Argentino. Tangodance was created by men and in the old days, men first danced together to get better and then they went out and danced with women.
Closed position : The leader's right hand is on the follower's back, its exact placement on the back ranges from the waist to the left shoulder blade. The follower's left hand is on the leader's right shoulder, or the upper arm near the shoulder. The other two hands are clasped together at or near chest or shoulder height.
Close embrace : very closed position, leader and follower stand in 1 axis, leaning together like a pyramid (piramide).
Milonguero Tango developed in the 1940s and 50s in closely packed dance halls, so is danced in a very close embrace, chest-to chest, with the partners leaning - or appearing to lean - slightly towards each other to allow space for the feet to move. Milonguero / milonguera also means the man/woman who dances that style.
Tango Canyengue was danced in the 1920s and 30s when the long tight fashion in dresses restricted the woman's movements. Consequently the style involves short steps. The dancers tend to move with knees slightly bent, the partners slightly offset and in a closed embrace.
Liso style Tango developed in small and crowded dance halls, where there was only space to take a few paces, before having to circle around each other while waiting for a space to open. This tangoing style is danced with an upright posture, usually with each dancer slightly offset to the right of their partner. If a close embrace is used, it is relaxed to allow the woman to preform turns.
Tango Orillero is thought to have developed away from the town centers in the outskirts and suburbs, where there was more freedom due to there being more space on the dance floor. The style is danced in an upright position, and uses various embellishments including rapid foot moves, kicks--and even some acrobatics, though this is a more recent development.
Show tango, also called Fantasia is a more theatrical and exaggerated form of Argentine Tango developed to suit the stage / tango for export.
Tango de Salón An elegant and very social style of tangoing characterized by slow, measured, and smoothly executed moves. It includes all of the basic tango steps and figures plus sacadas, giros, and boleos(voleo). The emphasis is on precision, smoothness, and elegant dance lines. The dancing couple do not embrace as closely as in older styles and the embrace is flexible, opening slightly to make room for various figures and closing again for support and poise.
Milonga Music : The early "milonga camperas" ("from the countryside") are the contribution of the gauchos to the tango. The milongas one is familiar with as a dancer (like La Puñalada, Milonga de mis Amores etc...) are faster and known as "milongas urbanas" ("city milongas"). These appeared relatively late, in the beginning of 1930. "Milonga sentimental" (1932) is often quoted as one of the first true "milonga urbanas". Pieces of Piazzolla that have "milonga" in their title are extremely slow. Astor hated dancers, so it is likely that he was more inspired by the "milonga campera" than the "milonga urbana".
Video Illustrated Tango Reflections:
Dance interpretations on Gallo Ciego
Walking the tango rhythm
Walking Seduction
Dance is a physical need
Tangowals clips vals Milena Plebs Ezequiel Farfaro
Online Tangolessen videoclips videolessen updated
Carlos Gavito and Maria Plazaola
Showclips Forever Tango - great milongueros
Is this allowed ?
Homo sum, et nihil humani generis a me alienum est. (Berlusconi)
This improvising element makes tango more alive and one improvises with more than the feet. According to Stanislavski (Method Acting), an actor must use his own instincts to define a characters response to internal and external stimuli. Through improvising, one can learn to trust his instincts. Improv is also useful in its focus on concentration. Attention, being attentive is the string that brings the couple together.
So, go to a place where there are lots of people and observe how women walk. How her hips, legs and feet move. How she carries herself. How she holds her head. Your goal is to integrate your feminine style.
Why ? A much more womanly way of walking gives much more dance expression, especially in contrast with the man's leading role in tango, which is only leading the tangowoman in expressing the story of the music. The way how you move yourself makes the difference, what you do much less. Certainly in tango this is true because there is nothing like your own caminar. As the immigrants and gauchos lost their identity, they found a new one in a way of walking. The energy and the way a body moves from A to B is the magic, not A and B. Movement is living motion, a phenomenon.
The way you step has great impact, also on yourself. It seems it not only make women feel more confident about themselves sexually but also about their bodies. It helps them own their body no matter what. One woman thought she had a big butt, she went ‘oh no they are going to see my big butt’ and then she claimed it, she went ‘yeah! They are looking at my big ass’. You could see it in her moves! It was a beautiful moment. She didn’t give a damn! This is when I realized that it doesn’t matter what you look like it’s about how you move your body. She was a big girl, but when those hips moved the men were riveted. She was beautiful. Women have such erotic power. Using it discreetly and delicately makes you the center of attention. Suddenly it seems as if your whole world has opened up. Men that never paid attention to you, now can't seem to get enough of you. Some husbands like it too : This is the best thing that has happened to my wife in her whole life and I am glad that I can be part of it.
Click here for more videoclips
Excercise : lets look at men and women. A man makes the contrast:
Women have naturally looser bodies. This is probably due somewhat to less muscle mass than males, but also to evolution. Females, being the child bearers, need a more flexible body to accommodate the changes her body goes through during pregnancy and childbirth (estrogen causes looser joints). Women's forearms are connected at their elbows at a more obtuse angle than males, so they swing farther out and don't hit their wider hips when walking.
When standing still, and sometimes when walking, women tend to hold their arms above their waistline. When you rest your hands on your hips, turn your hands so your fingers are facing backwards and your thumbs forward.
Males generally hunch their shoulders forward, probably to emphasize their musculature and as a sign of aggressiveness. Women, on the other hand, tend to draw their shoulders back. Stand in front of a mirror and hunch your shoulders forward, then back. They will look noticeably smaller pulled back. This will also help your arms swing in a more feminine manner.
Females have wider pelvises and a higher fat distribution on their hips. This gives them the characteristic feminine swaying hips that is so attractive. Males generally have smaller hips and less fat in this area. Female's legs swing looser from the knees. Walking in the classic female manner of putting one foot in front of the other will move your hips more. Practice in front of a mirror, find the feminine but not overly effeminate, womanish.
Women tend to slighty bob, or nod their heads from the chin, when walking. Men hold their heads stiffer with the straight-back, stiff-necked military posture being the extreme. Also, a woman's head pivots from the top of her neck, whereas men's heads tend to move more with their necks.
Men are socialized to be aggressive and it shows in their walk. They tend to lean forward when they walk, probably in an attempt to get where they're going faster and push their way through crowds. Females are socialized for unaggressvieness and tend to yield and hesitate more when walking.
Glance at people's faces. Smile.
Women and men smile differently, too !
Besos y Abrazos
click for a trip to Buenos Aires
Notes on Female Tango Singers
It's not a secret that El Tango is a male construction and the sense of its speech is mostly the discourse of a male chauvinist (sexist is also a translation for machista, or macho: manly, virile- verbo machar: playing tough Argentinians, masculine spirit); this cultural creation is lived like nature by the old tango dancer. But there they are women singers, large creators of styles in the twenties, who knew to rise to the setting and adopt gestures of command and modelling new futures.
Entering the decade of the 1920s or Roaring Twenties, we find a new generation of female artists, who became a raging success in the stages of commercial theaters, the cabaret scene and the radio and film industries. The formation of modern Argentina was promoted by an active interaction between the culture industry and its audiences/ consumers. This exchange reflected the need in the public sphere for the creation of a modern feminine identity. As tango was considered to be an indecent dance at the beginning and therefore no lady of good reputation would have anything to do with it, either dancing or singing, the first female tango singers had to dress as a man in order to be acceptable. These female performers, the tough yet glamorous woman of the suburbs who had learnt to deal with modern life and men, and cross dressed in order to be allowed into a male-dominated system, provided a model. The audiences were pleased to see mimiced types, constituting an imitation of the slick compadrito and the exotic gaucho style.
These female figures occupy the setting during the decades of the 20s and of the 30s, taking advantage of the radio diffusion, the improvement of the record system and the rise of the spoken movies, which would permit greater diffusion of popular music. In 1933 was the first Argentine talking picture released, Tango. Through the gramophone, the radio and the cinema, a generation of women singers quickly reached stardom and thrust into the spotlight of the glamorous world. Glamor histories often with strange turns, such as the history of Ada Falcón, one of the great female tangolegends.
The history of Ada Falcón, "La emperatriz del tango", famous singer of tango of the 1930's, and her mysterious disappearance of the public life and the glamorous world at the beginning of the 1940's, when she still was in the peak of her fame, is narrated in Sergio Wolf's docu-film Yo no sé qué me han hecho tus ojos (I Don’t Know What Your Eyes Have Done to Me, 2003). Alluring Ada Falcón acquired fame in short time and monopolized the radios, recorded a considerable number of discs and gained a fortune that allowed her to live as a diva in an imposing big rambling house on Palermo and to satisfy her star caprices (like leaving outdoors to dry her hair riding one of her convertibles). We found out the luxurious life of Ada, her romance with Francisco Canaro, her mentor, of the fights with that man for diverse reasons. Her sudden decision to leave Buenos Aires after a religious revelation and a promise before God.
The history is a puzzle, buried and hidden under the streets and buildings of Buenos Aires. As such, the lives of these "public" women have become living documents of the construction of the modern Argentine nation.
According to Edgardo Cozarinsky (Argentine film director, writer, and actor), this kind of ‘creative documentary’ is unusual in Argentina, where documentaries are generally based on straightforward reportage rather than on the intricacies of language. Sergio Wolf went in search of Ada Falcón, a tango singer with a tempestuous and extravagant lifestyle whose popularity was at its peak in the thirties. In 1942 she left her career, her house and her lovers, and took refuge—forever, it was said—in a convent deep in the sierras of Córdoba province, some 500 miles north-west of Buenos Aires. The film is like a ceremony conjuring the dead, with the editing suite taking the place of the spiritualist’s table. Through his research, Wolf brings out the vanished world of cabarets and radio halls behind the façades of today’s supermarkets and parking lots. All vanished. Hinduism question: Where do all vanished or lost objects go? Into nonbeing, which is to say, everything.
Selected YouTube TangoVideos:
1. TangoClass - instructional vídeos - TangoLessons
2. Milonga and Candombe dancing
3. Tangovals clips - Tango waltzing - Valse - Tangowals
4. Various Great Tangoclips Online internet
5. Fast Links to Selected Tango Dance Vidio Updates
6. Musicality & Humor in Tangodance - videoclips
(Partly Translations)
En español:
El tango es una construcción masculina y el sentido de su discurso es machista; esta creación cultural es vivida como naturaleza por el tanguero viejo. Pero allí están las mujeres, grandes creadoras de estilos en la década del veinte, que supieron subirse al escenario y adoptar gestos de mando y señalar direcciones.
La verdad es que no fueron las grelas quienes direccionaron sus producciones, más bien debieron atender los deseos y órdenes de dos patrones: la industria del espectáculo y el público. En lo primero, mandaban los empresarios; en el público la moda, los gustos propios, aplaudían o abucheaban, pero no aceptaban cualquier cosa. Entrada la década del 20 o Años Locos, comenzamos a encontrar una nueva generación de figuras femeninas. Ese núcleo de nuevas cancionistas está integrada por figuras que surgen de diferentes medios culturales y artísticos. Estas figuras femeninas ocupan el escenario durante las décadas del 20 y del 30, aprovechando la difusión radiofónica, el perfeccionamiento del sistema discográfico y el surgimiento del cine parlante, que permitiría la mayor difusión de la música popular. Sobre este factor preponderante, cabe señalar que en el año 1933 se exhibió Tango, primer film con argumento y sonido argentino, que se constituyó en marco trascendental de nuestra música popular, contando con la participación de las principales figuras de la noche porteña.Estas cancionistas pueden poseer diferentes registros vocales, voces graves o agudas; pueden surgir de diversos orígenes, sea del teatral, del mundo folclórico, o del canto coral. Con el riesgo de olvidarme de alguna figura trascendente, coloco en este grupo pionero a las siguientes artistas, en un orden cronológico: Manuelita Poli, Rosita Quiroga, Azucena Maizani, Sofía Bozán, Tania, Ada Falcón, Mercedes Simone, Libertad Lamarque, Amanda Ledesma y Sabina Olmos. En la misma década aparecen las figuras de Azucena Maizani, Sofía Bozán o Ada Falcón, brillando en los escenarios teatrales de Buenos Aires. Todo este período nos muestra a una mujer más independiente, que alcanza un nivel de éxito en virtud de la aceptación de una sociedad signada por un inequívoco espíritu masculino, que está presente en la esencia del tango.
La poética del tango es inigualable. No hay ninguna otra música con letras tan profundas. Ni el jazz, ni la bossa nova, ni el blues, ni el rock se le pueden comparar. El tango es puro sentimiento, de una profundidad difícil de comprender. Además, es difícil: difícil de decir, difícil de sentir y expresar. Y para un compositor se trata de un género largo porque tiene primera, segunda y primera bis. Eso es muy bravo. Y, por último, hay que sentirlo y el que no es de acá no lo siente. El tango se hizo fuerte en los últimos años por el baile. Pero como mercado discográfico no pasa nada. El caso de Ferrer es distinto porque él tuvo la suerte de tener a Astor Piazzolla al lado. Pero fue un caso en particular, no un movimiento.
El tango es más que su música, su canto, su danza, su poesía. Largo y ancho es el camino que la música surgida hacia fines del siglo XIX en los arrabales de Montevideo y Buenos Aires ha recorrido. Fue bautizada con champagne en Francia a comienzos del siglo XX donde hizo furor y provocó que todo llevara su nombre. Las confiterías parisinas convocaban al té-tango, las damas elegantes lucían prendas color tango y obviamente que bailar tango era moda. Lejos de la sexualidad y el erotismo de sus orígenes, hoy el tango es sensualidad.
La imagen corporal y el super cuerpo
Desde la década de los 60 del siglo XX la investigación sobre imagen corporal ha recibido una importante atención, y actualmente disponemos gran cantidad de información sobre los factores implicados en este concepto. La imagen corporal está socialmente determinada. Desde que se nace existen influencias sociales que matizan la autopercepción del cuerpo. La imagen corporal no es fija o estática, más bien es un constructo dinámico, que varía a lo largo de la vida en función de las propias experiencias, de las influencias sociales. La imagen corporal influye en el procesamiento de información, la forma de percibir el mundo está influencia por la forma en que sentimos y pensamos sobre nuestro cuerpo. La imagen corporal influye en el comportamiento, y no sólo la imagen caporal consciente, sino también la preconsciente y la inconsciente.
Desde la teoría de la objetivación se está planteando la explicación más útil a la relación entre la imagen corporal y la expresión de la sexualidad. En esta teoría se considera quelas mujeres de la sociedad occidental están inmersas en una cultura dominante masculina en la que se trata de forma diferente los cuerpos de los hombres y de las mujeres. Esto tiene como consecuencia que sea mucho más probable que el cuerpo de las mujeres se mire, evalúe y sea potencialmente más objetivado que el de los hombres. La interiorización del estándar social en relación al cuerpo, tal y como argumentala teoría de la objetivación, implica que la persona sea consciente del estándar y la creencia de que llevar a cabo ese estándar es importante. Cuando llevar a cabo un estándar es importante para un individuo eso compromete su autoestima. El fallo en la consecución del nivel deseado puede suponer vergüenza y ansiedad. En consonancia con lo que la teoría de la objetivación plantea, las mujeres conmayor insatisfacción corporal y con más miedo a ganar peso podrían tener más interiorizado el ideal corporal de la mujer en la sociedad, y debido a esta mayor toma de autoconciencia corporal se podría producir una evitación de experiencias sexuales.
Definición de alteración de la imagen corporal. Encontramos las primeras referencias en este campo a finales del siglo XIX. En 1903, Janet se refiere a “la obsesión por la vergüenza del propio cuerpo”. Bruch (1962) describía una alteración de la imagen corporal en las anoréxicas y la definía como una desconexión entre la realidad de la forma y estado del cuerpo de las anoréxicas y de cómo ellas se veían, y concretamente como una distorsión en la autopercepción del tamaño del cuerpo. Una alteración cognitivo-afectiva hacia el cuerpo. Que se manifiesta por la presencia de emociones o pensamientos negativos por culpa de la apariencia física. Algunos autores utilizan el término “insatisfacción corporal” como la discrepancia entre la figura que se considera actual y la que se considera ideal, elegidas entre una serie de siluetas dibujadas, y otros, como la puntuación obtenida en una escala de nueve ítems referidos a diferentes partes del cuerpo, junto a la satisfacción / insatisfacción que suscitan y la presencia de juicios valorativos sobre el cuerpo que no coinciden con las características reales. Los mensajes que hacen referencia a la imagen corporal trasmiten la idea de que estar delgado es el medio para obtener la felicidad y el éxito, siendo la moda el principal factor ambiental involucrado en este tipo de trastorno. El cuerpo delgado de las modelos es admirado por la mayoría de las adolescentes que en un intento por parecerse a ellas comienzan a hacer dietas y a obsesionarse con su peso.
Estudios señalan que las estudiantes de danza presentan un peso corporal más bajo y menos porcentaje de grasa que otras estudiantes, asimismo se muestran más preocupadas por su alimentación, peso corporal y recurren al uso de laxantes para controlar su peso. La motivación para adelgazar indica que las estudiantes de danza con trastorno alimentario presentan una gran preocupación por la dieta y por el peso corporal. La Insatisfacción corporal señala una inconformidad del cuerpo o bien de algunas partes de esté, tales como la cintura, cadera o glúteos. Sin embargo, la mayoría de las estudiantes de está población reportaron estar a disgusto con su silueta e incluso con su peso corporal. Si bien las mujeres se centran en la alimentación para lograr un cuerpo delgado y como estrategia complementaria utilizan la actividad física, en cambio en los hombres observamos que se centran en la actividad física para desarrollar masa muscular y como estrategia complementaria utilizan la alimentación. El ideal de un cuerpo muy musculoso, puede llegar a ser tan peligroso para los hombres como lo es el ideal de extrema delgadez para las mujeres. El perfeccionismo es una construcción teórica. Actualmente vivimos en una sociedad que prima en exceso la belleza y la imagen. Cualquier artículo que se anuncie en la televisión es protagonizado por mujeres jóvenes, bellas y delgadas.
Ariadne von Schirach (* 24 Juli 1978), "Der Tanz um die Lust" ("El baile en torno al placer"): Creo que el tema principal para nuestra generación es la realización personal. Y el amor y el sexo son una parte fundamental de esa realización. Las personas de entre 25 y 35 años pueden clasificarse en dos grandes grupos: están los que salen, beben, festejan y toman drogas y aquellos que no lo hacen. ¿Espontaneidad o pose provocadora? Es cierto que mucho de lo que escribo y lo que digo es polémico, quizás porque intento ser auténtica, suelto las cosas tal como las pienso.
En français:
Les dernières années du XXe siècle accueillent un véritable phénomène lingerie. Les dessous doivent séduire, par leur beauté mais aussi par leur efficacité sur la silhouette. Une autre raison guiderait ce retour des femmes vers des dessous érotiques, à savoir l'urgence du réveil du désir masculin confronté à la montée en puissance des femmes dans le monde du pouvoir et l'existence de codes de savoir-vivre. En même temps, le temps des jeunes filles est venu. Les années 90 B rassurent ces inquiètes qui peuvent voir dans le succès grandissant du string et de la lingerie dite seconde peau, l'affirmation d'une féminité sensuelle et indépendante, défendue par des femmes de plus en plus jeunes, sûres de leur élégance, de leur confort et de leur liberté. Cette liberté paraît aujourd'hui acquise, en témoignent les comportements actuels des adolescentes qui s'exprimeraient dans des attitudes variées, nouvelle forme de féminité complexe et multiple. Validant cette hypothèse de la féminisation des adolescentes par une conscience du corps et des apparences.
La quête du désir dans les relations, cette reconnaissance de la féminité dans la prostitution expliqueraient l'adoption d'une lingerie raffinée et la consommation, au début des années 1980, des dessous provocants. Les stratégies de la publicité auraient vite fait de transformer ce qui était, au mieux, une pose esthétique en un acte de liberté et un principe de séduction. L'histoire des dessous raconte l'entrée des artifices de la femme légère dans le foyer conjugal. L'affirmation du corps qui traverse justement les deux dernières décennies du siècle, n'entrave pas le développement de la lingerie raffinée, au contraire, celle-ci trouve des formes à sa hauteur et rencontre un désir renouvelé de séduction de la part d'une clientèle féminine et masculine en quête d'une féminité plus érotique.
La mode est là pour faire rêver, créer un univers d'exception, loin, dans un premier temps, des exigences de la rue. Les dessins de mode n'ont jamais vraiment ressemblé à une réalité terrienne. Les mannequins des défilés sont des filles spéciales. Une femme très mince porte mieux le vêtement. Ce sont des corps exagérés qui correspondent à la démarche esthétique actuelle de chercher toujours plus d'extrême. Les collections sont chargées, luxueuses, les défilés ont lieu dans des lieux gigantesques. Il faut donc des corps disproportionnés, des corps plus vraiment humains. Le XXIe siècle sera-t-il celui des corps transformés? L'époque est au soft, au rond. Les vêtements vont commencer à s'arrondir, à prendre du volume. Les canons sont en train de changer. Un modèle un peu féminin, un peu trash. Ça donne de la liberté.
In italiano:
Come migliorare la vostri immagine e movimento femminili? Il relativo unbelievably fantastico da camminare tango in un senso femminile genuino. Simultaneamente, diventate vulnerabili e potenti. Un tanguera, che ha preferito rimanere anonimo, ad esempio che il tango dà a donne un nuovo senso di appello del sesso. Tango argentino realmente trasforma la gente, esso realmente cambia le vite per il migliore. Ha cambiato le unioni ed it's ha cambiato il senso che camminano con vita. Ci è un genere di sensuality in loro che potrebbero combattere per ottenere prima attraverso. Essere una donna perfetta significa esprimersi da dentro. Sta unendo le sue sensibilità interne con la sua apparenza esterna, permettendo che il suo auto sia più morbido, più gentile, forse persino vulnerabile occasionalmente, mentre però essendo più consolidazione ed amare. Inoltre lasciare di mezzi va di alcuna della vostra resistenza maschio, che è controllante, aggressivo, o competitivo. È semplice, la lingua di corpo femminile dice: Femmina! Ma le donne sono state consigliate a durante le età mantenere il loro quadrato dei corpi e lineare mentre si esercitano. Non usiamo il sexuality perché siamo spaventati. Così, come sviluppate una camminata femminile naturale? Pratica... Ballare dell'Argentina Tango è un evento ed il ballo è un'arte. Una presentazione drammatica ed artistica contiene un evento, qualcosa accade nella gente, si comporta in un senso particolare in presenza della gente. Un evento è qualcosa che accada (fenomeno - fenomenologie, Merleau-Ponty), in un duration/time limitato unico, per esempio un fiammifero di gioco del calcio, un tango di Pugliese. Nell'elaborazione dell'informazione, un evento è un cambiamento nelle proprietà ricevute da un osservatore dopo essere stato trasmesso da un oggetto. Vederlo può dare i aha-erlebnis (avvenimento), scoperta di nuovo gestalt, il phenomeon che accade. A volte la linea di divisione fra i dancers ed il pubblico può essere vaga, come nel dancetheatre partecipe vivente in cui la gente potrebbe ottenere implicata nell'evento teatrale. Nei corpi ballanti colleghi, questo collegamento è un evento potenziale. L'elemento d'improvvisazione rende il tango più vivo e si improvvisa con più dei piedi. Secondo Stanislavski (acting metodo che si comporta), un attore deve usare i suoi propri instincts per definire una risposta dei caratteri agli stimoli interni ed esterni. Con l'improvvisazione, si può imparare fidarsi dei suoi instincts. L'ispirazione è inoltre utile nel relativo fuoco su concentrazione. L'attenzione, essendo attenta è la stringa che riunisce le coppie.
Tutti i balli del ballroom sono ballati da una coppia in una posizione aperta o chiusa. Nel Estilo Milonguero questa posizione di ballo è trasformata in un abbraccio, che è più di un altro stile ballante. Un abbraccio è un momento vivente, non rigido. Prende tempo ed il rilassamento. Il rispetto è l'anima del rituale. La generazione dell'atmosfera di soddisfazione è il desiderio. È tranquility. Il quietness nell'anima li rende in grado di essere informato del vostro corpo e come è influenzato dai relativi dintorni. Il passaggio di tempo è visto spesso come fiume, veloce. La musica anche può essere vista come fiume delle note. Il ballerino deve continuare con il metronome. Riparato fortemente sui risultati potenziali. Tuttavia, la musica inoltre ha l'alimentazione stabilire il contatto interno. Nel concentrarsi completamente sulla musica, le impressioni sottili diventano chiare. Se si può imparare distendersi abbastanza, il corpo sarà naturale. I movimenti avranno il easiness e spontaneity. Un abbraccio ha l'alimentazione facilitare la mente. Occorrere abbastanza tempo è manipolazione di tempo. Perchè un gioco con tempo? Perchè affili l'appetito? È circa la comunicazione. Per stabilire contatto allineare. Non ci è differenza essenziale fra la lingua del seduction e la lingua del ballo. L'intensità si riferisce a tutti i sensi, tutte è agganciata durante ballare.
Ricerche condotte nel valutare l’importanza dell’odore nei rapporti interpersonali hanno ampiamente dimostrato che solo annusando indumenti indossati da altri individui - possiamo stabilire il loro sesso, la loro età e addirittura, se siano più o meno attraenti. La proprietà che le caratterizza è che sono in grado di provocare un’eccitazione sessuale anche in assenza di consapevolezza. L'odore delle donne nel periodo fertile è più sexy e gradevole che in altri periodi del ciclo. Il silenzio dell'abbraccio permette i sensi entrare più brillantemente nel rapporto. Evoca un dichiarare di alta sensibilità e di comprensione reciproca, in modo da di generazione un collegamento meraviglioso con il vostro socio di ballo e dell'immaginazione della musica. Si sviluppa dall'interno fuori ed è energia sta guidando i movimenti. Un dialogo del ritmo si sviluppa nell'interazione organica della coppia. Nell'odierna vita sociale ci è una rifiuto-coltura del contatto corporeo significativo. Tuttavia, la gente balla di più e di più. È emozionante, particolarmente tango. La compartecipazione delle passioni dà un piacere forte.
Auf deutsch:
Weibliche Schauspielerinnen - Wie man Ihr weibliches Bild und Bewegung verbessert? Sein unglaublich fantastisches, zum zu gehen tango in einer echten weiblichen Weise. Gleichzeitig werden Sie verletzbar und leistungsfähig. Ein tanguera, das es vorzog, anonym zu bleiben, sagt, daß das tango Frauen eine neue Richtung des Geschlechtanklangs gibt. Argentinisches Tango wandelt wirklich Leute, es ändert wirklich die Leben für das bessere um. Es hat Verbindungen geändert und it's änderte die Weise, die sie durch das Leben gehen. Es gibt eine Art Sensuality in ihnen, die gekämpft haben konnten, um durch vorher zu erhalten. Sein eine vollkommene Frau bedeutet das Ausdrücken von innen. Es kombiniert irgendjemandes innere Gefühle mit irgendjemandes äußerem Aussehen und manchmal erlaubt irgendjemandes Selbst, freundlicher, möglicherweise sogar verletzbar zu sein weicher, beim mehr Ernähren und Lieben auch sein. Es auch Mittellassen geht von etwas von Ihrer männlichen Stärke, die steuernd ist, konkurrenzfähig, oder konkurrierend. Es ist einfach, sagt weibliche Körpersprache: Frau! Aber Frauen sind während des Alters angeregt worden, ihr Körperquadrat zu halten und linear beim Trainieren. Wir verwenden nicht sexuality, weil wir erschrocken werden. So wie entwickeln Sie einen natürlichen weiblichen Weg? Praxis... Argentinischer Tango Tanzen ist ein erlebnis und Tanz ist eine kunst. Eine drastische und künstlerische Darstellung enthält einen erlebnis, etwas geschieht in den Leuten, sie sich benehmen in einer bestimmten Weise in Anwesenheit der Leute. Ein erlebnis ist etwas, der (Phänomen - fenomenologie, Merleau-Ponty), in einem einzigartigen begrenzten duration/zeit, z.B. ein Fußballgleiches geschieht, ein Pugliese tango. Bei der Informationsverarbeitung ist ein erlebnis eine Änderung in den Eigenschaften, die von einem Beobachter empfangen werden, nachdem er von einem Gegenstand übertragen worden ist. Das Sehen er kann aha-erlebnis, Entdeckung geben eines neuen Gestalt, das phenomeon, das geschieht. Manchmal kann die Trennlinie zwischen Tänzern und der Öffentlichkeit verwischt, wie im lebenden teilnehmenden dancetheatre werden, in dem Leute im theatrical erlebnis beteiligt erhalten konnten. In tanzenden Körpern schließen Sie, dieser Anschluß ist ein möglicher erlebnis an. Das improvisierende Element bildet tango lebendiger und man improvisiert mit mehr als die Füße. Entsprechend Stanislavski (die acting-Methode), muß ein Schauspieler seine eigenen Instinkte verwenden, um eine Buchstaben Antwort zu den internen und externen Anregungen zu definieren. Durch das Improvisieren kann man erlernen, seinen Instinkten zu vertrauen. Inspiration ist auch in seinem Fokus auf Konzentration nützlich. Aufmerksamkeit, seiend aufmerksam ist die Zeichenkette, die die zusammen Paare holt. Wenn alles offen liegt und längst gezeigt ist, muss der Blick auf Körper und Kontext neu fokussiert werden. "Kampfzone" frauenfeindlich wahrgenommen.
Em português:
Como melhorar seus imagem e movimento feminine? Seu inacreditàvel fantástico a andar tango em uma maneira feminine genuína. Simultaneamente, você torna-se vulnerável e poderoso. Um tanguera, que preferiu permanecer anonymous, diz que o tango dá a mulheres um sentido novo da apelação do sexo. Tango argentinean transforma realmente povos, ele muda realmente vidas para o melhor. Mudou uniões, e it's mudou a maneira que anda com a vida. Há um tipo da sensualidade nele que puderam ter lutado para começar completamente antes. Ser uma mulher perfeita significa expressar-se de dentro. Está combinando one's sentimentos internos com one's aparência exterior, permitindo que one's self seja mais macio, mais amável, talvez mesmo vulnerável às vezes, ao também ser mais nurturing e amar. Também deixar dos meios vai de alguma de sua força masculina, que é controlando, aggressive, ou do competidor. É simples, a língua de corpo feminine diz: Fêmea! Mas as mulheres foram incentivadas durante todo as idades manter seu quadrado dos corpos e linear ao exercitar. Nós não usamos o sexuality porque nós scared. Assim, como você desenvolve uma caminhada fêmea natural? Prática... Dançar de Argentina Tango é um evento e a dança é uma arte. Uma apresentação dramática e artística compreende um evento, algo acontece nos povos, eles comporta-se em uma maneira particular na presença dos povos. Um evento é algo que acontece (fenômeno - fenomenologie, Merleau-Ponty), em um duration/time limitado original, para o exemplo um fósforo de football, um tango de Pugliese. Em processar de informação, um evento é uma mudança nas propriedades recebidas por um observador após ser transmitido de um objeto. Vê-lo pode dar os aha-erlebnis, descoberta de uma forma nova, o phenomeon que acontece. Às vezes a linha divisora entre dancers e o público pode tornar-se borrada, como no dancetheatre participatory vivo onde os povos puderam começar involvidos no evento theatrical. Em corpos dançando conecte, esta conexão é um evento potencial. O elemento improvisando faz o tango mais vivo e se improvisa com mais do que os pés. De acordo com Stanislavski (acting método que age), um ator deve usar seus próprios instintos definir uma resposta dos caráteres aos stimuli internos e externos. Com improvisar, se pode aprender confiar em seus instintos. A inspiração é também útil em seu foco na concentração. A atenção, sendo attentive é a corda que traz os pares junto.
As mulheres novas.
Cada vez mais cedo, as meninas percebem que passam por um período de mudanças. Muitas ainda brincam como crianças, mas estão de olho na adolescência. Gosto de brincar, mas também de festa. Na festa, danço como adolescente. As mudanças físicas são aparentes, mas há muito mais na passagem de menina para mulher. Os hábitos e os pensamentos também se modificam. Na medida que se entra na puberdade, com os hormônios, há uma intensificação do sentimento sexual. Muitos pais ficam confusos. Como agir com a nova mulher da família?
Nederlands Postscript
Door het ontwikkelen van lichaamsbewustzijn leert men zichzelf als eenheid ervaren. Pas wanneer iemand in het eigen lichaam 'woont', kan de dans een zekere harmonie uitdrukken. De danseres/danser leert het lichaam beter kennen en gebruiken, hierdoor is het gemakkelijker om vaardigheden aan te leren. Het lichaam wordt alerter, meer gevoellig waardoor het leiden en volgen in Argentijnse tango een subtiel spel wordt. In het begin "stuurt" men veel met de armen, dit wordt geleidelijk vervangen door kleine positie-wijzigingen (borst/schouders). De lichamen bewegen harmonisch met elkaar, vandaar het beeld van 1 lichaam met 4 benen.
In die positie leunt men ontspannen tegen elkaar, waardoor men 1 as krijgt, de dansers houden elkaar in evenwicht. Door de houding van de armen is de danshouding rechts gesloten en links open, men leunt ietwat schuin met de schouders tegen elkaar, dit in een hoek van 45°. De linker borst van de vrouw rust onder de rechter oksel van de man. Mannen dragen dan ook vaak een vest, dit om zich te beschermen.
Deze omarming/abrazo-positie blijft behouden gedurende de dans, tenzij men figuren uit een latere, moderne dansperiode doet. Vaak dient elkeen hier in de eigen as te staan, de tangohouding gaat open. Het is minder intiem maar het maakt meer spectaculaire dingen mogelijk, liefst in harmonie met de muziek uit die tangoperiode.
Het innemen van de tangohouding is een ritueel op zich, het is het zoeken van het juiste lichaamskontakt, eutonie. Het bereiken van de goede spanning geeft een gevoel van veiligheid. Dit lichaamsgevoel uit zich zich in de eerste stap. Via het leiden geeft de leider aan de volger een aangename en veilige, energetische cirkel om in te bewegen.
Verscheidene methodes kunnen de communicatie nog verdiepen. NLP is uitermate bruikbaar voor het modelleren van tangohoudingen en bewegingen, evenals voor het afstemmen op de danspartner (leiden = volgen), en dit op de verschillende logical-levels. Gestalt richt zich naar de kontaktgrens, gewaarzijn in het hier en nu, de focus is energie.
Het NLP-modelleringsmodel werkt via gedachten naar het lichaam, de input/aanzet van de beweging is eerder cerebraal. Lichaamstaal is echter de taal van het lichaam, het is nodig de aangeleerde dansfiguren te vertalen zodat het lichaam ze begrijpt als eigen en zinvolle handelingen. Hierdoor 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". Men leert dansen met het gehele lijf.
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 dit zelfonderzoek veranderen we bewust bewegingspatronen en het zuivert tevens onze denkwijze.
Dit is een hele reis doorheen de stress van deze tijd. Prestatiedruk vervormt de waarneming van het eigen lichaam. Bewegingsmodaliteiten, reacties en mogelijkheden worden niet waargenomen. Er is weinig keuze en weinig bewustwording van de eigen creatieve vermogens. Via dans leert men het lichaam echt ontdekken. Als een kind leert men opnieuw spelen en improviseren... samen bewegen.
Het is de ziel van tangodans.