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.

Musicality & Humor in Tangodance ?
(Last modified: 09 dec 2008)

  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.
  The videos on this page zoom in on the act of playing in tangodance. Especially, musically in a humorous way, it is a combination of skill and shared inspiration.
  In a couple dance it is crucial to have fun dancing together. Humor, being able to be funny, has the power to evoke laughter, joy. As the dancers are playing and enjoying it, the dance contact and the music are coming more alive.
  Good dancers make you see the music, they are dancing the music from inside out. Being able to do that in a funny way, is a gift that makes a difference.
  Scroll for notes on playing.

TangodanceClips with Humor
Changing selection - not sort by date added
Tova and Carlos Moreno, D'Arienzo - Este Es El Rey

Mariano Chicho Frumboli & Juana Sepulveda

Milonga Horacio Godoy y Cecilia García

"Re Fa Si" Live - Murat and Michelle Erdemsel

"El Huracan" - Mariana Dragone & Fabrizio Forti

Chicho stepping Biagi - Belíssimo Espectáculo

2 Canyengues Angeline Montoya Katrine Cordobés

+ clip: D’Arienzo's Tangos for dancing
+ clip: D’Arienzo's Tangos for brooms - baile con escobas
+ clip: "Mala Junta" Hermanos Macana de Fazio
+ clip: Tango infantil ballet "Marcetango"

Other illustrated tangopages:
Dance interpretations on Gallo Ciego
TangoDance interpretation on Francisco Canaro's Poema
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
The disappearance of "El Tango"

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 fast internet access needed
5. Fast Links to Selected Tango Dance Vidio Updates

Notes on Playing

  Playing is made of dream elements, it is never linear and it's vulnerable. Play is an open-ended territory in which world-building is a crucial factor, the players make their own micro centro. It creates a space in which one is coming alive, with animated expressions, moves and abilities. Play is paradoxical because it is both within and outside our "normal" social space, with it's bounded conduct. In playing there is the inherent but fascinating danger of being "caught" in "reality", or being stared at, but both non-play and play are "realities," because they are products of a distinction.

  Playing is self-generating and self-motivating. The biological drive behind playful teasing is curiosity. Experiences of curiosity drive up our dopamine levels and make us feel extremely alive. The value of teasing lies more in the fact that curious confusing situations need creative responses, less in the "sensation seeking" behavior. Curiosity can create a creating process, a process which has an intrinsic motivation. The activity is rewarding in itself, and not because the activity is a means to something else (with an extrinsic reward). Gregory Bateson suggests that play is not the name of some behaviour, but rather the name of a certain framing of actions, like opening windows. It is a shared facility among people who enthusiastically acknowledge the inherent deviation of a play system. This deviation is the result of the difference of the other of play, with closed windows. In play-mode one does not want to fall back into reality, losing the magic of opening windows.

  Play and games are different. Play commands presence, we have to be here and now, attentive in the moment as it happens. In games, the energy can instead be directed towards "How do I get to the next level?", there and then, and not "why do I play?". In the "How do I get to the next level?", the there and then, a distinction is made. Another, separated space comes into being. If one draws a line that includes disparate sides, either one is in or one is out the desired space.

  Play can be shared and communicated with others by reference to a code, understanding deeper intention, which is contact. It is in the medium of play that the dance pair mutually creates a "difference that makes a difference". At this stage, we are in the domain of make-believe and pretence. Thus, get in the playing-mood that is needed to get into the game. Get into character: assuming a precise role before we can begin the action within the game itself, an open state of mind. A game thus requires a play-mood which is something different than the specific game in question.

Get into character, TVtango clip

Get into character, maquillaje, el "lápiz del amor", maquillage Make-up

  Game, jeux: one's tactical capabilities to sustain the balance between a structured and an un-structured space. In game-mode it is usually a matter of climbing upwards to the next level and not lose sight of structure. The manoeuvres may not be that straightforward, because they emerge differently depending upon one’s point of observation. Computer games, I'm on high level. An hierarchy of spaces, competitive ranking. Extrinsic symbols such as prizes and honorary titles, may be given to the winner. Art vs. sport, creativity versus competition. Throughout the PC-game, you'll find new enemies to beat.

  People play more easily when the other person is able and free to be playful. Only in playing one is able to be creative and only in being creative one discovers oneself. As the other is willingly to enter the game, joy becomes part of the experience and self-knowledge. Play is more than merely the expression of individual interiority or the discursive exchange. Playing is a creative, communicative experience where subjects meet, it is not wholly the domain of either participant. The recognition that creative experience is not something that happens solely within the individual, nor something that happens to an individual subject, but between people, is an important re-conceptualisation of space and how we are to conceive of experience itself.

  Playground: the location of creative experience, it is found on body experiences. This notion of experience as inscribed on the body and taking place in an embodied space, is vital to our understanding of the act of couple dancing. Contrary to cliché models, in which opposing factions seemingly "come together" in a romantic synthesis of a perfect couple, the paradoxes are maintained in the third space. A creative experience is something that happens between people. There is no resolution or "transcendence" between the contradictions, the contradictions make the play. Inside the dance hold which is a circle, the opposites do not come together as if losing one's identity, the paradoxes are maintained and sometimes the extremes reappear clearly in tangodance. Duality means that the opposites must be shaped separately. You can't dance unless you are who you are.

  Opposing Forces. Duality is typical for our western culture. Contrast, the opposite, a contra-point is needed to start a play. In tangofigures, 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. Without a contradiction within your action, a split, you can't develop a structure of motion. An obstacle makes the objective, the longing visible. An internal impulse draws you to something you desire to do. For acts of desire, some distance is needed to doing what it takes to actualize them. Duelists, they too create an embodied space, between each other and inside themselves. Many tangoshows start with the partners opposing each other, like duelists. To dance it that way, some introspection is needed.

  Introspection captures the intention, the meaning of the move, not just the physical, outward expression. Action only deals with physical movement: the action line, the axis. Physical movement however, has a non-physical counterpart: its essence, its movement identity. Gesture involves not only physical movement, but a deeper concept of identity. One can only make contact if an appearance has a deeper emotional substance, an attentive state of mind and a lived-body is behind the appearance. Internalising an observer's objectifying perspective is incompatible with deeper emotional contact. Being drawn to each other, relates to a metaphysical reality: being drawn out of ourselves toward the other, goes beyond the physical act of coming closer. Significant interior feelings make the exterior appearance meaningful. From this, the dance derives its sense of motion as a whole.

  Atmosphere and standard of conduct. An interplay of external forces change the manner of behaving, the mode of conducting one's self. As the social climate has changed much throughout the timeline of environmental events, tangodance as had many forms, style changes. Today, we are not in "Les années folles". Today's "timespirit" expresses a certain “language” to act like the others in society. Sameness or similarity tend to be perceived as belonging together, making it a safe unit. But it is more than a drive or tendency to uniformity, it is self-objectification, a form of self-consciousness that is characterised by constant self-monitoring of one's outward appearance to a prescribed ideal image. For the spirit and the joy of the dance, it is good to focus in on the act of playing in tango.

  Joy refers to a state of flow. Flow is the sense of inspired freedom that comes when you lose yourself completely in an activity, allowing time, duty and worry to melt away. Flow is a state of deep focus that occurs when people engage in challenging tasks that demand intense concentration and commitment. Flow occurs when a person’s skill level is perfectly balanced to the challenge level of a task that has clear goals and provides immediate feedback, like really playing together. For dancers, steps "flow" out in a continuous, creative stream, it is the challenge to create something within a few moments.

  Flow, identified by Mihaly Csikszentmihalyi (1990), is a prime source of optimal experience. According to Csikszentmihalyi, a joyful life is an individual creation that cannot be copied from a recipe. Happiness, ...is a condition that must be prepared for, cultivated, and defended privately by each person. Self objectification however, is thought to limit one's opportunities for peak motivational states or "flow".

  Self-objectification involves adopting a third-person perspective on the physical self and constantly assessing one’s own body in an effort to conform to the culture’s standards of attractiveness. Objectification will not affect all individuals equally, but certain situations that accentuate a person's awareness of observers' perspectives on their bodies are likely to enhance self-objectification. One group that might be expected to be particularly high in self-objectification are dancers.

  Dancers not only perform on stage where their bodies are looked at by others, but also spend several hours a day practising in front of mirrors. Dancers are taught to internalize an observer’s perspective of their own bodies. Students of classical ballet scored more highly on measures of self-objectification, self-monitoring, and disordered eating than women who had never studied classical ballet.

  Objectification, the act of representing an abstraction as a physical thing. Though portraying oneself solely as an object to be looked at is sometimes viewed as exercising control, presentation of the self in this way can be viewed as a form of self-objectification. That is, they internalized an observer’s standard of appearance and are engaged in activities designed to enhance their sexual attractiveness. Of central importance to Objectification Theory, is that objectification in our society influences people to internalise the fashionable views present in society and to begin viewing themselves in the same way. That is, girls and boys gradually learn to adopt an observer's perspective on their physical selves and to treat themselves as an object to be looked at and evaluated on the basis of appearance. Fredrickson and Roberts (1997) term this particular perspective "self-objectification," and describe it as a form of self-consciousness that is characterised by habitual and constant self-monitoring of one's outward appearance to a prescribed ideal image. The constant monitoring of appearance accompanying self-objectification has a number of negative behavioural and experiential consequences. The real key is to get people to begin obsessing.

  Attention is a courteous act indicating affection. Internalising an observer's objectifying perspective is incompatible with a creative, playful or attentive state of mind. Further, habitual self-monitoring of outward appearance results in a diminished awareness of internal body states. The attention is turned away from the experience as a living, inner experience. It is as if there is no inner experience, just appearance. Selfobjectification diverts attention, with people monitoring their own bodies as a reaction to (or in anticipation of) the objectifying gaze of others (gaze anticipation). Self-objectification seems to be a historical trend, the general direction in which our civilization tends to move.

  Public Mirrors. This has created a completely new form of behavior which Ariadne von Schirach calls "Der Tanz um die Lust". Esthetic withdrawal, wrapped up in desirability. The gaze and the exhibition are one and the same, as bound in a looking mirror. Strangely, nothing happens in the public domain, they do not move. An example is Samuel Beckett’s famous play "Waiting for Godot". Belonging to what is classified as the theatre of the absurd.

  Theatrical, teatral, theatrical, teatrale, dramático, theatrón, drama, Comédie-Française, Le Théâtre, (redirected from theatricalized, theatricality, theatricalize, theatrically, theatricals, theatrics, theatricalize, theatricalizes)
1. Of, relating to, or suitable for dramatic performance, the theater or salle de spectacle, corrales de comedias, Teatre Virtual. To put into dramatic or theatrical form; dramatize, l'art de la représentation dramatique. Broadway, Entertainment.
2. Marked by exaggerated self-display and unnatural behavior; affectedly dramatic. To express or represent in a spectacular or extravagantly histrionic manner. Histrionics, histrionismo: Comédie (démonstrations peu sincères), comédie de boulevard (bedroom farce théâtre). Comédien, (hypocrite) phoney, comédienne (femme) comedienne, comediante (female comedian).
3. Stage performances or a stage performance, especially by amateurs. Affectedly dramatic gestures or behavior; histrionics: a deliberate display of emotion for effect, a theatrical pose.
4. Melodramatic tactics, stage melodrama, "melodramatic mode" in nineteenth-century literature and society.
5. Theatricalized bodies and spirits: The Vampire, vampiro, vamp may also refer to femme fatale (femmes fatales) The femme fatale has been portrayed as a sexual vampiress, an alluring and seductive woman whose charms ensnare her lovers in bonds of irresistible desire, often leading them into compromising, dangerous, and deadly "fatal" situations. A femme fatale tries to achieve her hidden purpose by using feminine tricks such as beauty, charm, and sexual temptingness. During the "film noir" era of the 1940s and 1950s, the femme fatale flourished in American cinema. Examples include the cabaret singer as portrayed by Rita Hayworth in Gilda (1946), who sexually manipulates her husband and his best friend, a movie about love and gambling in 1940s Buenos Aires.
  Also, theatric. 1. pertaining to the theater or dramatic presentations: theatrical performances. 2. suggestive of the theater or of acting; artificial, pompous, spectacular, or extravagantly histrionic: a theatrical display of grief. 3. theatricals, dramatic performances as given by amateurs; artificial or histrionic actions. Theatricality, staginess, an artificial and mannered quality, theatrically dressed. 4. Fake and exaggerated, not genuine, for public exhibition. Theatrical behaviour, theatrical makeup, face powder, make up pencils for clowns and mimes. Theatrical lighting, sound, scenery, and special effects for performing arts. Theatre curtain: a hanging cloth that conceals the stage from the view of the audience; rises or parts at the beginning and descends or closes between acts and at the end of a performance.

Encore Lacan- histoire, gechiedenis,story,history, origines, 
onstaan,bron, source, roots

  It's a New Millennium now, Next Generation's favorite location of creative experiences seems to be the computer game. Confusion between reality and virtual reality, sexual imagery and annoyance seems to increase suspense, which is perception rather than reality. Throughout a game, you'll find new enemies to uncover. In some cases, they refine the frustrations to make for an even tighter, more centered experience. A playgame makes a change in the routine. It's community freedom is keeping something alive. Could it be that the gaming industry may be giving a more different insight into how a game can be created in different ways, with playable characters and different approaches? Probably not outside the game, self-objectification seems to be a historical trend, the general direction in which our civilization tends to move.

  "Girl Power!" sounds like a gameplay, it is a the term that was added to the dictionary in 2001, defining it as a self-reliant attitude among girls and young women manifested in ambition, self-esteem, assertiveness and individualism. Why become so self-conscious? Or is it acting as serious characters who move in and out of a quasi-organic role-playing PC game? It becomes impossible to tell if their actions are their own, or the will of the game's premise, and impossible to tell if they are in the game, or in the real world.

  In today's digital society, the individual is relentlessly confronted with a massive cultural production of unattainable role models, we find ourselves increasingly under pressure to conform. The omnipresence of desirable bodies with luxurious lingerie to give more power to your skills and the knowledge that we will never look like that, creates a paradoxical and artificial web of frustration and desire. A keyword during this decade is Sexyness. Sex appeal or looking sexy is about an exterior appearance. It can be related to self-perception, self-awareness, self consciousness, ego. A feeling of self-consciousness occurs when we realize that we are being watched or observed, the feeling that "everyone is looking". When feeling self-conscious, one becomes aware of even the smallest of one's own actions, self-objectification. As there is an excessive beauty culture and a phobia for the passage of time, the aesthetic perceptions experienced in the last decade mark a general perception transformation. It looks as if beauty is no longer seen as an object of desire, but as an object of scientific research and styling.

  Play, guided more by imagination than by fixed, linear rules, imaginativeness, inspiration, sudden creativity, vision, el espíritu del tango: playing, playacting, performing. Enjoy: take delight in, enjoyment, the pleasure felt when having a good time, enjoyable, pleasurable. Joy is an emotion of great happiness, enjoyment, joyousness, joyfulness, joyfull. Joy: Middle English and Old French from Latin gaudium. French: joie, - joie de vivre, joyeux, allégresse. German: Freude. Spanish: alegría, estar con vida, dar saltos de alegría, gozar, gozo, despierta la imaginación, jugando con fuego, placer intenso, sigue tus instintos, apasionadamente. Turkish: haz. Italian: gioia, gioiosità, gioia di vivere, giocare, rappresentazione della Passione, vita.

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.
Please click here

¡Viva La Música!

  Playing piano is not the same as typing notes, an inner soul has to touch the fingers. Touching another person is a form of physical intimacy and plays an important role in dance. One can also be emotionally touched, such as by music. In this metaphorical sense it refers to some action or object that evokes a sad or joyful emotion. Hearing music is more than listening, it is touching all of the senses simultaneously. In singing, the body's pulsations are protruded on to a stream of breath, thus revealing the singers emotions and offering a target for affective identification for the listeners. Even when listening to sounds of musical instruments, a part of the listening experience is a notion of the bodily activities that produce the sounds. A player's sense of a musical style is primarily felt in contact with the instrument, and can not be acquired through discourse. The physical effort to create sound is already part of the music. The bandoneón, originally ment as a small church organ, needs the musician's whole body to express a boundary-transcending sound. A musician is expressing himself through his instrument and connecting awareness to the whole body. He is not unpacking a digital audio format. Dancing on life music feels much different from a mp3 audio file which encodes music into a technological form. We interact through all our senses, the sensing body in movement has much more layers than its visual image.

  In the matter of listening, time, cultural taste and sensitivity make a difference. Many listeners appreciate the sheer sound quality of authentic performance instruments, finding it more beautiful and filled with character than what is heard from modern instruments. The same could be said of the human voice, when it is not required to compete with modern instruments in volume. What authentic-performance participants want is not always authenticity per se, but particular benefits that come from authenticity, such as clarity, tonal vividness, and rhythmic propulsion. The instruments have a less overpowering tone, so that the playing of one note interferes less with the hearing of simultaneous or neighboring notes. Authentic performance is argued to achieve greater transparency of musical texture. Greater transparency and greater dynamic contrast lend themselves, in turn, to greater rhythmic energy. To the ear that has become attuned to authentic performance, modern "mainstream" performances often sound disturbingly heavy and rhythmically dull. Paradoxically, for such listeners, the unique musical character comes through more clearly when they are performed with the lighter forces of the authentic performance movement.

  Regarding dancing tango and it's musical evolution in the recent decades, the four representative schools of the Argentine tangomusic are: Di Sarli, D’Arienzo, Troilo and Pugliese. They are dance orchestras, playing music for dancing. When the spirit of the music is characterized by counterpoint marking, clarity in the articulation is needed. It has a clear, repetitive pulse or beat, a strong tango-rhythm which is based on the 2x4, 2 strong beats on 4 (dos por cuatro). Caminar es todo, stepping the rhythm is the art of tangoing. The dancer's musicality and his taste for subtleties makes you see the refinement of the 2x4 tangomusic. Astor Piazzolla stretched the classical harmony and counterpoint and moved the tango from the dance floor to the concert stage. His tango nuevo compositions tell us something of our contemporary life, dancing it relates much to modern dance which is a more choreographic performance. Tango with a touch of techno is another new development. This bajo fondo underground tango is, in a way, the return of the strong beat and it is mostly danced with a lot of nuevo figures such as colgadas and volcadas. In any case, musicality only comes when you love the music and know it by heart. A pianist says: "There’s nothing quite like learning to play a piece of music to really get inside it. Once I’m inside it, once I’m feeling through the piece with my own hands and working through its many parts with the microscope of learning, once I really start to “get it” about the music … it’s just staggering."

Tangodance_interpretation_Gallo_Ciego_Argentijnse tangodans. Site tangoevita - evita - E Vita.

Provocative Tango

  People play more easily when the other person is able and free to be playful, and according to Winnicott, the essential expression of creativity is to be found in the subject's play.
  Only in playing one is able to be creative and only in being creative one discovers oneself. As the other is willingly to enter the game, joy becomes part of the experience and self-knowledge. Play is more than merely the expression of individual interiority or the discursive exchange. Playing is a creative, communicative experience where subjects meet, it is not wholly the domain of either participant.
  The recognition that creative experience is not something that happens solely within the individual, nor something that happens to an individual subject, but between people is an important re-conceptualisation of subjective and intersubjective space and how we are to conceive of experience itself, both within the dancingscene and the wider cultural sphere.   Moreover, the location of creative experience, the playground, it is found on body experiences. This notion of experience as inscribed on the body and taking place in an embodied space (espacio encarnado) is vital to our understanding of the subject as an integrated entity.
  Contrary to simplistic models of the dialectic, in which opposing factions seemingly "come together" in synthesis, the paradoxes maintained in the third space insist that there be no resolution or "transcendence" between the contradictions. When the potential space is polluted, that is, dominated too strongly by one side, there is no creativity, no play, no space for experience.
  (more: Donald W. Winnicott, Playing and Reality, 1971)

Life Is Real Only Then, When "I Am".
  Provocation can be a way to stimulate genuine contact and in a world of competition, doing nothing is very provoking. Intimacy can give a shock, also to others... for them it's a confrontation with the exclusion. Pain is a possible reaction, behind the ... don't notice the obvious. Argentine Tango used to be shocking, intense intimacy still is.
  A quiet dance with some excitement is very nice... that 's the goal. So within the safety of a close embrace, the couple can do it's passion play. However, being close doesn't yet make it an embrace, the other person isn't an object. Respect is the soul of the ritual. Inside this dancing game, provocation plays a part. Performing special effects can make it a spectacle, or less. Maybe the shock of tango was a culture shock, the intimate way we used to be. Maybe we can provoke it back.
  There is an assumption that people change and grow in response to a stimulation. In this, the self-image and the choice to respond plays a major role. One can choose to have an significant dance experience, a living theater and not a reproduction of dancefigures. It changes the habitual patterns and makes the moment more alive. Is it allowed ? Nihil humani alienum est ...
  The most important messages between people are nonverbal.
(Inspired on Frank Farrelly - NLP)

En Español:
La imagen corporal y el super cuerpo
  Hoy los jóvenes permanecen unas 6 horas diarias en contacto con la nueva tecnología o la televisión. Estos medios presentan a las chicas de modo atractivo-provocativo de forma que su éxito radica en ser sexualmente deseables y atraer la atención de los hombres. Las letras de las canciones, los vídeos musicales, hasta las muñecas para las menores ofrecen una imagen femenina sexy. Cada vez a edades más tempranas se incita a las jóvenes a una moda que sexualiza su corporalidad. Hay que ser 'sexi' para ser alguien. Salir a la calle en corpiño, el sexo es poder.
  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.
  La belleza no es un objeto de deseo, sino un objeto de investigación científica. O sea, hay muchas que se operaron. La cirugía de aumento de lolas crece de forma geométrica. Por supuesto, las lolas hechas no son la única tentación. Los procedimientos estéticos experimentaron en la última década una transformación más marcada que la de los propios cuerpos operados. Hay un excesivo culto a la belleza, fobia al paso del tiempo.
  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.
  ¿Internet, el nuevo ojo público? ¿Alguien resiste un video? Algunos dicen que la moda es filmarse teniendo sexo. Al parecer, el tema es mucho más que eso: buscar y encontrar "esos" videos en los que personas reconocibles o famosas protagonizan escenas caseras, colgarlos de la web y hasta pasarlos por la tele. Su aparición en un video hot subido a Internet fue suficiente para ponerla en boca de todos y también para que su nombre se tecleara en incontables oportunidades. Apenas unos minutos de sexo explícito con alguien que al menos tiene un fuerte parecido con la joven bastaron. Internet y sus usuarios hicieron el resto. Así, "Wanda Nara" logró trepar hasta el primer puesto de las búsquedas. "Video Wanda Nara" fue la serie de palabras que llegó a figurar en la décima ubicación de ese mismo ranking. En horas se hablaba de Wanda y Noelia Maxim en foros, blogs y sitios. Pero también en televisión y radio, en colectivos y bares. La joven, no hay dudas, llegó a su máximo de popularidad. ¿Y por que no? ¡Ahora puedes ser tu! Si eres una mujer mayor de 18 años, sientes adoración por los piercing y los tatuajes, sexy y te gusta ser admirada y deseada, esta es la oportunidad en convertirte en una de las nuevas estrellas. Nadie resiste a el nuevo videojuego.
  ¿Qué significa dramatización? Dramatizar algo es darle acción. La dramatización está dirigida a despertar la curiosidad del público. Dramatizar lo que se comunica. Las dramatizaciones ayudan a estimular la creatividad del niño. En cuanto a la formación humana les ofrece nuevos lenguajes para la comunicación y afirmación personal. Es un medio eficaz para descubrir aptitudes y capacidades que contribuyen al conocimiento de la propia persona y a un equilibrado desarrollo psicológico. La dramatización es el eje de la expresión dinámica. Por dramatización se entiende el proceso para dar forma y condiciones dramáticas. O sea, la conversión en materia dramática de aquello que de por sí no lo es en su origen, o sólo lo es virtualmente. Y es sabido que drama, por su procedencia griega, significa acción. Aunque en literatura la palabra drama adquiera el valor de acción convencionalmente repetida con finalidad artística. Por tanto la dramatización toma su nombre de uno de los estadios del proceso de elaboración del teatro. El teatro, como resultado final, es fundamentalmente espectáculo -con la presencia obligada de público-, requisito que no se da en la dramatización. Podemos decir que la dramatización incurre en un proceso convencional en el cual las cosas -objetos, hechos, personas- dejan de ser lo que realmente son para convertirse en otras a las que representan. Un general, pongamos por caso, es general en la realidad. Pero un actor, sin graduación ni vocación militar, se convierte convencionalmente en general al someterse a una serie de transformaciones, en el hablar, en el vestir, en el actuar, que le permiten interpretar el papel de general. Igual que un niño puede convertirse en una estatua, igual que un círculo de papel dorado puede convertirse en el sol. Lo mismo que sucede con las personas y objetos acontece también con las historias representadas. La historia real, el hecho auténtico, es el que tuvo por ejecutores a los que de verdad lo vivieron activamente. Este hecho se vuelve dramático -se dramatiza- cuando se reproduce dentro de la convención dramática. El análisis de los diversos recursos expresivos empleados por el teatro nos proporcionará la clave para entender la dramatización como fenómeno de expresión complejo, ya que tales recursos expresivos les son comunes.

En Français:
  Le regard des autres et perception du mouvement propre. Les psychologues américains Fredrickson et Roberts introduisaient la notion d'objectivation, puis d'« auto-objectivation » du corps : le fait que les femmes adoptent le regard évaluateur et critique de leur entourage sur leur propre corps réduit à la fonction d'objet. Le regard des autres serait la source d'une anxiété permanente. La frustration engendrée par l'impossibilité d'atteindre les canons de la beauté et le sentiment de ne pouvoir exister hors de ceux-ci préparant alors le terrain à un état dépressif. Les chercheurs ont passé cette perception du corps-objet au crible des cinq traits spécifiques de la personnalité définis en psychologie. Il semble qu'un tempérament plus masculin préserve les femmes de ces exigences de forme. L'énergie dépensée à surveiller son apparence nuirait, à l'inverse, tant aux performances intellectuelles qu'à la qualité des relations amicales et affectives. Les critères de féminité imposés par les médias semblent donc à l'origine de troubles psychologiques réels. Le cinéma, les médias ou la mode contribuent à la sexualisation précoce des filles. Autrement dit, quand la valeur d'une personne se fonde exclusivement sur son sex-appeal. Cette sexualisation des habits a commencé il y a vingt-cinq ans, avec la publicité pour un jean Calvin Klein : la jeune Brooke Shields, alors âgée de 15 ans, y déclarait «il n'y a rien entre moi et mon jean».
  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. 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.

Auf Deutsch:
  Ariadne von Schirach (* 24 Juli 1978), "Der Tanz um die Lust". Dieses Buch ist das Ergebnis ihrer intensiven Auseinandersetzung mit dem Gegenstand. Ariadne von Schirach, 1978 in München geboren, studierte Philosophie an der Freien Universität Berlin. Die Körper sind explodiert und die Anteilnahme erkaltet. Nur die Erregung ist geblieben. Wir sind umgeben von Titten, Ärschen und Waschbrettbäuchen, und das ist nur die glitzernde Oberfläche der Fernseh- und Werbewelt. Leben wir in einer pornographischen Gesellschaft? In einer Gesellschaft, deren Mitglieder nur noch mit heruntergelassenen Hosen oder hochgezogenen Röcken vor dem Rechner sitzen und kein Interesse mehr an Partnerschaft haben? Die 28-jährige Ariadne von Schirach widmet sich diesen Fragen - und findet kluge und provozierende Antworten. Sie denkt nach über Pornographie, erotische Strategien, heutige Formen der Jagd nach Sex. Und wagt die These, dass der einzige Ausweg aus der ästhetischen Entfremdung und erotischen Überforderung - immer noch und immer wieder - die Liebe ist, das Wagnis echter Begegnung. Sex und Liebe und ihre Bedingungen in der Gegenwart: Philosophisch, essayistisch stellt sich "Der Tanz um die Lust" diesem ewigen Thema und erzählt von Menschen und ihren Abenteuern in einer übersexualisierten Wirklichkeit.
Es ist so schwer, ein Sexobjekt zu sein
  Ariadne von Schirach, Der Tanz um die Lust: Sind Schönheit und Sex das Maß aller Dinge?
  Reflexionen über die Lust und Erotik in unserer übersexualisierten Zeit: Warum die Frauen sich immer begehrenswerter machen, aber die Männer immer seltener wollen. Muss man denn alles selbst machen? Leben wir in einer pornografischen Gesellschaft? Pornografie schafft ein Begehren, das nicht erfüllt wird. Das führt zu Frustration, und die Depression ist nur einen Seufzer weit entfernt. Wenn der Rapper Akon wochenlang die Hitparaden damit quält, wie einsam er ist, hat er damit einen wunden Punkt getroffen. Der Druck ist gestiegen: Der Einzelne ist immerwährend mit einer massiven kulturellen Produktion von unerreichbaren Vorbildern konfrontiert.
  Wie gut die aussehen! Wie schlank, geschmeidig und geschmackvoll gekleidet! Und seit wir wissen, was bei Pamela Anderson oder Paris Hilton im Bett abgeht, ist klar, dass wir allen Grund haben, neidisch zu sein. Wir sind umgeben von Titten, Ärschen und Waschbrettbäuchen, und das ist nur die glitzernde Oberfläche der Fernseh- und Werbewelt. Die Profis surfen schon lange im Internet, auf geschätzten 1,3 Millionen Porno-Websites mit insgesamt 260 Millionen Seiten. Es stellt sich nur die Frage, wohin mit unserer Erregung?
  Die typische Reaktion auf Pornografie ist Masturbation. Wenn wir in einer pornografischen Gesellschaft leben, hieße das auch, dass wir in einer Masturbationsgesellschaft leben. Wer nur noch mit heruntergelassenen Hosen oder hochgezogenem Rock vor dem Rechner sitzt, hat kein Interesse mehr an Partnerschaft.
  Die Allgegenwart begehrenswerter Körper und das Wissen, nie so auszusehen, schaffen ein paradoxes Geflecht aus Frustration und Begehren. Nur die selbst in die Hand genommene Triebabfuhr kann da noch helfen. 90 Prozent der Männer und 86 Prozent aller Frauen machen es regelmäßig. Der Anteil weiblicher Onanisten schnellte in den vergangenen 30 Jahren um 50 Prozent in die Höhe. Catherine Breillat zeigt in ihrem Film "Romance" eine Frau, die angesichts der Verweigerung ihres Gefährten hungrig durch die Stadt streift. Wenigstens geht sie noch aus!
  Success, Erfolg, macht sexy, doch heutzutage muss man sexy sein, um Erfolg zu haben. Dann ist man noch mehr sexy. Und das qualifiziert einen irgendwann zur Fortpflanzung. Wenn man dann nicht schon zu alt ist. Aber das ist ja heute nicht mehr so ein Problem, wir werden schließlich alle immer jünger. Wir müssen also sexy werden. Wie man das anstellt, das ist eine wichtige Frage. Frauenzeitschriften und die neuen Männermagazine sind da aufschlussreich. Also erst mal abnehmen, am besten noch Sport machen. Dass Mode sich mit nackter Haut verkauft, ist ja von gestern.
  Wer sie nachts in Berliner Clubs beobachtet, kann sich des Eindrucks nicht erwehren, dass sie es ziemlich lässig nehmen. Toller Körper, trendiges Styling, guter Job oder fundierte Ambitionen, einen Drink in der Hand und funkelnde Augen. Jägerinnenaugen. Werden Frauen zu Jägerinnen, Männer zu Gejagten. Doch die Frauen kehren immer wieder zurück. Meist allein.
  Was ist nur mit den Männern los? Was es auch ist, es hat fatale Auswirkungen. Hier stellt sich die Frage, ob das das Ziel des Feminismus ist oder seine Pervertierung. Denn die erfolgreichen Frauen entsprechen zumindest optisch dem Ideal niederer Männerinstinkte. Sie sind die Sexbombe mit Staatsexamen. Frauen wissen, dass das klassische Weibchenschema immer noch am besten zieht. Ist das eine subtilere Art der Selbstunterwerfung? Und fällt uns keine andere Antwort dazu ein als die, dass wir nun die Männer zu Objekten machen und damit Verhaltensmuster zeigen, welche die Emanzipation seit Jahrzehnten anprangert?
  Eine pornografische Gesellschaft ist eine entfremdete Gesellschaft. Und seit der Zwang zum Sex-Appeal auch die Männer erfasst hat, für die es in Deutschland mittlerweile über 200 Pflegeserien gibt, ist sie egalitär. Wir tanzen alle ums Goldene Kalb der Sexyness und des guten Looks, vorbei sind die Zeiten, in denen die reichen alten Säcke die schönen Mädchen abgeschleppt haben.
Heute muss jeder alles können, der Druck und die damit verbundene Unsicherheit haben sich verdoppelt. Die Erwartungen steigen, die Geburtenziffern sinken. Frauen sind die grausameren Männer und ungehalten über mangelnde sexuelle Bereitschaft. Die Wahrheit lautet: Jeder ist eine Insel.
  Ist das wirklich wahr?
  Verschiedene Trends setzen sich auch 2007 fort: Die technische Brillanz scheint keine Grenzen zu kennen. Jedes Mal, wenn man denkt, Grafik und Sound könnten nicht besser werden, wird man überrascht. Nur wirklich Neues gibt es kaum. Fortsetzungen regieren die Spielewelt. Außerdem ungebrochen: Onlinespiele für Massen an Menschen. Ein grenzenloser Spielplatz. Fantasy-inspirierter Multiplayer-Games folgte dem Motto: "Weniger ist mehr" oder "Dress Less to Impress".

Em Português:
  Humor do latim humore é uma forma de entretenimento e de comunicação humana, para fazer com que as pessoas riam e se sintam felizes. As origens da palavra "humor" assentam-se na medicina humoral dos antigos Gregos, que é uma mistura de fluídos, ou humores, controlados pela saúde e emoção humanos. O provocation pode ser uma maneira estimular o contato genuíno e em um mundo da competição, não fazer nada está provocando muito. O intimacy pode dar um choque, também a outro... que é um confrontation com a exclusão. A dor é uma reação possível, atrás do jealousy... Não observe o óbvio. Tango usou-se chocar-se, intimacy intenso é ainda. Sim, uma dança quieta com algum excitamento é muito boa... que é o objetivo. Dentro da segurança de um embrace, há o jogo. Mas estar no contato cheio não lhe faz um embrace, a outra pessoa não é um objeto. O respeito é a alma do ritual. Dentro deste jogo de dançar, o provocation faz uma parte. Os efeitos especiais podem fazer a lhe um espetáculo, ou a menos. Talvez o choque do tango era um choque da cultura, a maneira que intimate nós nos usamos ser. Há uma suposição que os povos mudam e crescem em resposta a um stimulation. Nisto, no ego e na escolha a responder jogos um papel principal. Um pode escolher ter uma experiência significativa, um teatro vivo e não uma reprodução das figuras. Muda os testes padrões habitual e faz a dança mais viva. Permissão? Nihil humani alienum est ... As mensagens as mais importantes entre povos são nonverbal.

In Italiano:
  L'umorismo è la capacità o la condizione di persone, oggetti o situazioni di evocare sentimenti di divertimento e suscitare la risata. Il provocation può essere un senso stimolare il contatto genuino ed in un mondo di concorrenza, non fare niente molto sta provocando. Il intimacy può dare una scossa, anche ad altre... che sia un confronto con l'esclusione. Il dolore è una reazione possibile, dietro la gelosia... Non noti il evidente. Tango ha usato scuotere, intimacy intenso ancora è. Sì, un ballo calmo con un certo eccitamento è molto buono... che è l'obiettivo. All'interno della sicurezza di un abbraccio, ci è il gioco. Ma essere in contatto completo gli non rende un abbraccio, l'altra persona non è un oggetto. Il rispetto è l'anima del rituale. All'interno di questo gioco di ballare, il provocation fa una parte. Gli effetti speciali possono rendere esso uno spettacolo, o di meno. Forse la scossa del tango era una scossa della coltura, il senso che intimo abbiamo usato essere. Ci è un presupposto che la gente cambia e si sviluppa in risposta ad uno stimolo. In questo, nel ego e nella scelta da rispondere giochi un ruolo importante. Uno può scegliere avere un'esperienza significativa, un teatro vivente e non una riproduzione delle figure. Cambia i modelli habitual e rende il ballo più vivo. Permesso? Nihil humani alienum est ... I messaggi più importanti fra la gente sono nonverbal.

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.


De ultieme ninja is terug! Mooier en uitdagender dan ooit! Ninja Gaiden, de game die volgens Gamespot.com ‘zeer dicht bij de perfectie ligt’ maakt zijn debuut op de Playstation 3
Epische vertelling: het verhaal gaat verder met Halo 2 de internationaal award-winnende vervolg van de hoog succesvolle en uiterst positief bekritiseerde Halo: Combat Evolved. In dit vervolg komt het slagveld naar de aarde en masterchief, een genetisch verbeterde supersoldaat, is de enige die staat tussen de meedogenloze alien Covenant en de totale vernietiging van de mensheid.
Spannende single-player gameplay: ervaar de gevechten tussen masterchief en the Covenant vloot. Gebruik dubbele wapens van de Covenant en bestuur menselijke en niet menselijke voertuigen en vliegtuigen om zo de strijd aan te gaan met de intelligente AI alien vijanden.
Ongeëvenaarde Online Gaming: Halo 2 voor Windows Vista zal gebruik maken van de kracht van Live (overal),een service die te vergelijken is met Xbox Live, om zo de pc gamer een een onvergetelijke ervaring op online matchmaking te laten beleven. De service zal er voor zorgen dat Windows Vista gamers overal ter wereld online kunnen vanaf hun pc om ze een innovatieve en competitieve online forum aan te bieden.
Nieuwe multiplayer map editor: Het spel bevat ook een splinternieuwe map editor,waardoor er met garantie kan worden aangenomen dat er nieuwe, fan gerelateerde content zal verschijnen in de toekomst. De halo 2 community kan nu eindeloos gebruik maken van eindeloos creatieve potentie om verschillende ongelimiteerde aantallen van door spelers gecreeerde multiplayerlevels te downloaden.
Complete community vrijheid: Halo 2 voor Windows Vista biedt de gamer de vrijheid om host te zijn van eigen toegewijde servers voor maximaal mulitplayer aktie.
Superieure presentatie en cinematische klasse: Brengt de grote, fantastische wereld van Halo 2 tot leven op het Windows Vista platform door gebruik te maken van een hogere resolutie textures en verbeterde belichtingseffecten. Ervaar de excellente cinematische kwaliteit van Halo 2 door het gebruik van Windows Vista.
De Halo franchise is een van de best verkopende en monumentale parels in de entertainment ervaring in de geschiedenis met meer dan 14.5 miljoen verkochte exemplaren,18 game-of-the-year awards, 750 miljoen uur en 500 miljoen matches bevestigd op xbox live. Halo 2 was ook een van de meest succesvolle entertainment launches aller tijden inclusief boeken, films, strip, verhalen, games en muziek. Halo 2 voor Windows Vista brengt je de ultieme ervaring op dit gebied.