enter home,jealousy,tangotaboo, taboo-tango,taboe,tabou,e vita,jaloers, jaloersheid,taboes.
    (last change: 31 oct 2007)


I'm jealous when I see my wife dancing with another man, am I normal ?
It's only dancing, she says, it's my limited mind ...
So I work on it ...
Yet,
beyond jealousy I sense some dark confrontation ...
with the pain of passion lost ?

I get up,
I'm not done with my performance.

The role of women in tangos ?
Tango, jealousy and knifefighting ...


caminar_2x4_dos_por_cuatro

The traditional themes of tangoshows are the nuns in the bordello and the knife fight ...

As in tango, many knife-fighters are nothing more than poseurs. However, the true thing is a serious piece of work. Because the focus in tango is't always the female, a show must show some respect for the skill with the blade.
In the world of knife fighting there is an unspoken rule: Go in, cut and get out unscathed. Knifefighting is a fast, fluid and dangerous affair, to master this most lethal of martial arts demands self-discipline, physical sacrifice and years of intensive training. The experienced knife fighter will easily see an opening and go in for the kill without being countered. The thing is, until you have actually faced a blade in the hands of someone who means you harm, you have no idea how terrifying it is. In that moment of singular clarity, you know: They are assassinations and "knife fighting" is a romantic fantasy that can be deadly. If you think that is bad, what you experience when facing a blade bare handed is even worse.

So the obvious tangostory is... flesh against flesh, the scenario of two jealous men dancing in combat over another woman , the passionate or troubled relationship, the figure of the compradito, the male dancer whose role is nearly always dominant on the stage in danza, a lovers quarrel and uncivilized intimate behaviour, traditions of domination, control and violence.

Seen from a narrative point of view, the role of women in tango is finely a twist-apple.

And beyond the show, one can see mirroring movements of shadows exactly like life ... but this strangely obscures what is happening on the stage, which is only obedience to tango's stage conventions and the tyrannical expectations of the vampire-audience.
Their version of tangoshow, as milongueros dismissively call it, is to play on old stereotypes, featuring male dancers dressed in faux 1940s tough-guy garb and women in their whorehouse-lite outfits, including fishnet stockings, very highheels and short skirts with long side slit.
Their dancing is full of kicks, brusque, melodramatic turns and oversized gestures, athleticism and an in-your-face sexuality. Pure Argentine Tango however is subtle. It is a very difficult dance to master, specifically because of the subtlety of the steps as well as the complexity of the lead-follow relationship.
It is revealing to look at the character interactions as a series of shifts in the both the dance partnership and gender dynamic.
As a unit, the pair is in a constant state of communication, give and take, control and release. When that release is fully attained, it is a delicious moment for both leader and follower, and the confidence and attitude of the leader is developed.
Under certain circumstances, with a tuned partnership, the follower can make various types of embellishments according to the tempo of the music, and can even take the lead away briefly.

True, tango is a metaphor for relationship of power, sex, love and control ...
But in the socialized tangoclub, the rotary is civilized ...
rules restrict the social intercourse.
At such tango de salón, one can imagine Gustave Flaubert,
sitting at a table, writing Madame Bovary *...

Who's dancing with whom?

The milonga dancing, or club dancing, is an intimate art. The milonga is full of those subtle considerations. It's a world of intimacy and freedom , but also very strict codes. The codes are needed because in la milonga, the conventions of normal life are not respected. In what other place do you just accept embracing someone you don't know, close your eyes and surrender?
There are milongas every day of the week, at lunchtime, in the afternoon and evening, and true milongueros, as milonga regulars are called, keep a schedule of favorites. They all share, however, some strict but unwritten codes, covering everything from the way to dress to the correct, and incorrect, ways of inviting someone to dance.

Appellation Tango Argentin Contrôlée :

"There are a thousand rules, " says Sonia Abadi, a much respected psychoanalyst by profession, and also a milonguera and author of "El Bazar De Los Abrazos" (The Bazaar Of Embraces) a very entertaining, often fascinating guide to the milonga world.
"La milonga puts you in a place that borders with transgression of the standard rules, ... because it's the night, because it puts body against body. And the more transgressive a situation is, the more rules are needed."

The tango at the milonga, danced in a counterclockwise motion on the edges of the floor, has the sensuality of understatement. Tension and trust hold the dancers together.
The man dances with his eyes open, she dances with her eyes closed so he's guiding her all the time and protecting her with his body so as to not bump into other dancers. She has to trust. What's more, almost instinctively the good dancer, as he sees a potential clash, turns so he gets the brunt of the collision and not the woman. In fact the good dancer is almost by definition, in the tangoworld, a gentleman.

"The milongueros are male geishas,*" says Abadi.

The milonguero is a guy whose aim is to please the woman, make her feel good. The good milonguero must make the woman he's with happy. He doesn't take her to show her off but to make her feel happy. It's like making love. You have those who do it like an athletic event and those who actually take their time to make love. In tango it's the same...

The milonguero is supposed to go to a milonga showered, perfumed and, within his means, well dressed. Many men dance with a jacket on . But if it is too hot they might wear just a shirt but with a vest, a way to keep the woman at a certain distance within the intimacy.
There are rules about inviting the woman to dance. Men and women usually sit at separate tables at the milonga, although that is changing The tangoman looks and nods. This gives the tangowoman the chance to accept or play to be distracted. A man does not come to the table to take a woman out. That's bad form. And a good female dancer does not accept if a man does such a thing, it would be like selling herself cheap. Unlike in Europe, a woman also doesn't start yelling when she sees a good Valentino or get angry if he doesn't come.

The dance proceeds in tandas, or sets, of five tangos, usually recordings by the same orchestra. The standard set-up features three major styles that alternate in a specific order: tangovals, tango and milonga (also the word for a music style).
Depending on the place, the DJ might play a set of jazz tunes, Argentine folk music or even rock. At the end of the tanda the floor clears, everybody goes back to their tables and the DJ plays some sort of theme song to clear the palate.

Good dancers know each other and if there are new faces they wait and see. You see them sipping soda water (serious milongueros don't drink alcohol, they do it afterwards) and watching.
If by chance they take a dancer who is shit, the unspoken rule is that you dance the first two pieces of the tanda and then beg off. Those first two songs are considered 'courtesy dances.'
"You don't bail out," says Abadi. After that you can make up an excuse, and you are off the hook. But as a courtesy you don't dance the rest of that tanda with anyone else. That would  precisely  show up the other person.

So, precisely the knife-fight is still sniping ...

Making a geisha from a knifefighter,
can give some identity problems,
or is it the difference between a milonguero and a tanguero ?

From the cabaret girl to the city woman,
the metropolitan lifestyle adaptation...


   From 1880 to 1916, Argentina enjoyed increasing prosperity and became one of the top 10 richest countries in the world, the population of the country swelled sevenfold. As the male / female population balance was getting more equal, dating became more normal and the social scene changed. A new consuming public was profiling itself: middle class people with free time and money to spend in the Corrientes Avenue or 'the street that never sleeps', the Broadway of Buenos Aires. Argentine cinema enjoyed a 'golden age' in the 1930s through the 1950s, the industry produced actors who became the first movie stars of Argentine cinema, often tango performers. In 1920, Argentina was a pioneering nation in radio broadcasting and by 1925, there were 12 stations in Buenos Aires. The 1930s were the "golden age" of radio in Argentina, with live variety, news, soap opera, sport shows and tango bands such as the studio band RCA Victor put together to sell records. The Orquesta Típica Victor started in 1925 and would continue for 15 years, they made more than 400 recordings.
    As the population balance was equal and dating more "mondaine", both men and women went to crowded tango dancehalls and confiterías, where they danced very close, the woman’s head over her partner’s right shoulder, so he could whisper in her ear and visa versa, this "cheek to cheek-style" was called apilado, piled up, packed tightly together. Later, with the appearance of the tango in the milonga danceclubs and the salón in the family houses, the tanguero public transformed. From 1940, the tango had to express something more polished than the eroticism of the bordelles and cabarets louche. The aesthetic focus was no longer on sexual desire and carnal pleasures but on the elegant appearance which can be called an illusory deception or over-mystification of the feminine with tangos like “María”, “Malena”, “Gricel”, “Ninguna”, “Naranjo en flor”.

Symbolic_Meanings_TangoDancing_Dancing

Madame Bovary was published in two volumes in 1857,
but it appeared originally in the Revue de Paris, 1856-57.
Emma Bovary is married to Charles Bovary, a physician. As a girl Emma has read Walter Scott, she has romantic dreams and longs for adventure.
"What exasperated her was that Charles did not seem to notice her anguish. His conviction that he was making her happy seemed to her an imbecile insult, and his sureness on this point ingratitude.
For whose sake, then was she virtuous?
Was it not for him, the obstacle to all felicity, the cause of all misery, and, as it were, the sharp clasp of that complex strap that bucked her in on all sides."

What is Geisha ?
“Gei” means accomplishment or performance and “sha” means person.
At first, Geisha were men and after a while, female Geishas came.
They were called "On-na-geisha", "On-na" means woman.
In the old period, only men went to parties, they needed someone to make them feel relaxed.
A geisha chat with guests, perform classical Japanese dance, sing songs or play games.
In "Memoris of a Geisha", Nitta Sayuri tells us of her life as a geisha.
We witness her transformation as we enter a world where appearances are everything.
Behind its facade of haunting beauty the salón turns out to be a viciously competitive place where women compete desperately for men's favor and largess,
where a girl's virginity is auctioned to the highest bidder,
where women are trained to beguile and please the most powerful men,
where personal trust is almost nonexistent ...
and where love is scorned as illusion.

YouTube illustrated tangopages:
Dance interpretations on Gallo Ciego
TangoDance interpretation on Francisco Canaro's Poema
Walking the 2x4 tango rhythm
Walking Seduction
Dance is a physical need
Tangowals tangovals Milena Plebs Ezequiel Farfaro
Online Tangolessen videoclips videolessen updated
Carlos Gavito and Maria Plazaola
Showclips Forever Tango - great milongueros

La Milonguita (girl from 14 till her early 20's)
Young cabaret girl, dances with many men.
    The typical tango-lyric story of "la milonguita" is marked by poverty, ambition, the easy life and then... the fall, decay, death often through tuberculosis. Her story is part of the urban changes that turn Buenos Aires into a metropolis.
    As the city began to expand with "los barrios" or districts, new career paths made it possible to move up the social ladder.
    In a relatively short time, the Buenosairean society was diversified and became more complex. Between end of the first decade of the 20'th century and the 1940's, people of the districts began to frequent "los cafés" or coffee houses and cabarets in the buenosaires center, and politicians looking for votes walked the districts making political campaigns. The extension of the free time outside the family homeworld, offered to many new encounters with great opportunities.
    Thus a new consuming public was profiling or stereotyping itself, common people, of the districts, that listened to tangos and danced, read newspapers, magazines and went to the cinema, frequented new socialization fields, from the local club to the "society of promotion" and the bar. The expansion of the transport network facilitated an endless number of interchanges between the world of the districts and the one of the center. Buenos Aires had not only grown but was also more communicated. The mainstreet in the heart of the city, "La calle Corrientes", became the "neutral territory" on which the culture of the center and the one of the districts "were to taste". In the decade of the 1920's, the center was already a definitive "free time" reference of the Buenosaireans. For 1923, it was considered that something more than seven million people went to spectacles such as operetas, theaters, dances, comedies, vaudevilles, films. Between the very diverse supplies of the center stood out the brothel, the dance academy, the coffee house and the night club. Some districts also offered those opportunities, but their "erótica" was not associated with the world of the center where the supply was more varied and for all budgets. At night in the center of Buenos Aires, men of diverse social origin shared the entertainment adventure offered by women of humble origin.
    It was in that world of interchanges that the milonguita's melodramatic trip form from the district to the city center took place, of her moral fall and "pale tuberculosis end". The life of these taxi "milonguitas" and "milongueras" (women between 25 and 40) was hard. It was a life of shame, violence, alcoholism, drugs and diseases like tbc. As the rates of syphillis and other sexually transmitted diseases were alarming, a femme fatale became more dangerous than an alluring and seductive "flor de lujo y de placer", a luxury girl whose charms traped her lovers in bonds of irresistible desires. The threat of these diseases give another connotation to femmes fatales and tango as the forbidden dance.

    The leaving from the district to el "centro "is in poems the moment of treason to the origin, the home, the maternal love. It changes the scene, and in that change, the identity of "la muchacha de barrio" or the district girl, begins to alter itself. The tango lyrics place the "milonguita" in city center and particularly in the night club. From 1880 on, a Paris Fever developed and the Argentine society of Buenos Aires reflected a strong desire to imitate whatever French Paris had to offer. Like in Paris, cabarets, night clubs were opened and flourished, and gradually tango advanced from the obscurity of the bordellos to the multicolor lights of city night life, cultivating salon culture codes or etiquette. The night club or "El cabaret", was a place of "Les années folles - decadence", a place in which it was possible to give loose to erotic fantasies and creating a market for commercial sex.
    The tango was the dance and music par excellence of the night club. Attracted by the payment, much better than those than they received in the suburban brothels, the tango musicians undertook their trip to the center. First cabarets appeared outside the center, in Palermo and the low sides of Belgrano. Following its Parisian equivalent, they were summer-restaurants, where it was possible to dance and listen to the fashionable orchestra, by nights near a park. In 1920, they worked all the year as cabarets or restaurant-cabarets, and unfolded luxury and elegance. They were "social epicenters" where the rich ones spent their time and money.
    Three types of women circulated in the night club: 1, the "artistas", the consecrated artists, singers or las cancionistas sometimes dressed like men; 2, the "copears"; much like a café waitresses who's job involves convincing her male customers of the possibility of sexual or romantic intimacy with her in a personalised way, thus they gave conversation and danced with the clients, accompanied them in the drink and, after one long and patient ceremony, sold love and sex; and 3, the "queridas" y "mantenidas", lovers or maîtresses of the clients with money who found in the night club an intimate and permisive space. For most of them, it offered young women from poor families with little education and skills an opportunity to earn a living which was not as arduous as farm or factory work, even though the hours were long. It were women who moved away of the domestic ideal life in the barrio. Some women had chosen a more independent life, maybe for that reason perceived by many men as a danger or a threat to the domestic order. However, there is often a traffic in woman behind the scene and the idealization of a luxurious life is very misleading. Some young girls could be euphemistically titled 'comfort' girls in a new world with an overwhelming passion for consuming.
    Through time, as the male / female population balance was getting more equal, dating became more normal and the scene changed. Now, both men and women went to crowded tango dancehalls and confiterías, where they danced very close, the woman’s head over her partner’s right shoulder, so he could whisper in her ear and visa versa, this "cheek to cheek-style" was called apilado, piled up, packed tightly together. Later, with the appearance of the tango in the milonga danceclubs and the salón in the family houses, the tanguero public transformed. From 1940, the tango had to express something else than the eroticism of the bordelles and cabarets louche. The aesthetic focus was no longer on sexual desire and carnal pleasures but on the elegant appearance which can be called an illusory deception or over-mystification of the feminine with tangos like “María”, “Malena”, “Gricel”, “Ninguna”, “Naranjo en flor”.
    The aesthetic perceptions experienced today, mark the same perception transformation to idealization or glorification of the perfect embodiment. It looks as if beauty is no longer seen as an object of desire, but as a public object of scientific research and styling. Researchers 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. A lifestyle-oriented social promotion as when Buenos Aires began to expand and new career paths made moving-up possible. In recent years, especially since Argentina's disastrous economic crisis of january 2002, tango tourism has become an important source of revenue for the city's economy and Argentinian males can get an income as a taxi-dancer. Taxi dancers rent themselves to foreign tangotourists for the social dance only, a strange turn.

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

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.

Synopsis translations: E/Fr/Port/Gn/Sp/It/Norge, + Link Milongas Buenos Aires

  Argentine tango as a social dance, is a public activity in which we monitor our bodily appearance and behaviour and strive to create the right impression. The others perceive us and we perceive ourselves as perceived by them. In doing so, we become more and more alike. A look-alike appearance is socially safe. But true tango is subtle, and so is jealousy. Popular shows make it more clear...
High heels, sexy underwear and knife fighters. The traditional themes of tango shows are the nuns in the bordello and the knife fight. Many knife-fighters are nothing more than poseurs. However, the true thing is a serious piece of art. A show must show some respect for the skill with the blade, the focus in tango is not always the female. Knife fighting is a fast, fluid and dangerous affair, to master this most lethal of martial arts demands self-discipline, physical sacrifice and years of intensive training. The experienced knife fighter will easily see an opening and go in for the kill without being countered. True knife fighting is no romantic fantasy.
In any Martial Art, the crucial factor is the game of legs, to walk with a perfect balance and grace. In Argentine tango, the body energy-center lies lower than in ballroom tango. A little downwards pressure in the hips, makes the knees bend more and gives a more centered body axes, a sneaking, gliding way of walking. This less royal way of moving is related to knife fighting. The classic story in tango spectacles is the scenario of a woman and two jealous men in combat. Domination, control and violence. Many shows are melodramatic, tangosteps athleticism and an in-your-face sexuality. Seen from a narrative point of view, a women in tango is finely a twist-apple. Beyond the show, one can see mirroring movements exactly like life, but civilized.
At such tango de salon, one can imagine Gustave Flaubert, at a table, writing Madame Bovary. In a socialized tango club, there are rules about inviting, where to sit and a thousand codes how to look. Who's dancing with whom? Rules restrict the social contact and a male is preferred to turn himself into a geisha, which can give a knife fighter some identity problems. And a tanguero? Promiscuity seems to be the nature of tango, envy is inevitable, to keep a true thing alive?

Français
Le vrai tango est subtil, la jalousie aussi . Les spectacles populaires font plus comprendre...
Les hauts talons, lingerie de charme et les bagarreurs au couteau. Les thèmes traditionnels de spectacles de tango sont les religieuses dans le bordello et la bagarre au couteau. Beaucoup de bagarreurs de couteau ne sont rien d'autre que frimeurs. Pourtant, la vraie chose est un morceau sérieux d'art. Un spectacle doit montrer un peu de respect pour la bagarre au couteau, le tango n'est pas toujours la femelle. La bagarre au couteau est une affaire rapide, liquide et dangereuse, maîtriser ce plus mortel d'arts martiaux demande la maîtrise de soi, le sacrifice physique et les années d'entraînement intensif. Le bagarreur au couteau expérimenté verra facilement une ouverture et aimera le fait de tuer sans être répondu. La vraie bagarre au couteau n'est aucune fantaisie romantique. Dans n'importe quel Art Martial, le facteur capital est le jeu de jambes, marcher avec une balance parfaite et une grâce. Dans le tango d'Argentine, le centre d'énergie de corps est plus bas alors dans le tango de salle de bal. Un peu en bas la pression dans les gratte-culs, fait les genoux tourner plus et donne des haches de corps plus centrées, le fait de voler, la façon planant de marcher. Cette façon moins royale de bouger est rattachée à la bagarre au couteau. L'histoire classique est le scénario d'une femme et de deux hommes jaloux, en bataille. La domination, le contrôle et la violence. Beaucoup de spectacles sont mélodramatiques, l'athlétisme érotique sans aucun complexe. Le version cliché du tangoshow doit jouer sur de vieux stéréotypes, comportant les danseurs masculins habillés dans la tenue des années 40 et les femmes dans leur sous-vêtements sexy, avec des jarretelles et les plus hauts talons .Vu d'un point de vue narratif, le rôle des femmes dans le tango est finement un éternel conflit.
Au-delà du spectacle, on peut voir des mouvements reflétants exactement comme la vie, mais civilisé. À un tel tango du salon, on peut imaginer Gustave Flaubert, à une table, en écrivant la Madame Bovary. Dans un club de tango socialisé, il y a des règles de l'invitation, où s'asseoir et mille codes comment regarder. Les règles restreignent le contact social et on préfère qu'un mâle se transforme en une geisha, qui peut donner quelques problèmes d'identité à un bagarreur de couteau. Et un tanguero ? La promiscuité semble être la nature de tango, l'envie est inévitable, maintenir une vraie chose en vie ?

Português
O tango verdadeiro é sutil, o ciúme também . Os espetáculos populares fazem-no mais claro...
Altos saltos, roupa de baixo sexy e lutadores de faca. Os temas tradicionais de espetáculos de tango são as freiras no bordel e a luta de faca. Muitos lutadores de faca não são nada mais do que pessoas afetadas. Contudo, a coisa verdadeira é um pedaço sério da arte. Um espetáculo deve mostrar um pouco de respeito à habilidade com a lâmina, o foco no tango é não sempre a fêmea. A luta de faca é um assunto pronto, fluido e perigoso, dominar isto o mais letal de artes marciais exige autodomínio, sacrifício físico e anos do treinamento intensivo. O lutador de faca experimentado verá facilmente uma abertura e vai se ocupar da matança sem ser contariado. A luta de faca verdadeira não é nenhuma fantasia romântica. Em qualquer Arte Marcial, o fator crucial é o jogo de pernas, andar com um saldo perfeito e graça. No tango argentino, o centro de energia de corpo está mais baixo então no tango de salão de baile. Um pouco para baixo pressione nos quadris, faz os joelhos curvar-se mais e dá uns machados de corpo mais centrados, tomar furtivamente, modo que desliza de andar. Este modo real menos de mover-se está relacionado à luta de faca. A história clássica em espetáculos de tango é o cenário de uma mulher e dois homens ciumentos no combate. Dominação, controle e violência. Muitos espetáculos são melodramáticos, atletismo e uma sexualidade "na sua face". Visto de um ponto de narrativa da visão, umas mulheres no tango são finamente uma maçã de guinada. Além do espetáculo, cada um pode ver movimentos de espelhamento de disco exatamente como vida, mas civilizado. Em tal tango de salão, cada um pode imaginar Gustave Flaubert, em uma mesa, escrevendo a Senhora Bovary. Em um clube de tango socializado, há regras sobre o convite, onde sentar-se e mil codes como olhar. As regras restringem o contato social e um macho é preferido para converter-se em uma gueixa, que pode dar a um lutador de faca alguns problemas de identidade. E um tanguero? A promiscuidade parece ser a natureza do tango, a inveja é inevitável, guardar uma coisa verdadeira viva?

Deutsch
Wahrer Tango ist fein, Neid auch . Populäre Shows machen es klarer...
Hoch Fersen, erotische Unterkleidung und Messer-Kämpfer. Die traditionellen Themen von Tango-Shows sind die Nonnen im bordello und dem Messer-Kampf. Viele Messer-Kämpfer sind nichts anderes als Wichtigtuer. Jedoch ist das wahre Ding ein ernstes Kunststück. Eine Show muss etwas Rücksicht für die Sachkenntnis mit der Klinge zeigen, der Fokus im Tango ist nicht immer die Frau. Das Messer-Kämpfen ist eine schnelle, flüssige und gefährliche Angelegenheit, das meist tödlich von Kampfsportarten zu meistern, fordert Selbstbeherrschung, physisches Opfer und Jahre der intensiven Ausbildung. Der erfahrene Messer-Kämpfer wird eine Öffnung leicht sehen und sich mit der Tötung befassen ohne, entgegnet zu werden. Das wahre Messer-Kämpfen ist keine romantische Phantasie.
In jeder Kriegerischen Kunst ist der entscheidende Faktor das Spiel von Beinen, mit einem vollkommenen Gleichgewicht und Gnade spazieren zu gehen. Im argentinischen Tango liegt das Körperenergiezentrum tiefer dann im Ballsaal-Tango. Ein wenig abwärts lässt der Druck in den Hüften, die Knie sich mehr biegen und gibt mehr centered Körperäxte, eine verstohlene, gleitende Weise spazieren zu gehen. Diese weniger königliche Weise sich zu bewegen ist mit dem Messer-Kämpfen verbunden. Die klassische Geschichte in Tango-Brillen ist das Drehbuch einer Frau und zwei eifersüchtiger Männer im Kampf. Überlegenheit, Kontrolle und Gewalt. Viele Shows sind melodramatisch, Sportlichkeit und eine Sexualität "in Ihrem Gesicht". Gesehen von einem Bericht-Gesichtspunkt sind Frauen im Tango fein ein Drehungsapfel. Außer der Show kann man widerspiegelnde Bewegungen genau wie Leben, aber zivilisiert sehen.
An solchem Tango de Salon kann man sich Gustave Flaubert bei einem Tisch vorstellen, Frau Bovary schreibend. In einem sozialisierten Tango-Klub gibt es Regeln über das Einladen, wo zu sitzen und eintausend Codes, wie man schaut. Regeln schränken den sozialen Kontakt ein, und ein Mann wird bevorzugt, um sich in eine Geisha zu verwandeln, die einem Messer-Kämpfer einige Identitätsprobleme geben kann. Und ein tanguero? Promiskuität scheint die Natur des Tangos zu sein, Neid ist unvermeidlich, ein wahres Ding zu bewahren?

Spanish / En español:

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

Italian
Il vero tango è elusivo, dunque è la gelosia. Le mostre popolari lo fanno più chiaro....
Gli alti talloni, i combattenti di biancheria intima e coltello erotici. I temi tradizionali di mostre di tango sono le suore nel bordello ed il coltello lottano. Molti coltello-combattenti non sono niente più di il poseurs. Comunque, la vera cosa è un pezzo serio di arte. Una mostra deve mostrare del rispetto per l'abilità con la lama, il centro d'interesse nel tango non è sempre la femmina. La lotta di coltello è un digiuno, un liquido ed un affare pericoloso, approfondire questo più letale di stesso-disciplina di richieste di arti marziale, il sacrificio fisico e gli anni di allenamento intenso. Il combattente di coltello esperto vedrà facilmente che un'apertura e va in per l'uccide senza essendo contraddetto. La vera lotta di coltello è nessuna fantasia romantica.
In qualunque Arte Marziale, il fattore cruciale è il gioco di gambe, camminare con un equilibrio perfetti e con la grazia. Nel tango Argentino, le bugie di energia-centro di corpo abbassano poi nel tango di sala da ballo. Una piccola pressione giú nei fianchi, fa le ginocchia piegano più e dà a una più accette di corpo concentrate, un insinuare, scorrendo la maniera di camminare. Questa maniera meno reale di trasloco è raccontata alla lotta di coltello. La storia classica negli spettacoli di tango è lo scenario di una donna e due uomini gelosi nel combattimento. La dominazione, il controllo e la violenza. Molte mostre sono melodrammatiche, l'athleticism ed un in-il suo-il sexuality di faccia. Visto da un punto di vista di narrazione, une donne nel tango è bellamente una torsione-mela. Oltre la mostra, un può vedere rispecchia i movimenti esattamente come la vita, ma civilizzato.
A tale salone di de di tango, un può immaginare Gustave Flaubert, a una tavola, scrivendo Bovary di Signora. In un club di tango socializzato, ci sono delle regole di invita, dove sedere e mille codici come guardare. Le regole limitano il contatto sociale ed un maschio è preferito girarsé in un geisha, che può dare un combattente di coltello alcuni problemi di identità. Ed un tanguero? La promiscuità sembra essere la natura di tango, l'invidia è inevitabile, per tenere una vera cosa viva?

Norvegian
Sann tango er subtil, så er sjalusi. Populære utstillinger lager det mere rydder...
Høye hæler, sexy underwear og knivkjempere. De traditionelle temaene av tango utstillinger er nonnene i bordello og kniven slåss. Mange kniv-kjempere er ikke noe mere enn poseurs. Imidlertid er den sanne tingen et alvorlig stykke kunst. En utstilling viser noe respekt for ferdigheten med bladet, fokuset i tango er ikke alltid kvinnen. Knivå slåssing er et fort, væske og farlig sak, beherske dette meste vÆrer som dødelig av militære kunster krever selv-disiplin, fysisk offer og år av intensiv opplæring. Den erfarene knivkjemper ser lett en å åpne og drar i for det dreper uten imotegått å være. Sann knivå slåssing er ikke noen romantisk fantasi.
I noe Militær Kunst, er den kritiske faktoren spillet av bein, gå med en perfekt balanse og ynde. I Argentine tango senker kroppenergi-midtpunktsom løgnene da i dansesal tango. Litt nedover trykk i hoftene, lager knebendet mere og gir en mere sentrert kroppøkser, et sniker, gli måte av å gå. Dette mindre kongelig måte av å flytte forholder seg til knivå slåssing. Den klassiske historien i tango spectacles er scenariet av en kvinne og to sjalu menn i kamp. Herredøme, styring og vold. Mange utstillinger er melodramatiske, athleticism og et i-Deres-ansikt sex. Sett fra et fortellingssynspunkt, en kvinner i tango er fint et vridning-eple. Hinsides utstillingen ser en avspeilende bevegelser nøyaktig som liv, men sivilisert. På slik tango de salong forestiller en seg Gustave Flaubert, på en tabell, skrive Madame Bovary. I en sosialisert tango klubb er det regel om ber, hvor sitte og en tusenkoder hvordan se. Regel innskrenker den sosiale kontakten og en hann foretrekker vende seg inn i en geisha, gir som en knivkjemper noe identitetsproblemer. Og en tanguero? Promiscuity synes være naturen av tango, er misunnelse uunngåelig, beholde en sann ting levende?

Turkish
Gerçek tango ince kiskançlik olma. Popüler gösteriler onu yapma daha fazlasi aydinlanma...
Sexy iç çamasiri ve biçak savasçilari yüksek alçaklar. Geleneksel tango gösterileri temalari bordello ve biçak kavgasinin içindeki sörler. Ancak, bir gösteri bazi saygilar göstermez kiliçli beceri için, tango yapma sadece disi degil. Biçak savasma çabuk, akiskan ve tehlikeli bir iliski birçok askeri sanatlar öldürmesi bu yenmek self disiplini isteme fiziksel kurban ve yillar Yogun training. Gerçek biçak savasma hiç romantik 'fantazi olan.
Herhangi bir Askeri sanatin içinde, çok önemli faktör kusursuz bir dengeyle ve zerafetle yürümek için oyun bacak. Arjentinlinin içinde tango yapma sonra yalanlar gövde enerjisi merkezi balo salonu tangosu...


Sonia Abadi: Der Basar Der Umarmungen.


Die Autorin ist Ärztin und Psychoanalytikerin und ausserdem Kennerin der Tango-Szene.
In den kurzen Kapiteln wird jeweils auf einbestimmtes Phänomen eingegangen: Die großen Gefühle, Die Sucht nach der Milonga, das "Cabecear", Unterschiede zwischen Tangoneulingen und "alten Hasen", Anonymität und Intimität, Tango-Accessoires, die Faux-Pas der Europäer, und vieles mehr. Liebevoll schildert Abadi die kleien Marotten, ohne bloßzustellen und entwickelt so ein höchst unterhaltsames Panorama.

El bazar de los abrazos :

“La Milonga...sala de guardia permanente para los enfermos de tango, de vida, de encuentro, de sueños.”
“Viaje de milonga en milonga, navegantes solitarios que llegan a puertos inquietantes o seguros, recorriendo los canales de esa ciudad oculta tan dormida, despierta e insomne.”
“La especie humana, y muy especialmente la raza de los que frecuentan la milonga, se debate entre dos miedos igualmente aterradores: el miedo a la soledad y el miedo al compromiso.”
“En estos días de soledades físicas en que amistad, sexo y afecto encuentran soluciones de internet , el tango ofrece la oportunidad de un encuentro vivo, cuerpo a cuerpo, a la vez que un espacio para vivir experiencias de diversa calidad emocional, sensual y artística.”
“Animal de dos cabezas, un sólo cuerpo y cuatro patas. Ser mitológico mitad hombre y mitad mujer. Monstruo que se abraza a sí mismo. Entrevero de piernas que se esquivan y se rozan. Mosaico de piel morena con piel clara , piernas vestidas y desnudas, brazos fuertes y brazos frágiles.”
“Encuentro que comienza en la mirada, continúa en el abrazo y se despliega en el baile. Contrapunto de experiencia con creatividad, equilibrio con sensibilidad, comunicación cómplice con esquiva seducción.”
“Si bailar es placer del cuerpo y del espíritu atravesados por la música, bailar abrazados agrega la sensualidad. Pero bailar tango añade la destreza, el juego, el arte de improvisar de a dos.”
“Luz y sombra, destellos y penumbra, claroscuro. Luz artificial del salón, brillo de las ropas femeninas, penumbra de la pareja con los ojos entrecerrados en un improvisado zaguán.”
“Allí en la milonga hombre y mujer escribirán su novela, que expresa la medida de su prisión cotidiana y la inmensidad de su sueño de libertad.”
“Es cierto que en la Argentina la crisis y el tango siempre anduvieron a la par. Los amantes del tango creen que el tango es hijo de la crisis, su voz más autorizada. Sus críticos creen que la crisis casi crónica que padecemos es heredera del espíritu tanguero que habita en cada porteño.”
“Así baila Buenos Aires. Con el pasado en presente y el presente continuo, al son de viejas orquestas y letras que cuentan historias de otros tiempos, pero baila hoy.”
“Milongueros y milongueras, tangueros y tangueras disfrutan de un bien merecido aunque tardío reconocimiento. Saber bailar, saber de tangos, conocer esa historia no oficial del país que cuentan las letras de tango, hoy es un privilegio.”

Pregunté a los tantos extranjeros que venían a Buenos Aires a bailar, por qué se habían apasionado de ese modo con nuestro tango.
La respuesta era siempre la misma:
“por el abrazo”.


Como una estrella
te vi surgir,
entre las nubes
de mi existir.
Y apasionado
pronto estalló
de amor y celos
mi corazón.


Click here for Buenosairean milongas Argentinean BsAs links

El Torneo de Ritmo y Sensualidad

symboliek_magie_paardansen_mystiek_samenspel

  The 2005 Mundial de Tango-championship counts on several new features, like a market una feria in which it is possible to find the clothes and the shoes that are used to dance tango, jewels, discs and photographies. The activities of the contest were not made in different seats but that they are concentrated in the Rural de Palermo, the greater estate of the capital, where it mounted a room with capacity for 3,600 spectators and spaces dedicated to the dance classes.

  Today, the foreigners who participate in Buenos Aires of the III World-wide Championship of Dance of Tango try to overthrow the Argentineans, winners of previous editions. The first edition of the match in 2003, had 20 pairs of other countries. Now registered 96 on a total of 412. In the 2005 contest compete more than 29 countries, between its semifinalists are Spaniards, Hungarian and Japanese, in addition to several Latin American representatives.

Between the pairs that arrive from the outside there are some similarities: all take advantage of the trip to become qualified taking classes and, of course, concurring to whatever milongas they can. Many are "the front" of their own milongas, academies or compañías de danza. And they do not speak to gain the championship as objective of the trip, but rather to learn, to amuse themselves, to live the experience, to represent well its countries. By the level of the competition, all arrived after gained championships in their places from origin, and being competing in this sure championship, already is a prize.

There is another element, the economic one, that it indicates that the more devaluated, the more foreign friends. So the district tango becomes the Argentina tourist trip supply, with hotels five stars including, milongas are diversified and now it has for all the tastes. Cinema and Literature makes of the tango their subject. There are tanguerías, tango-schools, tango-studies, academies, and the industry of tanguero souvenir is multiplied to unsuspected limits.

The increase of foreign participants means that there were qualifying championships in Russia, Italy, Spain, Japan, Australia, Colombia, Uruguay, Chile and Brasil. The competitors passed selections in their cities, towns and countries, and now they arrive at Buenos Aires from Colombia, Korea, Costa Rica, Chile, Honduras, Hungary, Japan, Mexico, Paraguay, Portugal, the Ukraine, Uruguay and Venezuela. Also there are Argentineans. Buenos Aires sends pairs of 34 parties, the rest of the provinces has 40 representations, whereas the city counts with 23 pairs to defend his localía.

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

  The jury: we watch the position, the presence and the elegance - la postura, la presencia y la elegancia -, everything what the couple does that if one does not listen to the sound, watches of distant spot and we say ` they dance tango`, as in a postcard - si uno no escucha el sonido, mira de lejos y decimos `lla bailan tango`, como en una postal. We value that the pairs are transferred according to the codes of behavior of the hall; that they walk in the sense in opposition to the clock, that lean well in the floor, they do not loosen, they do not jump nor they make hooks. The jury will evaluate that the pairs exactly fulfill the basic position (que las parejas cumplan al pie de la letra la posición básica) that characterizes the pasos milongueros of tango salón: el abrazo - the hug / embrace. While music lasts the dancers will not be able to separate and will have to move in the sense in counter clock wise, within the space that the hug allows. Gimnasia artística: Salon tango is more difficult that a tango fantasy. It is danced to the floor, with much feeling and elegance, without making figures (Es más difícil que un tango fantasía. Se baila al piso, con mucho sentimiento y elegancia, sin hacer figuras) . The pairs can be animated to the swept ones ( barridas), removed to the floor (sacadas al piso) and enrosques, but saltos, ganchos y piruetas propias del tango de escenario are excluded.

  The outcome: ¿En cuánto puede cambiar las vidas de los bailarines la obtención del título de Campeones Mundiales, en el Festival de la meca del tango?
For Gisella Galeassi and Gaspar Godoy, two Cordovans of 21 and 20 years that were the first World-wide Champions from Tango Scene 2004- Tango Escenario, the change was great. They were changed together to Buenos Aires and they began to live, finally, of the dance. "They began to consider us professional", says el campeón.. "a long time ago that we wanted to come to Buenos Aires, but it was not easy. From renting (they request a guarantee to you of Capital), to knowing people the atmosphere and offering you work (hasta conocer gente del ambiente y ofrecer tu trabajo). It was the push that we needed - Este fue el empujón que nos faltaba". As World-wide Champions of Tango, Gisella and Gastón represented Argentina in Festivales of Paris, Malaga, Chicago, Japan, Chile and Uruguay. The GCBA gave a contract them that overcomes east month and it facilitated the proceedings to them for the rent of a department in which they live from November of the last year. Since then, many professional doors opened that they before saw distant. Also they value the prize of to have shared scenes with ídolos that a month back admired by television, bailar en el Colón. 

Puertas profesionales :   The prize opened many doors to us, but it is not a easy way. What before it was impossible, now can get to occur; it does not mean that we do not have to work like dogs to obtain it. Most important that she happened to us is to have grown like dancers - El premio nos abrió muchas puertas, pero no es un camino fácil. Lo que antes era imposible, ahora puede llegar a darse; no significa que no tengamos que trabajar como perros para lograrlo. Lo más importante que nos pasó es haber crecido como bailarines.

 
However, for the World-wide Champions of Tango Salon the outcome was different. The pair that had formed en noches de milonga en Besos Brujos, outside las pistas, it was not the same. Apparently, the real milonga situation is more complicated to take when there are jealous husbands ( esta situación es más complicada de llevar cuando hay maridos celosos de por medio). Winning the prize did not change their life.


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.