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.

Last modified 30 march 2008
  This page gives you Updates Milonga, Candombe Tango-Son dancing and Milonga-lesson videoclips. In the context of learning to dance milongas, this separate page brings you closer to the specific rhythm.
  Links to the other streaming flashvideos pages:
  1. Various Links to New Tango Videos (faster loading)
  2. Tangovals clips
  3. Tangoclass videos
  4. Various Online TangoVideos (fast internet access needed)
  5. Playing and Humor in Tangodance Videos
Milonga Videos
(Changing selection - Not sort by date added)
Miguel Angel Zotto y Daiana Guspero Tango X2 Biagi milonga

Sebastian Achaval & Ximena Galicchio (mundial 2005)

Claudio Forte & Barbara Carpino Biagi Flor De Monserrat

Pablo Rodriguez & Noelia Hurtado Donato Ella es así

Mariela Franganillo & Jorge Torres - Piazzolla Escualo - Nuevo

+ more clips:
Jorge Firpo Clase de Milonga
Horacio Godoy y Cecilia en La Viruta
Carlos Gavito & Maria - Bordoneo y 900
Tango Pasion Alejandra Martiñan y Gustavo Russo
Milonga Mismo Sexo - 2 women Valya y Silvina
Javier Rodriguez y Geraldine Rojas - Biagi's "Flor De Monserrat"
Gustavo Naveira y Giselle Anne - milonga MANO BRAVA
Mundial 2006 - Metropolitanos Milonga champions
La puñalada Erica Boaglio & Adrián Aragón (TangoX2)
Candombe Caceres - Dani "El flaco" Garcia and Luna Palacios
Tango Son - La Trampera - Combination tango and Cuban son
Milonga lesson 01 - Milonga-traspie on Biagi
Milonga Class 02 - Hugo Daniel - Rhythmic stepping

More tangopages, video illustrated :
Tangodance interpretations on Gallo Ciego
Dance 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

Milonga - (3 meanings)

1. an Argentine social dancingplace (salón) where three types of dances are danced, namely the Tango, Valz and the Milonga styles.
2. A style of dance to a fast beat music composition; similar to Tango written in 2/4 time. The Milonga is a Spanish dance first originated in Andalusia.
3. Cabaret girl, dances with many men. Las pobres milongas, the poor taxi dancers.

Es medianoche. El cabaret despierta.
Muchas mujeres, flores y champán.
Va a comenzar la eterna y triste fiesta
De los que viven al ritmo de un gotán.
Cuarenta años de vida me encadenan,
Blanca la testa, viejo el corazón:
Hoy puedo ya mirar con mucha pena
Lo que otros tiempos miré con ilusión.


It's midnight. The cabaret's wakin' up.
A lot of women, flowers, and champagne
The eternal sad party of those who live
to the beat of a tango is about to begin.
I'm chained by forty years of life,
with a grey-haired head and an old heart:
Today I can watch with a lot of sorrow
what at other times I saw through rose-colored glasses
ACQUAFORTE (1931)

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. 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 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 urbanization process, , by taking to nightlife and the downtown cabarets, the identity of "la muchacha de barrio" or the district girl, begins to alter itself, as part of the urban experience. For the most part written by men, the lyrics speak of these journeys in a tone of censure and tuberculosis is cast as a form of punishment for these young women who dared to question there place in the domestic world and the world of the barrio. 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, it is living in the twilight zone. The idealization of a luxurious life is very misleading and there is often a traffic in woman behind the scene...
  Edgardo Cozarinsky’s "The Moldavian Pimp", is beautiful and moving novel about Jewish immigrants and may be among the few records we have of an extraordinary and little-known twilight society. In a bar in the Buenos Aires suburb of Villa Crespo our narrator recalls his encounters with an old man of Lithuanian descent, whom he came to know shortly before the man died. Among his papers, he found the script of a curious play entitled "The Moldavian Pimp", performed in Yiddish in the poor, Jewish area of the city in 1927-28. The play concerned young Jewish girls from the Ukraine recruited by Jewish pimps to go to Argentina on the promises of freedom and a new life, only to find themselves sold into prostitution. Set in the Argentine capital and Paris, and ranging in time from the 1920s to the present day. Some young girls could be euphemistically titled 'comfort' girls in an expanding world with an overwhelming consumption hunger.

  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 the 1940s, 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 a similar perception transformation. It looks as if beauty is no longer seen as an object of desire, but as an object of scientific research and modification.

Symbolic_Meanings_TangoDancing_Dancing

Female Tango Singers

    It's not a secret that El Tango is a male construction and the sense of its speech is mostly the discourse of a male chauvinist (sexist is also a translation for machista, or macho: manly, virile- verbo machar: playing tough Argentinians, masculine spirit); this cultural creation is lived like nature by the old tango dancer. But there are women singers, large creators of styles in the twenties, tango divas who knew to rise to the setting and adopt gestures of command and modelling new futures.

    Entering the decade of the 1920s or Roaring Twenties, we find a new generation of female artists, who became a raging success in the stages of commercial theaters, the cabaret scene and the radio and film industries. The formation of modern Argentina was promoted by an active interaction between the culture industry and its audiences/ consumers. This exchange reflected the need in the public sphere for the creation of a modern feminine identity. As tango was considered to be an indecent dance at the beginning and therefore no lady of good reputation would have anything to do with it, either dancing or singing, the first female tango singers had to dress as a man in order to be acceptable. These female performers, the tough yet glamorous woman of the suburbs who had learnt to deal with modern life and men, and, in order to be allowed into a male-dominated system, cross dressed as in a French-looking "lesbian pantomime", provided a model. The audiences were pleased to see mimiced types, constituting an imitation of the slick compadrito and the exotic gaucho style.

    These female figures occupy the setting during the decades of the 20s and of the 30s, taking advantage of the radio diffusion, the improvement of the record system and the rise of the spoken movies, which would permit greater diffusion of popular music. In 1933 was the first Argentine talking picture released, Tango. Here you can see a clip of it, a Buenos Arian cabaret, dancers and Juan D'Arienzo playing the violin:



    Through the gramophone, the radio and the cinema, a generation of women singers quickly reached stardom and thrust into the spotlight of the glamorous world. Glamor histories often with strange turns, such as the history of Ada Falcón, one of the great female tangolegends.
    The history of Ada Falcón, "La emperatriz del tango", famous singer of tango of the 1930's, and her mysterious disappearance of the public life and the glamorous world at the beginning of the 1940's, when she still was in the peak of her fame, is narrated in Sergio Wolf's docu-film Yo no sé qué me han hecho tus ojos (I Don’t Know What Your Eyes Have Done to Me, 2003). Alluring Ada Falcón acquired fame in short time and monopolized the radios, recorded a considerable number of discs and gained a fortune that allowed her to live as a diva in an imposing big rambling house on Palermo and to satisfy her star caprices (like leaving outdoors to dry her hair riding one of her convertibles). We found out the luxurious life of Ada, her romance with Francisco Canaro, her mentor, of the fights with that man for diverse reasons. Her sudden decision to leave Buenos Aires after a religious revelation and a promise before God.
    The history is a puzzle, buried and hidden under the streets and buildings of Buenos Aires. As such, the lives of these "public" women have become living documents of the construction of the modern Argentine nation.
    According to Edgardo Cozarinsky (Argentine film director, writer, and actor), this kind of ‘creative documentary’ is unusual in Argentina, where documentaries are generally based on straightforward reportage rather than on the intricacies of language. Sergio Wolf went in search of Ada Falcón, a tango singer with a tempestuous and extravagant lifestyle whose popularity was at its peak in the thirties. In 1942 she left her career, her house and her lovers, and took refuge—forever, it was said—in a convent deep in the sierras of Córdoba province, some 500 miles north-west of Buenos Aires. The film is like a ceremony conjuring the dead, with the editing suite taking the place of the spiritualist’s table. Through his research, Wolf brings out the vanished world of cabarets and radio halls behind the façades of today’s supermarkets and parking lots. All vanished. Hinduism question: Where do all vanished or lost objects go? Into nonbeing, which is to say, everything.

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

Social Dance Forms vs African influences

  Milonga is an Argentinian and Uruguayan form of music, as dance, as the term for the place where tango is danced. The term milonga comes from a similar African expression that means "lyrics." In Buenos Aires the Gauchos danced it in what is called a closed position (close embrace - milonguero) , in the lower class cafes. Here their interpretation of it emerged into what today is our Tango Argentino. Tangodance was created by men and in the old days, men first danced together to get better and then they went out and danced with women.
  Closed position : The leader's right hand is on the follower's back, its exact placement on the back ranges from the waist to the left shoulder blade. The follower's left hand is on the leader's right shoulder, or the upper arm near the shoulder. The other two hands are clasped together at or near chest or shoulder height.
  Close embrace : very closed position, leader and follower stand in 1 axis, leaning together like a pyramid (piramide).
Milonguero Tango
developed in the 1940s and 50s in closely packed dance halls, so is danced in a very close embrace, chest-to chest, with the partners leaning - or appearing to lean - slightly towards each other to allow space for the feet to move. Milonguero / milonguera also means the man/woman who dances that style.
  Tango Canyengue was danced in the 1920s and 30s when the long tight fashion in dresses restricted the woman's movements. Consequently the style involves short steps. The dancers tend to move with knees slightly bent, the partners slightly offset and in a closed embrace.
  Liso style Tango developed in small and crowded dance halls, where there was only space to take a few paces, before having to circle around each other while waiting for a space to open. This tangoing style is danced with an upright posture, usually with each dancer slightly offset to the right of their partner. If a close embrace is used, it is relaxed to allow the woman to preform turns.
  Tango Orillero is thought to have developed away from the town centers in the outskirts and suburbs, where there was more freedom due to there being more space on the dance floor. The style is danced in an upright position, and uses various embellishments including rapid foot moves, kicks--and even some acrobatics, though this is a more recent development.
  Show tango, also called Fantasia is a more theatrical and exaggerated form of Argentine Tango developed to suit the stage / tango for export.
  Tango de Salón An elegant and very social style of tangoing characterized by slow, measured, and smoothly executed moves. It includes all of the basic tango steps and figures plus sacadas, giros, and boleos(voleo). The emphasis is on precision, smoothness, and elegant dance lines.
  Milonga Music : The early "milonga camperas" ("from the countryside") are the contribution of the gauchos to the tango. The milongas one is familiar with as a dancer (like La Puñalada, Milonga de mis Amores etc...) are faster and known as "milongas urbanas" ("city milongas"). These appeared relatively late, in the beginning of 1930, related to "la gran urbanización de la ciudad" and the story of "la milonguita". "Milonga sentimental" (1932) is often quoted as one of the first true "milonga urbanas". Pieces of Piazzolla that have "milonga" in their title are extremely slow. Astor hated dancers, so it is likely that he was more inspired by the "milonga campera" than the "milonga urbana". Scroll for African influences.

Tangodance_interpretation_Gallo_Ciego_Argentijnse tangodans. Site tangoevita - evita - E Vita.

Cuban Son
  Son is derived from Spanish, African, French Creole and native musical influences, arising first in Oriente province, reaching Havana around the 1880s. Popularization began with the arrival of radio broadcasting in 1922, which came at the same time as Havana's reputation as an attraction for Americans evading Prohibition laws and the city became a haven for the Mafia, prostitution and gambling. Son has also become a word used for rural traditional musical styles of spanish speaking countries and apart from the Cuban variant called Son Cubano.

Candombe y tambores, the African influence
See photos Marina Bonavento

  The traffic of slaves constituted one of the chapters more displeased of the conquest and colonization of America. Whole families were taken of their territories in Africa and brought by the force to the new continent, with the idea to make them work in benefit of Spaniards, Portuguese and Anglo-Saxons. The excuse of so cruel commerce was based on which the Indians, submissive and subjugated, were supposedly incapable to work of the way as they tried the colonizadores. One calculates that in the years that that traffic of people lasted, during centuries XVII and XVIII, about 45,000 Africans arrived at El Río de la Plata, the River of the Silver. But that population, that got to be from 30 % of the inhabitants of the Virreinato, instead of growing and being multiplied, has been disappearing gradually to the end that conforms a very small minority.
  In Argentina they practically constitute almost one ethnic curiosity. Diseases, economic isolation, used as cannon meat, "carne de cañón", in the armies during the fights of independence and in the civil wars, has taken to their virtual extinction. However, in Uruguay, the colectivity of African origin has managed to survive and to conserve many of its traditions. It is in the celebration of the carnival that the Uruguayan of African ancestry, particularly the montevideanos, manage to show all the wealth of their culture, that includes/understands the dances and music. Candombe, rate that belongs to that variety of drums of different loudness and by made they themselves, has finished defining next to the tango which is River plate music and, in individual, the Uruguayan.

Videoclip: El tambor

  For years, many of those families have been emigrating to Argentina in search of better opportunities of work, allowing that the city of Buenos Aires partly recovered that lost tradition that to the slaves and their descendants had given him. In spite of it, they do not let live in a luck of ghettos, hiding itself to the contemplation of the others. In her photos, Marina Bonavento has managed to transfer the mystery threshold and timidity that it protects to them, to discover that candombe and those luthiers, that their drums make following the oldest techniques, do of candombe something more than a rate in base to beat markets and wood. Music acquires then a religiosidad sense, of true passion. All tour on the own identity, the drums can be struck until the hands bleed, as if it was a ritual act of devotion.


click here for more walking Philosophy

  La Milonga è una danza popolare di origine Argentina, deriva dalla più comune Habanera. La parola Milonga ha origini africane, significa confusione, casino, litigio. Questa parola nacque nei primi anni dell'Ottocento nelle case da ballo frequentate da gente povera o comunque non benestante, era usata anche per indicare le donne che lavoravano in queste case da ballo.

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.

  Estilo de música tradicional em várias partes da América Latina e na Espanha. Deriva da habanera, assim como o tango. É um estilo muito popular na Argentina. É um canto e dança da Andaluzia que, nos fins do século XIX, se popularizou nos subúrbios de Montevidéu e Buenos Aires. Também se chama milonga aos bailes onde se dança Tango e, por extensão, aos locais onde esse baile se realiza. Tradicionalmente, numa milonga baila-se Tango, milonga e vals cruzado, ou vals argentino (uma variante da valsa Vienense).

      Tangodance_Symbolic_Meanings_Dancing_Tangos_legplay_feetwork_Argentine_tango_virtual_rality
      Click for Symbolic Meanings in Tango Dancing !


  La milonga est avant tout une danse gaie alors que le tango est triste et que la valse argentine est mélancolique. Techniquement, la milonga est une danse à deux temps, alors que le tango en a quatre. Le Son (orthographié Són en espagnol) est un genre musical, dérivé du Changui et introduit à Guantanamo puis en 1882 au carnaval de Santiago de Cuba.

      Online_tangolessons_lessen_tangolessen_video_clips_videoclips_mpeg_mpg_trailers_samples_dansles_dansfiguren_tangofiguren_tangostappen_basispas_salida_basics

  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 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.
  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.
  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 mujeres milongueras tienen dedicados varios tangos, cuyas letras suelen aludir a un pasado humilde y a un presente en el que la frecuentación de las milongas de lujo les permite relacionarse con hombres adinerados (los bacanes), vínculo que refiere a un modo de prostitución. Sin embargo, las milongueras actuales bailan por gusto y pueden tener compañeros de baile con los que forman una pareja que se entiende bien en la pista, pero que no mantiene otro tipo de relación fuera de ella.
  El público de los cabarets aplaude, con frecuencia, espectáculos atrevidos, tanto políticos como sexuales. En los cabarets aparecieron los primeros travestís y también se presentaron las primeras pantomimas de homosexuales y lesbianas, una de las más famosas fue, seguramente, la pantomima lésbica (Pantomime lesbienne) Rêve d'Égypte (sueño de Egipto), protagonizada por la actriz y pin-up Colette, que luego llegaría a ser una novelista famosa, y por la Marquesa de Morny, arqueólogo. El espectáculo se presentó en el Moulin Rouge en 1907.

Tangocilps_videos_vidio_online_updates_free_gratis_videoclips
Argentinsk tango vidios


  Milonga is een muzieksoort en dans uit Zuid-Amerika. Het was zeer populair rond 1870 in Argentinië en Uruguay. De meestal levende muziek staat in een 2/4 maat. Zowel de muziek als dans hebben veel weg van Argentijnse tango, alleen het is sneller en meer staccato.

  La musique du tango est généralement lente et bien marquée rythmiquement. La façon naturelle de danser sur cette musique consiste à marcher sur les temps forts (les temps 1 et 3 de la mesure à 4 temps). Cette marche régulière sur la pulsation musicale est la base du tango.

  El tango é um estilo musical e uma dança a par. Tem forma musical binária e compasso de dois por quatro. A coreografia é complexa e as habilidades dos bailarinos são celebradas pelos aficionados. O tango é conhecido como a música de dois por quatro, ou seja, em compasso de dois quartos.

"Der Tango ist ein trauriger Gedanke, den man tanzen kann", sagte der argentinische Tango-Komponist Enrique Santos Discépolo.

Tango - taniec towarzyski pochodzenia argentynskiego, o wyraznym charakterze sentymentalno-nastrojowym i ognistych akcentach o podlozu erotycznym. Takt 2/2 lub 4/8, tempo umiarkowane.

  Tango, Buones Aires, Arjantin ve Montevideo, Uruguay kökenli bir dans ve müzik türüdür. Dansla beraber gelisen müzik tarzi da ayni adla anilmaktadir. Ilk yillarin tangosu "tango criollo" veya "basit tango" olarak bilinmekle beraber, günümüzde Amerikan ve uluslararasi tango stilleri, Fin tangosu, Çin tangosu gibi çesitli türler gelismistir. Ancak orijinal tango, dogdugu topraklarin adiyla, "Arjantin tangosu" olarak anilmaktadir. Tangonun dramatik duygusu, dans sirasinda cok zengin dogaçlama firsatlari yaratmasi, dansin özünde ask ve melankoli tutkusunun yatmasindan ileri gelmektedir.

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En ese Tango Mundial 2006 período, la ciudad de Buenos Aires recibió 608.198 visitantes que gastaron más de 1.300 millones de pesos (420,7 millones de dólares), lo que representó alzas interanuales del 4,3 y el 11 por ciento, respectivamente.
La Subsecretaría de Turismo de la capital argentina precisó que el 53,1 por ciento del total de turistas correspondió a visitantes extranjeros, cuyo número se incrementó un 7,2 por ciento frente a las vacaciones de invierno de 2005. Además, indicó que quienes llegaron de otros países gastaron un promedio diario de 463 pesos (149,8 dólares) frente a 167 pesos (54 dólares) por parte de los locales, por lo que la participación del turismo internacional en la composición del gasto fue del 74,8 por ciento.
En la provincia de Buenos Aires, la más poblada del país, los distintos destinos turísticos recibieron más de 1,1 millones de visitantes, dijo el secretario de Turismo bonaerense, Miguel Angel Cuberos, en declaraciones publicadas hoy por el diario "La Nación".
"Durante los cuatro fines de semana del receso invernal, la ocupación en hoteles, cabañas y otros alojamientos fue, en la costa del Atlántico, del 70 por ciento, y en el resto de los puntos de atracción superó el 85 por ciento", detalló. En tanto, unos 150.000 turistas optaron por la provincia de Mendoza, en el oeste del país y fronteriza con Chile, mientras que en los centros de esquí de los distritos sureños de Neuquén y Río Negro hubo una ocupación hotelera de entre el 70 y el 100 por ciento. Más de 600.000 turistas, de los cuales más de la mitad eran extranjeros, visitaron Buenos Aires durante el receso invernal en Argentina que concluyó el pasado fin de semana, según cálculos oficiales. Además de la capital del país, la provincia de BA's y los centros de esquí de la cordillera de Los Andes fueron los destinos más elegidos por los turistas.
As principais tanguerias de BuenosAires oferecem aos turistas espetáculos de tango com muita pompa e glamour. São lugares de alto nível e de preços afins. Em muitas casas também é possível jantar antes do show ou desfrutá-lo com alguma bebida. Os espetáculos são uma sucessão de vários números artísticos, incluindo grupos instrumentais, cantores e casais de dançarinos.
As milongas são outro tipo de tangueria, com bailes menos luxuosos e mais animados, freqüentados pelos típicos portenhos. São lugares seguros e tranqüilos, onde é possível fazer uma refeição leve vendo os casais dançar ou inclusive tomar aulas de tango. Esses bailes não visam o turismo mas podem terminar sendo uma experiência única.

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.