Longing
Resistance
(last modified 28 sept 2007 - scroll for online video
tangoclips)
The struggle between longing and resistance is in the scene
above. She is looking and he is looking away. She is longing for a
close embrace, he won't get up. Now, she shifts her position. Should
there be a reason for it ? For turning it into a duel? Apparently,
a passion has to have a dark, dangerous side. Strong inner feelings
and compelling drama are needed to make it intense realistic. Drama
appeals to fantasy and imagination. In movies, sex that has no dramatic
context carries little or no erotic input. It is well known that eroticism
draws its powerful pleasure from fascination with the hidden, the
mysterious, the suggestive. To get the desired reaction, curiosity
must be turned on. Thus, seducing tricks come in, they make people
get up. Seduction is about the imaginary and the creative use of weakness.
It is about wetting the right appetite.
Who is the most weak in the game of seduction? The seducer
obviously thinks he is the active party but in fact is in bondage
to the seducee, in slavery. The genuine seducer has to devote all
his attentions to the seduction for a period to accomplish the seduction,
and in the process, is effectively enslaved by the seducee until the
seduction is successful. In pictures, melting away in a seductive
embrace after a lot of suspense, is such a successful happy end.
Choose Me
On stage, passions are acted out dramatically. Off stage, the
drama is behind the curtain. Beyond the romantic "hold me",
is the competitive "choose me". In the tango dance hall
settings, people invite each other by making eye-contact and an approving
nod of the head, cabeceo la cabeza. In the Buenosairian boliches
de tango, single men are sitting on one side, single women at the
opposite side, and the couples are left and right of them. As the
cortina starts, which is a short time interval between a set of tangos,
everyone returns to the tables and is making and avoiding eye contact,
selecting each other and forming new dance couples. When being the
most looked at, you can look around and choose someone by giving the
approving nod. Being the most chosen or looked at, can give
an overwhelming feeling of being the most wanted. When not being
the chosen one and watching romantic scenarios that don't include
you, can whip up a jealousy which heats up the rivalry.
Close Embrace
Some say that what we desire is the desire of the other, that
seduction is about wanting to be desired. As we soften in the embrace
of the other, especially the one we have seduced into giving in, our
active desire is to be desired. It is a reason why the close embrace
dance hold in tango Estilo Milonguero has such a great impact.
The close embrace symbolizes the "hold me" more strongly
than an open dance hold. It dramatically increases the feeling of
being desirable.
The close embrace or Apilado in tango is also a musical
embrace. The encounter in an abrazo is a living moment,
less a rigid freeze posture. The close embrace has an open side, between
the bodies is a significant angle. It is a diagonal position, a triangle.
Inside that opening grows the dance dialogue, on the embodied space
between the dancers. The dancers don't really melt together as in
a slow, there is no "transcendence" between the contradictions,
they come out as in a duel. When the potential space is polluted,
that is, dominated too strongly by one side, there is no creativity,
no play, no space for experience. As a dancer is more than an organism
that merely reacts to sensory information, he has to have some space
to make a musical interpretation. Thus, also the music can be too
dominant, having to much overstatements. To get a personal touch,
there must be an internal rather than external trigger for action.
What does the music creates in me now? For this, the narrative line
must carry the minimum, not the maximum is necessary for
the effect.
The point is that the music and the dancers make a triangle.
It is as if the music comes into the opening of the close embrace.
It's a sensual trio and each party has his own narrative line. The
gestures of the dancers are contrasts of character within a musical
composition, it comes all through in the sound. What they show is
not a set of visual stimuli with the mechanic time-pitch of a metronome,
they are experiencing the emotional content of the sound. The gestures
arise naturally from the music and their soul. It is making itself
up as it goes along, it is organic, like a living animal.
Music can touch people in a magical way. The rhythmic sensibilities
in the music of Juan D'Arienzo and Rodolfo Biagi create a distinctive
style which gives shiverings. Rodolfo Biagi was the pianist in D'Arienzo's
orchestra in 1935, he created the immensely influential "electric"
stacatto rhythm that gives an energy kick. Biagi refined and purified
it even sharper in his own orchestra, giving it the character of elegant
spanking.
It's a very sharp stacatto that electrifies the dancers. It's the
Golden Age of Tango, the music is made for dancing. Astor Piazzolla's
melodic story line is more complex. When I first heard Piazzolla's
music, it had this extraordinary effect on me, I got goose-pimples.
Shiverings and goose flesh, they are uncontrollable reactions brought
on by cold or fear or by sudden excitement.
Strangely, these sensations seem to have something in common, like
life and death. Not everybody has the same sensetivity, not every
music has such a magic.
Video: Chicho stepping Biagi
The magical touching effect of music seems to be related to
the narrative content, which is above the rhythmic structure. The
rhythm makes people move, it is more carnal, the content
makes people dream, which is more romantic, idealistic or hypnotic.
It makes a difference on the dancefloor. Dancing both worlds, the
dreamy content on the 2x4 rhythm staccato, is the ultimate tango.
Baroque music too, has a lot of staccato and... a lot of baroque
can be recognized in tango. The baroque artist wishes to create constant
sensation of movement, using structures intended to deceive the eye.
Baroque
illusionism subverts realistic representation. Barock rocks the
spectator, touchingly and affectingly shocking the public. Dynamism
is el ideal artístico del Barroco. The barok leaves the classic
serenity and wants to express a world in movement and agitation of
the senses. Baroque is the time of the feeling. Personages appear
in very dynamic positions, with very expressive faces and gestures
as in tangoshows and TV shows like "So You Think You Can
Dance". The content is all about the illusion of infinity
in a tightly contained, mortal space.
Seduction is like playing, it's spontaneous and the outcome
is open. It is a creative experience where subjects meet, it is not
wholly the domain of either participant. It's an open play. Only in
playing one is able to be creative and only in being creative one
discovers oneself. The seduction is, inside the body. Like,
seductively exposing vulnerability. 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.
Passion is in some way, a duel between Eros and Thanatos, sex
drive and refusal, a conflict between the instincts of life and death.
It is a recognition of sexual passion as a power in itself, something
both animal and spiritual. It is an inner duel. Inner liveliness is
needed to give the dance a soul. The magic of the dance figures is
inside that emotional space, in their sensitivity and weakness beyond
the image. To dance it that way, some severity of introspection is
needed. Significant interior feelings make the exterior appearance
meaningful. From this, like Auguste Rodin's sculptures, the composition
derives its sense of motion as a whole.
Contest Images
When is seduction is seen as a conquering technique then it's
another way of dancing. It is like sitting on someone's skin and trying
to conquer every territory. This macho image of tango with it's falling
women, is related to image of the compadrito. An arrogant
type with short coat, tight trousers, hat, silk white shawl and...the
knife. With it's coldness and cruelty, the symbol of masculinity above
all.
If the purpose of the game is to win, then the cheater is the
only true player. The French social theorist Jean Baudrillard
talking about seduction: If seduction had an objective, then
the seducer would be its ideal figure. But neither seduction nor the
game can be thus characterized, and there is a good chance that what
determines the cheater's actions, his cynical ways to win at all costs,
is his hatred of the game, his rejection of the seduction proper to
the game. Seduction used as a strategy is a mask. As there is a good
chance that the seducer's behaviour is determined by his fear of being
seduced, and of having to face the risk of a challenge to his own
truth, he masks his own vulnerability behind his cold sensuality.
The mask of cold sensuality is powerful. Evil is erotic. It
creates suspense. An exciting, daring tension. Those who keep on watching
it, beg for attention and destruction, as being bound with the bondage
of craving. Here the most obvious connection, conquering leads to
the eroticism of power. It cannot be otherwise than theatricalized,
marked by exaggerated self-display and unnatural behavior; affectedly
dramatic..
There is much power in the popular image of tango, like "El
Tango de Roxanne" which seems to have the required feeling of
tension. In today's gigantism, things must be blown up to incredibly
proportions to get attention. Baz Luhrmann got his inspiration
for Moulin Rouge from seeing Bollywood films. Some surrounding
are more serious. When spectators are sacralizing, fetishing it, then
it's another process. Aesthetic perception can be a mask too. It is
characterized by a mixture of opposite feelings or attitudes towards
the nature of a forbidden dance.
Social dance has an ambivalent relation with social reality.
It seems that some things have to remain hidden, some things must
be seen. The drive behind the need of being seen and admired, the
chemistry of looks and it's sensations, is complex. One might say
that obsessive behaviour and compulsive movement is a symptom of human
culture, a key drive in the evolution to modern society. In search
for the pleasure in passion, it's interesting to explore the tension
between bodily sensations and the body as representation. According
to Baudrillard, true, passionate seduction shows a witty
deviation, it is never linear and it's vulnerable. It is
made of dream elements. To remain open to dreams is what then can
be said, and to put such signs into dance. It's all inside the music,
in the way the dancing couple experience it, moment by moment.
Moment Aliveness
The act of teasing can be such a way of creating living moments,
and there is much teasing in a "Danza ritual del fuego".
There is nothing more "Tango Argentino" than sexy nylons, seamed fishnets
tights, high heels and silk stockings. The traditional tangoshow themes
play on old stereotypes from the red light district. Dressing in such
symbolic fashion is a ceremonie, an extremely effective heighten up
technique. The act of dressing up and preparing is important for making
a desirable impression in a dance hall setting. A spaghetti-strap
top is tensing the focus. A stretchy, restricting but not too restrictive
corset is deliciously feminine. Apart from the delicate illusions
of the clothing, the teasing itself is mostly done as part of a tango
figure.
Figure-thinking is more a goal-directed activity of controlling
than playing. Teasing as a decoration is no living moment in itself,
the figure-thinking is pressing the time. Music however, creates living
moments inside a structured composition. For this, the role of teasing
can be as a moment of think switching. A counterpoint that stretches
time. A gesture has an emotional intention, it is expressing an idea
and like words, movements have impact. Fruit must be tasted. The magic
of tangodancing is that the dancers are free to decide what they will
do on the music they hear. As most couple dances have a rational-pattern
which can be predicted by the follower, this is a new orientation
of pair dancing. The ballast of previous perceptions about strict
rules has to be thrown overboard and replaced by a real communication
contact and commitment, creating a direct non-verbal dialogue with
each other and the music.
Al Pacino dancing Por una cabeza, to play click
screen button
Curiosity
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). People gain pleasure and
satisfaction from the sheer sense of being able to do something personal.
While we all tend at times to identify ourselves in term of groups
that are important to us, especially when the relevant reference group
is being celebrated, we know nevertheless that there is more to our
identities than those group identifications. Instead of distorting
experiences to make the appearance fit the tightly targeted preconceptions,
the possibility exists of creating a playfulness in which the tango
figures move forward in becoming a new dance dialogue. Conflicts and
gaps give rise to an effort to produce a newly perceived order of
things. Curiosity and creativity play an important part in artmaking.
A portion of art-making comes from the unconscious; that is, not on
the conscious or premeditated level. When tasting this open mechanism
as a living, ongoing event, the result may well be a surprise, which
can be a wonderful thrill or a dramatic disaster. The wonder of a
new creation, even in oneself, is enjoyed in part because the result
is a surprise. more
Study of Curiosity here
Profumo di Donna
Vittorio
Gassman plays the blind womanizer in the original Italian version
of Dino Risi's Scent of a Woman (1974). To keep his life
instinct alive, he has to go after women like a Don Juan. If he gives
in to love and stops the womanizing, then the deadly solitude behind
his flirting becomes too much to bare. In the Martin Brest hollywood
remake (1992), Al Pacino escapes his dark world of blindness by driving
a speedy car and doing a tango. His virile dance act is much loved.
Virility in tango is part of the opposite sex appearance. Greater
masculinity brings greater femininity. A cliché is a cliché. Having
the ability to change an appearance does alter the impression of a
person.
Thus, can a blind person dance a tango? It is known that when
people close their eyes, the other bodily senses and the music become
more intense. How will it affect people who have lost their sight?
A common scenario is a tango learner who is faced with a new
tango figure. To learn it, he must filter out irrelevant information
and discover the one-to-one mapping from many-to-many possible step-to-step
associations. Thus, a teacher gives a demostration and says: "This
is the sacada".
He “zooms in” on the critical moments in time and shows
the step correlations, hoping that the learner’s gaze focuses
on the specific moments and captures the intention, not just the physical,
outward expression. Some severity of introspection is needed. Then
the brain only needs to process sensory data captured at those moments
to learn sacadas. This approach is the typical integration method
of features that are perceptually learned from visual input during
the course of figure recognition and categorization. The learner will
reproduce a visual representation of something that looks like a sacada.
A blind person however, has to feel the intention of bodymovements
to give them a meaning. He has to get under the skin to explore the
bodily state, to feel the motivations that lead to bodymovements.
As synchrony is an important cue to pair objects into a figure, he
has to feel the synchrony. For making a dance dialogue, he has to
experience the effect of movements, feeling a real bodily connection
with the other. Our sensorimotor experiences are continually building
up bodily knowledge, an embodied cognition which plays an important
role in tangofigure discovery.
Associations like The Sentimiento Tango give tangolessons
to blind people. SentimientoTango
has the objective to teach el tango danza to as much
people as possible, without concerning thieir age or physical condition.
They develop programs for the incorporation of the tangodanza as part
of a therapeutic plan for patients with different problems, aswel
as recovery programs for street children. Their experience is that
"to dance tango" produces enormous benefits. It increases
the self-esteem, diminishes stress and invites people to share and
enjoy the freedom. It is about feeling a sense of identity in dancing
the music. People gain pleasure and satisfaction from the sheer sense
of being able to do something, to be effective in it, whether it be
in play or work, physical or mental. It is about being the origin
of one's own actions and doing something intentionally to produce
a change. Each living thing is a work in progress. To understand what
a person is, it is necessary to refer to what he may be in the future,
for every state of the person is pointed in the direction of future
possibilities.
Sociability and socializing are the primary focuses of the
social dancing. Here, a useful distinction is fun. Extraversion and
introversion are confusing concepts. In terms of social attitude,
someone who is talkative and sociable (the so-called "extravert")
can be described as "expressive." In contrast, people who
are more quiet and private (the so-called "introverts")
are seen as "reserved." Interestingly, because Reserved
persons tend to listen carefully to what others say, while Expressive
persons tend not to listen very well, so eager are they to tell others
of what they have on their minds. Often, they like to do some overselling
and exaggerating to get attention, as if they get a kick from being
overstressed. So in general, the Expressive are quick to speak and
slow to listen, while the Reserved are quick to listen and slow to
speak. Those who are more expressive appear more comfortable around
groups of people than they are when alone. Thus they can also be thought
of as socially outgoing. Expressive persons appear to be energized,
charged up, by contact with other people. Interaction apparently charges
their batteries and makes them feel alive. Isolation exhaust the Expressive,
they report feelings of loneliness when they are not in contact with
others. On the other hand, those who are more reserved seem to be
more comfortable when alone than when in a crowd. And thus they can
be thought of as socially seclusive. Reserved persons draw energy
from a different source. Isolated or silent activities.
Text partly translated + clips: Esp / Fr / It / Port
/ D / Nl / Tur / P / Nor / Sw
Español / Castellano:
El abrazo es también un abrazo musical. Los bailarines
hacen una interpretación musical. ¿Qué la música
ahora crea? La música y los bailarines hacen un triángulo.
Los gestos de los bailarines son contrastes del carácter dentro
de una composición musical. Ese efecto de la música
se relaciona con el contenido narrativo. Hace sueños. La seducción
está jugando. El jugar es espontáneo, se abre. La seducción
está, dentro del cuerpo. La magia de una danza, es emocional.
La seducción usado como estrategia es una máscara. La
conquista conduce al erotica del poder. Manipulación y persuasión
es el erotismo del teatro. Por la pasión, todo está
dentro de la música. ¿Puede a una persona ciega baila
un tango? Se sabe cuándo personas cierran sus ojos, los otros
sentidos corporales y la música llegan a ser más intensos.
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.
Hay una clara marca de la época, los procedimientos
estéticos experimentaron en la última década
una transformación más marcada: la belleza no es un
objeto de deseo, sino un objeto de investigación científica.
A través de una fórmula matemática para medir
el atractivo sexual femenino y sus posibilidades de contonearse sensualmente,
que se basa en la proporción entre la anchura de la cintura
y de las caderas. Y han descubierto que la mejor relación cintura-caderas
es un 0,7. Jessica Alba es científicamente perfecta. Con pruebas
matemáticas, la supermujer hispana tiene unas proporciones
perfectas. Es esa proporción la responsable de que las curvas
de la actriz resulten tan sensuales y de que Alba, de 26 años,
menee sus caderas de esa forma tan sexy. Otra de las guapas oficiales,
la actriz Angelina Jolie, tiene una proporción de un 0,75.
Hay un excesivo culto a la belleza como fetiche, y fobia al paso del
tiempo.
La imagen de los metrosexuales es impecable y sofisticada,
visten a la última moda, usan sólo ropa de marca y les
entalla perfecto, además ellos mismos la eligen y la saben
combinar, y distinguen perfectamente una prenda de buena de calidad.
El símbolo representativo de los hombres metrosexuales es el
futbolista británico David Beckham, un hombre casado y con
dos hijos, que usa arracadas de diamantes y peinados tradicionalmente
femeninos, se pinta las uñas, posa para cuanta revista lo quiera
retratar, e incluso combina su vestimenta con la de su esposa. El
término "Metrosexual" viene de ‘metro’
que se refiere a que son hombres que se concentran en las áreas
metropolitanas, y 'sexuales' porque viven su lado femenino sin temores.
Se trata de una clase de hombres de este nuevo siglo que está
rompiendo esquemas: conocen de moda y cosméticos, adoran ir
de compras, cuidan su imagen corporal, peso, cutis y piel, se tiñen
el pelo, se hacen manicure, y se depilan las cejas, como lo hacemos
las mujeres. Aunque frecuentemente son considerados gays, no se trata
de homosexuales, pues este modo de vida no es sólo por narcisismo,
sino que su finalidad es seducir a las mujeres, y no les cuesta mucho
lograrlo. Son hombres heterosexuales que exploran su feminidad sin
miedo a perder su masculinidad, y sin ser afeminados. Pueden aconsejar
a su mujer en cuanto a moda, pero también tienen sexo con ella.
Los hombres metrosexuales se están abriendo paso entre las
clases dirigentes urbanas, son influyentes y sobresalientes en el
poder. Por su alto estatus económico y social, y al estar tan
interesados en su imagen, son un nuevo nicho de consumo, víctimas
fáciles de la publicidad.
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.
Todas las marcas internacionales, de ropa, perfume, de moda
en general eligieron mostrar y vender sus productos con lo único
que dura como arena en la mano, la juventud. Se eligen modelos cada
vez mas jóvenes, con un cutis perfecto, con una mirada todavía
ingenua, lógicamente, porque existe un morbo particular, son
los nuevos niños violados por su imagen. Hay un síndrome
vampirezco. Se piensa: “Con ese traje estoy teniendo su belleza
su juventud, satisface mi deseo de ser joven siempre”.
En français:
Le drame agit sur l'imagination. Érotisme obtient son plaisir
puissant de la fascination avec caché, le mystérieux,
le suggestif. Pour obtenir la réaction désirée,
la curiosité doit être allumée. Ainsi, séduisant.
La virilité dans le tango fait partie de l'apparence de sexe
opposée. La plus grande virilité amène de plus
grande féminité. Le séducteur véritable
doit consacrer toutes ses attentions à la séduction.
Un séduisant embrassent est succès. Ce que nous désirons
est le désir de l'autre. La séduction veut être
désirée. Pour ceci, l'embrassement dans le tango de
milonguero a l'influence forte. Il augmente considérablement
le sentiment d'être souhaitable. La position de danse d'embrassement,
est également un musical embrassent. Les danseurs font une
interprétation musicale. Que la musique crée maintenant
? La musique et les danseurs font une triangle. Les gestes des danseurs
sont des contrastes de caractère dans une composition musicale.
La musique touche des personnes d'une manière magique. Cet
effet de la musique est lié au contenu narratif. Il fait des
rêves. La séduction joue. Le jeu est spontané,
s'ouvrent. La séduction est, à l'intérieur du
corps. La magie d'une danse, est émotive. La séduction
utilisée comme stratégie est un masque. Le masque de
la sensualité froide est puissant. Le mal est érotique.
Il crée le suspens. Une tension passionnante. La conquête
mène à l'eroticism de la puissance. La tentation théâtrale.
C'est une représentation erotique théâtrale. Recherchant
le plaisir dans la passion, tout est à l'intérieur de
la musique. Une personne aveugle peut-il danser un tango ? Il est
su que quand la fin de gens leurs yeux, les autres sens physiques
et la musique deviennent plus intenses. Comment affectera-t-il des
gens qui ont perdu leur vue ? Les associations aiment que Le Tango
de Sentimiento donne à tangolessons pour aveugler des gens.
SentimientoTango a l'objectif pour enseigner danza de tango d'el à
comme les beaucoup de gens comme possible, sans à propos de
l'âge de thieir ou à propos de la condition physique.
Ils développent des programmes pour l'incorporation du tangodanza
comme la partie d'un projet thérapeutique pour les malades
avec les problèmes différents, aswel comme le rétablissement
programme pour les enfants de rue. Leur expérience est cela
« danser le tango » produit des avantages énormes.
Il augmente l'amour-propre, diminue la tension et invite des gens
pour partager et apprécier la liberté et le plaisir
que le tango offre. Pour la passion, tout est à l'intérieur
de la musique.
In italiano:
Il dramma si comporta sull'immaginazione. Eros ottiene il relativo
piacere potente da fascino per nascosto, il mysterio, l'indicativo.
Per ottenere la reazione voluta, la curiosità deve essere accesa.
Quindi, seducendo. La virilità nel tango è la parte
dell'apparenza di sesso opposta. La mascolinità più
grande porta la femminilità più grande. Il seductor
genuino deve dedicare tutte le sue attenzioni a la seduzione. Una
abbraccia è successo. Che cosa vogliamo è il desiderio
dell'altro. La seduzione sta desiderando essere voluto. Per questa,
l'abbraccio in tango di milonguero ha influenza forte. Aumenta drammaticamente
la sensibilità del essere desiderabile. La posizione di ballo
di abbraccio, è inoltre un musical abbraccia. I ballerini fanno
un'interpretazione musicale. Che cosa la musica genera ora? La musica
ed i ballerini fanno un triangolo. I gestures dei ballerini
sono contrasti del carattere all'interno di una composizione musicale.
La musica tocca la gente in un senso magico. Quell'effetto di musica
è collegato con il soddisfare narrativo. Fa i sogni. La seduzione
sta giocando. Il gioco è spontaneo, si apre. La seduzione è,
all'interno del corpo. La magia di un ballo, è impressionabile.
La seduzione usato come strategia è una mascherina. Un meccanismo
di seduzione dell'esibizione. La mascherina di sensuality freddo è
potente. La malvagità è eros. Genera il suspense. Un
tensionamento emozionante. La conquista conduce al erotico del
poder. É teatro erotico, storia visita virtuale fantástica.
Mitologia. Le tecniche di seduzione rapida, trucchi e strategie per
conquistare le persone. Moulin Rouge. Si potrebbe definire autentico
vero amore, la passione autentica, tutto è all'interno della
musica. Una persona cieca può ballare un tango? È saputo
che quando la chiusura di persone i loro occhi, l'altro percepisce
fisico e la musica è diventata più intenso. Come riguarderà
delle persone che hanno perso la loro vista? Le associazioni amano
Il Sentimiento Tango dà al tangolezioni per accecare le persone.
Il SentimientoTango ha l'obbiettivo per insegnare el danza di tango
a come molte persone come possibile, senza l'età di thieir
preoccupante o la condizione fisica. Sviluppano dei programmi per
la costituzione del tangodanza la come parte di un progetto terapeutico
per i pazienti con i problemi diversi, l'aswel come i programmi di
ricupero per i bambini di strada. La loro esperienza ciò è
"di ballare il tango" produce dei benefici enormi. Aumenta
l'amor-proprio, diminuisce la tensione ed invita delle persone a dividere
e piacere la libertà ed il piacere che le offerte di tango.
Cercare la lezioni passione, tutta il è dentro ballando la
musica.
Em português:
O drama age na imaginação. O erotismo recebe seu prazer
poderoso de fascinação com o escondido, o misterioso,
o insinuante. Receber a reação desejada, curiosidade
deve ser virada em. Assim, seduzindo. O sedutor genuíno tem
que dedicar todas seuas atenções à sedução.
A virilidade em tango é parte da aparência de sexo oposto.
Masculinidade maior traz feminilidade maior. Um abraço sedutor
é êxito. O que nós desejamos é os desejos
dos outros. A sedução quer ser desejada. Para isto,
o abraço em tango de milonguero tem influência forte.
Dramaticamente aumenta o sentimento de ser desejável. A posição
de dança de abraço, é também um abraço
musical. Os bailarinos fazem uma interpretação musical.
O que faz a música cria agora? A música e os bailarinos
fazem um triângulo. Os gestos dos bailarinos são contrastes
de caráteres dentro de umas composições musicais.
A música toca as pessoas num meio mágico. Esse efeito
de música é relacionado ao conteúdo de narrativa.
Faz sonhos. A sedução joga. O jogo é espontâneo,
abre. A sedução está, dentro do corpo. A magia
de uma dança, é emotiva. A sedução usou
como uma estratégia é uma máscara. A máscara
de sensualidade fria é poderosa. O mal é erótico.
Cria incerteza. Uma tensão animadora. Conquistar leva ao erotismo
de poder. É erotica teatral. Procure o prazer em paixão,
todo está dentro da música. Um dos poucos consensos
relativos à música é que ela consiste em uma
combinação de sons e de silêncios que se desenvolvem
ao longo do tempo. Uma pessoa cega pode dançar um tango? É
sabido que quando fechamento de pessoas seus olhos, os outros sentidos
corpóreos e a música tornam-se mais intenso. Como afetará
as pessoas que perderam seua visão? As associações
como O Tango de Sentimiento dão tangolessons a pessoas cegas.
O SentimientoTango tem o objetivo ensinar danza de tango de el a tantas
pessoas como possível, sem concernente idade de thieir ou condição
física. Desenvolvem programas para a incorporação
do tangodanza como parte de um plano terapêutico para pacientes
com problemas diferentes, aswel como programas de recuperação
para crianças de rua. Seua experiência é isso
"dançar tango" produz benefícios enormes.
Aumenta a autoestima, diminui tensão e convida as pessoas compartilhar
e gozar a liberdade e o prazer que as ofertas de tango. Procure paixão,
todo dentro de dançar a música. Tangueiros Tangueiras,
Tangueiro Tangueira, Bailarino, Milonguinha, Milongueiras, Milongueiros,
Milongueira Milongueiro, dançarinos dançarinas dançarino
dançarina, salões, salõe.
Auf deutsch: Tango & Leidenschaft
Drama fungiert auf der Phantasie. Eros erhält sein leistungsfähiges
Vergnügen von der Faszination mit versteckt, das geheimnisvolle,
das andeutende. Um die gewünschte Reaktion zu erhalten, muß
Neugier eingeschaltet werden. So Seduktion. Das echte seduktor muß
ganze Aufmerksamkeit zum Seduktion sich widmen seine. Männlichkeit
in Tango ist Teil von der anderen Geschlechterscheinung. Größere
Männlichkeit bringt größere Weiblichkeit. Ein umfassen
ist Erfolg. Was wir wünschen, ist der Wunsch vom anderen. Seduktion
wünscht gewünscht werden. Für dieses hat umfassen im
milonguero tango starken Einfluß. Es erhöht drastisch das
Gefühl des Seins wünschenswert. Die umfassentanzposition,
ist auch ein Musikal umfassen. Die Tänzer bilden eine musikalische
Deutung. Was die Musik verursacht jetzt? Die Musik und die Tänzer
bilden ein Dreieck. Die Gesten der Tänzer sind Kontraste des
Buchstabens innerhalb eines musikalischen Aufbaus. Musik berührt
Leute in einer magischen Weise. Dieser Effekt von Musik hängt
mit dem erzählenden Inhalt zusammen. Er bildet Träume. Seduktion
spielt. Das Spielen ist, sich öffnen spontan. Das Seduktion ist,
innerhalb des Körpers. Die Magie eines Tanzes, ist emotional.
Seduktion, das als Strategie verwendet wird, ist eine Schablone. Strategie
der Amor-Affekt-Implementierung. Im Fall der Verführung/Seduktion
gilt es den Rezipienten vom Zustand des a)"nicht-verliebt-seins"
in den des b) "verliebt-seins" zu bringen. Diese Zustandsänderung
bezeichnen wir als Wechsel (Metabolie), den Affekt des "verliebt-seins"
als Amor-Affekt. Hierbei muss der Amor-Affekt natürlich gerichtet
sein und zwar auf den Sender (Orator). Die Schablone des kalten Sensuality
ist leistungsfähig. Übel ist erotisch. Es verursacht Spannung.
Eine aufregende Spannung. Das Erobern führt zu das erotique der
Energie. Es ist theatric erotica. Nach dem Vergnügen an der Neigung
suchend, ist alles innerhalb der Musik. Kann eine blinde Person einen
Tango tanzen? Es wird gewusst, dass wenn Leute ihre Augen, die anderen
körperlichen Sinne schließen, und die Musik wird intensiver.
Wie wird es Leute beeinflussen, die ihr Sehvermögen verloren
haben? Vereinigungen mögen Den Sentimiento Tango gibt tangolessons,
Leute zu blenden. SentimientoTango hat das Ziel, el Tango danza zu
zu lehren, als viel Leuten als möglich, ohne betreffend thieir
Alters oder physischer Bedingung. Sie entwickeln Programme für
den Handelsregistereintrag des tangodanza als Teil von einem therapeutischen
Plan für Patienten mit verschiedenen Problemen, aswel als Rückgewinnungsprogramme
für Straßenkinder. Ihre Erfahrung ist das "um Tango
zu tanzen" stellt enorme Vorteile her. Es vermehrt die Selbstachtung,
verringert Spannung und lädt Leute zu teilen und die Freiheit
zu genießen, und das Vergnügen ein, dass der Tango anbietet.
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?
In nederlands:
Samen speels leren bewegen is de magie, en leiden is volgen.
In tango zijn de bewegingen niet gebonden aan een voorspelbaar patroon.
De leider improviseert op de muziek en geeft dit door aan de danspartner.
De dansfiguur zit in de lichaamsbeweging van de aangever,
niet in zijn hoofd, zodat de volger het aanvoelt. Lichaamstaal is
de taal van het lichaam, het is dus nodig de aangeleerde dansfiguren
in het lichaam te integreren zodat het lichaam ze begrijpt als eigen
en zinvolle handelingen: de betekenis, de intentie, is duidelijk
voelbaar. Door deze integratie worden ze tevens opgenomen in het lange
termijn geheugen, zonder deze verwerking vergeet men ze... ze hebben
geen betekenis gekregen.
De methode van Feldenkreis (Feldenkrais) herstelt deze harmonie
tussen hoofd en buik, dit via een geleidelijke ontwikkeling van een
meer accuraat lichaamsbewustzijn-lichaamsbeeld. Dit brengt een bewuste
herontdekking van het eigen lichaam en verfijnt het lichaamskontakt.
Men leert de beleving bewust waarnemen en ermee omgaan.
Feldenkrais : "Pas als ik weet wat ik doe kan ik doen wat ik wil".
Hoe? ... Door een steeds meer evenwichtige verdeling van onze
aandacht over ons gehele lichaam, krijgen we een completer
lichaamsbeeld. We worden we ons bewuster van elke inspannig/verandering
die elk lichaamsonderdeel apart doet, langzaam beseffen we wat
er gebeurt en hapert. Dit laatste komt vaak door overbodige spierinspanningen
die de effectiviteit van een beweging hinderen. De leidraad is
een minimum aan inspannig en een maximum aan effect. Dit bereikt men
via skeletbeweging en spierontspannig. Het geeft een vloeiende energetische
doorstroming. Met deze groeiende zelf-waarneming veranderen
we bewust bewegingspatronen en het zuivert tevens onze denkwijze.
De passie in tango is samen in één lichaam zijn,
dansen met vier benen en plagen is beminnen. Muziek heeft de kracht
om uniek contact te maken met jezelf en de ander. Tango is sensueel
en brengt het lichaam tot beroering. Een voorbeeld van tactiel
contact: Wanneer ik , zoals een blinde, een wandelstok neem....
dan stopt mijn gevoel niet bij dat hout, ik voel doorhéén
de stok, het wordt een deel van mij. Dit is een wezensverandering,
iets-buiten-mij... wordt een deel van mij. Zodra ik me echter terug
naar de-stok-op-zich richt, dan wordt het opnieuw een objekt, iets-buiten-mij.
Dit fenomeen gebeurt veel tijdens het dansen. Gaat mijn gewaarwording
doorhéén mijn partner, of niet... Tijdens het dansen
is het hoofd is leeg, de bewegingen zijn lichaamservaringen. Geen...
ik denk, dus ik... doe bewegingen, deze vertrekken vanuit
het hoofd naar het lichaam. Dat zijn gedachten die het lichaam in
bezit nemen, spookzelfbeelden.
Volgens de Franse filosoof Merleau-Ponty
(1908-1961) schuilt onder de bewuste akten van het ‘ik denk’
een lichamelijk ‘ik kan’, dat op een ’voorbewuste’
en onpersoonlijke wijze de waargenomen omgeving organiseert en structureert.
Het bewuste denken heeft als basis een ‘zwijgend denken’
dat is gelokaliseerd in zintuigen en ledematen. Merleau-Ponty noemt
dit het ‘lichaam-subject’ (corps sujet). In onze dagelijkse
omgang zijn we niet meer gewoon om mensen lijfelijk te benaderen.
Onze levenssituatie brengt tevens spanningen, stress mee die ons lichaam
onder druk zet. De danskunst is een weg om de taal van het
lichaam te herontdekken. Zo komen we als vanzelf een stapje dichter
bij het oorspronkelijke gevoel.
Bewegingszin stelt ons in staat om van binnenuit onze
eigen bewegingen waar te nemen, dit door de spanningsverschillen in
onze spieren. Van belang is beweging, afgewisseld met momenten van
rust. Door een goed ontwikkelde bewegingszin kan men met de ander
meebewegen en gevoel ontwikkelen voor non-verbale dialoog, een communicatie
met zichzelf en de omgeving. Het ontwikkelt het vermogen om innerlijk
mee te voelen. Deze sensorische integratie verbetert de zelfwaarneming
en het zelfvertrouwen. Het vastleggen van een bewegingszin vraagt
een onderzoek naar hoe je een beweging doet, of hoe iemand anders
een beweging uitvoert. Een beweging wordt meest als ‘juist’
beoordeeld wanneer het een vertrouwde beweging is maar, zoals alle
zintuigen, de bewegingszin is niet altijd onfeilbaar.
Frederick Matthias Alexander (1869-1955), een Australisch acteur,
ontwikkelde de Alexandertechniek. Om een goede coördinatie
te vinden, leidt het tot niets om een beweging te ‘verbeteren’
door er gewoon een andere voor in de plaats te stellen. Herken
de verkeerde, overbodige spierinspanningen, maak het onbewuste gedrag
bewust en dan gebeurt het juiste uit zichzelf, als in een aha-erlebnis.
Leren tijd nemen is hierin fundamenteel. Zo komt men steeds
dichter bij een neutrale toestand, een innerlijke rust van waaruit
het evenwichtige groeit.
In turkish:
Hayaldaki drama hareketleri. Eros onun güçlü saklanmis
çekicilikten zevkini alma anlasilmaz, açik saçik.
Almak arzulamadi tepki, merak çevirilmeyen. Böylece, bastan
çikariyor. Ayartmaya onun tüm dikkatlarini adamak var.
Ayartici bir kucaklama basari. Bizim ne arzulamamiz digeri istegi.
Ayartma arzulanmak istiyor. Bu için, milonguero içindeki
kucaklama tango yapma güçlü etkisi var. O istenen
feeling çarpici biçimde yükselter. Kucaklama dansi
yerlestirme ayrica müzikal bir kucaklama olma. Dansçilar
müzikal bir yorum yapar. Ne müzigi do simdi create? Müzik
ve dansçilar bir üçgen yapar. Dansçilar
jestleri karsitliklar müzikal bir kompozisyonun içindeki
karekter. Müzik sihirli bir yoldaki insanlara dokunur. O müzik
etkisi hikaye türünde içerige anlatilir. O rüyalar
yapar. Ayartma oynuyor. Oynama olma. Ayartma gövdenin içinde
olma Bir dans büyüsü, emo olma vidio
In polish:
Dramat czynnosci od fantazja. Lubieznosc dostaje jego potezny przyjemnosc
z fascynacja rezygnowac ten ukryty , ten tajemniczy , ten nasuwajacy
mysl. Stac sie ten pragnal reakcja , ciekawosc musi byc podnieconym
przez. Tak , uwodzenie. Ten prawdziwy uwodziciel ma wobec poswiecac
wszystko jego grzecznosci do uwodzenie. PEWIEN kuszacy uscisk jest
powodzenie. Co my zyczyc sobie jest ten zyczyc sobie od inny. Uwodzenie
jest potrzebowac zostac pragnal. Pod katem ten , ten uscisk w milonguero
tanga ma silny wplyw. Ono dramatycznie przyrosty ten czucie od trwajacy
pozadany. Ten uscisk taniec polozenie , jest takze pewien muzyczny
uscisk. Ten tancerze zrobic pewien muzyczny interpretacja. Co nie
wymaga ten muzyka wierzyciel teraz? Ten muzyka i ten tancerze zrobic
pewien trójkat. Ten gesty od ten tancerze jestescie wyksiegowac
od charakter rezygnowac pewien muzyczny sklad. Muzyka dotyka spoleczenstwo
w pewien magiczny droga. Ów wykonywac od muzyka jest pokrewny
do narracyjny nawiazywac kontakt. Ono wyroby prawo czarterujacego
do przewozu innego towaru. Uwodzenie jest interpretacja. Interpretacja
jest spontaniczny, otworzyc. Ten uwodzenie jest , wnetrze ten cialo.
Ten magia od pewien taniec , jest emocjonalny. Uwodzenie uzywany równie
pewien strategia jest pewien maska. Ten maska od zimny zmyslowosc
jest potezny. Zly jest erotyczny. Ono wierzyciel niepewnosc. An pasjonujacy
naprezenie. Zdobywanie blacha olowiana do krycia dachów do
lubieznosc od wladza. To jest teatralny erotyka. Patrzac pod katem
ten przyjemnosc w bierny , wszystko jest wnetrze ten muzyka: anczymy
tango w calej mozliwej gamie interpretacji tanga argentynskiego, tangu
elegancja. Tangos Argentyskie, milonga milongas milongi, vidios ,
muzyki latino...
In norwegian:
Drama fungerer på fantasien. Eroticism får dets mektig
fornøyelse fra tiltrekning med den gjemt, den mystisk, den
megetsigende. Få den ønsket reaksjon, nysgjerrighet skrudd
på. Følgelig, seducing. Den ekte seducer vier all hans
oppmerksomheter til seduction. Virility i tango er del av den motsatt
kjønnutseende. Større maskulinitet fører større
kvinnelig. En forførende omfavnelse er suksess. Hva vi ønsker
er ønsket av den andre. Seduction vil ha ønsket. For
dette, omfavnelsen i milonguero tango har sterk innflytelse. Det dramatisk
øker følelseen av være ønskelig. Omfavnelsesdansposisjonen,
er også en musikalsk omfavnelse. Danserne lager en musikalsk
interpretasjon. Hva gjør musikken skaper nå? Musikken
og danserne lager en trekant. Gestusene av danserne er kontraster
av karakter innenfor en musikalsk komposisjon. Musikk berører
folk på i en måte. Den virkning av musikk forholder seg
til fortellingsinnholdet. Det lager drømer. Seduction leker.
Å leking er spontan, åpner. Seduction er, innenfor kroppen.
Magien av en dans, er følelsesmessig. Seduction brukt da en
strategi er en maske. Masken av kald sensuality er mektig. Onde er
erotisk. Det skaper spenning. En opphisselsesspenning. Å erobring
leder til eroticism av kraft. Det er teatralsk erotica. Lete etter
fornøyelsen i lidenskap, all er innenfor musikken. Tangos,
milonga milongas, tangovidio.
In swedish:
Drama uppföra på det fantasi. Eros få dess kraftfull
välbehag från fascinera med det gömd , den mystisk
, den förslagen. Till få önskat reaktionen , kuriositet
må vara bort vände på. Sålunda , förföra.
Den äkta förföra har till uppoffra all hans uppmärksamhet
till seduction. EN seductive omfamna är framgång. Vad vi
önska är den önska om annan. Seduction önskar
till vara önskat. För den här , den omfamna i milonguero
tangenten har stark inflytande. Den dramatisk ökar kännanden
av varelse önskvärd. Den omfamna dansa position , är
också en musikalisk omfamna. Den dansanden göra en musikalisk
förklaringen. Vad gör musiken skapat nu? Musiken och den
dansanden göra en triangeln. Den gest om dansanden är kontrasterna
av karaktär inom en musikalisk sammansättning. Musik röret
folk i en magisk väg. Så pass effekt av musik är berättat
till berättandet belåtenhet. Den göra drömmarna.
Seduction spelar. Leker är spontan , öppen. Den seduction
är , insida kroppen. Magikern av en dansa , är emotion.
Seduction använd som strategi är en mask. Den mask av köld
sensuell är kraftfull. Onda är erotisk. Den skapat upphängningen.
En spännande spänningen. Erövra leda till eroticismen
av förmåga. Den er teater- erotisk. Sett för välbehagen
i lysten , all är insida musiken: Tangos, milonga milongas.