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.

     
      Click for tangoclips

Living Music

  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.


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Teasing Passion

  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.

     
      Click for Symbolic Meanings in Tango Dancing !

illusion Collusion

  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.


New Vidio Updates here

  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.

     

Other, Illustrated Tango Reflections:
Dance interpretations on Gallo Ciego
Walking the tango rhythm
Walking Seduction
Dance is a physical need
Tangowals clips vals Milena Plebs Ezequiel Farfaro
Online Tangolessen videoclips videolessen updated
Carlos Gavito and Maria Plazaola
Showclips Forever Tango - great milongueros

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

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.


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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.