Tango-E-Vita, multilingual Belgian website which focuses on the many different dimensions of performing and experiencing Argentine Tango Dance as a living, ongoing event. Online multimedia such as instructional video-clips on guiding technique and views of shows. Articles in English, Dutch and other languages, with information and thoughts on the manner and quality of couple dancing and, regarding the mind-body relation and the act of exploring non-verbal communication, the powerful contemporary value of it. A special attention for multiple perspectives on gender, social class differences and mentality changes in the history of Tango Argentino.

  This page gives you Tango Vals streaming videoclips. In the context of tangoing the cruzado, this separate page brings you closer to the specific rhythm.
  More tangopages, vidio illustrated :
  Dance interpretations on Gallo Ciego
  Walking the tango rhythm
  Walking Seduction
  Dance is a physical need
  Tangowals tangovals Milena Plebs Ezequiel Farfaro and other clips
  Online Tangolessen videoclips videolessen updated
  Carlos Gavito and Maria Plazaola
  Showclips Forever Tango - great milongueros
Tango Vals Videos
Desde el alma

Matteo y Patricia Biagi Vals - Villa Urquiza Style

Tete Pedro Rusconi y Silvia - Tango Vals Milonguero style

Valse Nuevo Volcada Style

Argentine tango Waltz - Murat Erdemsel & Eva Carrozza

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

Vals Croillo / Cruzado

    Dancing on tangovals is a good way to let your body flow on the rhythm of music. The three-beat rhythm works as a heartbeat of energetic waves. Tension, charge, discharge and relaxation is also the beat of the body. It has a perfect, personal tempo, it is not the same as the mechanic time-pitch of a metronome.
    The smooth and connected legato of Waltz music, as opposed to the staccato breaks between notes in classic Tangomusic, asks for a more gliding movement of the feet over three-beats, instead of staccato placement, not-connected steps.
    This valse-gliding is stretching the body-energy over 3 steps, thus making them an unit, like a bandoneón pulsation. The "push-off" is like the jump of a cat, the landing, the last step, is mostly soft.
    This technique can also be done on classic tango and milonga music, making a 3 step-connection on 2 beats (or 5 steps on 3 beats), "entre temps" or "contretemps", so creating a traspié. In this milonga, the energy and the steps are more compact, closely united, not stretched.
A surplus can be the act of making a visible marking step on the ground, so adding to the step an accent like a candombe drumbeat.
    Cruzado - from cruzar - to cross - cross-legged. In the basic step, the follower crosses her left foot over her right when the leader walks on her right. Thus, to face her partner, she makes a cross step to her right. It relates to the woman's cross-legged stepping code and the turning of the hips. The basic step-cross is one of the ways to make a cruzada. Cruzada is the opposite of parallel feet. In parallel, the feet of the dancers who are facing each other, are mirroring each other. The feet-crossing or just feet-changing of one partner, "alters" that "normal" position into a cross-legged one. It changes the step-code and gives new step-combinations. When the leader is changing the stepping code, he is going to do something to look at. Cruzada (cruzado/cruzados) refers mostly to the Crossed/Parallel system, or making a musical accent, an "1-2(cross)-3 mark" such as in tangovals.


¡Viva La Música!
    Hearing music is more than listening, it is touching all of the senses simultaneously. In singing, the body's pulsations are protruded on to a stream of breath, thus revealing the singers emotions and offering a target for affective identification for the listeners. Even when listening to sounds of musical instruments, a part of the listening experience is a notion of the bodily activities that produce the sounds. A player's sense of a musical style is primarily felt in contact with the instrument, and can not be acquired through discourse. The physical effort to create sound is already part of the music. The bandoneón, originally ment as a small church organ, needs the musician's whole body to express a boundary-transcending sound. A musician is expressing himself through his instrument and connecting awareness to the whole body. He is not unpacking a digital audio format. Dancing on life music feels much different from a mp3 audio file which encodes music into a technological form. We interact through all our senses, the sensing body in movement has much more layers than its visual image.
    In the matter of listening, time, cultural taste and sensitivity make a difference. Many listeners appreciate the sheer sound quality of authentic performance instruments, finding it more beautiful and filled with character than what is heard from modern instruments. The same could be said of the human voice, when it is not required to compete with modern instruments in volume. What authentic-performance participants want is not always authenticity per se, but particular benefits that come from authenticity, such as clarity, tonal vividness, and rhythmic propulsion. The instruments have a less overpowering tone, so that the playing of one note interferes less with the hearing of simultaneous or neighboring notes. Authentic performance is argued to achieve greater transparency of musical texture. Greater transparency and greater dynamic contrast lend themselves, in turn, to greater rhythmic energy. To the ear that has become attuned to authentic performance, modern "mainstream" performances often sound heavy and rhythmically dull. Paradoxically, for such listeners, the unique musical character comes through more clearly when they are performed with the lighter forces of the authentic performance movement. Mainstream or 'corriente principal', spiegelt den kulturellen Geschmack einer großen Mehrheit wieder.
    Regarding dancing tango and it's musical evolution in the recent decades, the four representative schools of the Argentine tangomusic are: Di Sarli, D’Arienzo, Troilo and Pugliese. They are dance orchestras, playing music for dancing. When the spirit of the music is characterized by counterpoint marking, clarity in the articulation is needed. It has a clear, repetitive pulse or beat, a strong tango-rhythm which is based on the 2x4, 2 strong beats on 4 (dos por cuatro). Caminar es todo, stepping the rhythm is the art of tangoing. The dancer's musicality and his taste for subtleties makes you see the refinement of the 2x4 tangomusic. Astor Piazzolla stretched the classical harmony and counterpoint and moved the tango from the dance floor to the concert stage. His tango nuevo compositions tell us something of our contemporary life, dancing it relates much to modern dance which is a more choreographic performance. Tango with a touch of techno is another new development. This bajo fondo underground tango is, in a way, the return of the strong beat and it is mostly danced with a lot of nuevo figures such as colgadas and volcadas.
    In any case, musicality only comes when you love the music and know it by heart. A pianist says: "There’s nothing quite like learning to play a piece of music to really get inside it. Once I’m inside it, once I’m feeling through the piece with my own hands and working through its many parts with the microscope of learning, once I really start to “get it” about the music … it’s just staggering."

New Docu: WWW El Ultimo Bandoneon, click images to see trailer
*Movie "El último bandoneón" (Argentina-Venezuela / sept 2005). Dirección: Alejandro Saderman. Con Rodolfo Mederos, Marina Gayotto y otros. Guión: Graciela Maglie y Alejandro Saderman. Fotografía: Miguel Abal. Música: Rodolfo Mederos.- El bandoneón, ese instrumento que hace muchos años llegó de Alemania para insertarse en las orquestas de tango, es el eje central de este film que combina armónicamente el documento con la ficción a través de una muchacha triste y desgarbada que se gana la vida tocando en colectivos y subterráneos.- Mederos ve en Marina a una ejecutante de talento y le sugiere conseguir otro bandoneón que pruebe sus verdaderas virtudes. Y allí va ella a visitar a viejos maestros de ese instrumento, se detiene en salones de baile en los que el tango y sus cultores pueden darle alguna pista para cambiar su maltrecho fuelle y recorre los talleres de luthiers que, con cálidas palabras, la guían hasta hallar un mítico Doble A, el Stradivarius de los bandoneones. La travesía de Marina por esos lugares con sabor porteño pintan con enorme devoción un Buenos Aires en que bailarines y músicos rescatan los compases de nuestro ritmo popular en medio de recuerdos, de añoranzas y de anécdotas que hablan de la devoción por esos temas populares -muchos de los cuales ilustran el film- que anudan a antiguos maestros con parejas jóvenes que van descubriendo el sabor sensual de los ritmos tangueros.- source: LA NACION - - El diálogo derivó en distintos aspectos de la música ciudadana. Según su opinión "están disfrazando al tango, perdón que sea tan franco, pero es que el tango es el tango y como lo dice la letra, no hay vuelta que darle. Esta pareja quiere ser superior a la otra y ¿qué hace?, tira la mujer pa´ arriba, la sientan, la tiran por debajo de las piernas, la abren de piernas... no, eso es payasada. El tango es el tango y no acrobacia, ahora lo están haciendo acrobático. Estamos haciendo tango estilista, con gambeta, comprendo, pero no la payasada que hace ahora, cuánto más muestran a la mujer primer premio!, no, eso no...".

Tangodance_interpretation_Gallo_Ciego_Argentijnse tangodans. Site tangoevita - evita - E Vita.

Children and The Magic of Imitation

    When dancing Argentine tango in public places, it can happen that humorous young people, often girls, jump on the floor and start tangoing, stereotyping it with a lot of fun. Although imitation is often thought of as a low-level, relatively childish or even mindless phenomenon, it is in fact something complex, having an instinctive motive like humour. It seems that children can catch our goals even if we fail to fulfill them, thus imitating unseen things. It is as if they are copying underlying desires. It seems that children sense the intention and choose to imitate what we meant to do, rather than what we "mistakenly" do.
    As there is an inbuilt drive to act like the others in society, an urge to duplicate, it creates an unconscious recurring pattern of behavioral codes. Imitation is a part of prosperous relationship building, which is an important concept to understand if one is to adapt and function effectively in society. Sameness or similarity tend to be perceived as belonging together, making it a safe unit. The culture of interpersonal connections contains implicit mutual obligation, conduct assurance and understanding teamwork. It governs attitudes toward long-term relationships. Sociability and socializing are the primary focuses of the social dancing. Socialization is, in essence, learning.
    In the context of lifelong learning, one can find new inspiration in the streaming videos. As there are always experiences you disregard, maybe you need to go back, view and identify them. Thus, for changing creatively like a learning child, detect crucial distinctions and signs of deception. Looking at the imitations on the video, it is amazing to see how good the girls captured the spirit of the cell block tango movie.


    The most sophisticated forms of imitative learning are those that require an ability to read below the perceived behavior to infer the underlying goals and intentions of the actor. This brings the human infant to the threshold of theory of mind, in which they attribute not only visible behaviors to others, but develop the idea that others have internal mental states (intentions, perceptions, emotions) that underlie, predict, and generate these visible behaviors.
    The experimental question in the development of imitation in children, was whether infants also read through the literal body movements to the underlying desire of the act. The measure of how they interpreted the event was what they chose to re-enact. In this case, the correct answer was not to imitate the movement that was actually seen, but the actor’s goal, which remained unfulfilled. Children chose to re-enact the unseen but sensed goal.

Tango-E-Vita, multilingual Belgian website which focuses on the many different dimensions of performing and experiencing Argentine Tango Dance as a living, ongoing event. Online multimedia such as instructional video-clips on guiding technique and views of shows. Articles in English, Dutch and other languages, with information and thoughts on the manner and quality of couple dancing and, regarding the mind-body relation and the act of exploring non-verbal communication, the powerful contemporary value of it. A special attention for multiple perspectives on gender, social class differences and mentality changes in the history of Tango Argentino.

    Modelling imitation (NLP). Start by finding someone who exhibits or can demonstrate to you the skill or quality that you want to model. Model each one separately, then integrate these components into a larger model. You can think of people in your life whose attitude you particularly like or disliked, and model that. Model a change that someone made spontaneously. Find out the characteristics of before and after, and how the transition was made. Iit's a wonderful way to gain experience and flex your modelling muscles. Model a skill of your own that other people have commented on, but you don't know clearly how you do. Ask someone who doesn't have this skill, and wants it, to gather information about it as their project. Since it is so natural to you there will be many aspects that will be totally unconscious and presupposed, and only someone else asking questions from a perspective of not being able to do it will tease them out and make them obvious.

      Click for Symbolic Meanings in Tango Dancing !

You can compare two people, one of whom has it and the other doesn't. Acts and gestures want to be connected to inside intentions.

As expected and predicted, theatre ...
Julien Schoenaerts

    As the purpose of the imitation is to achieve a similar effect on the environment, often called succes, the environmental reaction is an important factor in the development of an individual's skills. However, children can read through the literal body movements to the underlying desires of the act and even perform unseen acts, as if a desire is easily to be recognized by a child. Mirroring and amplifying the perceptual position can be extremely useful. However, most real-world skills require knowledge of content. Degrees of insight, resolving or cleaning up ambiguity. Disambiguation should not be confused with confusion. Duality is a part of passion, it is playing with contradictions.
    Entertainment is full of imitation. In Kopykats Comedy Hour, the act of copying by entertainers is an art. An impressionist gives a characteristic, an entertainer does impressions, impressionism, overdoing it, becoming the most watched, copied, downloaded. In satirical sketches, timing and duration of emotional gestures and emotions are off a normal pace. The display of emotion is delayed, stays longer it would naturally. Modelling, copy, an imitation or reproduction of an original. Imitate, to duplicate an original as precisely as possible, reproduce someone's behavior, non physical expression or looks. Symbolic imitation can be found in the human use of parody and caricature like imitating Margaret Thatcher. Direct recognizable, easily to recognize, quickly recognition. To mimic is to make a close imitation, often with an intent to exaggerate, romanticize, comic sketch. Spitting Image, exact likeness, caricaturists, slightly mad characterisations in the context of a fast changing world.
    There are many elements and dimensions to good entertainment. These elements should all connect and relate so that together they create a great story. Today, the Dance Fever is reviving and televised dance competitions, TV shows such as So You Think You Can Dance, are most popular. Similar to any other type of story or method of acting, an element of surprise is appreciated and adored by viewers.

Tango-E-Vita, multilingual Belgian website which focuses on the many different dimensions of performing and experiencing Argentine Tango Dance as a living, ongoing event. Online multimedia such as instructional video-clips on guiding technique and views of shows. Articles in English, Dutch and other languages, with information and thoughts on the manner and quality of couple dancing and, regarding the mind-body relation and the act of exploring non-verbal communication, the powerful contemporary value of it. A special attention for multiple perspectives on gender, social class differences and mentality changes in the history of Tango Argentino.

Imitatie & navolging in de Bedrijfswereld
Het wereldwijd succes van online video

    Werelds populairste internetzoekmachine Google heeft de winst over het tweede kwartaal 2006 ruim zien verdubbelen van 342,8 miljoen dollar tot 721,1 miljoen. De omzet schoot omhoog met 77 procent tot 2,46 miljard dollar van 1,28 miljard in dezelfde periode een jaar eerder. De cijfers van de Amerikaanse internetonderneming overtroffen de verwachtingen van analisten en staan in scherp contrast met de teleurstellende cijfers die concurrent Yahoo naar buiten bracht. Video zal aan de basis liggen van de volgende grote investeringsgolf op het internet en staat garant voor een nieuwe groeifase van het wereldwijde web. Het is een toepassing die zeer grote bandbreedtes vereist - voor één film heb je evenveel nodig als voor een heel jaar e-mail - én waarvoor mensen bereid zijn te betalen.
    Onder de noemer video valt evenwel een hele reeks toepassingen, zoals het bekijken van films op aanvraag, videoconferencing voor bedrijven, het bekijken van je eigen tv-kanalen via het internet - een techniek die bekendstaat als placeshifting - en community -toepassingen zoals vacature video en het uitwisselen van zelfgemaakte filmpjes. Vooral die laatste categorie maakt de jongste maanden een exponentiële groei mee. Volgens het meetbureau Comscore Media Metrix was Youtube in juni de 58ste drukst bezochte website ter wereld, met 13,4 miljoen unieke bezoekers. Op Youtube worden maandelijks zowat 100 miljoen filmpjes opgevraagd.
    Aangezien de aantrekkingskracht van een videowebsite net ligt in het grote aantal gebruikers ervan, zegt de economische logica dat de markt op termijn zal gedomineerd worden door een paar spelers: Youtube, maar wellicht ook de grote internetspelers van vandaag, die over elkaar heen vallen om het nieuwe modefenomeen in hun voordeel te kanaliseren. Google, MySpace, Yahoo, Microsoft en nu ook AOL: allemaal proberen ze de surfer te lokken met een eigen video-aanbod, dat vaak een combinatie vormt van filmpjes van gebruikers en ,,professionele'' videoclips.
    Websites zoals Youtube trokken de voorbije maanden miljoenen nieuwe bezoekers aan. Nu trekken ze ook de aandacht van marketeers met een tot navolging aansporende bewondering. Dat is een duidelijke indicatie dat marketeers de kracht, het bereik en het marketingpotentieel van online video herkennen.
    Van het wereldwijde web naar regionale community-websites. Myspace en Youtube zijn de boegbeelden van het online video succes, maar ook Vlaamse bedrijven doen mee. Vrienden maken en filmpjes bekijken zijn de belangrijkste trends op het internet. Incrowd lanceerde in 2003 Redbox.be, een site waar iedereen een profiel kan maken en foto's en berichten uitwisselen. Redbox.be heeft 1,3 miljoen gebruikers. Een half miljoen daarvan is echt actief. Samen met zijn Waalse tegenhanger Coolbox.be telt het 1,5 miljoen unieke bezoekers per maand, waardoor het de Belgische marktleider is voor community-sites.
    In België heeft Redbox.be sinds kort concurrentie van Telenet. Het communicatiebedrijf lanceerde enkele weken geleden in alle stilte Digs.be, een community-site waarmee het hoopt een graantje mee te pikken van het fenomeen. Eerder startte Telenet ook al met Garagetv.be, een tegenhanger voor de videowebsite Youtube.
    Online video is een typisch voorbeeld van de ,,virale'' toepassingen die, als we internetwatchers en marketeers mogen geloven, het gezicht van het www in de komende jaren zullen bepalen. Het idee is dat het internet evolueert van een aanbodgedreven medium - waarbij een paar grote bedrijven hun inhoud aan de gebruikers proberen op te dringen - naar een meer ,,democratisch'' medium waar de gebruikers onderling informatie genereren en uitwisselen.