(Last modified 28 jan 2007,
--- scroll for videoclip + links & translations)
Walking is one of the most important things in the life. In
Japan, the foot is considered to be the Second Heart. To
have a strong heart is to have a strong mind, so to walk good also
develops the mind. Walking is the basic corporal movement in the Martial
arts. In any Martial Art, the crucial factor is the game of legs,
to walk with a perfect balance and grace. When the mastery in the
skill of walking has been achieved, when you walk as a ninja,
a silent, invisible walker, avoiding detection by moving carefully
like a tanguero knife-fighter, a lower class samurai,
it feels as if you are never touching the floor. In Argentine tango,
the body energy-center lies lower than in ballroom tango. A little
downwards pressure in the hips, makes the knees bend more and gives
a more centered body axes, a sneaking, gliding way of walking. This
less royal way of moving is related to knifefighting, which is a fast,
fluid and dangerous affair.
The way of walking can also emphasize femininity,
accenting a womanlike manner of moving, or masculinity, showing
off power and discipline by military marching, so constructing an
identity image, or a choreographic dance performance. Thus, between
stamping goose steps and high heels wiggling, the act of stepping
passes through the most colorful human spectrum. The combination of
those 2 opposing concepts of moving, is a part of the magic in Argentinian
tango. In the original tango mis en scène, two skillful
opponents come together in some sort of a direct confrontation, a
struggle, a duelo between the compadron's military step marking
and the girl's sexiness. Later on, as the setting changed from
the brothel to the dance hall and the salon with its etiquette, a
less suspicious dancing behavior was wanted. The struggle however,
can still be seen in the tangofigures.
The walking became more and more refined. Walking the music
is nearly everything in Argentine tango. Before we figure out what
this really means, we step in the dancing arena: The dancefloor is
an embodied space in which people influence each other through energetic
interaction. Movements make intentions visible. The interactive
nature of pair dance gives lots of opportunity for partners to subtly
affect each other. By this, an intrige can be triggered on the playground,
the space gets a narrative content. An electrifying experience appears,
and disappears in the background.
This means that in couple dancing, there is a 3th beat-pattern
dimension. Underneath the "quick quick slow"-steps
and the living pulse of the music, which you can do alone, isolated
from others, in the couple's dance interaction grows a dialogue of
rhythm . This can give a surplus pleasure, or frustration. When two
people dance together, what they do affects each other in a profound
and ongoing way. A dialogue exposes, maybe something of a courtship
dance rhythm, the story's absolute bottomline is chemistry. From a
gestalt point of view, the electrifying connection is inevitable
if the other is an aha-experience. An individual appears, enters in
the center of the other, like a bomb.
The intriguing skill is to know how to choose the most effective
move at that moment, optimize the energy available at that occurrence,
as well as turn the hints offered by the partner into an unique, unusual
personal conversation, not a monologue. The leader and follower must
involve a degree of flexibility, improvising, that of being able to
harmonize and synchronize with the partner. Every gesture is according
to the partner’s response. The main goal is the genuine connection
moment in dancing.
The level distance depends mostly on the amount of feedback one is
getting from the partner and the social web. In this, the woman has
more impact and control than the leading man, if she wants. Lack of
focused attention is apparent in many dance acts, imitation patterns
and postures are inevitably expressed instead. If a dancer doesn't
know why he or she is dancing, the movements will have no real meaning
and it will show up as a lack of energy or a chaotic, ambivalent quality.
Relaxation, gradual becomming more and more at ease, to be
as relaxed as a cat, is the primal goal. A relaxed mind leads to relaxed
muscles, which is essential for a good performance. Before making
the first step, let the mind enter the body center which lies below
the navel, it tranquillises and makes you move from inside out. The
impulse to move, comes more from the body than from the mind. The
intention, the outcome, is to be highly bodily involved in the moment
as it happens, yet also leaving breathing space for the energy to
flow, room for being spontaneous, it keeps the muscles relaxed. It
refers more to being aware, alert, open, more than it refers to performing
a task, a figure which one has in mind. An act of will power makes
the muscles tense, which can be seen in the way of stepping.
The way a dancer feels about dancing, his consciousness of
the act, makes a tremendous difference in how the interacting is embodied.
The line between descriptive storytelling in a tangoshow choreography
and a social dance experience is thin. The dancer is generating and
expressing a unique emotional experience at the moment of the performance.
The more genuine the emotion, the more developed the technique, and
the more focused the dancer's intention, the more the dancepartner
and the audience will feel what the dancer is experiencing, and the
more emotionally satisfying and artistically excellent it will be.
Argentine tango dancing is a complicated simple thing. Best
is to start a tango just by walking, doing no figures. Match
the steps to the music, just listen. The energy and the way a
body moves from A to B is the magic, not A and B. Dancing on
tangovals is a good way to let your body flow on the rhythm
of music, flow like walking on water. The smooth and connected legato
of tangovals music, as opposed to the staccato breaks between notes
in tango, 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 always 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 and during dancing, the feet always glide over
the floor, except in canyengue.
Al ritmo del dos por cuatro
The tango rhythm is based on the 2x4, 2 strong beats
1 2 3 4
A way to make this 1-2 -mark visible in the act of
stepping is ...
on 1 : lifting the knee and the heel of the foot, and slowly
starting moving = expanding like a bandoneón.
on 2 : stretching the leg, fast like a clasp-knife, and putting
the foot down like a knife-thrust, a thrusting flash, a strong
stab to the heart, una puñalada
with an Argentinian Facón.
As stabbing happens fast, quick, the duration of the
marking moment is extremely much shorter than the earlier lifting
of the knee, the extending. That contrast gives a striking tension,
a noticeable suspense.
It looks like: ________1_______ ... /2\ ________3_______
... /4\ etc...
It sounds like La Yumba .... (click
here for the pronunciation audio)
it can look like this like (click for movie)
In dancing, as in knife-fighting and boxing, it is nice to
know that the flexibility of the body increases when the feet are
in a more open
\ /-position rather than close together, stiff.
Using two beats to make a triple step, thus stepping on one
beat, then on the half-beat and again on the next beat, is a traspié.
It is related to what is called syncopation, syncopa: the
stressing of a normally unstressed beat, making a syncopated rhythm.
It is playing with expectation, making a prediction move, so inducing
arousel or stress as in soccer, a foreplay to the payoff. It
creates more suspense, eliciting excited anticipation about what is
going to happen, the expected unexpected. To obtain this result, the
partners have to be involved with each other. The two persons are
connected by a dialogue, they participate as in a football drama.
One can also make several traspiés and focus on a "step
rhythm"- choreography, thus making a little story inside the
story. The 3'th step of a traspié can be closed or open, the
feet can be together or not. This way, one can connect the separate
traspiés by a sequence, making a serial arrangement in which
the traspies follow in a recurrent pattern such as 2 open trapies
followed by 2 closed traspies. Doing this, the rhythmic stepping,
the music, comes into the focus, less the stepping of a figure. The
figure is there, but in the background. Walking the music is the foreground.
Show live music tango Cumparsita
Click screen button to play video clip
The illustration below, which isn't a typical milonga-traspie,
uses the fast 1-2-3 traspie-rhythm to induce some excitation
in the following step of the figure, which is a
The walking human can be imagined as a small steel ball (the
center of mass) propelled forward on top of two stiff wires (the legs).
With each step forward, one end of a wire is planted on the ground,
and the steel ball swings in an arc around the other end, just like
an upside-down pendulum. As the ball reaches the end of its
arc, the other wire is planted farther forward on the ground, and
the process is repeated. To maintain forward movement, the energy
of the steel ball needs to be transferred from one pendulum to the
other. In normal walking humans, only 65 percent of that energy is
actually transferred, the rest is vanished and must be replaced by
additional muscle energy. At the height of each step, the
normal walking human begins to drop down, losing potential
energy without transferring it into kinetic energy, which
would generate additional forward speed. African women however, are
able to minimize this loss through an almost invisible, tiny alteration
of their gait. They transfer at least 80 percent of their forward
energy to the next step. Only 20 percent must be replaced by the muscles,
leaving plenty of energy in reserve to carry the weight on their heads.
In tango, the across the wooden floor feet-gliding
too has to do with improving the economy of walking, it is stretching
the flow of energy endlessly, on the rhythm of music. For guiding
a forward motion, one can also bend / lean slightly forward
so the torso and axis is deviating from a vertical position and directed
towards the partner in a more energetic and focused manner. While
bending or leaning slightly forward, one can push the buttocks back-ward
while keeping their muscles tight. But especially in bending, put
the feet in an open \ /-position and keep tight the muscles of the
abdomen because they support the lower back. People with
weak abdominal muscles tend to suffer from back pain, thus take much
time to practice it make sure that the position always feels confortable
and relaxed. Then, by bending slightly forward while making a step,
the bodyweight is transferring even more into kinetic energy,
into the forward movement. This surplus of kinetic energy can give
a stronger guiding and stronger marking of the tango's 2x4 stepping-rhythm.
Bending slightly forward is related to the milonguero style...
it is danced in a very close embrace with upper body contact, the
partners leaning into each other, and using simple walking and turning
Putting your foot straight forward in stepping, forward in
a motion that starts from the knees, not connecting it with the upper
body, is a more mannish walk, the military machine directed toward
the front. Putting your foot in a curve, not straight forward
but in the line of your other foot, not as extreme as a catwalk, changes
the direction of motion as if rotating on an axis, and makes the
hips turn. This motion starts from the body below the waist and
above the thigh, the body is thus going into the step, it is stepping
from the hips. Putting down your foot a bit turned to the side
out, through turning the hips and the leg while stepping, makes the
shoulders turn in a natural way. The turning of the hips also
makes the step larger which has an elegant effect, especially
in the woman's backwards stepping. The weight of the hips exert a
force which optimizes the use of energy. If one keeps the hips rigid,
one must use additional muscle force, which is the purpose of an army
Does one uses the turning of the hips while dancing tango?
Many Argentines are proud of their behinds, which is a result of dancing
daily. "Each country has a special taste regarding its women," says
Dr Jose Juri, Argentina's plastic surgeon star. "For example, in the
United States, the most important thing is good breasts. In Argentina
we prefer a good buttock. The derričre has a special attraction for
most men, and the Chicas argentinas know this perfectly well."
The "Carne de Identidad" (a play on the Spanish words for
identity card, carnet de identidad, and flesh, carne) exhibition draws
crowds in El Capital Federal.
Sublimation is, in Freud's classic theory, the refocusing of
Presumably, our perception of the dance is more rigid due to
sublimation. The character of tango changed dramatical successfully
in Paris in the 1930's, where the dance was combined with the proud
torso of ballroom dances, and given a staccato action, the popular
image we know. It moved the visual emphasis to the torso and head,
putting appearance above the intimate connection of the dancecouple,
more on performing to an audience. As the music was reshaped, simplified
in a nearly militaristic, staccato action, much of the musical nuances
vanished. This way, without subtle differences, it was adapted to
a more mechanical way of stepping, more predictable and faster
to learn, to imitate. Stress too, influences walking habits
and social relations.
Music has nuances and an organic cadence. It grows, changes
and becomes more itself. When letting the body flow on the rhythm
of music, a perfect, personal tempo grows which is not the
same as the mechanic time-pitch of a metronome. It's a different way
of walking. The music rhythm works as a heartbeat of energetic waves.
It has tension, charge, discharge and relaxation, like the beat of
Movement is living motion and immobility is not the
absence of movement, it hides overlapped movements and the agitation
which they cause, cancels each other out. This symmetrical heartbeat
of building and demolition is made from knots, embraces, the movement
of stillness... These centres will be able to act as points of
departure on which will be built a new, progressive cycle. The
secret of tango Argentino is in this moment of improvisation, that
opening that triggers inspiration. It happens between step and step.
It is to make the impossible thing possible: to dance silence. So,
a step is more than a step, it is a comprehension process.
Walking meditation is important in the correct understanding of the
act of going. The practice of mindfulness meditation can be compared
to boiling water. If one wants to boil water, one puts the water in
a kettle, puts the kettle on a stove, and then turns the heat on.
But if the heat is turned off, even for an instant, the water will
not boil, even though the heat is turned on again later. If one continues
to turn the heat on and off again, the water will never boil. In the
same way, one cannot gain an impelling force or strength in the mind,
and so one cannot attain concentration, full sensitive attention.
Before yogis begin practicing walking meditation,
they may have thought that a step is just one movement. After meditation
on that movement, they observe that there are at least four movements,
and if they go deeper, they will understand that even one of these
four movements consists of millions of tiny movements. By
our ordinary perception, we are not able to see-through that mind
and matter is just a vibration of particles and energy is constantly
changing, hidden by the illusion of continuity, it is an
optical effect like a movie.
The act of stepping
The four stepping stages in Zen are: lifting the foot, moving forward, putting down
and pressing the ground.
Buddha said :"A monk applies clear comprehension in going forward
and in going back." Clear comprehension means the correct understanding
of what one observes. Thus the Buddha was instructing meditators to
apply mindfulness, concentration, and clear comprehension while walking,
while "going forward and back." At first yogis may find it difficult
to slow down, but as they are instructed to pay explicit attention
to all of the movements involved, and as they actually pay closer
and closer attention, they will automatically slow down. Although
yogis pay close attention and slow down, they may not see all of the
movements and stages clearly. The stages may not yet be well-defined
in the mind, and they may seem to constitute only one continuous movement.
As concentration grows stronger, the four stages will be easier to
As tangueros continue to practice this "TangoZen" daily,
they will realize that with every walking movement, there
is also the "noting, observing" mind, the awareness
of the movement. There is the lifting movement and also the mind that
is aware of that lifting. In the next moment, there is the moving
forward movement and also the mind that is aware of the movement.
Moreover, meditating individuals will realize that both the movement
and the awareness arise and disappear in that moment. At one
moment there is the lifting of the foot and the awareness of the lifting,
and at the next moment there is the movement forward and the awareness
of that movement, and so on. These can be understood as a pair,
mind and matter, which arise and disappear at every
moment. Thus yogis advance to the perception of the pairwise occurrence
of mind and matter at every moment of observation.
A psychology that tangueras will discover is the role of intention
in effecting each movement. They will realize that they lift their
foot because they want to, move the foot forward because
they want to, put it down because they want to, press the foot against
the ground because they want to. That is, they realize that an intention
precedes every movement. After the intention to lift, lifting occurs.
They come to understand the conditionality of all of these occurrences,
that these movements never occur by themselves, without conditions.
There is a cause, social context or condition for every movement,
and that condition is the intention preceding each movement.
Kamma means intentional activity or doing, it is a choice
to do it. When dancers understand the conditionality of all movements,
then they will understand that they are created by an intention, maybe
like showing off the weapons of seduction. One will understand that
intention is the condition for the movement to occur, and how it appears.
Thus the relationship of conditioning and conditioned, of cause and
effect, becomes a transparent scenery. This scenario is revealing
in dancing. Lack of focused attention can show up as a lack of energy,
no soul, like the water that will never boil, no connection. If you
don't know what you are doing, your movements and guiding will have
no clear intention.
For imitation only ?
It is about expression, sensitivity. In this, knowledge is
crucial, especially self-knowledge. Regarding imitation,
it is mediated by a goal representation, a model. When information
is limited, imitation seems to be the only option. As the effect of
information is greater as the uncertainty is larger, one can intensify
the uncertainty, so increasing the impact of the model. Such imitation
directed perspective puts restrictions on the learning process,
as if small mistakes have large consequences. It is, spreading information
that allows for imitation only. A network of this type leads people
to imitate each other. As this dance develops, it is shaped more by
its environment than by the individuals themselves. Self-knowledge
however, is felt inside.
The joy of learning tangodancing is that these things become
clear when the time is ready. Tango has many layers, each similar
to, but also different from the layer above and the layer below. First,
movement imitations are expressed, which is great fun. What people
know best is imitation and there are many causes why people start
imitating, most of them are unconsious. Imitation is a rare, uniquely
human ability, which may be fundamental to what is distinctive about
human learning, intelligence, rationality, and culture. It has important
consequences for our understanding of ourselves both individually
and socially. Imitation has pervasive influence in ways that we are
only just beginning to understand. As in life, imitation in tango
is a starting point, what is needed is adding your own voice to the
texture of "as if"-imitations. Later, a more profound insight
appears in the game, a more profound dance comes into being or existence,
more and more "profundis". Then it looks as if there is
something more going on than just dancing, something that generates
tension, suspense, arousal... a thing as it is in itself, incapable
of being known but only from the nature of experience, as if passion
is solitude. The greatest dancers are not so much revered for technical
excellence, but for the distinctiveness of their unique personal style,
character they put in a movement. If you take time to know what you
are feeling when you are dancing, you make more than dancesteps, you
create a dance.
When walkers comprehend that mind and matter arise and disappear,
they understand that mind and matter are temporary, related to time,
mortal. They understand that mind and matter are unsatisfactory because
they are always oppressed by constant arising and disappearing,
and that there is no self or soul within that can order them to be
permanent. Things just arise and disappear according to natural law.
By comprehending this, milongueros comprehend the third characteristic
of conditioned phenomena, the characteristic of anatta, the
characteristic that things have no self. One of the meanings
of anatta is no mastery. So the obvious tangostory is... impermanence,
suffering, and the no-self nature of things.
In tangodancing, the feet of the dancer are not bound to a
schematic designed plan, even tangovals has no clear repetetive pattern
like the Viennese waltz. The dancer is free to decide what he will
do on the music he hears. This is a new orientation of couple dancing.
As most dances have a rational-pattern which can be predicted by the
follower, the ballast of previous perceptions about strict rules has
to be thrown overboard and replaced by a real communication contact,
creating a direct non-verbal dialogue. This requires permanent attention
and body connection.
It means that the concept of leading and following in tango is radically
different then in predictable dances. The lady follows by "feeling"
her partner's chest-changes. Inside the energetic circle of the close
embrace-hold, she's aware of his movements which must be clear and
simple, giving one step-direction at the time, and the leader
should go about it with a quiet and relaxed manner. Inside this dance-hold
which is a spiral, the partners feel the circular movements. In a
spiritual way, these continuous movements echo the helical patterns
found in nature. The movement power is generated from the lower abdomen
and legs. Upper body strength and muscle-tonus can extent the elastic
guiding, especially when the tanguera is doing a boleo. There is no
pushing or pulling by the man and he also must listen and respond
to the way the tangolady moves. She has the abilities and capacities
to sabotage, to delay and to dislocate the effect of leading. This
gives the man a dynamic dimension of uncertainty, which is a good
test for his frustration level, and an addictive thing for both.
The longer and the more one dances, the more your technique improves,
the smoother your dancing tends become. You get to know the steps
you are doing better, so you embodie them more completely, at faster
tempos, with less then no thought, adding embellishments, going inside
and beyond the so-called official dance figures and play together,
which is the true meaning of social dancing.
Although continuity is an illusion, a connection has always
interruptions, energy is a reality. Dancing is a good way
to let your body flow on the energetic rhythm of the music. So, physically
reaching a fluent stream of energy, continuously flowing
and graceful in shape, even knowing that it is an illusion, is true
Consequently, Argentinean tango dancing is an event, a performing
art. Something happens in people, like a catalysing development, they
behave in a particular way. An event is something that happens in
an unique, limited duration of time. For a moment, and disappears.
People have a need for expressing strong emotions, passions, illusions.
Perhaps relationships too are based on the illusion of continuity,
and tangueros make it tango. Buddhists do not waste precious time
figuring out the past and future drama's, but tangueros do. Despite
the modern single-gender doctrine, the man/woman-energy conflict
stays. It is as if organic chemistry cannot be otherwise, as if the
universe began with an explosion. It is a constraining force of physical
determinants on all aspects of life. Enrique Santos Discépolo's
phrase - El tango es un pensamiento triste que se baila -,
refers to the strength, the living impact, the power of tangomusic,
transforming a dark thought into a elevating movement, as a life source.
Expressive body movement is one of the numerous ways to give
form to the unconscious. It is also known that dancing can bring
back lost qualities. Walking contributes to health, transforms
the mind, body and breathing. Neuro-physical healing processes are
triggered by music. All this step by step. And, concerning
the performing arts, the way a dancer feels about dancing and his
awareness of the act of stepping, makes a tremendous difference in
how the dance relation bodily exists.
Perceptions of performance are mostly seen from the
point of view of the audience, reducing it to the privileged senses
which are sight and hearing. Communication however, is achieved through
engaging with many sensory channels simultaneously. Each channel has
several methods of sending, receiving and interpreting 'messages'.
Performance intensity relates to all senses, they are all
engaged during performances.
Visual channels only perceive visual phenomena, it is as making
a split between mind and body. Moreover, it is not always certain
that visual images are understood in terms of a real exchange between
the performer and the viewer. Movements have symbolic significances,
which have become choreographic and aesthetic components in their
own right, without necessarily referring directly back to their real
life sources. Maybe a visual design is attractive because one has
no idea what it means. So when an audience 'watches' a performance,
what is it looking at, exactly?
In a cyclic performance, things are 'moved' from real
life, arranged in patterns and performed as 'dance', and then carried
back into real life through embodied knowledge, so creating a cycle.
The key is body knowledge. In communication, feelings are
explored and experienced by the own body. If one knows it, one can
Sobre la seducción
The erotic nature of tango has been perceived by many,
but not so its violent temperament. It is true that both are modes
or manifestations of the same impulse (Borges, Historia del tango).
Some force is part of the play. In the beginnings of tango,
a man’s superior skill at dancing was counted as a determining
factor in his popularity, a measure of his machismo. At that
time, there was a shortage of the opposite sex and much competition.
The immigration wave did the city population swell with lonely men,
resuling in a demographic sex ratio population of 1 male to 0,6 female
in 1914. Approximately 30.000 garotas were working in 2000 brothels.
As tango was related to the brothels, it was a scandelizing act for
a woman. The fact that it was danced by prostitutes broke dancing
habits. In this way, their provoking behaviour anticipated an emancipation.
As the phenomenal wage difference between Argentina and European
countries attracted a swelling flow of overseas male immigrants, the
economic pressure grew too. The labor market before the 1930's was
a "spot-market", such as the meat industry. The
"factory labour chief" chose among workers at the door to
the frigorifique, the slaughterhouses, where many men waited in line
for "…you, you, and you ". In these conditions,
one must make a strong macho impression, showing strength
and power greater than average. The intention is to hit the
goal and score. Being elected.
For winning, as in futbol, politics and knife fighting,
one must use the weak points of the other. As in football, the aim
to beat the other is in the match incarnated. In seduction
also. Eroticism draws its powerful pleasure from fascination with
the hidden, the mysterious, the suggestive. It adds turbulent
sensations to anyone's daily life. A perfect storm is a real temptation.
Strange Couple Dance
Tango is in a way, a deviant form of pair dance. In its origins
it shows fighting, solitary individuals rather than harmonious couples,
the image one tends to associate with couple dancing.
Solitary or individuality was incarnated in tango. Buenos Aires
was the place of exile for European poor men and the marginalized
old inhabitants. Brothels were an encounter place for artists, musicians
and poets with criminals - malandras, police and prostitutas.
The sacred center in such a mafioso framework with social violence
is honor. A man of honor needs defending his honour by obliging
to duel, he has to stand strong always. The tango of the compadron
had a military mark, it was a ballet-like reproduction of two men
locked in mortal combat and they broke the pavement when
stepping... el taco militar, - taconear, tacón de
zapato: marking with shoe heel, to stamp with one's heels.
Throughout time, the compadron was replaced by another
prototype: the compadrito, a type valentón, arrogante,
with striking arrogance. Unlike the gaucho or compadrone, the little
compadrito never failed to draw attention. That angry young man was
unmarried, dancing, en-amored and singing. The compadrito
became the compadron's empty alter ego in the vanity of the viril.
Dressed in the same typical short coat, tight trousers, silk neckchief
with "fungi"-hat and above all... the knife, the
symbol of masculinity. The compadrito's pride however, was pretense...
he only fought to see if the other was better: cuál era
más guapo y nada más. For him, being the specialist
of imitation and intimidation, caminando el tango was a way
to be the most beautiful. As he walked the tango, he caressed
the floors and performed astonishing legwork with "viveza criolla",
Creole vividness which is humorous too. Humour is a virtue,
it prevents paralyzing sacralization.
Later on, that all was gradually replaced by another tango
world. In 1917, Carlos Gardel sang "Mi Noche Triste". That
song marked a significant change. Up to that time, tango had been
the happy, gay and playful music of the Arrabales, -expressing the
joys and aspirations of the compadritos, the working class or unemployed
plebs, not to mention the hombres y mujeres in the local
brothels where love was sold in hourly increments. But the new Argentinos
-los Immigrantes, longing for sentimental songs connecting them with
a faraway past, found the Tango of the outskirts, -of the compadrito,
no longer completely satisfying. "Mi Noche Triste"
struck a sensitive nerve. It marked the birth of the Sentimental
Tango. The music and the lyrics became nostalgic, melodramatic
can be a joy and a source of income, especially in the poor Buenosairean
suburban surroundings. In the brothel, the imported Francesita produced
money and she seeked a rich man to get an honorable living. A great
part of the tango letters speaks of women who leave a man, often poor,
by another man, in general of high class, and el guapo takes
revenge by killing the woman, se venga con la muerte de la traidora.
El guapo was a solitaire by conviction. In his relations with woman,
he never mixed feelings because he did not want that a love or the
family, made him hesitate in the middle of a confrontation. He knew
that his life could finish in any moment or end in jail. El guapo
incarnates anger and prestige, kept up by his fighting skills and
the submission of the woman, who belongs to him like object and that,
quite often, is reason for duels. These men never turned down a fight
and were highly regarded, feared and respected. Because of their displays
of demasiado masculino skills with the flacón dagger,
they practically ruled and served their neighborhoods and the neighborhoods
returned the protection with respect. The gauchesca literature offers
a lot of brave examples, examples in which Argentineans can
identify themselves more easyly than in military heroes. All of them
present solitary individuals in a hard world... el tigre
es el guapo elegante y ágil que mantiene la muerte a mano.
gives a further description of seductive conquering. Don juanismo
is a passion of the spirit, it goes beyond the instinct. It is a conquest,
not a Casanova flirt. Beauty that fascinates Don Giovanni, reflects
his proper death. Because of this dark confrontation, he can not rest.
He is in bondage by it. It is necessary for him to keep on conquering,
not to be motionless, not being conquered. Don Juan uses diverse strategies
to win its adversaries and in his superior skill, women see in him
a seductive devil. Unlike Casanova who only wants love, DonJuan's
intention has an objective in the long run, a transformation
of the seduced person and then, the exclusion.
Un duelo de parejas del mismo
One can say that tangodancing is macho + Das Ewig-Weibliche.
Yet tango, men often dance together. This may seems strange, contradictory,
odd. The image of the male dancer has always carried machismo
stereotyping. Dancing is about several emotions and feelings,
which men are not all supposed to show. Dance however, is technique
too. Los muchachos invented the tango dancetechnique, including
the female part. In fact, a tanguero has to know the woman's movements
from inside out to be capable to guide a tanguera. A reference is
Antonio Todaro. He had a special fondness for dancing
as follower and as an innovator, he had fun expanding the
follower's part. He is also famous for his skilled Tango
Doble Frente / double front (tango al reves
- inversed/reversed) in which the woman has her back to the man and
the man embraces her around the waist, so both dancers face the front/public,
it is a very historical style of tango invented by the popular milongueros
of the 1940s. All steps that one dances in the regular,
or "derecho" position, can be danced al reves. Men created
ballet too, yet dancing is now seen as a female art
in which masculine dancers assist the women. Men's contemporary role
seems to be more restyled into guiding the woman.
Carlos Saura's movie Tango, dancers: Julio Bocca and Carlos Rivarola,
choreography: Ana María Stekelman, music: Astor Piazzolla Click screen button to play video clip
Couple Dance Partnership
When there is magic in couple dancing, it's key is
self-knowledge. It's about expressing emotions, sensitivity.
To communicate in a dance, when the feeling it is not explored and
experienced by the own body, is very difficult. Guiding and following
are one. This recognition is truly seductive. So, a dancer should
try to to be able to reach his emotional resources, his basic emotions.
There are degrees of willingness and unwillingness. We know feelings
of happiness, sadness and anger. Resistance and yearning. Different
situations express different feelings, sentiments and reactions. Our
emotional memory is stored in many places in the body, not just the
brain. Our mind is not just in the brain, it is also in the body.
Emotion creates the bridge between mind and body. Strong emotions
make us to remember things. And... some impulses keep the emotion
down. It takes energy from our bodies to keep the emotion unexpressed.
These suppressed emotions are locked up and lodged in the lower body.
An emotion is not fully expressed until it reaches consciousness.
When an emotion moves up, it can be expressed, made explicit aware.
In that realization process, a person is expressing the mystery
of mind-body communication. This introspection makes him more able
to move from inside out, like an artist, reaching some non-competitive,
Art vs. Sport
Coupledancing is a growing non-verbal communication. Couple
dance is about sensitivity, mutual understanding and partnership.
Leading and following is a mutual conversation. It is also a challenge.
Modern western men may find it uncanny to step out the corner and
to lead "the direction" in a self-confident, dominant or
socalled macho manner. For years, the man's dancing role is directed
into something like "An Officer and a Gentleman",
which is in some way the classical dance picture. In traditional ballets,
the male dancer was secondary to the ballerina. His job was primarily
to lift the ballerina and support her balance without drawing attention
to himself. Breaking with tradition, Rudolf Nureyev
(1938-1993) reinvented the role of the male in ballet. As a dancer
he started early and conscientiously developing the possibilities
available to male dancers, proving that a principal dancer can be
just as gracefully subtle and expressive as a ballerina without any
loss of virility. One of the secrets of Nurejev’s success comes
from the fact that he did more than was necessary in everything he
undertook. Rudolf Nureyev made a great contribution to the reappraisal
of male ballet and, by working with contemporary choreographers, went
far beyond the "classical / modern" divisions. He was always
attracted to difficulty: How could I dance if I didn’t force
myself to do things that I can’t do? Rudolf Nureyev personified
the school of life for a dancer: enrich yourself, open up your
mind, look all around, take it all in, and put yourself in the position
of understanding and interpreting the choreography, not just performing
it. Nurejev danced with impressive athletic power and gained
prominence for the male dancer at least equal to that of the ballerina.
Onstage, the phenomenal Fonteyn-Nureyev partnership set a standard
for ballet that is still alive today. Margot Fonteyn and Rudolf Nureyev
transformed the pas de deux (dance for two), which is the
centerpiece of traditional 19th century ballets. Instead of dancing
the pas de deux as a cool, technical display in which the
ballerina was the focal point, they created an intimate and intense
drama in which the danseur (the principal male dancer) and the
ballerina contributed equally. When Fonteyn and Noureev performed,
there was electricity between them, both had the gift of translating
emotion into movement - the very basis of their art. The tension arising
from the 20 year gap in their ages, their opposing temperaments and
their totally diverse backgrounds seemed to generate an electricity
in the atmosphere whenever they appeared together, and Fonteyn - far
from being overshadowed - seemed rejuvenated, even her technique seemed
to improve. Margot Fonteyn could make you cry just
watching her. How to put something so visual, so potent with theatrical
moment that even film cannot capture it, into plain words? How to
explain why it is that when, to a particular strain of music, an ordinary
mortal steps forward on one leg, raises the other behind her and lifts
her arms above her head, the angels hold their breath? Meredith Daneman
locates Fonteyn’s extraordinary on-stage appeal in the woman’s
personal qualities - her moral as much as physical virtues. Fonteyn’s
dark, exotic looks came from her mother’s side of the family.
Her father, Felix Hookham, was a lower-middle-class Englishman; her
mother the illegitimate daughter of a rich Brazilian businessman,
Antonio Goncalvez Fontes, and an Irishwoman, Evelyn Acheson.
When Daneman met members of the Fontes clan in Brazil, she understood
how Latin family pride had made it unthinkable that a young dancer,
Peggy Hookham, a remote relative, should adopt their name as a stage
pseudonym. She altered it instead to Fonteyn. The English
style of dancing was formed on and by Fonteyn, moulded by Frederick
Ashton, the choreographer who made the most of her talents. Ashton’s
early roles for Fonteyn show her as a sensual being: the seductive
Creole girl in Rio Grande, Tiresias the sexual experimenter. Then
he froze her in perpetual purity: Chloe, Ondine, Sylvia, in his
postwar ballets, are maidens beyond reproach. Not until Rudolf
Nureyev burst onto the scene was Fonteyn able to be anything other
(scroll for clips)
In today's high-pressure environment and uni-sex morality
which makes no distinction between male and female structures, leading
and following as mutual conversation and natural walking on the rhythm
of music is a challenge. Modern women have gotten a more mannish walk,
they have learned to carry the responsibility, to be independ and
not to be led. It is difficult to leave the responsibility for guidance
and creativity to the other species. It can be seen as submissiveness.
The apparent passivity of the woman can become a force which leads
the man to total dependence, thus reversing the initial positions.
Yet, in order to make a dance possible, the garota is not submissive,
she is sensible. Many men find it very uncanny to step out the corner,
face a cool look and to lead "the direction" in a self-confident,
dominant or socalled macho manner. Yet again, it is about a state
of high sensitivity, mutual understanding. These misconceptions or
psychological barriers are deep grounded in modern society's war
roots. These environment tensions, pressures, have great
impact upon the nervous system and are much more difficult to "beat"
then the dancefigures.
Plastic surgeons and a century of catwalks illustrate that body profiles
have intentions too, if one thinks so. Since the First World War,
the period in which tango became a worldwide phenomenon, much changed
of what we assume to be the personal self. The 1914-18 War was so
shockingly brutal, that a new sense of personal identity was born.
The masses started to reject the concept of privilege as the reason
for a better life. Women stopped wearing excessive jewellery and extravagant,
luxury clothes. Dress rules for both sexes were relaxed in theatres
and other venues. Girls began to take part in voluntary work which
ultimately broadened their horizons and changed their outlook forever.
As females mixed with other classes, social barriers were eaten away.
The relaxed dress rules meant that they all began to look similar.
The effect of war on styles was that military braiding, belts
with buckles and shorter skirts were seen everywhere. Clothes got
shorter during the First World War out of practical necessity.
After the war when women's dress became more mannish, each
year seemed to get more in contradiction with the feminine woman beneath,
more and more different from the "self". Female clothes
became looser and more shapeless in fit. The bust was suppressed,
the waist disappeared, the shoulders became broader and hair shorter
and shorter. The "Modern Woman" was highly competitive,
sporty, emancipated as well as beautiful, and narrow boyish hips were
preferred. This new silhouette emphasised a flattened chest. Womanly
curves were eliminated as the line became more simplified. The slender
flat chested tanned body and face of a 15 year old became the sexually
desired profile for the young girls of the revolutionary Années
Folles. Health and beauty clubs helped women reshape their body profiles,
so to become what the desired other desires. It was a difficult time
for the previous fashion designers whose style of dressing became
as passé as their rounded figures and older faces. More youthful
women who could party all night and carry the boyish fashions well
were the new sexy ideal. Big busted girls turned to bandaging their
over-developed breasts flat, many adopted a bra that could be laced
at both sides and pulled and pulled in to flatten the chest. As long
as they looked boyish they looked fashionable.
also saw a universal fashion for short hair a more radical move beyond
the standard styles of the war era, which shocked some older citizens
as a purifying selection, since hair had always been viewed
as a woman's personal crowning glory. Once shoes began to be mass
manufactured in the 1920s, footwear became an essential fashion accessory.
Now it was truly visible beneath shorter dresses it needed to be selected
with more care and heels were over 2 inches high. During this Post
First War Epoque, there was an increased use of cosmetics
such as cheek color, eye shadow and lipstick for glossy lips. It was
trendy to perform erotic rites of make up in public.
The Second World War redifined the gender roles even more.
As the army men were at the front, the women were needed for the economy.
As war and disaster cleaned-up the old habits of mind, the female
participation in the work force pushed the post-war economic production.
First there was the booming ecomonomy. The consequence was a kind
of overactivity, being highly competitive, getting more and more lean
and mean. Then, anorexia management arrived, evoking
continuous stretches to get extreme compatibility, becomming nearly
non-self, alien bodies. As women have been stimulated throughout the
striving ages to keep their bodies square and linear while walking,
it strucks them now how unbelievably empowering it is to do tangosteps
in a relaxed, conscious way. It draws attention to what basically
feels natural, often very necessary to improve the self-perception,
which is influenced by the media's anorectic thin woman with huge
'boobs' presentations, frequently resulting in feelings of inadequacy,
lack of self-confidence, distortion of body image and a total lack
Feeling the movement from within, gives people an experience
that is strongly connected with "feeling alive".
It brings a kind of sensuality in them that might have been fighting
to get through before, as if it was not allowed. Through this bodywork
and even new retro clothing, one can have the experience of finding
a renewed sense.
In Argentine tango, the way of walking is philosophy. The way of walking
can emphasize femininity, or masculinity, showing power by military
marching, so constructing an identity image, or a dance choreography.
Thus, between boots and high heels, the way of walking goes through
a whole life spectrum. Meditation is important in the correct understanding
of the act. Movement is living motion and immobility is not the absence
of movement, it is a knots. Dancers will realize that both the movement
and the awareness, arise and disappear in a moment. They realize that
an intention precedes every movement. Intention is the condition for
the movement to occur. Mind and body are unsatisfactory because they
are always oppressed by new uprisings and disappearings. There is
no soul that can control it. Things appear and disappear according
to natural law. It is as if organic chemistry cannot be otherwise,
as if the universe began with an explosion. By our ordinary perception,
we are not able to see-through that things are just a vibration. Energy
is constantly changing, hidden by the illusion of continuity. It is
like a movie. Physical dancing is an impulse of energy. To move graceful
in shape, knowing that it is an illusion. Feeling the movement from
within, gives people an experience that is strongly connected with
"feeling alive". Dancing create a social accepted playground,
to be sensitive to the other's signals in an unique, limited time.
Relaxed walking on music is a challenge in today's high-pressure environment.
Our uni-sex morality makes no distinction between male and female
structures, to direct and response as a bodily conversation, is a
appealing dimension of uncertainty. Expressive body movement is one
of the ways to discover forgotten qualities.
Au Japon, on considère que le pied est le "deuxième
coeur” et avoir un fort coeur doit avoir un fort esprit, tellement
marcher de façon appropriée aussi développe l'esprit.
Les promenades à pied sont le mouvement corporel fondamental
dans les arts Martiaux. Dans n'importe quel Art Martial, l'aspect
le plus important est le jeu de jambes, marcher avec une balance parfaite
et une grâce. Quand on marche comme un ninja, un promeneur
silencieux, il se sent comme si on ne touche jamais la terre.
Dans le tango d'Argentine, la façon de marcher est la philosophie.
Los bailarines porteños ont une façon de marcher...
silencieuse, comme à la bagarre au couteau. Ce caractère
change radicalement à Paris dans les années '30. On
a combiné le tango avec le torse fier de danse de salle de
bal, avec plus d'action de staccato. 0n a mis l'accent visuel plutôt
au torse et à la tête, qui est un héritage de
danse aux cours royales de l'Europe, avoir l'opportunité d'ętre vus,
la identité visuelle. La présence d'un audience, l'intention
de leur donner un spectacle, change vraiment la façon de danser.
On ne danse pas pour danser, mais pour raconter des choses, à
qui? Dans l'histoire, la motivation fait la différence. La
danse spectaculaire n'est pas un élargissement de danse de
solon. Son corps n’est plus le même. Si on change de corps,
on peut changer de caractère.
La façon de marcher peut accentuer la féminité,
ou la masculinité, en montrant le pouvoir par la marche militaire,
ainsi en construisant une image d'identité, ou une chorégraphie
de danse. Ainsi, entre les bottes et les hauts talons, la façon
de marcher passe par un spectre de vie entier. La méditation
est importante dans la compréhension correcte de l'acte. Le
mouvement vit le mouvement et l'immobilité n'est pas l'absence
de mouvement, c'est des nœuds. Les danseurs se rendront compte
que tant le mouvement que la conscience, survenez et disparaissez
dans un instant. Ils se rendent compte qu'une intention précède
chaque mouvement. L'intention est la condition pour le mouvement pour
se produire. L'esprit et le corps sont peu satisfaisants parce qu'ils
sont toujours opprimés par de nouvelles insurrections et des
disparitions. Il n'y a aucune âme qui peut le contrôler.
Les choses apparaissent et disparaissent selon la loi naturelle. Il
est comme si la chimie organique ne peut pas être autrement,
comme si l'univers a commencé par une explosion. Par notre
perception ordinaire, nous ne sommes pas capables à translucide
que les choses sont juste une vibration. L'énergie se change
constamment, caché par l'illusion de continuité. Il
ressemble à un film. La danse physique est une impulsion d'énergie.
Bouger gracieux dans la forme, en sachant que c'est une illusion.
En sentant le mouvement de l'intérieur, donne aux gens une
expérience qui est fortement raccordée avec le "sentiment
vivante". La danse crée une cour acceptée sociale,
être sensible aux signaux d'autre dans un temps unique, limité.
Les promenades à pied détendues sur la musique sont
un défi dans l'environnement de haute pression d'aujourd'hui.
Notre moralité unisexe ne fait aucune distinction entre les
structures mâles et femelles, diriger et la réponse comme
une conversation physique, est une dimension charmante d'incertitude.
Le mouvement de corps expressif est une des façons de rapporter
des qualités perdues.
In Giappone, il piede è considerato per essere il "il
secondo cuore" ed avere un cuore forte è avere una mente
forte, dunque camminare appropriatamente sviluppa anche la mente.
Camminare è il movimento fondamentale corporale nelle arti
Marziali. In qualunque Arte Marziale, l'aspetto più importante
è il gioco di gambe, camminare con un equilibrio perfetti e
con la grazia. Quando un cammina come un ninja, un escursionista
silenzioso, sente come se non tocca mai il suolo.
Nel tango Argentino, la maniera di camminare è la filosofia.
La maniera di camminare può accentuare la femminilità,
o la mascolinità, mostrando il potere dal marching militare,
dunque costruire un'immagine di identità, o una coreografia
di ballo. Così, tra gli stivali e gli alti talloni, la maniera
di camminare passa attraverso uno spettro di vita intero. La meditazione
è importante nel capire corretto dell'atto. Il movimento vive
il movimento e l'immobilità non è l'assenza di movimento,
è uni nodi. I ballerini realizzeranno che entrambi il movimento
e la consapevolezza, sorge e scompare in un momento. Realizzano che
un'intenzione precede ogni movimento. L'intenzione è la condizione
per il movimento di accadere. La mente ed il corpo sono non soddisfacenti
perché sono sempre oppressi dall'uprisings nuovo e scompare.
Non ci è anima che può controllarlo. Le cose appaiono
e scompaiono secondo la legge naturale. È chimica come se organico
che la non può essere altrimenti, come se l'universo ha iniziato
con un'esplosione. Non dalla nostra percezione ordinaria, siamo il
vedere-attraverso capace che le cose sono appena una vibrazione. L'energia
cambia costantemente, nascosto dall'illusione di continuità.
È come un film. Il ballo fisico è un impulso di energia.
Per muovere grazioso nella forma, sapendo che è un'illusione.
Il sentimento del movimento da entro, dà dell'un'esperienza
alle persone che è fortemente collegato con "sentendo
vivo". Il ballo crea un parco sociale accettato, essere sensibile
ai segnali dell'altro in un a tempo unico, limitato. Camminare rilassato
sulla musica è una sfida nell'ambiente di alto-pressione dell'oggi.
La nostra moralità unisex fa nessuna distinzione tra il maschio
e le strutture femminili, dirigere e la risposta come una fisico conversazione,
è una dimensione attraente di incertezza. Il movimento di corpo
espressivo è uno di che le maniere di scoprire le qualità
Caminar es lo más importante en la vida. En Japón, el pie es considerado
el segundo Corazón y tener un fuerte Corazón es tener
una fuerte mente, así que caminar apropiadamente también desarrolla
la mente. Caminar es el movimiento básico corporal en las Artes Marciales.
En cualquier Arte Marcial, el aspecto más importante es el juego de
piernas, caminar con un balance perfecto y elegancia. Cuando se ha
logrado la maestría en la técnica de caminar, cuando uno "camina
como un ninja, un caminante silencioso", se siente como si uno
toca nunca el suelo.
En el tango argentino, el modo de andar es la filosofía. El
modo de andar puede enfatizar la feminidad, o la masculinidad, mostrando
al poder por la marcha de militares, así construyendo una imagen
de identidad, o una coreografía de baile. Así, entre
botas y tacones altos, el modo de andar pasa por un espectro de vida
entero. La meditación es importante en el entendimiento correcto
del acto. El movimiento vive el movimiento y la inmovilidad no son
la ausencia de movimiento, esto es unos nudos. Los bailarines realizarán
que tanto el movimiento como la conciencia, levántese y desaparezca
en un momento. Ellos realizan que una intención precede a cada
movimiento. La intención es la condición para el movimiento
para ocurrir. La mente y el cuerpo son insatisfactorios porque ellos
son siempre oprimidos por nuevos levantamientos y desapariciones.
No hay ninguna alma que puede controlarlo. Las cosas aparecen y desaparecen
según la ley natural. Es como si la química orgánica
no puede ser por otra parte, como si el universo comenzó con
una explosión. Por nuestra percepción ordinaria, no
somos capaces a transparente que las cosas son solamente una vibración.
La energía se cambia constantemente, escondido por la ilusión
de continuidad. Parece a una película. El baile físico
es un impulso de energía. Moverse lleno de gracia en la forma,
sabiendo que esto es una ilusión. El sentimiento del movimiento
desde dentro, da a la gente una experiencia que está fuertemente
relacionada "con el sentimiento viva". El baile crea un
patio social aceptado, ser sensible a las señales del otro
en un tiempo único, limitado. El andar relajado por la música
es un desafío en el ambiente de hoy de alta presión.
Nuestra moralidad unisexa no hace ningún diferencia entre estructuras
machas y femeninas, dirigir y respuesta como una conversación
corporal, es una dimensión atractiva de la incertidumbre. El
movimiento de cuerpo expresivo es uno de los modos de descubrir calidades
No Japão, considera-se que o pé é o segundo
coração e ter um coração forte deve
ter uma mente forte, portanto andar apropriadamente também
desenvolve a mente. A marcha é o movimento corporal básico
nas artes Marciais. Em qualquer Arte Marcial, o aspecto mais importante
é o jogo de pernas, andar com um saldo perfeito e graça.
Quando um passeios como um ninja, um passeador silencioso,
se sente como se nunca esteja tocando a terra.
No tango argentino, o modo de andar é a filosofia. O modo de
andar pode acentuar a feminidade, ou a masculinidade, mostrando poder
pela marcha militar, construindo assim uma imagem de identidade, ou
uma coreografia de dança. Assim, entre botas e altos saltos,
o modo de andar atravessa um espectro de vida inteiro. A meditação
é importante na compreensão correta da ação.
O movimento está vivendo o movimento e a imobilidade não
são a ausência do movimento, ele é uns nós.
Os bailarinos realizarão que tanto o movimento como a consciência,
surja e desapareça em um momento. Eles realizam que uma intenção
precede cada movimento. A intenção é a condição
do movimento para ocorrer. A mente e o corpo são insatisfatórios
porque eles sempre são oprimidos por novas revoltas e desaparecimentos.
Não há nenhuma alma que pode controlá-lo. As
coisas aparecem e desaparecem segundo a lei natural. É como
se a química orgânica não possa ser de outra maneira,
como se o universo começasse com uma explosão. Pela
nossa percepção ordinária, não somos capazes
a transparente que as coisas são somente uma vibração.
A energia está modificando-se constantemente, ocultado pela
ilusão da continuidade. Ele parece-se com um filme. A dança
física é um impulso da energia. Mover-se gracioso na
forma, sabendo que ele é uma ilusão. Sentindo o movimento
de dentro de, dá à gente uma experiência que é
fortemente unida "com sentir vivo". A dança cria
um playground aceitado social, ser sensível aos sinais de outro
em um tempo único, limitado. A marcha relaxada sobre a música
é um desafio no ambiente de alta pressão de hoje. A
nossa moralidade unissex não faz nenhuma distinção
entre estruturas masculinas e femininas, dirigir e resposta como uma
conversação corpórea, é uma dimensão
atraente da incerteza. O movimento de corpo expressivo é um
dos modos de descobrir qualidades esquecidas.
In Japan wie man betrachtet ist, der Fuß das zweite Herz
und ein starkes Herz zu haben, soll eine starke Meinung haben, so,
um angebracht auch spazieren zu gehen, entwickelt die Meinung. Das
Wandern ist die grundlegende körperliche Bewegung in den Kampfsportarten.
In jeder Kriegerischen Kunst ist der wichtigste Aspekt das Spiel von
Beinen, mit einem vollkommenen Gleichgewicht und Gnade spazieren zu
gehen. Wenn ein Spaziergänge als ein ninja, ein stiller Spaziergänger
fühlt es sich, als ob den Grund nie berührt.
Im argentinischen Tango ist die Weise spazieren zu gehen Philosophie.
Die Weise spazieren zu gehen kann Fraulichkeit, oder Männlichkeit
betonen, Macht durch das Militär-Marschieren zeigend, so ein
Identitätsimage, oder eine Tanzchoreografie bauend. So, zwischen
Stiefeln und hoch Fersen, geht die Weise spazieren zu gehen ein ganzes
Leben-Spektrum durch. Meditation ist im richtigen Verstehen der Tat
wichtig. Bewegung lebt Bewegung und Unbeweglichkeit sind nicht die
Abwesenheit der Bewegung, es ist Knoten. Tänzer werden begreifen,
dass sowohl die Bewegung als auch das Bewusstsein, entstehen Sie und
in einem Moment verschwinden Sie. Sie begreifen, dass eine Absicht
jeder Bewegung vorangeht. Absicht ist die Bedingung für die Bewegung,
um vorzukommen. Meinung und Körper sind unbefriedigend, weil
sie immer durch das neue Steigen und disappearings bedrückt werden.
Es gibt keine Seele, die es kontrollieren kann. Dinge erscheinen und
verschwinden gemäß dem natürlichen Gesetz. Es ist,
als ob organische Chemie sonst nicht sein kann, als ob das Weltall
mit einer Explosion begann. Durch unsere gewöhnliche Wahrnehmung
sind wir zu durchsichtig nicht fähig, dass Dinge gerade ein Vibrieren
sind. Energie ändert sich verborgen durch das Trugbild der Kontinuität
ständig. Es ist einem Film ähnlich. Das physische Tanzen
ist ein Impuls der Energie. Sich anmutig in der Gestalt zu bewegen,
wissend, dass es ein Trugbild ist. Gefühl der Bewegung daraus,
gibt Leuten eine Erfahrung, die mit dem "Fühlen lebendig"
stark verbunden wird. Das Tanzen schafft einen sozialen akzeptierten
Spielplatz, zu den Signalen eines anderen in einer einzigartigen,
beschränkten Zeit empfindlich zu sein. Das entspannte Wandern
auf der Musik ist eine Herausforderung in der heutigen Hochdruckumgebung.
Unsere Unisexsittlichkeit macht keine Unterscheidung zwischen männlichen
und weiblichen Strukturen, zu leiten und Antwort als ein körperliches
Gespräch, ist eine ansprechende Dimension der Unklarheit. Ausdrucksvolle
Körperbewegung ist eine der Weisen, vergessene Qualitäten
Norwegian / Norge :
I Japan betrakter foten være det andre hjerte og ha
et sterkt hjerte har et sterkt sinn, så gå passende også
utvikler sinnet. Å gåing er den grunnleggendee korporlige
bevegelsen i de Militære kunstene. I noe Militær Kunst,
er den meste viktige aspekten det spillet av bein, gå med en
perfekt balanse og ynde. Når en turer som en ninja, en stille
walker, det føler seg som om aldri berører grunnen.
I Argentine tango er måten av å gå filosofi. Måten
av å gå understreker femininity, eller maskulinitet, som
vise kraft ved militærå marsjering, så konstruere
et identitetsavbilde, eller en dans choreography. Følgelig
drar mellom støvel og høye hæler, måten
av å gå gjennom et helt livsspektrum. Meditasjon er viktig
i det riktige forståelsen av det fungerer. Bevegelse lever bevegelse
og immobilitet er ikke fraværet av bevegelse, det er en knoper.
Dansere forstår at både den bevegelsen og den forståelse,
oppstår og forsvinner om et øyeblikk. De forstår
at en hensikt går foran hver bevegelse. Hensikt er forholdet
for bevegelsen forekomme. Sinn og kropp er unsatisfactory fordi de
alltid undertrykker av nye oppstander og forsvinner. Der er ikke noen
sjel at styrer det. Ting kommer fram og forsvinner gir til naturlig
lov. Det er som om organisk kjemi ikke er ellers, som om universet
begynte med en eksplosjon. Ved vår vanlig oppfatning vi ikke
ser-gjennom at ting er akkurat en vibrasjon. Energi forandrer seg
bestandig, gjemt ved illusjonen av kontinuitet. Det er som en film.
Fysisk å dansing er en impuls av energi. Flytte yndig i form,
vite at det er en illusjon. Følelse bevegelsen fra innenfor,
gir folk en erfaring som sterkt forbinder med "føle levende".
Å dansing skaper en sosial akseptert playground, være
sensitiv til det andre signaliserer i en enestående, begrenset
tid. Avslappet å gåing på musikk er en utfordring
i dagens høytrykkmiljø. Vår uni-kjønnmoral
skiller ikke mellom hann og kvinnelige strukturer, dirigere og respons
som en kroppslig samtale, er en tiltrekkende dimensjon av usikkerhet.
Uttrykksfull kroppbevegelse er en av måtene oppdage glemte kvaliteter.
Turkish / Türkçe :
Japonya'da, ayak düsünülme olmak kalp destekleme ve
güçlü bir kalp var güçlü bir akil
var için olma Walk akili ayrica uygun biçimde gelistirme.
Yürümek Askeri sanatlarin içindeki fiziksel temel
hareket. Herhangi bir Askeri sanatin iç, birçok önemli
görünüs oyun bacak kusursuz bir dengeyle ve zerafetle
yürümek için olma. Bir ne zaman ona sessiz bir
ninja, gittigi duyumsama asla ground dokunmayarak olma.
Arjentinlinin içinde tango yapma yürümeyerek yolu
felsefe olan. Yürümeyerek yolu askeri yürüyor
tarafindan güçü gösteren kadinsilik belirtemez
bir kimlik imgesi veya bir dans kareografisi) kurmuyor Böylece,
çizmelerin ve yüksek alçaklarin arasinda, yürümeyerek
yolu bütün bir yasam dalgasindan geçme. Düsünceye
dalma dogru hareket içinde önemli. Hareket olma yasamayarak
yönlenme ve immobility yokluk degil hareket, o olma knot. Dansçilar
hareketin ve farkindaligin, yükseldigi ve bir anda gözden
kayboldugu anlayacak. Onlar bir niyetin her hareketi sundugunu anlar.
Niyet kosul hareket için meydana gelmek için olma. Fiziksel
dans etme enerji bir itisi. Tesebbüs etmek zarif onun bir yanilgi
oldugunu bilen biçim Hareketi hissetmiyor insanlara o kuvvetle birlestirilen
bir deneyim verme canli hissetmiyor. Digerinin bir zamandaki sinyallarina
duyarli olmak için dans ederek sosyal kabul edilmis bir oyun alani
yarat. Relax müzikte yürüme bugünün zorlayici çevresinin içindeki
bir heves. Bizim uni seksi dürüstlügümüz hiçine erkek ve disi yapilarin
arasindaki ayrim yapma dosdogru ve yanit bedensel bir konusmayla,
yalvaran bir boyut belirsizlik mi. Anlamli gövde hareketi birlerce
unutulmus kaliteler bulma yolu.
Yürümek Askeri sanatlarin içindeki fiziksel temel
hareket. Herhangi bir Askeri sanatin içinde, çok önemli
faktör kusursuz bir dengeyle ve zerafetle yürümek için
oyun bacak. Sen ne zaman bir ninja yürüme, sessiz, it sen
asla zemine dokunmuyor gibi duyumsama. Erotic doga tango yapma birçogu
tarafindan görülmedi ama onun sert huyu. Her ikisinin de
sekiller veya ayni itis manifestolari oldugu dogru. Hareketler niyetler
görülebilir atar. Amaç dans ediyor içindeki
gerçek baglanti ani. Piesze rozmyslanie jest fisza w sprostowaniu
rozum czynu Müzik dizeminde yürümenin bir heves oldugu
Droga chodzacej moze takze podkresla kobiecosc, akcentujac womanlike
sposób przeniesienia, albo masculinity, popisujacej mocy i
dyscypliny przez wojskowego marszowy, tak konstruujacy legitymacyjny
wizerunek, albo choreografic taneczne spelnienie. Tak, miedzy cechunkiem
kroczek gesi i wysoki korek wiggling, czyn kroczacych farwaterów
przez najbardziej barwne ludzkie widmo. W Srebrnym tangu, chodzac
W Wojennej Humanistyce, krytyczny czynnik jest gra nóg, zeby
wstapic z perfekt waga i wdziek. Kiedy wy chodzicie jak ninja, milczacy,
niewidzialny piechur, unikajac detekcji ruszajac ostroznie jakby tanguero
nóz-wojownik, nizszy klasowy samuraj, to uczucia niby wy nigdy
nie dotykacie podlogi.
Tanczac tango, feet dansera nie sa wiazane do schematycznego projektowanego
planu, równe tango valse ma zaden jasny repetetive nie modeluja
lubia Wiedenskiego walca. Danser franko zadecydowac co on zrobi na
muzyce on slyszy. To jest nowa orientacja pary taniec.
W dans ediyor, ayaklar dansera nie sa wiazane do schematycznego projektowanego
planu, równe tangovals nie ma jasny repetetive modeluja lubia
Wiedenskiego walca. Danser franko zadecydowac co on zrobi na muzyce
on slyszy. To jest nowa orientacja pary taniec. jego.
Obecnosc audiencji, zamiar dac ich widowisko, zabawa, robi zmiane
droga tanca. kazdy tanczy aby powiadac rzeczy, do kogo? Motivation
robi róznice w jak historia jest powiadana, w jak taneczne
dusze, jest robione. Przewaznie tam jest mieszaja zamiarów.
Popisowy taniec jest nie posiadanie solon taniec. Ale takze w salonie
to jest audiencja, wiec rzeczy staja nijakie. Piekna rzecz o emocjonalnym
wyrazeniu w tancu ze tam jest zadnym prawem albo zepsutym, jesli kazdy
Taniec sie, ma zadna moralnosc, zycie nie jest jego zródlem.
Dancefloor jest zyciem przestrzen w którym zaludniaja siebie
wplywu przez energiczna interakcje. Elektryfikujace przezycie postaci,
i zaginiecia w tle.
Yürüyor hareketi. W Srebrnym tangu, droga chodzacej filozofia.
Droga chodzacej moze podkreslic kobiecosc, albo masculinity, pokaz
moc przez wojskowego marszowy, tak konstruujacy legitymacyjny wizerunek,
albo taneczna choreografia. Tangueiros Tangueiras , Tangueiro Tangueira,
Bailarino , Milonguinha, Milongueiras, Milongueiros, Milongueira Milongueiro,
dançarinos dançarinas dançarino dançarina,