Links-Enlaces to tangoclips:
(Last update 18 sept 2009)

Tangowals tangovals Milena Plebs Ezequiel Farfaro and other clips
online Tangolessen videoclips videolessen updated
7 clips Gallo Ciego dance interpretation
Carlos Gavito and Maria Plazaola
Showclips Forever Tango - great milongueros
Selected Updates YouTube Tango videos
Roxana Fabian Show "Tango de oro" mpg
More Roxana Fabian tangoclips at Tangodeoro.com mpegs
Murat Erdemsel Performances mpg videoclips
Gotan-clip chorégraphies real player
TangoExpress Forever Vidios
Cesar Coelho Dancer
Several mpeg-clips, 1x Hugo Patyn & Miriam Larici    (now tangoandfire) tango & fire
Mayumi Fujio Homer Ladas    More: Mayumi Fujio Mayumix
Gitango Mariano "Chicho" Frumboli (Flash vidio)
clips Ney and Jennifer demonstrate (close-embrace)
Jorge Dispari y Marita "La Turca" Estilo de Villa Urquiza (neymelo jorgedispari)
Much More: Pakytango (click Foto e Vídeo) Gustavo Russo e Alejandra Mantigñan, etc
5 clips tangosurbarcelona Antonia Barrera Raúl Mamone
2 clips bcntango Vidéo - Vidéo Barcelona
Anton Gazenbeek and Natalie Laruccia - 2 vidios
Melina Sedó & Detlef Engel - choreographies Choreographien Sedo
Hernán Villegas - Gladys Colombo demonstration (click videos)
Natalia Villanueva : Tangodolls Muñecas (mime, comedy, clown, show, funny)
Juan Carlos Copes (CopesTangoCopes: El Musical)
TACONEANDO TANGOSHOW   Alejandra Barboza, Orlando Farias, Omar y Natalia Merlo
TACONEANDO Creación Espectaculo Coreografia Tradicional - Baile Orquesta
1. Fabian Salas Carolina del Rivero
2. Mariano Chicho Frumboli Eugenia Parrilla
3. Sebastian Arce Mariana Montes
4. Damian Rosenthal Celine Ruiz
5. Ezequiel PALUDI Sabrina MASSO
6. Adrian VEREDICE Alejandra HOBERT
Celine Damian Rosenthal (Flash.swf)
Fabian Salas Tangocapture vidio
Hector y Silvina chorégraphies
Historical clips here: Tangoevolution Vintage Videos
Gustavo Naveira y Giselle Anne vidios
Rosana y Nestor Tangoing
San Telmo Streettango Festivalclip
Tiempodetango Tiempo quick time Show .mov
Ken Delmar sftango Quicktime
Tangogrand Silvio Grand
O otango Trailer Sample
Tangotalks Amsterdam Narcotango Neotango
nuevotango.com several clips Chicho and others
tangoblivion oblivion (swf flash)
Singapore MovieTheater demo Ney and Jennifer
Pasión Sexteto Mayor orchestra tangopasion
Otero Dance Company Gloria - Claudio (rhythm and passion show)
Demian Carolina - Alejandra Martinan Gabriel Misse
6 clips Maria Fjellheim Hugo Fernández Live Tango Australia
Eugenia y Chan Zen 3 clips Quicktime.mov
Cambridgetango Movies Videos Rodolfo Miho
Music-clips Piazzolla
PiazzollaTango video Cena con Espectáculo Show Florida 165 (mpeg 34 MB)



Streaming Flashvideos - FLV - Flash Video
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 Video Updates
6. TangodanceClips with Humor

YouTube illustrated tangopages:
Dance interpretations on Gallo Ciego
Tangodance interpretation on Francisco Canaro's Poema
Walking the tango rhythm
Walking Seduction
Dance is a physical need
Tangowals tangovals Milena Plebs Ezequiel Farfaro and other clips
Online Tangolessen videoclips videolessen updated
Carlos Gavito and Maria Plazaola
Showclips Forever Tango - great milongueros


Click here for Walking Seduction



Buenosairean milongas + Argentinean info
Index Contemporary Modern Dance Companies

Dance Gesture Drawing

  The origin of the word "Dance" suggest that it can be compared with the act of drawing. Dance - Origin: F. Danser, Dansn to draw; akin to dinsan to draw.

  Drawing can exist on two levels: action drawing and gesture drawing. Gesture drawing is related to action drawing, both involve the principle of movement, but it goes further than action drawing. Action drawing only deals with physical movement: the action line, the axis. When you do a drawing of what a figure looks like, your drawing can be correct and competent but it will only be what the figure looks like, its appearance without a deeper emotional content. Physical movement however, has a nonphysical counterpart: its essence, its movement identity. Gesture drawing involves not only physical movement, but a deeper concept of essential identity, a search for the internal, a deeper spiritual meaning of things. When you do a gesture drawing of a figure, when you strive to capture the essence, its energy of being, the figure becomes alive. Carlos Gavito's dancing is such a way of gesture drawing. The music is touching him emotionally and he puts that nonphysical content into his movements. Through use of his own sensory and perceptual experience of the music, he is telling an emotional, narrative story.



  Such inner liveliness and longing is needed to give dance a soul. It is the active, introspective process that gives content to act of dancing together. One can only make contact if an appearance shows a deeper emotional substance. Being drawn to each other, relates to a metaphysical reality: being drawn out of ourselves toward the other, goes beyond the physical act of coming closer...

  Between 1853 and 1930 Argentina got 6.000.000 immigrants. As 70% of the immigrants were masculine, a demographic imbalance was produced between "Damas y Caballeros". A way to overcome this powerful gap between the sexes and coming closer to women was Tango. Men were being drawn to it.

  A lot of baroque can be seen in tango, especially in the shows. Spectators mostly "witness" classic beauty, as if it's harmony is in another world, on stage is made no effort to seduce the audience. Baroque however, contrasts openly with the ideal of harmony that the Renaissance advocated. The baroque artist wishes to create constant sensation of movement. Barock rocks the spectator, touchingly and affectingly shocking the public. Dynamism is el ideal artístico del Barroco. The barok leaves the classic serenity symbol 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. The time spirit in which it grew was that of a changing society. The misery in the field dragged to many farmers towards the cities, where they hoped to improve their quality of life, but they ended mostly in delinquency. For the baroque bourgeois who desires for sky and land like a compadrito, the only compatible attitude is duplicity, double-dealing, acting in bad faith, deception by pretending. Thus, the spectacle has the intention to act on the viewers.

"L'arte barocca aveva il compito di toccare direttamente l'animo e i sentimenti della gente e per far questo era necessario che essa assumesse forme grandiose e monumentali !!"

  History suggest that tango encounters were an intense competition between men who sought to win the bodies of the women and it was also a catalyst for racial and class tensions augmented by the invasion of European immigrants. Between 1853 and 1930 Argentina got 6.000.000 immigrants. As 70% of the immigrants were masculine, a demographic imbalance was produced between mujeres y hombres. European prostitutes were imported, Franchuchas and there was also a women-traffic from Warsaw, from the ghetto de Varsovie et les villages juifs de la Pologne, but this mixture is the port-story of La Boca. The coloring chemistry of all this makes the suburb, orillero, the expanding border of the city of Buenos Aires. Yet the outcome, tangodance, is more than a symptom, magnetic material lives inside the unexpurgated core and is longing to come at the surface, yearning for an occasion, a perfect habitat such as in 1900.



  How did tango arouse the public mind? How did its popularity spread? Does it express the secret fantasies of society as it is? These fantasies of indiscreet bodies are a drive behind entertainment in nightclubs, Hollywood movies, tourists acts, dance costume making, radio, television and other media, enlarging the sex appeal of the event and making the spectacle more teasing and thrilling.
  There is nothing more "tango" than nylons, seamed fishnets tights. They are just the thing to put on for a special date like tango. Sexy nylons lengthen the leg and are super soft to touch. In tangoshows, the hot seduction of the Forties comes back in seamed pantyhose with a seductive pointed heel. The traditional show themes play on old stereotypes from the red light district, featuring male dancers dressed in faux 1940s tough-guy garb and women in their fetish fashion, outfits like the symbolic fishnet stockings and porte jarretelles, highheels and skirts with a long slit. For some these appearances are outdated clichés but a cliché is more complexe than it seems. These costumes alter an appearance, the clothed body refers to conscious and unconscious uses of disguise. Dressing is a ceremonie, an extremely effective heighten up technique, an act of re-imaging an entity, masking the so-called original, masquerading till a new authentic identity is acting.

  In the beginning however, not only those of the high classes rejected tango, any family which claims to be respectable closed its doors to it, those of the middle and working class as well. To dance tango was to contaminate yourself with its origin as a brothel dance, a scandal for the families. A scandal however, like the attraction of shameful gossip, is a also weapon of mass seduction and a money generating business.
  The immigration wave did the Buenos Aires city population rate 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.
  The worldwide spread of the tango came in the early 1900s, when rich niño bien's of Argentine society made their way to Paris. The young, loaded Latin men introduced the tango into a sophisticated society eager for innovation and not entirely averse to the nature risqué of the dance, so creating an unexpected lust, a longing for the touch of their savoir faire. The scandal effect, or perhaps the scandalous mind, made tango an extending phenomenon, an issue of cosmopolitan import export. Like in Paris, cabarets, night clubs were opened in Buenos Aires. Tango gradually advanced from the obscurity of the bordellos to the multicolor lights of city night life. Giving reality to a phase in the immigrants' dream of "hacer America", from La Boca to Broadway, a way out. Thanks to the tangoshows, tangodancing survived. But does tangueros have a rose in their mouth? Is Moulin Rouge true tango? Have images ever posessed any claim to reality? No, but the imago works. An idealized image is something that seduces, it has the quality to seduce.



Cinéma - Tango in the Movies

  The Argentine cinema starts with Enrique Lepage who introduced the cinematograph and the phonograph in Argentina and founded La Casa Lepage around 1890, initiating the screen shootings in 1897 and the recordings in 1899. From 1907 to 1911 rises the tango as song. El Zorzal criollo Carlos Gardel was very obstinate to make films and as the earlier cinema was dumb, the 1930-1931 film "Así Cantaba Carlos Gardel", was one of the first movies with sound, the beginning of the sonorous period.
Así cantaba Carlitos
Filmografía en Argentina - Ferreyra

Regarding the image of tango in the ciné of the twenties, still the years of the dumb cinema, José Agustín Ferreyra "El Negro" stands high in the ranking. Ferreyra was a tango man and felt subjects in his películas in a carnal way, sexually. Ferreyra "the Black" was also painter and theatrical designer, he will be the cinematographic director who will give account to the dramatic forms of the folksong, obsessive searching all the places, atmospheres, situations, morals, personages of the tango, a cinematographic language like the tango-lyrics, like la lengua de los porteños, del arrabal, as opposed to the visión plástica del cine.
Afiches - Documentos here !

    Tango has roots in Afroargentine danceforms like candombe, milonga, and cañiegue. Canyengue dance is almost without figures, freely from choreographic planning, but with fast play of the feet, with elastic legs moving at the drumbeat. A dance in which rhythm is everything. The tangueros with "Sangre Negra" or the "negros porteños" were coming for the most part from the Congo and Angola. In 1693 the first reference appeared on the slavery in the Río de la Plata (el tráfico de negros para venderlos como esclavos). In 1810 nearly 30% of the Buenos Aires population had black ancestry. The first Argentine president, Bernardino Rivadavia, was of African descent. Concerning Argentina’s black cultural legacy, Jorge Fortes and Diego Ceballos' documentary "Afroargentines", exposes the whitewashing of the Argentine self-image. So, the African rhythms who gave birth to the tango were suppressed and ‘refined’ by Western Europeans.

  The black tango rhythm became more rigid in the early twentieth century, as the tension between succeeding waves of European immigrants, as well as rural and urban environments, increased. None of the tensions were resolved and the European immigrants, a new army of laborers, had already arrived. No time for healing. More exiles, more distress, and again, few women.
How tight could tango’s embrace get?
The stiff torsos of the black dances became stiffer, the swaying hips (‘quebradas’) and the sharp interruptions of the dancing marches (‘cortes’) lost their joyful fluidity and became grave, and so did the faces, concentrated in displaying filigrees of footwork (‘figuras’) for an escaped attentive audience. Forced to compete with the immigrant for jobs, women, social status in a system that seemed to favour only the foreigner, the urban creole took out his frustration and bitterness against the immigrant and the elite in a new ‘duello criollo’, the tango. In this ‘duello’, the object was to show up the immigrant. Nuestro Tango became deep and serious in the early twentieth century and transformed itself into an intensely physical dance that evoked the unspeakable wounds in the subconscious mind. Ernesto Santos Discépolo summed up the tango as “un pensamiento triste que se puede bailar”, while Ramón Gómez de la Serna described the tango almost as an irritant that keeps old wounds open, that tears them open until they bleed.

  Tango, it grew from a fusion of the emotional, slow rhythm of habanera with the strength of candombe and the choreography of milonga. Milonga was in the 1880's a popular dance, and also the Can-Can, a dance of African Caribbean origin. The habanera comes from the Flamenco guajira, which was transferred to Cuba, where it became a dance in which the dancers intertwine with each other. Musicians of those days, mostly Creole guitarists and payadores (popular troubadours), began to adapt their music to changes in population and the city. From there would evolve tango, which contributed its own rhythm, melody and a different structure.
  The black inhabitants, about 25 percent of Buenos Aires’ population at the time, had their own dances. These Africans recently freed from slavery, had achieved a more supportive community, forming mutual-aid societies largely financed by street processions and gatherings, called tangos. These Africanos would move to the candombe rhythm, the intense beat of tambourine percussion in which couples didn’t touch each other. The music, drumming and dancing at these functions attracted onlookers, the compadritos and foreign newcomers looking for amusement, mischief, escape. They borrowed the uninhibited movements and insistent rhythms to add to their own contemporary dances, the milonga, mazurka, and waltz, adding a close upper-body embrace and simulating drums with staccato footbeats on the dirt floors.

  The pulse of tango stood up in African-Argentine dance venues attended by compadritos. This compadrito was a degeneration of the gaucho, the compadre ideal. These Argentine gauchos were single men, drifted toward the city, away from their beloved pampas and the way of life that defined them. Some went to work in the slaughterhouses (frigoríficos) and others remained outsiders, displaced persons, chronologically misplaced. The city version of the proud gaucho was called a compadre, hard-working and hard-fighting, personifying masculine courage, ready to defend his family, friends and ideals with the knife. Country-bred concepts of personal honor and valor soon proved anachronistic within the urban environment.
The shortage of meaningful work and feelings of isolation in the new society caused deep disillusionment followed by a breakdown of traditional values, creating the compadrito: a street-wise swaggerer, mostly native born and poor young men, who liked to dress in slouch hats, loosely tied neckerchiefs and high-heeled boots with knives tucked casually into their belts, a punk looking for an easy buck, a good time, and any excuse to fight.
They took the tango back to the Corrales Viejos, the slaughterhouse district of Buenos Aires, and introduced it in various low-life establishments where dancing took place. It was here that the African rhythms met the Argentine milonga music (a fast-walking polka) and soon new steps were invented.


click here for walking Philosophy

  A very old way of dancing own to that compadrito of the orillero and which shows the African mark in tango more clearly is Canyengue / cañiegue (1890-1920).
  The rapid tango movements, cortes (the introduction of figures to interrupt the forward walk of the dance) and quebradas (bending or breaking the line of the spine backbone). Men held women close and they danced head to head, perhaps because they needed to see what their feet were doing, and the couple danced lifting their feet off the ground, because of the dirt floor. This more side-by-side couple-posture with lower left arm in canyengue, shows similarities with the contredance or contredanse, the name given to French developments of English country dance.
  The street barrel-organs (organitos callejeros) spread and it was very common to see dancing in the streets, often between men, the few women would dance inside the house. There were musicians in the theatres, in which musicals were performed, and there was also music in the bars near the harbor and at the bordellos (piringundines), where the huge male population looked for sex, entertainment and companionship.
For being places of permanent conflicts, a certain repression was exercised on the casitas lupanares (burdeles, bordels, lupanars) and gambling houses where also was danced.
  Some years later, with a more permissive government, there is a boom of dance academies, academias de baile with reasonable prices and with the best serviceability, comfort and decency. These "Casas de Baile" were rented by people with sufficient money to hold dances, the women, and the alcohol.

  Beside the real dance academies where professional dancers gave their instructions, there were the other "academies", more or less high class enramadas (brothels), down to the humble quilombos (whorehouses) of the suburbs. Some places were offering the double service. And, also polkas, milongas, waltzes, any rhythm that was encouraging the ambience was OK, there were not only tangos for touching each other. Be fair, the Viennese Waltz was the world's first popular dance to use the actual "closed hold", what is now accepted as the standard Ballroom hold. The Bohemian Polka was the second dance in Europe to use this scandalous new close hold embrace, an "immoral" way of dancing during the early 19th century. This form of dance was brought by emigrants as they moved to Argentina. Around 1900 was also danced at the coffee houses were there was a substantial consumption of cocaine, coca y morfina, at the time a Freudian Nouvelle Vogue.

  From 1880 on, a Paris Fever developed and the Argentine society of Buenos Aires reflected a strong desire to imitate whatever French Paris had to offer. Like in Paris, cabarets, night clubs were opened and flourished, and gradually tango advanced from the obscurity of the bordellos to the multicolor lights of city night life, cultivating salon culture codes or milonga etiquette, body language such as the cabeceo (eye contact for the dance invitation) and other communication practices for dance.
  As always, most of the customers were men, alone or in group, who used to go to dance with the girls who worked there, called "taxi-dancers" (alternadoras, milongas or coperas). When the venue was about to close, the orchestra played "La cumparsita", the last tango of the evening. Then the pimps turned up to pick up their taxi dancers and to collect their percentage.
The life of these "milonguitas" (girls from 14 till their early 20's) and "milongueras" (women between 25 and 40) was hard. It was a life of shame, violence, alcoholism, drugs and diseases like tbc. The rates of syphillis and other sexually transmitted diseases were alarming.
  Sex, prostitution and lust in the Buenosairean nightlife can be seen as one of the masks of Argentina. The xxx-movie "Tango, Passion of Buenos Aires" directed by Víctor Maytland, treats on sexo, prostitución y lujuria en la Buenos Aires period of World War II. Maytland: "The épica of Argentina is the tango and the Peronism, by that I believe that Tango... wakes up as much interest in our possible buyers, in unusual places, like Poland or Japan. I believe that this film is going to initiate something. We are taking care of much the details, the clothes, until we could reconstruct a prostíbulo of the 40's. The film has original tangomusic and more than 30 people, with dancers and singers. It is a script that I wrote several years ago and, finally, I could make it as it wanted."

  Through time, the male / female population balance was getting more equal, making dating more easy. The original canyengue lost its relevance with the upgrading of dance surfaces from dirt floors to polished parquet, certenly in "Los cabarets de los años cuarenta".
  Men and women went to tangoclubs for coupledancing, enjoying the intimate art of being interconnected in unknown, irregular, and varying ways of awareness and expanding energy.



  The " Abrazo de Tango " adapted into different styles of "salón dancing", showing a social panorama:

  Tango Liso is a simple tango walk on smooth linoleum. At most, the woman is led into a cross, but there are no turns or other figures. This form of tango was born at the beginning of the forties, when a part of the middle class in Argentina became interested in the tango and began to frequent the milongas. They wanted to experience the pleasures of the new dance without having to mix with the lower social classes, who had been dancing the tango since the end of the thirties. Some of their figures, the ‘ gancho ’ for example (which in the thirties was only performed by men) or other similar sequences, ganchos had a sexual connotation both for the dancers and for those watching. Because of this, Tango Liso became the only form of tango that the daughters of the ‘respectable’ classes were allowed to dance.

  click: Clip Tango Estilo Milonguero abrazo

  Tango Confitería and Club Style are also forms of Tango Salón which are danced socially in the milongas, either with a close embrace or with a certain distance between the leader and follower.
Tango de Salón as a style, refers to a more elegant way of dancing, it is a form rich in choreography and the body more erect, in contrast to the canyengue that required more flexion of knees and waist. The dance alternates a close embrace with a certain degree of separation of the dancing partners to allow turns and figures. It may be danced to any orchestra, Di Sarli or Pugliese could be preferred.
  Salon Style is also called Villa Urquiza in reference to the city quarter where the best dancers were coming (Circuito de baile Sunderland club). They created a recognizable way of dancing , stylized, of long step, with a firm position and using great pauses, also called Tango Estilo Urquiza.
  Tango de Salón may be done in either close or open embrace, but "Estilo Milonguero" is close embrace style.
  Milonguero dancestyle refers to a distinct form of dancing tango, close embrace and styled with attitude.
This "Milonguero Style" is also referred to as Confitería (cheek to cheek sweetshop) style, club style, Apilado style. The term Apilado can be interpreted as “lean towards the leader” for the follower, which describes the kind of close embrace used by the milongueros from the centre of Buenos Aires. In the liberal ‘twenties, both men and women went, looking for love, to crowded tango clubs, cafes, and confiterías, where they danced very close, the woman’s head over her partner’s right shoulder, so he could whisper erotic temptations in her ear and visa versa. This visa versa was called apilado (piled up, packed tightly together).
  Milonguero Styledancing is clearly a very close embrace philosophy with full upper body contact. As the dancers lean towards each other, they share a third axis, creating, vertically from the heels, a pyramid "/\ " formation, using simple walking and turning steps. This styledance relies on music of the more rhythmic type as characterized by orquestas like those of D’Arienzo or Tanturi.
One can say that close bodily contact is better for rhythm-guiding than an open embrace, the latter more for choreography. Yet, the art is walking a choreography in a rhythmic way and keeping the embrace close.
"Caminar es todo".

  Tango was danced in all these socialized forms. This golden age came to an abrupt end in the late ‘fifties.
Tango, as a social dance, almost disappeared for three decades.Tango was not performed as preconceived choreography on the stage until the mid 1950s, when Juan Carlos Copes and Maria Nieves invented tango de escenario.
  A critical time of the tango history happened in the Night clubs, Armenonville (1875) was the earliest. It was customary for the evening's dance to start with a polka, and to conclude when the number of reserved hours came to an end. The musicians averaged 5 pesos per evening. This was for the music-playing immigrants a source of income and a way of adapting to society, and later... the big dream of the cabaret-stage: conquer America. In the early days, only a piano played, but later groups included a violin or two, and a flute. Eventually, bandoneons were added. In the year 1902 and in the successive ones, the Theater Operates organizes dances with tangos and when the record industry appeared, there is a development of all music and especially of tango.

  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.

Today's Globalization of Tango

  The foreigners, prior to the Argentineans, recognized the boom of the tango revival and made operate a millionaire business. Classes of dance, CD, TV programs in Japan and China, magazines, artist tours, restaurants, ringtones and www radio programs in MP3 format. It is a business that does not recognize borders. Studies had indicated that anywhere in the world the 2x4 rhythm would generate businesses among 2500 and 3000 million dollars. Argentina however, only participates with hardly 300 million dollars in the musical business of tango. Practically non of the tango CD's in the worldwide market have an Argentina label, mainly they are published in Spain and even in the United States. The emigrated Argentineans who in their nostalgia recognize a veta comercial en el tango, assure that a great passion which also the wakes up the business. La globalización is a caminito that just begins and Argentina is catching up fast.

The Capital of Tango

  At the present crisis whith the enormous devaluation of the Argentinian peso, the Bonaerense people who live on the tango live on the tourists. The tango championship counts on several features like markets for clothes and the shoes that are used to dance tango, and also jewels, discs and photographies. Between the competition-pairs that arrive from the outside Argentine, there are some coincidences: all take advantage of the trip to become qualified taking classes and, of course, concurring to whatever milongas they can. Many are to the front of their own milongas, academies or companies of dance. And they do not speak to gain the championship as objective of the trip, but rather to learn, to amuse themselves, to live the experience, to represent well their countries... The economic situation indicates that the more devaluated, the more friends of the foreign. So the supply is the tangodistrict, with hotels five stars including, milongas for all the tastes. There are tanguerías, tango-schools, tango-studies, academies, and the industry of tanguero souvenir is multiplied until unsuspected limits. Four of each ten tourists mention the tango as reason to travel to Buenos Aires. During tango festivals and competition contests, the hotel sector, the traditional articles such as souvenirs, tango discs, books and videos, beneficiaries with the presence of the foreign tourists. It generates dividends in the gastronomy, the fashion and the transport. Tangomusic moves around the world about 3,000 million dollars, of that single total 1% (30 million) correspond to Argentina. The invasion of foreign tangueros changes the old milonga codes. Before we were always such that we rotated by milongas. The codes changed to please them, drain the dancefloor to you to put more tables. The idea that they have is to put much people and it does not concern the quality of the dance space. Trato de sobrevivir como puedo...

Partly Translations
Fr / It / Port / D / Esp / Nor / T / Pl / Fin / H / Sw / Dan / Cz / Sl / Serb .

En français:
A le tango Argentin quelque chose de spécial ?
  Tango est un sentiment intérieur. Pour communiquer dans une danse, le sentiment doit être exploré et éprouvé à l'intérieur. La danse se produit entre les personnes dans une association intime. Elle a une qualité intime, il est presque comme si votre associé de danse est une partie de vous. Cette intimité dans la danse de couples est révolutionnaire. L'homme et la femme dansent étroitement ensemble et créent un dialogue direct et non-verbal. Faisant ce qu'elles veulent. Pour ceci, la créativité et la sensibilité est voulue des danseurs. Il est au sujet d'exprimer des émotions et la capacité de diriger l'attention dans une direction choisie. Pour créer une représentation coordonnée, une impulsion interne est sentie. Cette communication fait à la danse de tango une nouvelle orientation de la façon que les couples dansent ensemble. Vraisemblablement, ce changement répond à l'esprit de temps à la fin du siècle, comme la psycho-analyse autour de 1900. Accueil vidéos séquences de tango d'un clic.
  Le tango d'improvisation demande de danser la technique, que faisons-nous quand nous quittons la route ? Le danseur doit être très pointu dans le choix du moment et la dynamique, il doit prendre des risques et doit se fier à son propre corps. Il bouge avec la musique en choisissant d'une variété de figures, la capacité de casser des figures et un changement à d'autres sans hésitation, en choisissant des pas individuels sans égard à n'importe quels dessins prédéterminés. Pourtant, la technique n'a aucun visage ... aucun contenu, le contenu est l'intention émotionnelle des gestes.

In italiano
  In origine, il tango veniva improvvisato nei postriboli, nelle taverne, nei bar, dove, al suono di orchestrine improvvisate composte da chitarra, flauto e violino (come nella payada), marinai, scaricatori, bulli di porto, povera gente, disperati europei, ebrei, giapponesi, ma anche africani, lasciavano alle loro spalle frustrazioni e nostalgie, abbandonandosi alle movenze sensuali della nuova musica, una musica fatta di ira, felicità, odio, passione, movimenti simbolici di una sessualità desiderata e mai soddisfatta (la composizione sociale nel Rio de la Plata era anomala, a causa della sproporzione fra maschi, oltre il 70% della popolazione, e femmine).
  La presenza di una nutrita comunità afroamericana in Argentina e in Uruguay a cavallo tra il XVIII ed il XIX secolo fu la conseguenza della deportazione in questi Paesi di schiavi provenienti dall’Africa subequatoriale. In Uruguay, la tratta degli schiavi africani ebbe inizio nel 1751 e si protrasse fino al 1842; in Argentina, negli anni ’70 del XVIII secolo fino al 1853. La più parte degli schiavi fu impiegata come manodopera e per il servizio domestico nelle città di Montevideo e Buenos Aires. Oltre al candombe, fondamentale nella nascita del tango è stata, attraverso la milonga, l’habanera ( = di Havana), danza in tempo binario che, secondo la maggior parte degli studiosi, ebbe origine nel XVIII secolo a Cuba come elaborazione di motivi ritmici africani portati dagli schiavi in America Latina.
  Tango è una sensazione interna. Per comunicare in una danza, un ballo, la sensibilità - la sensazione deve essere esplorata e provata dentro, all'interno. La danza si produce tra le persone in un'associazione intima. Ha una qualità intima, è quasi come se il vostro socio di danza sia una parte di voi. Quest'intimità nella danza di coppie è rivoluzionaria. L'uomo e la donna ballano strettamente insieme e creano un dialogo diretto e non verbale. Facendo ciò che vogliono. Per questo, la creatività e la sensibilità è voluta dei ballerini. È su esprimere su emozioni e la capacità di dirigere l'attenzione in una direzione scelta. Per creare una rappresentazione coordinata, un impulso interno è sentito. Questa comunicazione fa alla danza di tango un nuovo orientamento nel modo che le coppie ballano insieme. Probabilmente, questo cambiamento risponde allo spirito di tempo alla fine del secolo, come la psycho-analis'attorno al 1900.
  Tutti i balli del ballroom sono ballati da una coppia in una posizione aperta o chiusa. Nel Estilo Milonguero questa posizione di ballo è trasformata in un abbraccio, che è più di un altro stile ballante. Un abbraccio è un momento vivente, non rigido. Prende tempo ed il rilassamento. Il rispetto è l'anima del rituale. La generazione dell'atmosfera di soddisfazione è il desiderio. È tranquility. Il quietness nell'anima li rende in grado di essere informato del vostro corpo e come è influenzato dai relativi dintorni. Il passaggio di tempo è visto spesso come fiume, veloce. La musica anche può essere vista come fiume delle note. Il ballerino deve continuare con il metronome. Riparato fortemente sui risultati potenziali. Tuttavia, la musica inoltre ha l'alimentazione stabilire il contatto interno. Nel concentrarsi completamente sulla musica, le impressioni sottili diventano chiare. Se si può imparare distendersi abbastanza, il corpo sarà naturale. I movimenti avranno il easiness e spontaneity. Un abbraccio ha l'alimentazione facilitare la mente. Occorrere abbastanza tempo è manipolazione di tempo. Perchè un gioco con tempo? Perchè affili l'appetito? È circa la comunicazione. Per stabilire contatto allineare. Non ci è differenza essenziale fra la lingua del seduction e la lingua del ballo. L'intensità si riferisce a tutti i sensi, tutte è agganciata durante ballare.
  Ricerche condotte nel valutare l’importanza dell’odore nei rapporti interpersonali hanno ampiamente dimostrato che solo annusando indumenti indossati da altri individui - possiamo stabilire il loro sesso, la loro età e addirittura, se siano più o meno attraenti. La proprietà che le caratterizza è che sono in grado di provocare un’eccitazione sessuale anche in assenza di consapevolezza. L'odore delle donne nel periodo fertile è più sexy e gradevole che in altri periodi del ciclo. Il silenzio dell'abbraccio permette i sensi entrare più brillantemente nel rapporto. Evoca un dichiarare di alta sensibilità e di comprensione reciproca, in modo da di generazione un collegamento meraviglioso con il vostro socio di ballo e dell'immaginazione della musica. Si sviluppa dall'interno fuori ed è energia sta guidando i movimenti. Un dialogo del ritmo si sviluppa nell'interazione organica della coppia. Nell'odierna vita sociale ci è una rifiuto-coltura del contatto corporeo significativo. Tuttavia, la gente balla di più e di più. È emozionante, particolarmente tango. La compartecipazione delle passioni dà un piacere forte.

Em português:
Argentinské tango e Imaginário Sexual.
  Tango é um sentimento interno. Para comunicar numa dança, o sentimento deve ser explorado e provado dentro. A dança produz-se entre as pessoas numa associação íntima. Tem uma qualidade íntima, quase está como se o vosso associado de dança é uma parte de vocês. Esta intimidade na dança de casais é revolucionária. O homem e a mulher dançam estreitamente juntos e criam um diálogo directo e No.verbal. Fazendo que querem. Para isto, a criatividade e a sensibilidade é queridas dos dançarinos. Está a respeito de exprimir de emoções e a capacidade de dirigir a atenção numa direcção escolhida. Para criar uma representação coordenada, um impulso interno é sentido. Esta comunicação faz à dança de tango uma nova orientação da maneira que os casais dançam juntos. Provavelmente, esta mudança responde ao espírito de tempos no fim do século, como a psychoanálise em redor de 1900.
  Dentro de Dança:
  Algumas pessoas vão tão profundamente na dança, eles experimentam um estado eufórico de alegria e prazer no processo. Eles esquecem o tempo, são altamente vigilante e sentem que eles se estão movendo ao cume da sua capacidade. Como se haja algo mais do que somente dança, algo gera a tensão, a excitação. Eles não podem parar-se, eles não querem que ele encerre e enquanto eles podem, eles estar vivendo.
  Este fenômeno é chamado o processo, ele é um estado da meditação profunda que ocorre quando as pessoas se ocupam em tarefas desafiantes que exigem a concentração intensa e o compromisso. Isto acontece quando a habilidade de uma pessoa é perfeitamente saldada ao desafio de uma tarefa que tem goles claros e fornece o feedback imediato. Para bailarinos, os passos vêm para uma corrente contínua, criativa. Ele é uma experiência física, que começa de um movimento e encerra em um movimento. A mente não tem mais uma idéia fixa mas o corpo tem, está consciente do seu próprio modo. Ele pode, portanto estou vivo.
O tango verdadeiro é uma criação única, não pode ser copiado de uma recepção, passos de improvisação em. O tango começa com a adoção ao parceiro, é o antagonista ... e as melhores improvisações são feitas quando parece como se eles já tenham sido escritos em um espaço inesperado, o corpo fá-los manifestar com uma surprêsa natural.
  O resultado é uma experiência superior ou máxima. O desafio e a improvisação são as palavras-chave do segredo, o amarrado é a oposição de carateres e ele começa com um grande sim. O tango de improvisação pede dançar a técnica, o que fazemos quando deixamos o caminho? O bailarino tem de ser muito agudo em regulação de tempo e dinâmica, ele tem de tomar riscos e confiar o seu próprio corpo. Ele está movendo-se com a música escolhendo várias figuras, a capacidade de interromper figuras e comutador a outros sem hesitação, escolhendo passos individuais sem respeito a qualquer modelo predeterminado. Ainda, a técnica não tem nenhuma face ... nenhum conteúdo, o conteúdo é a intenção emocional dos gestos.
  Cada tango tem um conteúdo emocional, dado pela alma, e o terreno do jogo é a oposição de carateres, entre o que é dentro de você e o que é dentro do seu parceiro. É um cara a cara compromisso. Gancho de uma mulher torna-se muito mais vicioso quando ela é ... enfurecido, mau, ciumento e este gancho modifica-se à maciez como ela se está tornando romântica, escutando e cheirando Fresedo. Os bailarinos mais grandes não são tanto honrados para a excelência técnica, mas para a distinção do seu estilo pessoal único, caráter que eles põem dentro de um movimento. Se você souber por que você está dançando, você faz mais do que passos de dança, você cria uma dança. Você deixa o caminho e estrutura uma ponte.
  O edifício de uma ponte é uma experiência comunicativa onde os sujeitos se encontram. É algo que acontece através da gente, um encontro em espaço e tempo. A posição desta experiência intersubjetiva, o playground, é encontrada sobre experiências de corpo e está realizando-se em um espaço personificado, um nicho feito pela guia dos movimentos musicais da mulher sobre a pista de dança, dentro da área de idioma de ação dos bailarinos. Quando o espaço potencial é poluído, que é dominado demasiado fortemente por um lado, não há nenhuma criatividade, nenhum jogo, nenhum espaço da experiência.
  Isto evoca um encontro intenso e permite que nós aprendamos sobre o nosso parceiro sobre um nível não-verbal, intuitivo. Acerca do choise passivo, nenhum jogo, há dois fatores inibitivos: aquele que representa a inibição devido à ameaça do fracasso de performance e aquele que representa a inibição devido à idéia de ameaça de tais consequências de jogo.
  De qualquer maneira, a dança é um fenômeno ... ele desaparece no momento atual é executado e como todas as oposições binárias são movediças, a desconstrução de um par é a improvisação no progresso.
  Vamos ver o que adquirimos se um desafiar a continuar. Ainda mais as técnicas de improvisational dão uma transformação estranha na consciência de corpo de mente. Os bailarinos improvisam não estão executando um pedaço de dança fixo mas eles estão criando uma dança. Tangueiros Tangueiras , Tangueiro Tangueira, Bailarino Milonguinha, Milongueiras, Milongueiros, Milongueira Milongueiro, dançarinos dançarinas dançarino dançarina, salões, salõe.

Auf deutsch:
Hat Tango argentynskie etwas spezielles ?
  Tango ist ein inneres Gefühl. Um in einem Tanz in Verbindung zu stehen, muß das Gefühl nach innen erforscht werden und erfahren werden. Der Tanz geschieht zwischen Leuten in einer vertrauten Teilhaberschaft. Er hat eine vertraute Qualität, es ist fast, als wenn Ihr Tanzpartner ein Teil von Ihnen ist. Diese Nähe im Paartanz ist revolutionär. Der Mann und die Frau tanzen nahe zusammen und verursachen einen direkten, ohne Worte Dialog. Tun, was sie wünschen. Für dieses wird Kreativität und Empfindlichkeit von den Tänzern gewünscht. Er ist über das Ausdrücken von von Gefühlen und von von Fähigkeit, Aufmerksamkeit in einer gewählten Richtung zu verweisen. Für das Verursachen einer koordinierten Darstellung, wird ein interner Antrieb abgefragt. Diese Kommunikation bildet den tango Tanz eine neue Lagebestimmung in der Weise, die Paare zusammen tanzen. Vermutlich reagiert diese Änderung auf den Zeitgeist an der Jahrhundertwende, wie Psychoanalysis um 1900.

En español:
  Nada hay tan íntimo y público a la vez… como bailar. El tango, como toda manifestación popular, nace espontáneamente en Argentina, resultado de la necesidad de expresión del pueblo, a fines de la década de 1870. Es el lenguaje del cuerpo que permite al alma expresar sus sentimientos, pasión y fuerza que crea y se recrea en la belleza y la dinámica del movimiento. Fuertes emociones, en particular, que llevan a los órganos a un punto de exaltación que espontáneamente se manifiesta a si mismo a través de movimientos más o menos rítmicos que constituyen lo que se podría considerar como danzas naturales. Las expresiones espontaneas, como tambien el arte de bailar, pueden ser descritos como una expresión de los sentimientos por medio de los movimientos del cuerpo mas o menos controlados por el propio sentido rítmico. El baile, como arte era utilizado para varios propósitos. El arte existe en todos lados de la ciudad y en formas infinitas.
  El Tango es un sentimiento interior. Para comunicar en una danza, el sentimiento debe explorarse y probarse dentro. La danza se produce entre las personas en una asociación íntima. Tiene una calidad íntima, casi está como si su asociado de danza es una parte ustedes. Esta intimidad en la danza de pares es revolucionaria. El hombre y la mujer bailan estrechamente juntos y crean un diálogo directo y no verbal. Haciendo lo que quieren. Para esto, la creatividad y la sensibilidad se quieren de los bailarines. Está con respecto a expresar emociones y la capacidad de dirigir la atención en una dirección elegida. Para crear una representación coordinada, se siente un impulso interno. Esta comunicación hace a la danza de tango una nueva orientación de la manera que los pares bailan juntos. Probablemente, este cambio responde al espíritu de tiempo Bonaerense al final del siglo, como el análisis psycho en torno a 1900. Todo esto trae un cierto nivel de la excitación y hasta algunos movimientos violentos, tal vez alguna cólera. La naturaleza erótica del tango ha sido percibida por muchos, pero no tan su temperamento violento. Es verdadero que ambos son modos o manifestaciones del mismo impulso.
  La sensualidad del tango, la conexión corporal, puede ser muy pesada, apasionada, y seria. En el tango no existía la regularidad de las viejas danzas como el vals o la polca y por eso fue necesario creer una técnica en la cual la pareja podía realizar una figura en el momento sin anticipación. El lugar donde se desarrolló más el tango al principio del sigo XX fue dentro de las burdeles donde los hombres bailaban en una forma mucho más sensual que permitirían las estrictas reglas sociales de la sociedad respetuosa. La mujer tenía que seguir siempre el hombre paso por paso moviéndose con sus caprichos y así se fue formando la estructura de la danza que se sigue bailando hoy en día. En un baile tan íntimo, no se puede bailar con cualquier hombre. Así que la mirada tiene un papel muy importante en la cultura del tango. La mirada en el baile es intima pero liviana. La mirada también existe en relación al publico, que está siempre presente en los milongas. El tango es como un espejo, en su capacidad de reflejar todo el desarrollo de una identidad social y relaciones sociales.

  Las transformaciones en el espíritu del tango
  La pregunta que se impone, es: ¿ por qué el tango, música del instinto sexual y de la algarabía prostibularia se convierte en tan pocos años en un discurso que afirma valores morales tan opuestos a los que le dieron origen? ¿Por qué el placer se transmuta en condena y el regocijo en melancolía ?

  Entre 1900 y 1910 ese incipiente tango que se expresaba en prostíbulos y arrabales de las afueras de la ciudad, empezó lentamente a ganar terreno en los cabarets y pequeños teatros de Buenos Aires. De sus origines el tango fue una expresión cultural degenerado muy particular a la situación social Argentina, pero cuando el tango fue aprobado al exterior se convirtió de repente en una imagen de la identidad nacional. Igualmente, se concretan ciertos símbolos sociales que pasarán a formar parte del folklore ciudadano. Para los élites Argentinos el tango todavía pertenecía a otro sector de la sociedad, y implicaba una identidad ajena de los inmigrantes, los guapos, las prostitutas y todo un mundo nocturnal y peligroso de la calle. La música es otra forma de arte que es muy importante en la cultura argentina. Muchos argentinos hablan de ella con tanta pasión y orgullo. La historia del tango entra así en un contexto más amplio de historia de gente exiliada y ilegítima en búsqueda de una identidad propia, reconocimiento y dignidad.
  El tango, apadrinado por los grupos sociales que el centro no admitía: inmigrantes, veteranos del ejército, ex-esclavos, todos proletarios en busca de una nueva vida que superara el perfil miserable y promíscuo de su marginación. El Lunfardo, una lengua que muchos asimilan a gente de mala vida, empleada para que resultara incomprensible a las autoridades. En ese "idioma" popular ya por entonces característico de los bajos fondos, predominan los términos de diversos dialectos italianos, con algo de café gitano español y el argot francés. El tango lo elegirá posteriormente como su lengua predilecta, ya ampliamente divulgada por el teatro y el intercambio personal que se hacía en los numerosos sitios bailables, y otros lugares no muy santos, entre "niños bien" del centro y "compadritos" orilleros. Así, el tango pasa a los cafés y bares del centro, donde el contacto entre las diferentes clases sociales resulta ya cosa normal y corriente. Es en los salones donde comienza una nueva etapa para la música ciudadana, sea como música como para danza. Cuando el tango "se hace decente", sin cortes ni quebradas, para alegrar fiestas de familia, viviendo un notable auge que arranca a principios de la década del '30 y eclosiona con una popularidad sin igual entre 1940 y 1960. Cuando se extiende a toda la ciudad y se convierte en la música de Buenos Aires, cuando proliferan compositores y poetas, es el mismo tango el que dice de sí mismo ser un veneno que fascina, capaz de llevar a las almas más nobles por el camino del mal. Hoy, merced a la llegada de oleadas de turistas extranjeros que hacen florecer la economía e incentivan la inversión en locales de entretenimientos y academias de baile, el tango está viviendo un renacer que algunos años atrás nadie hubiera imaginado.

  “El tango debería poner de manifiesto los conflictos actuales de pareja: no se puede seguir reflejando la relación que hombres y mujeres mantuvieron hace 60 años”, sostiene Gustavo Naveira, reconocido maestro y coreógrafo de tango. Nacido en un hogar tanguero, con padres que bailaban y sabían de orquestas y cantores, a partir de los 20, cuando comenzó su aprendizaje, abandonó sus estudios de Ciencias Económicas y el empleo administrativo que ocupaba. A los 23 ya empezó a dar clases y, tras una década de docencia en el país y en el exterior, en 1996, interpretó el rol de uno de los maestros de la protagonista –y también directora– de La lección de tango, Sally Potter's Tango Lesson, película que, al decir de Naveira “generó verdaderos adictos al tango en los países donde obtuvo repercusión”.

Norwegian
Har Argentinian Tango noe spesiell ?
  Tango er en innside føler. Kommunisere i en dans, følelseen undersøkt og erfaren inni. Dansen skjer mellom folk i en intim partnership. Det har en intim kvalitet, det er nesten som om Deres danspartner er en del av De. Denne closeness i pardans er revolusjonær. Mannen og kvinne danser nær sammen og skaper en direkte, ikke dialog. Å gjøring hva de vil ha. For dette, kreativitet og sensitivitet vil ha fra danserne. Det om uttrykker følelser og evnen dirigere oppmerksomhet i en valgt retning. For å skape en koordinert representasjon, en innvendig impuls føler. Denne kommunikasjon får den tango til tango Argentinos en ny orientering i måten som sammenkopler danser sammen. Formodentlig, denne forandring reagerer på tidsånden på den vender av århundret, som psychoanalysis omkring 1900.

Turkish
  Argentinean Tango yapma var özel birsey?
Tango yapma bir iç duyumsamiyor mu. Bir dansin içinde içerde feeling kesfedilmeli ve tecrübeyle ögrenilmeli, açiklamak. Dans samimi bir ortakligin içindeki insanlarin arasinda olur. Onun samimi bir kalitesi var sen. Bu yakinlik çift dansi devrimci. Adam ve kadin yakin dans etmeler olma ve create dosdogru, sözlü degil diyalog. Onlarin ne istedigini yapiyor. Bu, yaraticilik ve duyarlik dansçilardan istenme. Duygular ve yetenegi dosdogru yaklasik belirtmiyor seçilmis bir yönün içindeki dikkat. Koordine edilmis bir temsil yaratarak için, içsel bir itis sezilir. Bu bildirisim tango dansini çiftlerin dans ettigi davranisin içindeki yeni bir oryantasyon atar. Muhtemelen, bu degisim yüzyilin sirasindaki zaman ruhuyla yanitlama sevme 1900 civarindaki psikanaliz.
  Arjentinli tango yapma ayrica tiyatrosal daha fazla tango por enscenario çagirilan fantasia dönüstürülen bir etkinlik olma. Bu içinde, atliyor hareketi bir favori.
1955 karanlik bir dönemin baslangici. Gösterileri thanks to, atlatilan tango. Siyasal degistirilmis durum ve yeni dürüstlük boyunca, sosyal çift dans etme ölür. Tangoe, çogunlukla 'fantazi tango teknigi, BuenosAires tekrar ögredilme. Milonguero salonu stili tekrar büyümeye baslar. Fiziksel etkinlikler, odaklama. Dans ediyor hareketi algisi durum degistirince degistirir. Milongas Argentinas yapma bir bordello ve sadece fahiselerin içinde sadece dans edilemedigi bir erotique dansinin aslen çaprasik olmamasiydi kadinlar rolu tango yapma ilgiliydi Geneleve. Ama dans eden çok önemlisey olma o çekici kadin olan. Bir adam dansi yerine getirmiyorsa, o seyirciyi büyülemeyecek çok güçlü, hiç genel genel akil arousal olmayacak ve Dansçi kötü bir ün almayacak. Duygusal anlatim hakkindaki güzel sey dans etme hak veya yanlis. O hareketi hissetmiyor insanlara o kuvvetle birlestirilen bir deneyim canli hissetmiyor verme.


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Polish
Ma Srebrny tanga cos nadzwyczajne wydanie gazety ?
  Tango jest wnetrzem czulym. Zeby udzielic w tancu, czucie musi byc zbadane i musi byc doznane wewnatrz w domu. Taniec nadarza miedzy ludzmi w intymnym wspóludziale. To ma intymna jakosc, to niemal jak chociaz wasz taneczny towarzysz jest czescia was. Ta spoistosc w paroma tancu rewolucjonista. Czlowiek i kobieta tancza szczelnie razem i tworza bezposredni, niewerbalny dialog. Robiac co oni chca. Dla tego, kreacyjnosc i drazliwosc jest chciana od danserów. To dookola wyraza wzruszenia i zdolnosc skierowac uwage w wybranym kierunku. Aby formowac uzgadniane przedstawianie, wewnetrzny impuls jest wyczuwany. To zakomunikowanie robi tango tancza nowa orientacja w sposobie którym sczepia taniec razem. Ten zmieniac odpowiada do czas duch przy ten uruchomic od ten stulecie , podobny psychoanaliza wokolo 1900.

Finnish
Has Argentiinalainen haju jokin ylimääräinen juna ?
  Argentiinalainen tango on saanut sykkeensä Kuubasta. Tango matkasi orjien mukana Buenos Airesiin, Argentiinaan. Tango rinnastetaan elämään, sillä kuten elämä, myös tango on unelmaa, rauhaa ja petosta. Syntinen, eroottinen tango on machomiesten näyttämö, jolla nainen on palvottu, pelätty, kaivattu ja kavala. Haju on by sisältä tunto. Jotta asettua yhteyteen kotona tanssia , tunto raivo olla tehdä tutkimusmatka ja kokenut sisältä. tanssia esiintyä kesken ihmiset kotona by läheinen ystävä avoin yhtiö. Argentiinalainen tango on improvisoinnin ja tarkkojen askelkuvioiden yhdistelmä. Se has by läheinen ystävä avu it's jokseenkin koska jos kohta sinun tanssia osakas on eritä -lta te. Nyt kuluva closeness kotona koiranvitjat tanssia on kumouksellinen. herra ja nainen aari tanssittava lakkauttaa keskenään ja aari aiheuttava antaa tehtäväksi, ei- - suullisesti dialogi. Ajava mikä he haluta. Ajaksi nyt kuluva , luomiskyky ja sensitiveness on palvelukseen halutaan polveutua tanssija. It's jokseenkin ilmaiseminen emotio ja etevyys jotta antaa tehtäväksi asento kotona valikoida haara. Ajaksi aiheuttava koordinoida agentuuri, by jäsentenvälinen heräte on aistia. Nyt kuluva ajatusten vaihto hätäkeino haju tanssia veres orientoiminen kotona continent joka koiranvitjat tanssia keskenään. Arvatenkin , nyt kuluva heilahdus laulaa vastaus jotta aika aave aikaa hapantua -lta vuosisata , kuin psykoanalyysi liepeillä 1900.

Hungarian
Birtokol Argentin tangózik valami speciális ?
  Tangózik van egy belso rész érzés. -hoz kommunikál -ban egy táncol, a érzés kell lenni kikutat és tapasztalt belso rész. A táncol történik között emberek -ban egy meghitt társas viszony. Ez birtokol egy meghitt tulajdonság , az majdnem habár -a táncol társ van egy része ön. Ez közelség -ban pár táncol van forradalmi. A ember és asszony van táncoló zár együtt és van teremto egy közvetlen , nem - igei párbeszéd. Csinálás mi akarnak. Részére ez, kreativitás és érzékenység van kívánatos -ból táncosok. Az körülbelül kifejezheto érzelmek és a lehetoség arra közvetlen figyelem -ban egy válogatott utasítás. Részére teremto egy koordinál ábrázolás, egy belso lökés van értelem. Ez kommunikáció ideiglenes tákolmány a tangózik táncol egy új betájolás -ban mód melyik párosít táncol együtt. Feltételezhetoen, ez cserél válaszol -hoz ido szellem a századfordulón, szeret psychoanalysis körül 1900.

Swedish
Har Argentina tangenten något speciell ?
  Tangenten är en insida kännanden. Till meddela i en dansa , kännanden måste bli utforska och upplevat insida. Dansa händer emellan folk i en förtrolig kompanjonskap. Den har en förtrolig kvalitet , den er nästan liksom om din dansa partnern är en del om du. Den här tätheten i par dansa är revolutionär. Manen och kvinna dansar nära tillsammans och skapar en rikta , inte - verbal samtalen. Gör vad de nöd. För den här , kreativiteten och sensibiliteten är viljat från dansanden. Den er omkring yttranden emotion och förmågan till rikta uppmärksamhet i en väljare riktning. För skapande en koordinat framställande , en inre impulsen är sinne. Den här kommunikation göra den tangenten dansa en ny orienteringen er efter vilken paren dansa tillsammans. Troligen, den här ändra reagerar till tid ande på den vända om århundrade, lik psychoanalysis runt omkring 1900.

Danish
Har Argentiner tangent et eller andet speciel ?
  Tangent er en i følelse. Hen til overfører i en bal, den følelse skal være undersøge og prøvet i. Den bal sker imellem folk i en antyde samarbejde. Den har en antyde seriøs , det er næsten som om jeres bal parthaver er en noget af jer. Indeværende tæthed i par bal er revolutionær. Den menneskene og kvinde er dansende slutning sammen og er skaber en lede , ingen - mundtlig samtale. Gør hvad de savn. Nemlig indeværende , kreativitet og følsomheden er savnet af den baldame. Det er omkring gengivelse rørelse og den evne hen til lede opmærksomhed i en valgte ledelse. Nemlig skaber en arbejde sammen beskrivelse, en indre impuls er fornemme. Indeværende meddelelser gør den tangent bal en ny orienteringen ala hvilke par bal sammen. Formentlig , indeværende lave om på reagerer hen til den gang appel henne ved den omdrejning i den århundrede, lige psychoanalysis omkring 1900.

Czech
Argentinec Argentijnse tango neco zvláštní ?
  Tango is neurc. clen jádro cit. Až k být ve styku do jeden tancovat , clen urcitý cit musit být pátrat a zkušený jádro. Clen urcitý tancovat stát se mezi lid do neurc. clen dát na srozumenou spolecenství. Clen dát na srozumenou jakost it's skoro jako by tvuj tancovat druh is jeden cást of tebe. Tato closeness do dvojice tancovat is odbojný. Clen urcitý man a žena ar tancení blízký dohromady a ar pro boha jeden adresovat , bez- - doslovný dialog. Jednání jaký ona potreba. Do tato , tvorivý a citlivost filmu is potreboval dle clen urcitý tanecník. It's kolem interpretace emoce a clen urcitý schopnost až k adresovat pozornost do jeden chosen adresa. Do pro boha jeden clen interpretace , neurc. clen domácí instinkt is cit. Tato komunikace díla clen urcitý tango tancovat jeden nový orientace do clen urcitý obycej kdo dvojice tancovat dohromady. Podle predpokladu , tato burza analogický až k clen urcitý cas duch v clen urcitý být špatne od žaludku of clen urcitý centurie , do téže míry psychoanalysis asi 1900.

Slovenian
Has Argentine držajni konec nekaj poseben ?
  držajni konec je notri pocutje. v biti obhajan v a ples, pocutje morati obstati preiskovati ter preizkušen notri. ples zgoditi se med narod v intimen združenje. to has intimen odlicnost it's skoraj kakor ce vaš ples solastnik je a del od vi. to bližina v par ples je uporniški. od deških let dalje postaviti ženske ste plesen blizu vkup ter ste tvor a neposreden non - glej verbally dvogovor. pocetje kakšen hocejo. zakaj to , stvariteljski ter obcutljivost je biti brez s plesalka. It's približno iztisljiv pretres ter zmožnost v neposreden nega v a chosen smer. zakaj tvor a coordinated slikovito predstavljanje , notranji zagon je cut. to obhajilo pomožen držajni konec ples a nov usmerjenost v nacin kateri par ples vkup. vrjeten, to sprememba responzoorij v cas duh v konec stoletja , všec biti psihoanaliza okrog 1900. Tangueiros Tangueiras, Tangueiro Tangueira, Bailarino Milonguinha, Milongueiras, Milongueiros, Milongueira Milongueiro, dançarinos dançarinas dançarino dançarina, salões, salõe.

Serbian
Je Argentiski šiljak nešto narocit?
  Za komunicirati unutra jedan ples, odredeni clan osjecaj morati postojati istraživan pa iskusan unutrašnjost. Odredeni clan ples dogoditi se izmedu narod unutra dobro prisan sudjelovanje. Odredeni clan covek pa žena biti plesanje zatvoren zajedno pa biti kreiranje jedan usmeriti, ne - slovcan dijalog. Dogadaj šta oni oskudica. It's okolo izraziv emocija pa odredeni clan sposobnost za usmeriti pažnja unutra jedan izabran pravac. Današji komunikacija pomoc za nuždu odredeni clan šiljak ples jedan nov orijentacija unutra odredeni clan nacin šta par ples zajedno. Vjerojatno, današji promena odgovor za vremena duh na prijelazu stoljeca, slican psihoanaliza okolo 1900.

  Argentijnse tango, een onuitputtelijke bron van creativiteit en samenspel, gericht naar muziekaliteit en lichaamstaal, met kleine details... die een groot verschil van beweging maken.