A surplus pleasure in dancing tango ?
Why do such a difficult thing as tango, when there are other couple dances ? What is the surplus pleasure ? What is the difference ?
Argentine tango, milonga and tangovals are very soft private dances with visual focus on the leg movements, and are examples of irrational dancing, personal improvising creativity.
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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.
Choose Me
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, she's aware of his movements which must be clear and simple, giving one step-direction at the time, and he should go about it with a quiet and relaxed manner. 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. This is the addictive thing, for both.
One can also show it as follows: the man initiates her a leg-movement and the "bonnefemme" gives expression to it. Without her attentive response to his unpredictable signals, he cannot dance. The woman gives the freedom to the man to express herself by forming the dance, he is responsible for giving to her a safe, structured space in which she can express herself freely according to his playing and she can play back. The goal is a pleasant dance experience that gives memories.
The interactive nature of pair dance gives lots of opportunity for partners to subtly affect each other. This means that there is a 3th beat-pattern dimension. Underneath the "quick quick slow"-steps and the living pulse of the music, grows a dialogue of rhythm in the couple's dance interaction. 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 bottomline is chemistry.
Tango Estilo Milonguero movieclip embrace/abrazo
The longer and the more you dance, 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.
Leading and following as mutual conversation is a challenge. In today's high-pressure environment and single-gender morality, modern women 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 man. European men find it very uncanny to come out the corner, and to lead "the direction" in a self-confident, decisive manner on the rhythm of music. This takes time. The psychological barriers are deep grounded in modern society's standpoint, beliefs act like psychological triggers which can block the individual. These emotional tensions are much more difficult to overcome then the dancefigures.
Tangodancing is a growing non-verbal communication between two persons. The "corps-à-corps"-contact is a new language exploration. It is known that dance and music evoke the human quality of being expressive. They arouse and excite life-sustaining energy and can bring back lost qualities, as if there is an embodied collective memory that can be remembered when the body takes over. The expressive value of dance movements informs us about our personal life, it gives mind’s hidden information directly from our living body. This body language understands the nature of being and existence, it can open something desired.
If the dancer takes the time to walk this path, all of the figure-steps can be integrated "en passant" in the dance practice. Obviously, some conversations will be a failure, that's the challenge. Each part of progress requires a well-developed ability of self-evaluation and visualisation, which is a way to improve the quality of your dancing technique, your expressiveness. Best is to start just by walking, doing no figures and match the steps to the music, just listen.
The further the dancer proceeds, the more often he will experience pleasure. Pleasure because he is experiencing a creative feeling of mutual understanding which can grow and expand. Dancing together is establishing a mutual reality, an embodied space, a playground.
Dancing is like playing. It is a creative experience wherein people meet each other. It is not wholly the domain of either participant. When the potential space is polluted, that is, dominated too strongly by one side, there is no creativity, no play, no space for experience.
The beautiful thing about emotional expression in dance is that there is no right or wrong. The way a dancer feels about dancing and his awareness of the act, makes a tremendous difference in how the interaction is embodied. The dancer is generating and expressing a unique emotional experience at the moment of the performance, it's a phenomeon that happens. 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. Seeing good dancers will give an aha-erlebnis, like a discovery.
This way of dancing was the start of Argentine Tango, musicians adopted their guitar playing to this danceform, so creating the tangomusic. Later, around 1900, the bandoneón made by Heinrich Band, he called it Band-Union, added the sad sound to the music and made it slower.
Tangomusic has for every person a different emotional significance. This multiplicity of meanings is reflected in the lyrics and makes the music a reflection of one own's life. Themes of love, fear, politics, loss, sex, beauty, danger, yearning, intimidation, jealous envy, laughter, and even violence all present themselves musically and poetically in the mirror of Tango Croillo.
Played on the guitars of the poor immigrants, these universal themes are given life with melodic Old World harmonies punctuated with deep African rhythms. Cultural influences include the Waltz, the African Candombe, the native Musica Criolla, Musica del Sur (southern folk music), the Spanish Tanguillo as well as American Jazz. And with instruments of the Old World, the violin, cello, bass, piano, along with the distinctive bandoneon, this fusion of influences is interpreted uniquely by Spanish speaking immigrants who expose their Italian origins with names such as Biagi, Manzi, Basso, D'Arienzo, Tanturi, Pugliese and Piazzolla.
But the essence of Tango Argentino is more then this melting pot of lyrical and melodic influences. It is the bodily dance that is the living image of its understanding. It shapes a sculpture of nostalgic resurection into the sensual, beautiful and sad sounds, evoking lifelike images within the mind. For without the sensual dance that accompanied this music, there was no historical reason, no cause, no impulse to cultivate the music so intense.
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Last update: 12 jan 2005
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French:
Dans le tango d'Argentine, le concept de guide et suivre, est radicalement différent que dans les danses prévisibles. La femme suit en "sentant" les changements de corps de son partenaire. À l'intérieur du cercle énergique de la posture de danse, elle est consciente de ses mouvements qui doivent être simples, en donnant une direction à l'époque et il devrait en aller dans une manière détendue. Là n'est pas poussant ou tirant par l'homme. Il doit aussi se sentir et répondre aux mouvements de la femme. Elle a les capacités et les capacités pour saboter, retarder et disloquer l'effet de guider. Cela donne à l'homme une dimension dynamique d'incertitude, qui est une bonne épreuve pour son niveau de frustration. C'est la chose addictive, pour tous les deux.
Italian:
Nel tango Argentino, il concetto di guidare e seguire, è radicalmente diverso di nei balli prevedibili. La donna segue "sentindo" i suoi corpo-cambiamenti del partner. Nel cerchio energetico della posa di ballo, è consapevole dei suoi movimenti che deve essere semplice, dando un'indicazione al tempo, e dovrebbe andare di esso in un modo rilassato. Non ci è spingere o tirare dall'uomo. Deve sentire anche e deve rispondere ai movimenti della donna. Ha le capacità e le capacità di sabotare, ritardare e dislocare l'effetto di guidare. Questo dà una dimensione dinamica di incertezza, di che è un test buono per il suo livello di frustrazione all'uomo. Questo è la cosa di addictive, per entrambi.
Spanish:
En el tango argentino, el concepto de dirección y seguir, es radicalmente diferente que en bailes previsibles. La mujer sigue "sintiendo" los cambios de cuerpo de su compañero. Dentro del círculo enérgico de la postura de baile, ella es consciente de sus movimientos que deben ser simples, dando a una dirección entonces, y él debería ir sobre ello en una manera relajada. Allí no es empuja o tira por el hombre. Él también debe sentir y responder a los movimientos de la mujer. Ella tiene las capacidades y capacidades para sabotear, retrasar y dislocar el efecto de dirección. Este da al hombre una dimensión dinámica de la incertidumbre, que es una prueba buena para su nivel de frustración. Este es la cosa adictiva, para ambos.
Portuguese:
No tango argentino, o conceito da direção e seguir, é radicalmente diferente do que em danças predizíveis. A mulher segue "sentindo" as modificações de corpo do seu parceiro. Dentro do círculo enérgico da postura de dança, ela é consciente dos seus movimentos que devem ser simples, dando um ponto cardeal no momento, e ele deve ir sobre ele em uma maneira relaxada. Lá não é arremetendo ou é puxando pelo homem. Ele também deve sentir-se e responder aos movimentos da mulher. Ela tem as capacidades e capacidades para sabotar, atrasar e deslocar o efeito da direção. Isto dá ao homem uma dimensão dinâmica da incerteza, que é um bom teste do seu nível de frustração. Isto é a coisa viciante, para ambos.
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