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Tango is an instant connection to a gamut of human emotions,
from sadness to joy, toughness to tenderness, sensuality to creativity,
It's a unique experience to share all these feelings through dance with
an other person.
Stefani K.
Tango is
like a sweet poison that can lead to
addiction. Beware! Let it not control you
Stefani K.
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Literature tips -
check it out:
Wolfram Fleischhauer :
Drei Minuten mit der Wirklichkeit
Robyn Ash-Rose :
Better Times in Buenos Aires
© ZEIT online
5.2.2006
Ich tanze Tango
Nur ein Mann,
der abwarten und sich ganz der Stille
hingeben kann, ist ein guter Tänzer. Der mir
das Gefühl geben kann, mich nur höchst
ungern loszulassen. – Erfahrungsberichte aus
dem tönenden Alltag (4)
Von Sina Clorius
„Der Vorhang öffnete sich, er stand
auf der Bühne – und schon dieses Stehen
war Tanz.“ – Ich habe gelacht, als ich
diese Beschreibung des Auftritts eines
berühmten Tango-Tänzers hörte. Heute
lache ich nicht mehr. Stattdessen sehne
ich mich, sobald ich mich auf dem
Parkett in die Arme eines Mannes begebe,
nach diesem Augenblick des Innehaltens,
des spannungsvollen Abwartens, in dem
sich mitten im Musikstück ein Solist
über jegliche Takte und Tempi
hinwegsetzt und einen Ton ins Unendliche
ausdehnt. Meist ist es das Bandoneon,
dieses kleine Knopfakkordeon, das
zunächst mit sanftem Druck und dann, auf
den letzten Millimetern, mit roher
Gewalt zusammengedrückt wird, um ihm
noch ein letztes Seufzen und Ächzen zu
entlocken, bis sich sein oft über 70
Jahre alter, in Thüringen hergestellter
Blasebalg im Auseinanderziehen wieder
mit Luft füllen darf.
Die Rede ist vom Argentinischen
Tango. Ich kenne keinen anderen Tanz,
der so hingebungsvoll die Pausen
zelebriert, keine andere Musik außer dem
Jazz, die den Musikern so viel Freiheit
zum Tempowechsel lässt. Nicht zufällig
versuchen sich viele Jazzer früher oder
später an Stücken von Astor Piazzolla,
dem berühmtesten Komponisten moderner
Tango-Musik.
Gewiss, es gibt die konservativen
Tangos, deren Viervierteltakt
verlässlich vom ersten bis zum letzten
Takt marschiert. Es gibt die Milongas,
eine Unterart der Tangos, die mit
karibischer Leichtigkeit die schweren
Bandoneons und strengen Geigen zu
afrikanischen Rhythmen tanzen lassen. Es
gibt den Tango-Pop, der sich
elektronischer Instrumente bedient. Es
gibt sogar den Tango-Walzer mit
wiegendem Dreivierteltakt. All diese
Formen des Tangos haben mit
spannungsvollen Pausen nicht viel zu tun.
Doch da gibt es ein paar Stücke, in
denen der Wechsel von schneller Bewegung
zu zögerndem Verharren den ganzen Reiz
ausmacht. Und die sind es, die ich an
diesem Tanz, an dieser Musik liebe.
Tango is
so much more
than just a bunch of steps…
and often misunderstood by many dancers
who just cannot relate to the incense of the music
The
dancing couple translates the music into movement, interpreting each role
specifically with their masculine and feminine energy, becoming one in the
embrace for 3 minutes.
The
power of the embrace is the most effective
energy in this dance form, which makes tango outstanding and different from all
other social dances.
To
understand the language of tango, there are some basic techniques, and a number
of basic elements and tools that help us to understand and execute our
movements to get into the right connection.
Applying the basic techniques help you to feel confident when you dance as a
couple, in an embrace.
Lead:
The
role of the man or the leader is to conduct the dance. Historically seen, the
leader is viewed as having the more masculine energy. This doesn’t mean the
women cannot lead.
In this dance the two
roles are historically well-established. He, who initiates the movement, needs
to observe and decide where to move,
needs to communicate before initiating the movement. This means the lead has to
be clear enough to be perceived by the follower after which the leader must wait
for the follower to produce the movement
Follower:
The role of the woman or
follower is normally given to the woman because of her feminine sensibility. The
very nature of feminine movements makes the woman the follower in this dance.
The role as the woman is as important as the man’s with the difference being
that the woman needs to be connected with the partner in an unique way in order
to give a clear answer to his command. The follower needs to be sensitive enough
to read different bodies and to interpret different leads. The woman needs to
know how to share axis without loosing her balance. She learns a movement
technically by muscle memory, but than she must forget this movement as a
choreography, so she can sync with what
she is receiving from the leader.
Remember that both roles
are equally active and important in this dance.
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Aug 2005 WS Fernanda & Guillermo
Nov 2005 with Roberto Herrera Feb 2006 WS Fernanda &
Guille Sep-Oct 2006 with Bruno & Facundo
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