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Argentinsk
TANGO
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Kontakt:
Ernst Nielsen
Mobil: 2171 2132
Mail: ernst-nielsen@privat.dk

Se billeder fra arrangement på Kulturøen i Middelfart her:

http://www.fyens.dk/article/1893142:Middelfart--Der-blev-danset-tango-igen-i-aar

Historien om Argentinsk Tango

I argentinsk tango kommunikerer man med et kompliceret tegnsprog, hvortil man bruger hele kroppen.

Tangoen opstod i forstæderne til Buenos Aires i slutningen af 1800-tallet på barer og andre steder. I starten var tangoen ikke velset; men efterhånden bredte dansen sig opad i de sociale lag. Det var dog først, da dansen havde gjort sit indtog i det mondæne Paris, at tangoen blev lukket ind fra de beskidte kvarterer til de acceptable saloner.

Tangoen gik sin sejrsgang i Europa, men i 1920' erne blev den "standardiseret", og blev til det, europæerne stadig i dag kalder tango, og som alle kender fra de traditionelle danseskoler og sportsdansekonkurrencer.

I Argentina har dansen derimod videreudviklet sig fra det oprindelige, og danses stadig i saloner, men man skal se godt efter for at finde elementer af den oprindelige dans i "den europæiske tango".

Det helt særlige ved argentinsk tango er, at man improviserer. Der er nogle grundlæggende elementer, eller figurer om man vil, en måde at holde om hinanden og en særlig måde at bevæge sig på, som først må læres. Men så er resten improvisation, kombination og intention. Der er utallige muligheder for at danse figurer, variationer. Musikken, med sit specielle instrument, bandonéonen, og sine skift i rytmen, giver dansen endnu flere muligheder: man kan følge grundrytmen, danse i halvt tempo, dobbelt tempo, følge melodien etc.

Et andet karaktertræk er, at de to dansepartnere ikke altid er i bevægelse samtidig og ikke danser de samme trin. Manden styrer mest, men kvinden kan bryde ind og styre, og denne intense kommunikation gør, at det for en udenforstående vil se ud, som om dansen er koreograferet.

Danser man for et publikum, inddrages evt. mere akrobatiske elementer, hvilket giver dansen et spektakulært præg, så tilskuerne får et lille indblik i den passionerede spænding, der ellers er dansernes egen hemmelighed!

Tangocitater

"Walking, cruzada, forward ocho, back ocho, molinette and boleo is a good foundation for the dance". Ukendt.

"To understand everything is to forgive everything". Buddha.

"A woman must be completely centered and balanced so she can be able to move at an instant's notice in any direction. She must be in complete control of her body in order to surrender control of where she is going. She need to be completely grounded so she can be free enough to feel that she is flying. Her body must be toned enough to provide enough resistance to the man to respond to his proposed changes of direction in a completely relaxed way that avoids obstruction. The woman must be mentally alert to keep her mind empty in the present time in order to respond at the speed and with the precision that it is required". Sally Potter's Tango Aphorisms.

"Tango lets us express anger, love, passion, in a socially accepted way", Leandro Paulou.

"Dancing with the feet is one thing, but dancing with the heart is another". Anonym.

"The leader's ability to control the follower's weight is important for the connection between the couple. The possibility og creativity increases 100%". Oscar Casas.

"Follower, pay attention to the upper body movement of the leader. This way you will notice the change of velocity in the lead". Oscar Casas.

"It is important to pay attention to the space between each step you take. This space can be used to interpret the music or create different dynamics in your dance". Oscar Casas.

"Leaders, be careful when you stop the follower, so as not to keep transferring energy to her body. otherwise, the follower will continue moving". Oscar Casas.

"Remember to constantly wait for each other. Take all the time you need to communicate the idea you have to your partner". Oscar Casas.

"Do not fragment the movement. Keep it fluid. Think of it as liquid flowing". Oscar Casas.

"Followers, a soft knee is crucial. With this, a leader can control how much your knee should bend, and consequently the length of the step. This will help you to project correctly". Oscar Casas.

"Leaders, use your solar plexus to signal to the follower the ascension or descension movement of the follower". Oscar Casas.

"It is important to show that tango is not only a dance of passion, but of love in all its different facets". Oscar Casas.

"The dancers at the milonga are not applauding our expertise - they are just celebrating with us this beautiful moment". Oscar Casas.

"Tango was born from the crash of different societies. In the beginning, it was a way to ease loneliness. later, the public thought of it as a dance of passion. But really, it is a dance of love". Oscar Casas.

"Followers: It is very important to be aware of your feet and how they connect with the floor. Do not anticipate. Let the leader position you at the correct angle before the cross. Do not assume anything". Oscar Casas.

"Followers, when you cross in front or in back, use the ball of your foot (not the heel) to receive your weight". Oscar Casas.

"Never critizize your dance partner". Brave Combo.

"Use the paradas as a station where you are telling the follower: "Attention please! Something special is coming, so prepare yourself". And "prepare yourself" means "relax and don't anticipate"". Oscar Casas.

"En god afslutning på dansen betyder meget". Horst.

"Observe that milonga is a series of short rebounds. The size of our steps is short, and we need to be fast, but accurate in the position of our feet". Oscar Casas about milonga.

"It is important that the feet of both partners land on the floor at the same time. Also rember to use the inside part of your feet" Oscar Casas about milonga.

"You both need to rebound fast, and in time with the music". Oscar Casas about milonga.

"...to dance with the six count basic steps (box step or "baldosa")" Oscar Casas about milonga.

"...you will understand that my traspie is nothing other than going from one position of the six-count basic steps to another". Oscar Casas about milonga.

"Traspie is not so mysterious after all..." Oscar Casas about milonga.

"Find your own balance. Feel how your thought are reproduced in your body movements. Collect, always collect softly". Oscar Casas.

"Your thinking originates in your mind, and you convey it to your partner". Oscar Casas.

It is not your body, it is somebody else's. Always give time to your partner to reproduce the movement you want". Oscar Casas.

"Wait for your partner to cross. Feel your partner cross, and change your weight always with her. Prespecting these values is the key to a good leader". Oscar Casas.

"Observe when she is moving and I'm not. I'm directing her around me, this way I'm keeping her close to me and on her axis". Oscar Casas.

"It is very important to use elevation, dynamics and the forces involved in the rock step". Oscar Casas.

"Hold and suspend your partner, use different timing, different lenghts of steps, and different amounts of pivoting in each step. This creates a varety of sensaions for your partner". Ocar Casas.

"Beginner's mind". Chan Park.

"Dans er ikke kun glimmer og kunstige smil; men ægte livsglæde" Majken Bjerg.

"Two bodies, four legs, and one heart". Chan Park.

"Experience, not philosophy". Chan Park.

"Technique - bodily control - must be mastered only because the body must not stand in the way of the soul's expression" - La Meri.

"Move now and the way will open". Anonym.

"Sometimes your partner moves around you, and with the rock step, you can connect to the giro, generating a clear change of dynamics". Oscar Casas.

"Changing the idea, now we move aound our partner, more or less like a calesita. We already know which foot she is on, to later start her moving around us". Oscar Casas.

"What makes tango unique is that the leader uses the follower's body like a musical instrument, representing the feeling of the piece". Oscar Casas.

"In Argentine Tango she is the music. As my friend, Ricardo Vidort, uses to say, "Tango is a feeling that you dance" ". Oscar Casas.

"Manden skal invitere og ikke insistere" Allan Kim Espesen.

"The follower always repeats three steps in different orders - front cross, side step and back cross..." Oscar Casas.

"Leaders, you are the administrator of the order of these steps. Pay extra extention to where the follower is at any given time..." Oscar Casas.

"Move the follower very slowly, explore and feel what you can do. Remember when you exit the giro, whichever leg you choose will determine which system you are in (cross or parallel)". Oscar Casas.

"Follower observe how to always collect at the back of the standing leg. This keeps the follower on a proper lean, with the center forward, allowing the lead to be clear and effective". Oscar Casas.

"Follower, when adding an adornment, make sure the movement of your foot goes no father than the radius of your shoulders. In this way, you can still maintain your axis, without compromising your balance or that of your partner". Oscar Casas.

"As you learn adornments, we suggest you keep your feet as close to the floor as possible. Remember, the bigger the adornment, the more difficult it is to control, and any mistake or insecurities will appear bigger". Oscar Casas.

"The details will determine the quality of your dancing" Oscar Mandagaran

The follower always repeats three steps in diffenent orders - fron cross, side step and back cross" Oscar Casas.

"Leaders, you are the administrator of the order of these steps. Pay extra attention to where the follower is at any given time". Oscar Casas.

"Move the follower very slowly, explore and feel what you can do. remember, when you exit the giro, whichever leg you choose will determine which system you are in (cross or parallel)" Oscar Casas.

"Leaders, controlling the follower's weight using the pendulum movement allows you to express the melody of the music". Oscar Casas.

"Followers, the leader is your weight administrator, and it is his job to give you time to arrive at the next step, and not rush you". Oscar Casas.

"If you feel rushed with the leader, it is not your fault" Oscar Casas.

"Leaders, explore how to suspend the follower and to respond yourself. Take time to think about which highway and which leg you want to use, but never stop the movement. A pendulum never stops moving, it reaches the highest point, suspends and returns". Oscar Casas.

"Leaders, controlling the follower's weight using the pendulum movement allows you to expres the melody of the music". Oscar Casas.

Follower, the leader is your weight administrator, and it is his job to give you time to arrive at the next step, and not rush you". Oscar Casas.

"If you feel rushed with the lead, it is not your fault". Oscar Casas.

"Leaders, explore how to suspend the follower and to reposition yourself. take time to think about which highway and which leg you want to use, but never stop the movement. A pendulum never stops moving, it reaches the highest point, suspends and returns". Oscar Casas.

"Followers, the deadly sin of anticipation can be a consequence of not trusting, not being relaxed enough, or of being over-eager to please. Remember, it is the leaders' responsibility to administrate our weight, whether we be beginners, intermediates or advanced. Just relax and wait! Oscar Casas.

"Follower, every leader is a generator and every follower is a receiver. We can enjoy the "music" the leader offers - and each leader is different". Oscar Casas.
"So enjoy the dance, relax and wait for the lead. Think of yourself as the instrument that is being played, and the leader as the musician". Oscar Casas.

"Beginner followers, for now just relax and focus on receving the lead. Forget about adornments for now, and concentrate the quality of your dance". Oscar Casas.

"Intermediate and advanced followers - go ahead and try out some adornments. Here you can show your presence in the dance and introduce your personal touch. As the saying goes, we need two to tango! But remember, do not compromise your posture, weigh transfer, communication, or harmony of the movement. You are the musical instrument. The leader without the quality of your dance can do nothing" Oscar Casas.

Mine undervisere

Marita Bjerring og Adrian Durso

Claudia Zimmermann og Pablo Tamburini

(Maria Jose og Felix)

Julia Marini og Pablo Fidanza

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Historien om Argentinsk Tango