It is no accident that the mood of an entire tanda is the same even to the point of having the same orchestra from the same year with the same sound and rhythms to the songs (for instance Rodolfo Biagi used to play piano for Anibal Troilo, when Biagi formed his own orchestra the sound of Troilos music changed radically, so you wouldnt want to mix songs with and without Biagis famous rhythms in a Troilo tanda because it would disrupt the flow and connection developed by the milonguero) tango is a complicated dance and there are nights and partners where it takes all 4 similar songs to create a good connection a milonguero depends on this structure to create confidence in his partner. . . . → Read More: Why Do We Still Dance to These Old Tango Songs?
|
|||
|
So to choreograph a dance is to make a symbolic representation of moving about in a lively or frolicking way as opposed to improvising your dance, which would mean that you would make a lively or frolicking motion out of whatever is at hand. . . . → Read More: Play and Tango Still she said, \”I will learn to dance by following my husband.\” I have seen this work with women that are very good at being in their body and if the men she dances with are well balanced and have enough skill to dance for two. . . . → Read More: Dancing in Your Head – or – Kinesthetic Learning? 
|
|||
|
Copyright © 2012 Argentine Tango Lessons in Tucson Arizona - All Rights Reserved 
|
|||
The Calm Feminine -vs- The Frantic Masculine
However the more we move and the more we trust the movement the better we are to pick up the signals of our partner and move together without control but with surrender. Let yourselves move into the gap in between your mind and body – exist in the gap between your body and your mind, between moving and not moving. . . . → Read More: The Calm Feminine -vs- The Frantic Masculine