HOW DANCE TANGO. SECOND PART

HOW DANCE TANGO. SECOND PART.

In the previous note titled «The Tango Dance» is the first part and now I will develop the title several periodic writting , with the purpose of disseminating and contributing concepts to learn and to teach; extracted from my own experience of having learned tango dance for several years with a great variety of teachers, having danced socially (milongueado) in milongas in Buenos Aires and in many milongas around the world uninterruptedly for much of my life with an average of 4 /5 times per week and with several years as a tango dance teacher with the body language methodology.

As an introduction, I will include a text that is not mine:

From Osho: Sufis, the People of the Path (English translation):

(Dancing is an experiment to bring your body, your mind and your soul, in tune. When, through the movement, the body and the mind are flowing and melting into each other, when the two become one, a certain alchemy starts happening. That’s why you see a new kind of grace on the face of the dancer, it is alchemical – the body-mind meeting, merging, becoming one rhythm, one harmony. When this harmony has happened then the third, the soul, starts entering into it. The soul can enter into your existence only when your body and mind are no longer in conflict, when your body and mind are deep in love, embracing each other…. that’s what happens in dance. Then immediately you will find the third entering also)

In tango it is not so much what is seen, but what is felt.

I am convinced that nobody has the truth of how tango is danced, each person dances as the person can and as he wants dance.

From our birth we have abilities in our body, some reach notoriety in sports, others in jobs, others in training… others in dance. If a person’s body has the ability for something he likes, for example dancing, he will surely develop his profession without great effort and will be able to become an excellent dancer

The person who does not have this ability by birth, to be able to emulate the outstanding dancer admired, would require an immeasurable effort and perhaps he will never achieve it. But that he possibly feels that he is emulating him and consequently thinks he is dancing well, until he manages to see himself, it is then that he can begin to think that he does not dance well; although in reality, perhaps, he is dancing well. This happens especially in tango, because in tango dancing it is not so much what is seen, but what is felt.

How do you define a good dancer?

The good dancer must make the other person feel good by adapting to his dance, his limitations and his level, in order to end the round with satisfaction for both… with a smile.

So, who defines a person as a «good dancer», are definitely the people with whom he dances, because they are who can feel it when he dances.

It often happens that we never dance with a certain person because we are not surprised to see them dance and when we do, for whatever reason, we are pleasantly surprised for having unexpectedly danced well.

Or vice versa, we see beautiful and neat dance movements that produce the desire to dance with that person and when it is achieved, disappointment comes for not feeling what was expected.

The summum of the dancer is to look good and that the other sex / other role feels good in his dance. Although sometimes it happens that for some they dance well and for others not so much and since it is impossible to satisfy all tastes, the concept of most another dancers defines the quality of the dancer.

Engineer Carlos Neuman