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The embrace of two Argentine tango dancers Argentine tango is a and accompanying originating at the end of the 19th century in the suburbs of. It typically has a rhythmic, and two or three parts repeating in patterns such as ABAB or ABCAC. Its lyrics are marked by, sadness, and laments for lost love. The has several melodic instruments and is given a distinctive air by the small button called the. It has continued to grow in popularity and spread internationally, adding modern elements without replacing the older ones. Among its leading figures are the singer and songwriter and composers/performers,. Main article: The origins of tango are unclear because little historical documentation from that era exists.

However, in recent years, a few tango aficionados have undertaken a thorough research of that history and so it is less mysterious today than before. It is generally thought that the dance developed in the late 19th century in working-class neighborhoods of Buenos Aires, Argentina and Montevideo, Uruguay and was practiced by Uruguayan and Argentine dancers, musicians, and immigrant laborers. Main article: Argentine tango music is much more varied than ballroom tango music. A large amount of tango music has been composed by a variety of different orchestras over the last century.

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Not only is there a large volume of music, there is a breadth of stylistic differences between these orchestras as well, which makes it easier for Argentine tango dancers to spend the whole night dancing only Argentine tango. The four representative schools of the Argentine tango music are, and, all four descendent from Italian immigrant families. They are dance orchestras, playing music for dancing. When the spirit of the music is characterized by counterpoint marking, clarity in the articulation is needed. It has a clear, repetitive pulse or beat, a strong tango-rhythm which is based on the 2x4, 2 strong beats on 4 (dos por cuatro). Stretched the classical harmony and counterpoint and moved the tango from the dance floor to the concert stage.

His compositions tell us something of our contemporary life and dancing it relates much to modern dance. While Argentine tango dancing has historically been danced to tango music, such as that produced by such orchestra leaders as, in the '90s a younger generation of tango dancers began dancing tango steps to alternatives to tango music; music from other genres like, 'world music', 'electro-tango', 'experimental rock', 'trip hop', and 'blues', to name a few. Tango nuevo dance is often associated with alternative music, see, but it can be danced to tango as well. List of tango bandleaders during the Golden Age of tango. Argentine tango in the streets of, Buenos Aires.

Argentine tango dancing consists of a variety of styles that developed in different regions and eras, and in response to the crowding of the venue and even the fashions in clothing. Even though the present forms developed in Argentina and Uruguay, they were also exposed to influences re-imported from Europe and North America. There are records of 18th and early 19th century tango styles in and Spain, while there is a dance that may share a common ancestor in a minuet-style European dance. Consequently, there is a good deal of confusion and overlap between the styles as they are now danced - and fusions continue to evolve. Argentine tango is danced in an embrace that can vary from very open, in which leader and follower connect at arms length, to very closed, in which the connection is chest-to-chest, or anywhere in between. Tango dance is essentially walking with a partner and the music. Dancing appropriately to the emotion and speed of a tango is extremely important to dancing tango.

A good dancer is one who transmits a feeling of the music to the partner, leading them effectively throughout the dance. Also, dancers generally keep their feet close to the floor as they walk, the ankles and knees brushing as one leg passes the other. Argentine tango dancing relies heavily on; although certain patterns of movement have been codified by instructors over the years as a device to instruct dancers, there is a 'basic step' called 'basico'. One of the few constants across all Argentine tango dance styles is that the follower will usually be led to alternate feet. Another is that the follower rarely has his or her weight on both feet at the same time.

In many modern variations of Argentine Tango, particularly in Europe, teachers of Tango may establish a 'basic step' in order to help students to learn and pick up the 'feel' of the dance. This article contains.

The purpose of Wikipedia is to present facts, not to train. Please help either by rewriting the how-to content or by it to,. ( March 2010) Argentine tango is danced counterclockwise around the outside of the dance floor (the 'line of dance') and dance 'traffic' often segregates into a number of 'lanes'; cutting across the middle of the floor is frowned upon. In general, the middle of the floor is where one finds either beginners who lack floor navigation skills or people who are performing 'showy' figures or patterns that take up more dance floor space. It is acceptable to stop briefly in the line of dance to perform stationary figures, as long as the other dancers are not unduly impeded. The school of thought about this is, if there is open space in front, there are likely people waiting behind. Dancers are expected to respect the other couples on the floor; colliding or even crowding another couple, or stepping on others' feet is to be avoided strenuously.

It is considered rude; in addition to possible physical harm rendered, it can be disruptive to a couple's musicality. Steps were standardized by dance studios. The steps have been relatively fixed in style for decades. However, Argentine tango has been an evolving dance and musical form, with continual changes occurring every day on the social dance floor in Argentina and in major tango centers elsewhere in the world.

Argentine tango dance is, still based heavily on improvisation. While there are patterns or sequences of steps that are used by instructors to teach the dance, even in a sequence every movement is led not only in direction but also speed and quality (a step can be smooth, pulsing, sharp.

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Although Argentine tango evolves mostly on the dance floor, the government of Argentina does host an annual competition of Argentine tango dance in, attracting competitors from around the world. Close embrace Elements Embrace A striking difference between Argentine tango and ballroom tango is in the shape and feel of the embrace. Ballroom technique dictates that partners arch their upper bodies away from each other, while maintaining contact at the hip, in an offset frame.

In Argentine tango, it is nearly the opposite: the dancers' chests are closer to each other than are their hips, and often there is contact at about the level of the chest (the contact point differing, depending on the height of the leader and the closeness of the embrace). In, the leader and the follower's chests are in contact and they are dancing with their heads touching or very near each other.

In open embrace, there can be as much space as desired between the partners, but there should always be complete contact along the embracing arms to give optimum communication. Since Argentine tango is almost entirely improvisational, there needs to be clear communication between partners. Even when dancing in a very open embrace, Argentine tango dancers do not hold their upper bodies arched away from each other; yet, each partner is not always over their own axis, there are even styles that demand a constant leaning against each other. Whether open or closed, a tango embrace is not rigid, but relaxed, like a hug. Parallel system walk.

Walking One characteristic of Argentine tango is the walk outside of the legs of the follower. The inside walk belongs originally to the American Tango.

It is seen in Argentine Tango, but it does not belong to it originally. Another difference is that the leader may freely step with his left foot when the follower steps with her left foot. In English, this is sometimes referred to as a 'crossed' (e.g. 'walking in the crossed system') or 'uneven' walk in contrast to the normal walk which is called 'parallel' or 'even.' In ballroom tango, 'crossed system' is considered incorrect unless the leader and follower are facing the same direction. Furthermore, the flexibility of the embrace allows the leader to change his weight from one foot to another while the follower's weight remains unchanged. This is another major difference with ballroom tango, where a weight change by one partner usually leads to a weight change by the other.

Tango Argentino 1992

The nomenclature originated with the Naveira/Salas 'Investigation Group.' Early on, they used 'even/uneven' to describe the arrangement of legs in the walk (or turn). By the mid-1990s, they began using 'parallel/crossed' and later 'normal/crossed'. In dance the changing of feet is named contrapaso, or 'contra-step'. This change can be made off or on the normal beat. Main article: This is a close-embrace style named by in the 1990s. Ideal for crowded dance floors, it is danced chest-to-chest, knees relaxed, back straight, with the partners leaning - or appearing to lean - slightly toward each other to allow space for the feet to move.

The center line of the leader's and follower's spines are directly in front of each other, requiring that each dancer turn their head to their left slightly to find space over their partner's right shoulder. The follower's left arm reaches directly up over the leader's shoulder without resting any body weight on the leader's shoulder. The leader's left hand and the follower's right hand clasp in the same manner as other styles of Argentine Tango, with elbows pointed down (contrasting with elbows up and pointed back as in ), with little or no pressure applied by the arms or hands. The leader's right arm is held high across the follower's shoulder blades to help facilitate the upper chest connection, to avoid pulling the follower's lower torso and hips in toward the leader, thus allowing more flexibility of movement in the mid and lower spine and better extension of the follower's legs.

In the case of followers that are not tall enough to place their head over the leader's shoulder, it is recommended that the follower's head be turned to the right and touch the left side of the head to the leader's chest, and the follower's left arm may wrap around the outside right arm (although this is generally not preferred as it limits the leader's flexibility of movement, and is a danger on crowded dance floors to have the follower's elbow sticking out). It is generally not recommended for a leader to dance milonguero style with a follower that is too tall for the leader to see over the follower's shoulder since it would be very difficult to navigate around the dance floor. A style of can be considered a modern development of tango milonguero. Tango nuevo. Main article: Starting in the 1990s in, the Tango Investigation Group (later transformed into the organization) founded by and applied the principles of dance from to analyze the physics of movement in Argentine tango. Taking what they learned from this analysis they then began to explore all the possibilities of movement within the framework of Argentine Tango.

From the work of these founders of the Tango Nuevo movement, there was shift in all styles of tango away from teaching what to dance toward teaching how to dance. A tango show in Buenos Aires Show tango, and Tango de Escenario (stage tango) is a more theatrical form of Argentine tango developed to suit the stage. In theory, all styles can be performed on stage, but the movement has to take stage elements into accounts, such as diagonals, centres, fronts, placement of lights, etc.

Often, show tango routines includes embellishments, acrobatics, and solo moves that would be impractical on a social dance floor. Stage tango can be partially improvised, but in order for the general choreography to fit the set stage, some parts need to be rehearsed as a set routine. Stage Tango still has to be led like it is led in all other Tango styles; otherwise the couple is missing the main ingredient of the dance, namely, the typical intimate connection; this connection becomes visible only when the leader and follower enter their roles – whether the show is choreographed or not. Tango on stage should not be confused with Tango de Fantasia or tango acrobatico, which is a particular style of tango that is only suitable for stage dancing.

Video Corso Di Tango Argentino Bailey

Examples of tango shows. Tango Javier Rodrigues & Geraldine Rojas Carlitos Espinoza & Noelia Hurtado. Tango vals Ariadna Naveira & Fernando Sanchez Javier Rodriguez & Geraldine Rojas Sebastian Arce & Mariana Montes Chicho Frumboli & Juana Sepulveda Resurgence of Argentine tango outside Argentina.

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