The Dialogue

The Tango is not a dance of the step making, separate positively expressed, a subtle and unforeseeable dialogue between man and woman. And it is on the one hand a multilayered symbol in motion for the high Eros, on the other hand in addition, a mirror, in which we are confronted with the snapshot of our present/immediate relationship. The impulse proceeds from the axle of the man, strictly speaking of the heart. The woman from its center takes up that impulse, likewise at the heart and steers it, from there, without giving way in the torso, into the aspect ratio of their step. This description is considered to us already as the first example, as little this technology of the pure functionality of mechanical operational sequence submits and as much in it the whole philosophy and Metaphysik of this dance are contained already. Tango is dancing Eros. Also it is filled from polarity. In order to unite on a higher level, it is necessary, to separate before clearly. Only between the maximum contrasts the cosmos stretches. Only between the contrasts is area for the longing. And the Tango connects the extreme contrasts to a harmonious whole one, which occasionally deeper experiences of the unit grants. On the psychological, erotischen and artistic level are its topics: Man and woman, male and womanlike, Devotion and autonomy, Combination and border, Feeling and shape, Form and contents, Geometry and passion, Fire and ice, Angel and devil, Love and seduction, Leading and leading letting, Heart and backbone, Poetry and reflection, Spirit and sinnlichkeit, Fight and tenderness, Approximation and alienation, Parting and return. In the flowing interrelation of the contrasts in the dance movement, in the constant change of the whole one, in the dynamic play of its poles: Twist and dissolution, Retarding and accelerating, Bends and distances, Expanding and pulling together. A goal in the dance movement is it, to consolidate this contentwise maximally. That means, that the number that, into their felt moments increases. The number of the ' points of movement ', which we notice, rises. We go ever more into the depth; and between two points, which we before one behind the other, modelful spoken, noticed, we feel still further. It is, as if we in the starlit skies look at night. First we see only some stars. But the longer we our attention to a place arrange, the more become visible for us. We fill out the movement increasingly inward and penetrate into them. It is, to taste like the movement, to be able to be zergehen on the tongue. Our ' picture resolution ' grows thereby ever more, according to the increase of the capacity of our perception, which we in the Tango train. Apart from this compression of communication between spirit and body, we deepen also the dialogue with our Tanzpartnerin and the perception of the area, as well as the other pairs. Complex interaction between man and woman functions only by fine mutual Erspueren and to instinktiver consideration of all perceptions. A condition desired in the Tango, just like in the combat arts, in those the spirit of the Zen is expressed, is the unit between spirit, Body and technology. Outgoing from this unit, becomes on the next level the unit of man and woman, on the basis of maximum differentiation in the roles, possible. If thinking leads and not the intuition, one moment of being waiting develops, whereby us the river of the material happening overhauls. The river symbolizes both the time, and the physical movement. The actually motionless moon stands for quietly at the moment the staying spirit. It moves only apparently, where it in the river is reflected. But the moon does not adhere at the river. Because the river is not an instant the same. Just as little our spirit adheres on passing instants in the dance. Otherwise it could not be any more in the present. It stays always motionless in straight present instant. Thus it remains fresh in each moment and in the contact with the alive reality of the incessantly flowing instants. It does not fall asleep. The instant is like a golden ball, the two coats, in that it, beyond of space and time, over the parquet slide. Going or Caminar in the embrace of the Tangos forms the basis for all step combinations. The Tango is a movement language with extensive vocabulary and complex grammar. So that the woman can follow her dancer by the cosmos of taenzerischer possibilities sovereign, it must separate from the conception of fixed figures. Any definition in the Tango is arbitrary and effected only for instruction. No two Tangos are alike. Therefore the dancer needs solid elementary knowledge. To have learned does not meet certain figure combinations with both dancing, in order to be able to really step into a taenzerischen dialogue.

The Argentine Tango is not a dance of the step making but a subtle and unpredictable dialogue between man and woman. It is on the one hand a multilayered symbol in motion for the high Eros, on the other hand a snapshot of our present ,immediate relationship with all his frustations. For the dancer, the impulse proceeds from the axe of the man, strictly speaking of the heart. The woman takes up that impulse, likewise at the heart. From there, without giving way in the torso, into a step. This description is technology, pure functional mechanical operational sequence. Yet, the whole philosophy and Metaphysique of tangodance are contained in it. Tango is dancing Eros. It is filled from polarity. In order to unite on a higher level, it is necessary, to separate clearly. Only between the maximum contrasts the cosmos stretches. Only between the contrasts is area for the longing. And the Tango connects the extreme contrasts to a harmonious whole one, which occasionally deeper experiences of the unit grants. On the psychological, erotic and artistic level are devotion and autonomy, Combination and border, Feeling and shape, Form and contents, Geometry and passion, Fire and ice, Angel and devil, Love and seduction, Leading and suivre. We fill out the movement increasingly inward and penetrate into them. It is, to taste the movement, tangopuro. Apart from this compression of communication between spirit and body, we deepen he dialogue with our tanguera. Complex interaction between man and woman functions only by fine mutual consideration of all perceptions. A condition desired in the Tango, just like in the combat arts, the unit between spirit, Body and technology. Outgoing from this , the maximum differentiation in the roles is possible. Walking, going or Caminar in the embrace of the Tangos forms the basis for all step combinations. The Tango is a movement language with extensive vocabulary and complex grammar. So that the woman can follow her tanguero in the cosmos of her enlarged possibilities. Dancing must separate from the conception of fixed figures. Any definition in the Tango is arbitrary and effected only for instruction, an imatation has no soul. Like roses, no two Tangos are alike. Love making is no step making and passion is no routine or mis-on-scene.