It is not movement alone but rather the quality a dancer gives to their movement that makes them an artist.
What kind of style do we dance?
Words such as "tango salón", "milonguero", or "nuevo" have already lost their former meaning. They are no longer helpful in determining either the technique or the aesthetics of the dancer. Instead, we suggest getting acquainted with our philosophy of movement and performances that present the aesthetics and quality of movement that we currently pursue.
The technique we use is an original method developed by Tymoteusz Ley as a result of his experience of working with the body, including martial arts training. The couple that has had the most considerable impact on our dance was Luis Bianchi and Daniela Pucc and Clarissa Aragon with Jonathan Saavedra.
We create artists
We want our students not only to be able to move freely but also to interpret the music consciously. During the classes, we put a lot of emphasis on improving our ear for music and deepening musical analysis. We use various acting techniques and images to bring out emotions in our movements. All this in order to express music not only with interestingly selected sequences but also with the quality of movement in these sequences.
Philosophy of our movement
The dancer's performance is based on both his or her muscle work and body flexibility. Muscles allow you to accentuate movement, flexibility allows the accent to resound, resonate.
In our opinion, for most dancers it is more difficult to relax than to mobilize their muscles. This is why we begin classes with relaxation techniques, which are less intuitive, and then move on to structuring the body with muscle work. The pursuit of an upright posture, both in motion and in a static position, is based on succumbing to gravity and strengthening deep muscles. Instead of artificially reconstructing the posture as a specific shape, we awaken in our students the awareness of their own body and the sense of the centre of gravity. In order to achieve an upright posture, we often work with stretching techniques, particularly in relation to the chest and shoulder girdle.
Benefits from relaxation training:
- broadening the range of motion,
- clearer signal communication in leading,
- enjoying greater pleasure in embracing,
- deepening sensibility in leading and following,
- improved gravitation and, consequently, ergonomics of movement,
- awareness of the body and ability to analyse the process taking place in the body,
- overcoming mental barriers, including unconscious muscle tightening.
In our philosophy, movement is dynamized to a large extent by the inertia of the body. Circular figures, a loose leg in a gancho, enrosque, colgada, and even simple steps become dynamic when we relax those structures that do not have to take part in a given movement—in spite of intuitive tightening of muscles in order to accelerate the movement. In our technique, we learn to isolate the parts of the body that require maximum relaxation to achieve inertia, while maintaining the structure and position of the base leg.
Here, basing the work of feet, knees, pelvis, and shoulder girdle on mechanics that are safe for the body is a priority. We constantly consult our proposed exercises with specialists in other areas of movement, such as physiotherapists, massage therapists, or sports coaches. We also eliminate movements unnatural for the body, that are stylized and, consequently, induce injuries..
Real leading and following
In our teaching of lead and follow, we use the concept created in the 1980s by Fabian Salas, Gustavo Naveira, and Chicho Frumboli. According to them, the leader signals the projection of each step or rotation and can control the follower's movement at any given point. It might sounds obvious but it is not. This is the opposite of learning a sequence by heart. Therefore, we do not accept a concept where the follower always makes a fixed series of movements after one initial signal. Sequences are, therefore, a result of many subtle signals, each of which can be replaced by another, which permits almost infinite combinations. This concept was named in the 1980s as a new approach to tango, or "tango nuevo"./span>
Methodology—learning and teaching techniques
We are both passionate about improving our tango teaching methodology and fast learning techniques. In our opinion, everyone can be taught to dance tango if only they reach and use their natural aptitude to acquire knowledge. In order to understand the perception of each of our students, we use the multiple intelligence theory in our classes. It assumes the existence of seven intelligences, that is different modalities of cognition, or ways of processing information. Students with predominantly mathematical-logical intelligence need different exercises and explanations than those with bodily-kinaesthetic, musical, or linguistic intelligence.
For us, effective training means full concentration during the practice of difficult movements. We challenge our students to do a little bit more than they can to stimulate their development continuously. Yes, in our opinion, training cannot be fully "pleasant". During the lessons, students go beyond their comfort zone, which is a prerequisite for development. However, the joy of dancing appears on the milongas when you can see the effect of your learning progress.
Our tango abilities are due to our continuing education and training. The methods that we use in our classes are exercises that we do ourselves in our practices. We apply the same techniques to practice projection, step, or spiral rotation, as well as building posture, giving pleasure from embracing, or developing stage expression.