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Tango and conflict

Sueño el Sur, inmensa luna, cielo al reves,

Tango was born close to the bank of the Rio del la Plata between Buenos Aires e Montevideo, spurring an immediate conflict between two cities, struggling to decide who would be the hometown of this popular movement destined to be famous at that times and nowadays.

Who created Tango?
Tango was born from an encounter, a fight and a fusion among various cultures: the ones of the migrants that joined the “silver land” (Argentina) from many other places to seek their fortune. At the end of 1800, Africans, Italians, Germans, Spaniards, far away from their home country, discover new possibilities to communicate in other languages such as dance and music. Modern looks reveal how, that magic dance, was able to create an universal feeling that still nowadays gives emotions. Without losing its essential nature, Tango has the capability to transform itself, collecting the contamination of new dances and sounds.
Instead is more difficult to modify the interior conflict, the one that the human being feels when is obliged to leave the home country and live in another place far away,because of the distance, of the vastness of the ocean, of a sky with other stars.

Hundreds of conflicts exist in Tango: the texts speak about conflict, with the lover or the lost lover, with the far away home country and with the law. Tango became forbidden, as first because sinful – the dance was practiced in brothels – then because dangerous: it was a phenomenon of social aggregation and of intercultural exchange during the Videla regime.

Where is the conflict generated and is solved in Tango?
Certainly in a dance practiced in couple where the research, the challenge is to find an emphatic movement among two bodies that move themselves at the same time and that are stimulated by the same music.

Why we use it in the training and educational paths?
We acknowledge that this dance has the power to manifest the conflict of every relation: inside ourselves and with the others. The conflict is, as a first step, interior, personal, among body and mind – among how we think of ourselves, how we really are and how we would like to be. This generates a discontent that, in the language of tango, can be translated in two different ways: the first can be defined the “performance anxiety”: in this case the body wants the dance to finish as soon as possible and deprive ourself the pleasure to taste and experiment it. The second is the “misleading accusation”: in this case the human being remains concentrated on him/her self, forget his/her role and try to solve the conflict giving the fault to the other person in the couple.
In order to avoid these situations is important to understand that in the Tango the walk is collective and even if the man conducts the dance and the woman follows him, this doesn’t mean that he prevails: she must be sensitive, she must seize the impulse and transform it into movement, the man by the other side has to be able to support her with his arm, to assume the responsibility and to show the direction.

Men and women must act together, they must give the proper space and time, they have to create the space for a hug comfortable, soft and energetic. In this way it’s possible to go over the opening dichotomy and to create and emphatic and expressive movement.

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Acting conflicts! collects innovative methodologies that can be used in the non violent management of conflicts and can be developed in the daily work with less privileged youth at high risk of social exclusion.

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