TANGO LYRICS

C H O R R A
***************************

CASTELLANO ENGLISH
Por ser bueno, me pusiste en la miseria,
me dejaste en la palmera, me afanaste hasta el color.
En seis meses me fundiste el mercadito,
la casiya de la feria, la ganchera, el mostrador...
Chorra!
Me robaste hasta el amor...
Aura
tanto me asusta una mina
que si en la calle me afila
me pongo al lao del boton.
Lo que mas bronca me da
es haber sido tan gil.

Si hace un mes me desayuno
con lo qu' he sabido ayer.
No era a mi que me cachaban
tus rebusques de mujer...
Hoy m'entero que tu mama,
"noble viuda de un guerrero",
es la chorra de mas fama
que piso la treinta y tres.
Y he sabido qu' el "guerrero"
que murio lleno de honor,
ni murio ni fue guerrero
- como m' engrupiste vos -
Esta en cana pronturiado
como agente 'e la camorra,
profesor de cachiporra,
malandrin y estafador.

Entre todos me pelaron con la cero
tu silueta fue el anzuelo donde yo me fui a ensartar.
Se tragaron, vos, "la viuda" y "el guerrero",
lo que me costo diez años de paciencia y de yugar...
Chorros!
Vos, tu vieja y tu papa.
Guarda!
Cuidense porque anda suelta,
si los cacha, los da vuelta,
no les da tiempo a rajar.

Lo que mas bronca me da
es haber sido tan gil.
ENGLISH TRANSLATION:

For being nice, you drove me into misery,
you left me hanging from a palm tree, you even stole my color.
In six months you bankrupted my little market,
the stand at the fair, the hooks, the counter...
Thief!
You even stole my love...
Now
a woman scares me so much
that if one approaches me on the street
I hide behind a cop.
What really pisses me off the most
is to have been so stupid.

For a month I have suspected
what I've learned yesterday.
It wasn't me who were after,
your woman's fleeting love...
Today I learned that your mother,
"noble widower of a warrior",
is the most famous thief
that set foot on the 33rd precint.
And I found out that the "warrior"
who died with full honors,
didn't die, nor was a warrior
-as you lied to me-
He's in jail booked
as a hit man of the mafia,
professor of truncheon,
scroundel and swindler.

The three of you took me to the cleaners
your silhouete was the hook where I happened to get caught,
You, the "widow" and the "warrior" went through
what I worked hard and patiently for ten years...
Thieves!
You, your old lady and your dad.
Watch out!
Take care because she is on the loose,
if she catches you, she flips you upside down
she won't give you time to run.

What really pisses me off the most
is to have been so stupid.


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TANGO LYRICS

C A R N A V A L
**********************


CASTELLANO ENGLISH
¿Sos vos, pebeta? ¿Sos vos? ¿Cómo te va?
¿Estás de baile? ¿Con quién? ¡Con un bacán!
¡Tan bien vestida, das el golpe!...
Te lo digo de verdad...
¿Habré cambiado que vos, ni me mirás,
y sin decirme adiós, ya vas a entrar?
No te apresures.
Mientras paga el auto tu bacán,
yo te diré:

¿Dónde vas con mantón de Manila,
dónde vas con tan lindo disfraz?
Nada menos que a un baile lujoso
donde cuesta la entrada un platal...
¡Qué progresos has hecho, pebeta!
Te cambiaste por seda el percal...
Disfrazada de rica estás papa,
lo mejor que yo vi en Carnaval.

La vida rueda... También rodaste vos.
Yo soy el mismo que ayer era tu amor.
Muy poca cosa: un buen muchacho,
menos plata que ilusión...
Y aquí en la puerta, cansado de vagar,
las mascaritas al baile miro entrar.
Vos entrás también
y la bienvenida, a media voz,
yo te daré.

Divertite, gentil Colombina,
con tu serio y platudo Arlequín.
Comprador del cariño y la risa,
con su bolsa que no tiene fin.
Coqueteá con tu traje de rica
que no pudo ofrecerte Pierrot,
que el disfraz sólo dura una noche,
pues lo queman los rayos del sol.

ENGLISH TRANSLATION:
Is that you girlfriend? Is that you? How are you?
You going dancing? With whom? With a rich man!
Your dressed so well, you are a hit!
Have I changed that you don't look at me,
and without saying hi, you're going in?
Don't hurry up.
While your rich man takes care of parking the car,
I'll tell you:

Where are you going with a Manila shawl,
where are you going with a pretty disguise?
Nothing short of a luxurious ballroom
where it cost a fortune to get in...
How much you have progressed, girlfriend!
You traded percale with silk
Disguised as a rich woman you look marvelous,
the best thing I saw in Carnival.

Life rolls... Also you rolled.
I'm the same who yesterday was your love.
Nothing much: but a good man
less money than illusion...
And here at the door, tired of roaming,
I watch the masked ones enter the dance hall
You go in too
and a welcome,
in a low voice,
I will give you.

Have fun, gentile Colombina,
with your serious and rich Arlequin.
Buyer of affection and laughter
with his deep pocket.
Flirt with your rich woman's dress
that Pierrot couldn't afford
that the disguise only lasts one night,
because it burns under the rays of the sun.

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NEW ERA OF TANGO

HISTORIC REBIRTH OF TANGO
***************************

The fall of the military junta in Argentina in 1983 began a spectacular Tango Renaissance in Buenos Aires. Friends of mine who were in Buenos Aires at that time tell me the atmosphere was extraordinary. Suddenly everyone wanted to move. It was as though a physical weight had been lifted from them. Yoga classes were full. Martial arts classes were full. Dance classes of all kinds were full. And suddenly people wanted to learn to dance Tango, the ultimate symbol of Argentina to the rest of the world, because suddenly it felt all right to be proud to be Argentine again.

The problem with the Tango was that there had never been beginners' Tango classes in the Golden Age, and there was no tradition of teaching Tango. The prácticas had gone. There were no Tango teachers in Buenos Aires. There was a vacuum that needed to be filled.

A dear friend of mine, and a wonderful dancer, told me a story about how he started to teach Tango. He was a student at university, and there was this girl... He wanted to find a way to get closer to her, and he saw a notice for a Tango class aimed at people training to be professional stage dancers, to prepare them to dance in shows. The turnout had been low, so they had opened the class up to other students. He suggested to the girl that they go to the class together, and she agreed. After the second class her schedule changed and she couldn't make it to the Tango class any more, so he suggested that he carry on going and then show her what they had learned afterwards.

After about three months of classes things were going well, and she suggested that as he was doing so well teaching her, perhaps they should start a class. She had some contacts in a local Arts Centre and got their class put into the programme. It happened that this was exactly at the moment that the junta fell and everyone suddenly wanted to move. They came to teach their first ever Tango class and there were 200 people there.

The Meaning of Tango
Everywhere in the world that Tango has begun since 1983 the story has been more or less the same. I taught my first Tango class in London when I had been dancing seriously for four months, not because I thought I knew everything, but because people asked me to teach, because I had taken as many classes with visiting teachers or by travelling myself to Europe as I could, and knew a little. Very few Tango scenes anywhere in the world were begun by experienced dancers.

Even in Buenos Aires, when the Tango Renaissance began, it was mostly young dancers who knew a little who were the first teachers. In 1983 many of the people who had been dancing in the Golden Age were not dancing, and those that were would still have been suspicious of strangers. After all, there had been a brief flirtation with democracy in the 1970s, but in the background the Dirty War was already beginning.

So the first people to start dancing again in Buenos Aires would probably never have danced with someone who had danced in the Golden Age. A friend of mine tells me that she went to milongas and sat and waited and went home and didn't dance for years before people began to believe that she might be able to dance and started to ask her. Another friend of mine went to Tango classes for almost two years, eventually becoming the teacher's assistant, before she decided to go to a milonga for the first time. She took one look at the people dancing and suddenly realised that what she had been doing for such a long time had nothing to do with Tango, and was something that her "teacher" had made up.

Gradually the people who had been dancing in the Golden Age, and who might not have danced for thirty years began to dance again. Some of them developed a passionate desire to pass on to the younger generation the dance that they loved.

One of the most important couples in the early years of the Tango Renaissance were Miguel and Nelly. Miguel tragically died at a relatively early age, before I had the chance to meet him, though I did meet and dance with Nelly. They organised their beginners' classes to be as close as possible to the traditional way of learning. Students were only allowed to dance with the teachers until they were considered to be ready, only doing the most basic steps.

A friend of mine tells me that she went to Miguel and Nelly's classes with her boyfriend of the time. After a few months he said to Miguel, "When are you going to teach us some steps?" Miguel said, "When you're ready. You're not ready." The boyfriend protested and picked up my friend to show some of the steps another teacher had already taught him. Miguel threw him out of the class.

Many of the most important professional dancers of the Tango Renaissance trained with Miguel and Nelly.



--------------------------------------------------------------------------------


The early period of the Tango Renaissance was dominated by complex steps. There can be a tremendous excitement to doing complicated steps, especially if they are done with the technique used by those who learned Tango in the traditional way - native speakers of Tango, if you like. When done in this way, steps are part of the emotional connection that defines the essence of Tango. I began dancing when this fashion was still dominant in the new Tango scene. I always loved dancing with complicated movements, and still do. But even as a relative beginner I started to feel that some people in the new generation of dancers were dancing differently, and using steps to keep an emotional distance from their partners.


One of the most influential teachers of this period was Antonio Todaro, a brilliantly inventive dancer of the older generation. The intellectual challenge of the steps he created, and danced with the technique of the Golden Age, was a great inspiration to new dancers. He taught many of the professional stage dancers, and toured frequently in Europe. Todaro fell ill late in 1993, and passed away soon afterwards. It may be coincidence, but the fashion amongst young dancers in Buenos Aires, and then in the rest of the world, began to swing away from steps in 1994.

The next style to come into fashion was one based on the style of the geographical centre of Buenos Aires and the centre of the south of the city in the early 1950s. This is a style that is choreographically relatively simple, relying on the connection between the dancers, and their connection with the music. While it is possible to dance the other styles of the Golden Age with space between the dancers' bodies (although this was not done during the Golden Age), this style makes no sense if it is not done in a close hold.

The great attraction of this style is in the connection within the couple which is necessary to make it work, and which, when done well, is tremendously seductive.

One of the most prominent champions of this style, Susanna Miller, coined for it the term "Estilo Milonguero", milonguero style. The word milonguero, though it literally means someone who spends a lot of time in milongas, had come to be used to mean someone who had been a regular Tango dancer during the Golden Age, before the 1955 coup. While the choice of the term was obviously inspired by the desire to distinguish this style from the steps dominated style danced on stage, the unfortunate and unforeseeable consequence was that it set up the idea in people's minds that this was the only authentic social Tango style.

One of the saddest things I ever saw in Buenos Aires was a dear friend of mine who started dancing in 1945, in the style of the north of Buenos Aires, which is the most elegant and also the most difficult style of the Golden Age, on the point of tears - and elderly Argentine men do not cry in public - because a young dancer had said that he was not a milonguero because he danced with steps. He was being accused of lying about an important part of his whole identity, because this young dancer had misunderstood the term "Estilo Milonguero" and thought that this was the only true style.

The dancing of the people who were dancing in the Golden Age remained unchanged, and one could still go to milongas away from the centre of Buenos Aires and see people doing the most fabulously complicated steps in a truly authentic and completely social way. But by 1995 the style variously known as “close hold”, “short steps”, “Tango club” or “milonguero” had come to dominate the dancing of the people in Buenos Aires who were part of the Tango Renaissance.

The problem with this style, lovely as it is, is that it lacks the fascinating choreographic challenge of all the authentic styles of the Golden Age, apart from the style of the geographic centre and centre south in the early 1950s on which is was loosely based. The thing that makes this style exciting is the connection within the couple and the musicality of the dancers. Quite quickly I started to notice people finding ways of manipulating the close embrace in order to maintain an emotional distance from their partners. Most particularly I noticed people not dancing directly in front of each other, but with the follower away to the leader's right. This was certainly not my experience of dancing with people who had danced this style in the 1950s. They always were directly in front of me, as were almost all the dancers I danced with who had been dancing in the Golden Age, whatever the style.

REVOLUTIONARY TANGO LYRIC

C A M B A L A C H E
******************************
Version en castellano /English translation
Que el mundo fue y sera una porqueria,
ya lo se...
En el quinientos seis
y en el dos mil también!
Que siempre ha habido chorros,
maquiavelos y estafaos,
contentos y amargaos,
valores y dublés...
Pero que el siglo veinte
es un despliegue
de maldad insolente
ya no hay quien lo niegue.
Vivimos revolcaos en un merengue
y en un mismo lodo
todos manoseaos...
Hoy resulta que es lo mismo
ser derecho que traidor..!
Ignorante, sabio, chorro,
generoso o estafador!
Todo es igual! Nada es mejor!
Lo mismo un burro
que un gran profesor!
No hay aplazaos ni escalafon,
los inmorales nos han igualao.
Si uno vive en la impostura
y otro roba en su ambicion,
da lo mismo que sea cura,
colchonero, rey de bastos,
caradura o polizon...

Que falta de respeto,
que atropello a la razon!
Cualquiera es un señor!
Cualquiera es un ladron!
Mezclao con Stavisky va Don Bosco
y "La Mignon,"
Don Chicho y Napoleon,
Carnera y San Martin...
Igual que en la vidriera irrespetuosa
de los cambalaches
se ha mezclao la vida
y herida por un sable sin remache
ves llorar la Biblia
contra un calefon.

Siglo veinte, cambalache
problematico y febril!
El que no llora, no mama,
y el que no afana es un gil.
Dale nomas! Dale que va!
Que alla en el horno
nos vamo a encontrar!
No pienses mas,
sentate a un lao.
Que a nadie importa
si naciste honrao.
Que es lo mismo el que labura
noche y dia, como un buey
que el que vive de los otros,
que el que mata o el que cura
o esta fuera de la ley.
ENGLISH TRANSLATION:


That the world was and it will be filth,
I already know...
In the year five hundred and six
and in the year two thousand too!
There always have been thieves,
traitors and victims of fraud,
happy and bitter people,
valuables and imitations
But, that the twentieth century
is a display
of insolent malice,
nobody can deny it anymore.
We lived sunk in a fuzz
and in the same mud
all well-worn...
Today it happens it is the same
to be decent or a traitor!
To be an ignorant, a genius, a pickpocket,
a generous person or a swindler!
All is the same! Nothing is better!
They are the same, an idiot ass
and a great professor!
There are no failing grades or merit valuations,
the immoral have caught up with us.
If one lives in a pose
and another, in his ambition, steals,
it's the same if it's a priest,
a mattress maker, a king of clubs,
a cad or a tramp.

What a lack of respect,
what a way to run over reason!
Anybody is a gentleman!
Anybody is a thief!
Mixed with Stavinsky, you have Don Bosco
and La Mignon
don Chicho and Napoleon,
Carnera and San Martin.
Like in the disrespectful window
of the bazaars,
life is mixed up,
and wounded by a sword without rivets
you can see a Bible crying
next to a water heater.

Twentieth century, bazaar
problematic and feverish!
If you don't cry you don't get fed
and if you don't steal you're a stupid.
Go ahead! Keep it up!
That there, in hell
we're gonna reunite.
Don't think anymore,
move out of the way.
Nobody seems to care
if you were born honest.
It's the same the one who works,
day and night like an ox,
than the one who lives from the others,
than the one that kills or heals
or than the one who lives outside the law.




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FAMOUS TANGO LYRICS

C O M O - D O S - E X T R A "N O S
**************************************




Version en castellano English translation
Me acobardó la soledad
y el miedo enorme de morir lejos de ti...
¡Qué ganas tuve de llorar
sintiendo junto a mí
la burla de la realidad!
Y el corazón me suplicó
que te buscara y que le diera tu querer...
Me lo pedía el corazón
y entonces te busqué
creyéndote mi salvación...

Y ahora que estoy frente a ti
parecemos, ya ves, dos extraños...
Lección que por fin aprendí:
¡cómo cambian las cosas los años!
Angustia de saber muertas ya
la ilusión y la fe...
Perdón si me ves lagrimear...
¡Los recuerdos me han hecho mal!

Palideció la luz del sol
al escucharte fríamente conversar...
Fue tan distinto nuestro amor
y duele comprobar
que todo, todo terminó.
¡Qué gran error volverte a ver
para llevarme destrozado el corazón!
Son mil fantasmas, al volver
burlándose de mí,
las horas de ese muerto ayer...

ENGLISH TRANSLATION:

Loneliness intimidated me
and the enormous fear of dying far from you...
Great was my desire of crying
feeling close to me
the jeer of reality!
And the heart begged me
to look for you and give it your love...
My heart was asking for it
and then I looked for you
believing you were my salvation...

And now that I am in front of you
we seem,as you can see,two strangers...
The lesson that I have finally learned:
Is how years make things change!
Anguish of knowing illusion and faith
were already dead...
I´m sorry if you see me weeping...
Memories have done me wrong!

The light of the sun turned pale
when it listened to your cold conversation...
Our love was so different
and it hurts to realize
that everything, everything ended.
What a great mistake to see you again
to take away my shattered heart!
They are thousand ghosts,
returning to mock me
the hours of that dead past...



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TANGO LYRICS

A M I G O S - QUE- Y O -Q U E R O
**************************************

CASTELLANO ENGLISH
En la vida tenemos mil cosas
que son grandes, sublimes y hermosas,
que ennoblecen y alegran el alma
alentándonos el corazón.
Pero hay una sutil y suprema
que nos llega tranquila y serena,
es hombría y lealtad,
sentimiento y bondad,
es sublime... se llama amistad.

Amigos que yo quiero
escuchen este tango,
que lleva entre sus notas
un apretón de manos.
Fue escrito con el alma
pensando en la amistad
con lágrimas lo canto
por los que ya no están.
Alcemos nuestras copas
aquí en el viejo bar
que mientras haya amigos
dan ganas de cantar.

La existencia si es negra condena
con amigos parece verbena,
sin amigos no vale la pena
esta vida llena de dolor.
Los amigos igual que poetas
tienen hondas ternuras secretas,
acerquémonos más a la noble amistad
que nos llena de fe y de bondad.

Amigos que yo quiero
escuchen este tango,
que lleva entre sus notas
un apretón de manos.
Fue escrito con el alma
pensando en la amistad
con lágrimas lo canto
por los que ya no están.
Alcemos nuestras copas
aquí en el viejo bar
que mientras haya amigos
dan ganas de cantar.
ENGLISH TRANSLATION:


In our life there are a thousand things
that the're great, the're sublime and beautiful,
things that brighten and cheer our soul
encouraging our heart.
But there is something subtle and supreme
that it reaches us with serenity and calm
it is manliness and loyalty,
it's feelings and kindness,
it is sublime... it's called friendship.

Friends who I love
listen to this tango,
that has between its notes
a hearty handshake.
It was written from the soul
thinking about friendship
I sing it with tears
for those who no longer are here.
Let us raise our glasses
here in the old bar
that while there are friends
I have the desire to sing.

The existence that is a dark sentence
among friends it seems like a fair.
Without friends, it's not worth the trouble
this life with so much pain .
Friends just like poets
have deep secret tendernesses,
let's get closer to the noble friendship
that fills us with faith and kindness.

Friends who I love
listen to this tango,
that has between its notes
a hearty handshake.
It was written from the soul
thinking about friendship
I sing it with tears
for those who no longer are here.
Let us raise our glasses
here in the old bar
that while friends exist
I have the desire to sing.

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LYRICS WITH ENGLISH TRANSLATION

A S I- S E - B A I L A - E L T A N G O
**************************************




Version en castellano English translation
Que saben los pitucos,
lamidos y sushetas,
que saben lo que es tango,
que saben de compas?
Aqui esta la elegancia,
que pinta, que silueta,
que porte, que arrogancia,
que clase pa'bailar.

Asi se baila el tango,
mientras dibujo el ocho,
para estos filigranas,
yo soy como un pintor.
Ahora una corrida,
una vuelta, una sentada.
Asi se baila el tango,
un tango de mi flor.

Asi se baila el tango,
sintiendo en la cara,
la sangre que sube a cada compas,
mientras el brazo,
como una serpiente,
se enrosca en el talle,
que se va a quebrar.

Asi se baila el tango,
mezclando el aliento,
cerrando los ojos
para oir mejor,
como los violines le dicen al fuelle,
porque desde esa noche,
Malena no canto.
Asi se baila el tango,
mientras dibujo el ocho,
para estos filigranas,
yo soy como un pintor.
Ahora una corrida,
una vuelta, una sentada.
Asi se baila el tango,
un tango de mi flor.
ENGLISH TRANSLATION:
What do the stuck-ups,
the emaciated and the fops know,
what do they know what is tango,
what do they know about rhythm?
Here it is the elegance,
what a look, what a silhouette,
what an appearance, what an arrogance,
what a class to dance.

This is how one dances the tango,
while I "draw" a figure eight,
for this fancy footwork,
I am like a painter.
Now here is a run,
a turn, a sitting.
This is how one dances the tango,
a tango of my flower.

This is how one dances the tango,
feeling in the face,
the blood raising in every beat,
while the arm,
like a serpent,
coils around the waist,
that it is going to break.

This is how tone dances the tango,
mixing the breath,
closing the eyes
to hear better,
as the violins say to the bellows,
why from that night,
Malena sung no more.
This is how one dances the tango,
while I "draw" a figure eight,
for these fancy footwork,
I am like a painter.
Now here is a run,
a turn, a sitting.
This is how one dances the tango,
a tango of my flower.



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TANGO LYRICS

A B A N D O N A D O
*******************



Version en castellano English translation
Llega el viento del recuerdo aquel
al rincón de mi abandono
y entre el polvo muerto del ayer,
también volvió tu querer.
Yo no sé si vivirás feliz
o si el mundo te ha vencido...
si viviendo sin querer vivir
buscás la paz de morir.

Duda de tu ausencia y de mi culpa,
pena de tener que recordar.
Sueño del pasado que me acusa,
manos que no quieren perdonar.
Dolor amigo de estar con tu sombra,
remordimiento de saberte buena.
Dolor lejano de oír que te nombran
las voces muertas que se obstinan en volver.

Ya no sueño que retornarás
al fracaso de mi vida
ni tampoco que en tu palpitar
tendría un afán para andar.
Sólo quiero que si estás también
en la cruz del abandono,
sepas olvidarme en tu perdón...
Total, mirá lo que soy.

Pena de tu ausencia sin retorno,
pena de saber que no vendrás.
Pena de escuchar en mi abandono,
voces que me acusan al llegar.
Dolor amigo de estar con tu sombra,
remordimiento de saberte buena.
Dolor lejano de oír que te nombran,
las voces muertas del ayer feliz.

Yo no sé si vivirás feliz
o si el mundo te ha vencido...
si viviendo sin querer vivir
buscás la paz de morir.
ENGLISH TRANSLATION:

The wind of that memory arrives
at the corner of my abandonment
and amid the dead dust of yesterday,
your love also returned.
I don't know if you will live happily
or if the world has defeated you...
If living without wanting to live,
you seek the peace of dying.

Doubt of your absence and of my blame,
sorrow of having to remember.
Dream of the past that accuses me,
hands that don't want to forgive.
Friendly pain of existing with your shadow,
regret of knowing you are good.
Distant pain of hearing the dead voices
that name you again and again.

Now I don't dream that you will return
to the failure of my life,
nor that in your heart beat,
I would have the urge to go.
I only wish that if you are also
on the cross of abandonment,
You'll know how to forget me in your mercy...
So, look at what I am.

Sorrow of your absence without return,
sorrow of knowing that you won't come back,
Sorrow of hearing in my abandonment,
voices that accuse me when they arrive.
Friendly pain of existing with your shadow,
regret of knowing you are good.
Distant pain of hearing the dead voices,
of yesterday's happiness that name you.

I don't know if you will live happily
or if you the world has defeated you...
If living without wanting to live,
you seek the peace of dying.



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PRACTICA AT EL CENTRO DOWN TOWN

El Centro Practica
WhenSun Jul 5 7:30pm – Sun Jul 5 11pm (Weekly at 7:30pm on Sunday)
20090705T193000/20090705T230000Weekly at 7:30pm on Sunday
RRULE:FREQ=WEEKLY;BYDAY=SU;WKST=SU20090405T193000
Wheremap422 Richards, Vancouver

Created ByEL CENTRO Argentine Tango Dancing
DescriptionEveryone is welcome at Francis and Emiko's open practica. All levels and styles. No partner required. Traditional music. Refreshments served.

$8 drop-in
$50 for 10 visits (no expiry, non-transferable)
$5 drop-in for students (with student I.D.).

bctangoworld.blogspot.com: TANGO ASPECTS

bctangoworld.blogspot.com: TANGO ASPECTS

TANGO ASPECTS

M I L O N G A TALK
******************
Tango brings people together, but it could separate them.
It has some mystery and magic in it.
Every night women and men are gathering at Milongas to talk, to
meet someone, to smile and maybe feel happier. Their eyes are sad
or shine, their hearts are hurt or inspired, and their minds need some
challenge or relaxation.
They all come with the different purposes and reasons.
Most of them keep dancing because on the dance floor they can
release their tension and anxiety, enjoy the music, meet some
challenge or create a new dance.
For some it is an exercise which keeps them fit. Also, they can
forget every day problems and just relax by dancing.
Others come with the hope to escape the loneliness, and to feel
somebody next to their heart, somebody who makes them feel good,
at least for a moment.
A few found in Tango community their friends and only family.
Victor & Elena
MC - Ilmar Waldner
(behind)
Rio Rico, Bonsall-03
Many people love Tango because they can grow in it. Tango has many attractive parts
(creativity, beautiful steps, music, and exercise of the mind), which hook people for life.
When some got taste of Tango, they unlikely would ever stop ???

With this in mind, we could better understand what else is there, in the tango embrace,
what kind of psychology was running tango into the life.