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BOOKING FOR THE TANGO TONE SESSIONS 5/10-9/11 BY E MAIL  eiripapa@gmail.com

Tango Tone is a dance and fitness class inspired by the Argentine Tango anatomy. It benefits the posture, balance, alertness, flexibility and self-confidence through the Tango dance sequences. It is a series of coordinating and empowering exercises. It also includes small choreographies. It is aimed at women regardless of age and body type. It helps to get more familiar with your body via the Tango music!

Class details

Thursdays: 7-8pm

Clothing: Socks for the first part of the lesson, ballroom shoes with small or medium heel for the second. Comfortable skirts or leggings are also very helpful.

Fee: £36 for 6 weeks or £7 per session

Who the classes are for:
Suitable for absolute beginners both in Τango and in exercise.

Location:
Heaton Acupuncture Clinic,
182 Portland Road,
Sandyford,
Newcastle upon Tyne, NE2 1DJ

Contact Irene:
eiripapa@gmail.com
https://www.facebook.com/tango.lessons.by.Irene/

I am honoured to invite you to our second educational cinematic screening about Tango.

Film: Legends of Tango Dance is a documentary by Daniel Tonelli and Marcelo Turrisi, produced by The Argentine Tango Society with the coordination of Silvina Damiani.
This wonderful documentary brings us the word and the dance of great milongueros that have left traces in the history of the salons of Buenos Aires.
Today, these popular dance artists receive the recognition and admiration of the whole world.
They are, Mayoral and Elsa Maria, the Chinese Perico, Nito and Elba, Facundo Posadas, Héctor Chidíchimo, Coca and Osvaldo, Raúl Bravo, the Flaco Dany, Carlos and Rosa Pérez, Martha and Manolo, Gloria and Eduardo, Carlos and Maria Rivarola , Tete Rusconi and Nene Masci.
Premiere: October 2014, in the Marabú of Buenos Aires

Entrance: £4

System Gallery
(2nd floor of Bar Loco)
22 Leazes Park Rd,
Newcastle upon Tyne.NE1 4PG

Friday the 22nd of September at 8.30pm

I am honoured to invite you to our milonga, which is the only of noon social tango ball in the area.

Programme:
3-4pm Milonga style workshop for all levels
4-7pm Social Dance

Dj La Mimosa

Price:
Workshop & Social Dance: £8/students £6
Social Dance: £7/s.£5

Snacks will be provided.

System Gallery
(2nd floor of Bar Loco Newcastle)
22 Leazes Park Rd,
Newcastle Upon Tyne.NE1 4PG

Saturday the 7th of October 4-7pm

………………………………………………………………………

I am honoured to invite you to our first educational cinematic screening about Tango.
The title of our film is La Confiteria Ideal: The Tango Salon. This film examines La Confiteria Ideal, a Buenos Aires dance hall where fervent devotees of tango flock to escape everyday life.  Including wonderful interviews with famous milongueros: Gerardo Portalea, Javier Rodriguez &Geraldine Rojas, Mariano Chicho Frumboli and Puppy Castello.

After the screening there will be a discussion about the ideas presenting in the film.

Friday August 18th, 8.30pm
Entrance: £4

Zorro Gris Milonga


I am also pleased to announce our first ‘’Zorro Gris’’ milonga, which is the only matinee (afternoon) social tango dance in the area.

Saturday September 2nd

3-4pm Tango Canyengue workshop
4-7pm Milonga
Entrance:
Workshop & Milonga: £8 /stud.6
Milonga: £7 /stud.5

Snacks will be provided.
System Gallery 
(2nd floor of Bar Loco)
22 Leazes Park Rd,
Newcastle upon Tyne.NE1 4PG

 

 

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Ladies’Technique Workshop with Irene

*The musicality as a means of expression*

#Tango_music has been composed for #dance.

Each #orchestra has its own style and it needs a different#dance_technique and #expression.

In this #workshop we are going to learn how to recognise the pattern of a#tango_song and the #style identifier of each #composer.

We are also going to find out how to #dance #tunes even if we have not heard them before. We are going to focus on specific #major_orchestras of the #Golden_Age.

About Irene: https://tangoalmagro.wordpress.com/viografiko-synenteyxi/

When?
Sunday the 9th of July
5.00-6.30pm

Where?
Bar Loco, 2nd floor
22 Leazes Park Rd,
Newcastle upon Tyne
NE1 4PG

How Much?
£10 at the door
stud.£8

frouto

Why Tango came into the world?

by Irene Papagiannopoulou

The history and the philosophy of Argentine Tango (Intangible Cultural Heritage of Humanity – UNESCO) are based on many years of study and research.

Nobody can explain the meaning and the cms_1333543304546_yiddishtangophotoorigin of the word ‘tango’ precisely. The Spanish Royal Academy of Letters Dictionary (1803) recorded it as ‘tangir’. The term is associated with African dances. The same dictionary later in 1889, states: ‘African feast and dance or amusement for poor people of America’ (it refers to the spanish-speaking areas of the today’s Latin America). The weird thing is that the same dictionary in the 1925’s publication mentions: «Dance of the high society that cames to the America at the beginning of the century.» The last reference is indicative of how the Tango has changed to the human perception through the passing periods.

It is thought that Tango means ‘closed position’ or ‘cautious move on the floor’. This meaning is related to the Portuguese word ‘tangere’ that means ‘touch’. There is no coincidence in such a reading, if we take into account the attitude and the touch of the bodies during the dance.

The first song that became known as a kind of Tango was in 1857 entitled ‘Toma Mate che’. The lack of documents explained by the fact that the dance was created by obscure people whose history has never recorded.

The Argentine Tango is the result of several and different combinations. The most important seems to be the spanish-cuban styleHabanera’, the Argentine countryside’s ‘Milonga’ and the Afro Dance ‘Catombe’.

The most authentic form of the dance is placed around 1850 at the beginning of the economic migration to Argentina. The new visitors exceeded the local population of Buenos Aires. Germans, Spaniards, Italians and others brought their dances, their music and their lyrics and they gradually created a new civilization who began to assimilate and become the local culture.1236930_10201213783604756_731928860_n

Immigrants flooded the capital and they had lived in bad conditions. They worked long hours, they lived with many roommates in a single room, they entertained by one drink only. They held weapons and they patrolled the neighbourhoods illegally.

The ‘compadrones’ (godfathers,) were the first who danced Tango between men at the port. They were using movements that they resembled a wrestling. This was formally a representation for a woman who flirted with two men. In the countryside Tango was danced by the ‘gauchos’ (argentine cowboys).

Rumors about the existence of this dance in brothels are inaccurate. The prostitutes 267a0c748af7a4ce1369e643a71ffb66.jpghad not time to dance. The female population was less than the masculine, let alone that of prostitutes. There is a undetermined reference that men who waited to meet the strumpets, they danced with each other to spend their time until their turn.

In the ‘40s, the dance was in its golden era. Males felt incredible loneliness far from their homelands and they expected to find their better half. Although they were poor as a church mouse, every day they washed their suit, they used brilliantine on their hair, they put a polish on their shoes and they went to the tango dancing parties known as Milongas. There did not matter their origin or their social status, but the courtesy and the dancing flair.

They learned how to dance by dancing with men and they had to spend three to five years to visit their first Milonga. It considered unacceptable to make a woman feel uncomfortable because of their mistake, and if something had gone wrong at their first dance with a lady, they were returning again to their practice with men as followers to their dance. After several months they could go again at a Milonga. The woman was the flower that it was going to accompanies them for the rest of their life, so they should have respect for her.

The first tango songs were describing the underworld. Later the lyrics were narrating the love or the heartbreak, the longing for the homeland, the nostalgia for the beloved person who they would never face again. 164295_407616869334572_505334414_n.jpg

Tango travelled across the Atlantic Ocean it arrived in Europe and the dancers embraced it. In Argentina of 50’s and 60’s, the political conditions (after Peron’s end governance), the spread of Rock n’ roll and the new customs displaced Tango. In that period some citizens danced secretly, so we know nothing about what really were happening. For about 3 decades the famous dance was in the sidelined, especially when Astor Piazzolla was composing. He restructured the Tango music. His intention was to compose entirely acoustic music that was not designed for choreography. Ultimately the dancers loved him and they used his melodies in dance performances.

Over the past 20 years the dance reformed and adapted in order to suit the conditions. It is different when dancers are on the stage, not alike the same style in the milongas. But it still keeps its mystery and its magic, since everything is based on the improvisation. Above all, Tango is focused in the connection between two people.

The man leads, but not authoritatively , the woman follows, but not passively. He opens a way and she is beautify it with adornments, in a kind of conversation where they keep their personality by complementing each other.

1452020_704180146260046_1382318874_n.jpg

References

Christine Denniston: The Meaning of Tango: The Story of the Argentinian Dance, Anova Books, 2007

Christos Loukos, ‘Histoire sociale du tango. Des faubourgs marginaux deBuenos Aires aux salons européens’, Mnimon Μagazine, vol.20 (1998)

Personal Interviews from Tango teachers and kept notes from the module ‘History of Latin America’ at the Ionian University, Department of History, Greece.

Weʼre raising £12,000 to fund my studies in order to become an Argentine Tango Tutor

My name is Eirini Papagiannopoulou and I am Greek.

I would like to complete my studies in Argentine Tango in order to become a tutor. My dream is to teach couples who face relationship problems, in order to help them come closer. I have the same motivation to teach students who feel lonely and would like to meet new people through the tango dancing. I am also interested in using tango to help people who suffer from various diseases, including Alzheimer’s and Parkinson’s disease and even some kinds of phobias. (Argentine Tango can be used as a form of therapy called dance therapy).

Dancing Argentinian Tango and teaching others about the dance and its philosophy makes me the happiest person in the world. It is simply my life. I started learning about Tango in 2010 as a member of my hometown’s local tango society run by amateur teachers. Later during that same year I continued to develop my tango dancing skills by taking private lessons, as well as attending group classes and seminars organised and run by well-known tutors.

During the past 6 years, I had to face several delays in the completion of my Argentinian Tango studies for financial reasons. My dream is to visit Buenos Aires, the capital of the country where Tango was born, to gain as much knowledge as I can on Tango.

At the moment, I live in the UK. I arrived here 1.5 year ago as an economic migrant. However, a serious health issue forced me to stop working for some time. I am currently recovering, but I am also planning the next step in my life and career.

The funds will be spent towards paying the fees for my training to become an Argentine Tango teacher, as I do not qualify for a student loan (I hold a BSc in History with a 2.i, I graduated from my History studies in back in 2010).

To donate press here:

https://www.justgiving.com/crowdfunding/ArgentineTangoTutor?utm_source=Facebook&utm_medium=Yimbyprojectpage&utm_content=ArgentineTangoTutor&utm_campaign=projectpage-share-owner&utm_term=GK8a6BX4b

είναι που για να φτάσεις στην κορυφή, πρέπει να γίνεις λάστιχο

της Ειρήνης Παπαγιαννοπούλου

Δεν μπορώ να σταματήσω να δακρύζω από συγκίνηση όταν βλέπω αυτό το χορευτικό ζευγάρι.

Αν παρακολουθήσει κανείς την πορεία του, θα ανακαλύψει πως πέρα από την τεχνική και την σεναριακή τους δεινότητα, έχει ωριμάσει το τάνγκο μέσα τους.

Το τάνγκο μου φαίνεται μεγαλώνει διαφορετικά με τον καθένα μας παρέα.

Βλέπω ξανά και ξανά και δεν ξέρω από πού να αρχίσω.

Αυτό το μπαλόνι το κόκκινο μέσα στο κλουβί, πόσους συνειρμούς μου φέρνει.

Το άμοιρο πλάστηκε από λάστιχο για να πηγαίνει ψηλά (είναι που για να φτάσεις στην κορυφή πρέπει να γίνεις λάστιχο).

Αναρωτιέμαι πως το κόκκινο είναι στο φανάρι για να σταματά τα αυτοκίνητα και τους πεζούς και τα ποδήλατα και ταυτόχρονα να υποκινεί τους ερωτευμένους ή να αυξάνει τον θυμό ή την γοητεία ενός αντικειμένου ή προσώπου.

Το μπαλόνι που δέναμε στον λιλιπούτειο καρπό μας σαν ήμασταν παιδιά, με μία καταναγκαστική φοβία μην μας φύγει. Καμία φορά δεν προλαβαίναμε να το πιάσουμε ή το αφήναμε για πλάκα ελεύθερο με τη σιγουριά πως θα το ξανακρατούσαμε αμέσως. Όμως εκείνο ταξίδευε απαλά στους αιθέρες, πάνω από τα υγρά μας μάτια και την πικραμένη μας ψυχή που το χάσαμε, πάνω από την πόλη και τις γειτονιές αυτού του κόσμου.

Κι αυτό το σκονισμένο κουστούμι του καβαλιέρου και τα βήματα που παραπέμπουν σε Chaplin καθώς παραπαίουν πάνω στην ποίηση του Ferrer και την τρεμάμενη φωνή του λατρεμένου Goyeneche.

Αυτή η φινέτσα φαίνεται ακόμη και κάτω από τη σκόνη του χρόνου που θα έλεγε κι ο Αγγελόπουλος, που υπερβαίνει τη βρωμιά ετούτης της πλάσης, που σε κάνει να βλέπεις πέρα από το καθώς πρέπει και τους στυλιζαρισμένους τρόπους.

Κι ντάμα από την άλλη ακέραιη και παλαιότροπη,(άντε να φτιάξω κι εγώ μια λέξη εδώ στα ξένα που είμαι)φέρνει μαζί της το άρωμα της χρυσής εποχής του τάνγκο.

Εκεί όπου στη μιλόνγκα δεν ξεχώριζε ο λεφτάς αλλά ο χορευταράς, ακόμη και με αυτό το ταλαιπωρημένο ρούχο.

«Είμαι τρελός, τρελός, τρελός», ερμηνεύει με απελπισία το πνεύμα του  ποιητή μέσα από τη μουσική του Piazzolla και οι δυο τους βάζουν παγίδα με ένα κλουβί ο ένας στον άλλον και γελούν και παίζουν ώσπου να αφήσουν τελικά κι αυτοί τη χαρά τους ελεύθερη να πετάξει.

Νομίζω πως μετά από τόσα χρόνια που διαγωνίζονται τους αξίζει δικαιωματικά η νίκη, για μια πρωτοτυπία –τι αντίφαση κι αυτή- κομμένη και ραμμένη στην παράδοση του σκηνικού τάνγκο όπως γεννήθηκε στα σκοτεινά χρόνια, τότε που η πολιτική ήταν πάνω κι από τις τέχνες, όπως και σήμερα δηλαδή, ευτυχώς όχι για όλους.

(δείτε τους εδώ)

 

 

Αγκάλιασε τον/την παρτενέρ σου,σα’να’ταν μπαντονεόν

της Ειρήνης Παπαγιαννοπούλου

Θυμάμαι την πρώτη μου επαφή με το μπαντονεόν, που προσομοίαζε με το γνώριμο άκουσμα του ακορντεόν αλλά είχε κάτι πιο βαθύ, μία διαφορά που δύσκολα περιγράφεται.

Αυτός ο νοσταλγικός ήχος μετέφερε μέσα του ένα κράμα μελωδιών και ιστοριών ανθρώπων, ένα μέσο έκφρασης της συλλογικής μνήμης που σε κάνει να νιώθεις την ασφάλεια των παιδικών στιγμών χαράς. Είναι κάτι παραπάνω από το «σαν το σπίτι σου».

Αναμνήσεις από στιγμές που δεν ζήσαμε, μα μας είναι τόσο οικείες.

Κι επειδή είναι προγονικό μεταφορικό μέσο, αναπνέει και εκπνέει. Έχει προσωπικότητα και μάλιστα πολυσύνθετη γιατί μεταφέρει βιώματα από το παρελθόν.

Γι αυτό και τα πλήκτρα δεν έχουν καμία λογική συνάφεια μεταξύ τους, συγκριτικά με άλλα μουσικά όργανα. Άλλη είναι η νότα που ακούγεται όταν το πιέζει ο μπαντονεονίστας κι άλλη όταν το ανοίγει.

Ένας παλιός μου δάσκαλος στο τάνγκο μου έλεγε για την αναπνοή της αγκαλιάς και τη χρήση της, πως είναι εύκολο στην πρακτική της εφαρμογή αν σκεφτώ πως τη στιγμή που θέλω να την ανοίξω ή να την κλείσω, βοηθά να φαντάζομαι πως κρατώ ένα μπαντονεόν στη θέση του παρτενέρ μου.

Αυτός ο ήχος, αυτό το αγρίμι που ουρλιάζει ή πατά με ακρίβεια στον τόνο. Δεν μπορεί κανείς να κάνει το μπαντονεόν να ερμηνεύσει στο περίπου, όπως τσάτρα πάτρα μπορεί να συμβεί με κάποια κιθάρα ή κάποιο πιάνο.

Μπαντονεόν ή παίζεις ή δεν παίζεις, ενδιάμεσες καταστάσεις δεν υπάρχουν.

Στενάζει το μπαντονεόν, όπως στενάζουμε όταν έχουμε σκοτούρες και κελαηδάει όπως κελαηδάμε όταν είμαστε χαρούμενοι.

Θυμάται, ξεχνά, μισεί και αγαπά.

Δεν είναι γνωστό σε όλο τον κόσμο, αλλά και την ανατολή οι περισσότεροι την αγνοούν επειδή κοιμούνται που έλεγε κι ο Λένον.

Κι αυτή του η αφάνεια το καθιστά σπάνιο σαν τον ήχο του.

Πως χωράει τόση χαρά και τόση θλίψη μέσα σ’έναν αντίλαλο ;

 

bandoneon69