AGNESE PABLO TANGO IN ENGLISH

AGNESE Y PABLO

…they are a haunting Tango couple…

From a visual aspect, which breaks down the stereotypes of the traditional tango couple —they are really more like the replicants from “Blade runner”—, they are part of a new generation of comprehensive artists. Tango, acrobatics, partnerwork, acting, contortion and aerials are some of their expressive tools.

As exponents of the new urban porteño culture, their performances are an experience which involves and stimulates the spectator in a disquieting way.

Just like those replicants, they know that the end is near, but they await dancing...

VIDEO EN YOU TUBE

http://www.youtube.com/watch?v=UkFpgaIOXoM

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The method is centered around the learning process in response to practical situations and is directed towards the development of skills through practical training and a profound analysis of the system´s foundations.

A skill must not be equated with the mechanical reproduction of a rigid movement sequence, and not at all with a fixed routine or a habit.

In the display of an ability, awareness and desition making are always present.

It is important to mention that our perspective of teaching tango is not restricted to the area of motor learning, but includes, in different degrees, the spheres of knowledge, affection and exchange with the dance partner, since tango is an improvisation dance in couples, where the dialogue between both dancers is generated through the embrace or through more unorthodox variants of the different perspectives of frontality.

The image which is offered nowadays by the virtual media can be easily imitated, but the result will be lacking in the experience and understanding of the workings and basis of the system.

Historically, tango has been taught by focusing on the ability to copy and mechanisize movements without further analysis, as if the incorporation of motor skills did not involve a cognitive process. Yet, the great majority of the abilities in handling the language of tango are developed more effectively when there is an understanding of how it is done, why it is done and for what purpose.

Having that in mind, learning presupposes the understanding of the support structure necessary for the activity: processing the information and recognizing the codes and principles that regulate the individual practice as well as those which operate in the dance couple.

Furthermore, we would like to show that the learner of a skill is not a mechanical and vertical reproducer of what is taught to him/her. On the contrary, the learner activates a self-regulated system, correcting his/her actions in the course of the practice sessions, integrating other experiences, whether of a personal nature or which come up from within the dialogue with the dance couple. Thanks to this self-regulation and the understanding of what they do, they can even develop new ideas regarding the articulation of the language and forms of the dialogue, inventive and creativity.

It is there where the authentic proposal of each personality is born (is set in motion), always in the context of a dialogue with an other, who modifies us creatively.

In our experience, carrying out the work by creating a living dialogue through movement, with no need for words, allows for the development of expressive, communicative and social abilities in the relationship and positive interdependence with the partner.

The purpose of this perspective is that the students reach a meaningful degree of independence and autonomy in the creative dominion of Tango as a dance form.

The method offers great ductility, because it provides the possibility to be developed with students of any age and degrees of experience, or beginners, both in general teaching or in specific professional training.