Sacada a los ciudadanos

[salc:018] rule

noreply@blogger.com (しうえい) — Sat, 10 Jul 2010 02:38:00 +0000

Dancers share musicality by an intention transmission of their movement. This may be a thing by lasting strong communicability of the tango dance.

As for the great risk of the tango, empathy may poison the mind of the other.

Do you want to enjoy the risk? Or do you want to evade it?

The rule setting in the individual milonga becomes the guideline for the risk of such a kind.

[salc:017] clothoid

noreply@blogger.com (しうえい) — Thu, 28 Aug 2008 03:28:00 +0000

However it may make ends meet naturally when you feel it comfortable...

Mathematically, Clothoid is used to express transition between two circular motion - e.g. Roller Coaster, an exit of expressway. (See also ref. 1 / 2 / 3 / 4 )

The transition to the comfortable leftward giro from a straight caminando, the moveline of the right foot during volcada, and the sparkle you genarated by the best colgada.

[salc:016] anonymity

noreply@blogger.com (しうえい) — Wed, 27 Aug 2008 03:57:00 +0000

After when, there became full of the people who can be identified.

A masked ball, I could spend perfectly non-daily time with strangers - not sure with whom, but the most comfortable time.

It wants to be sometimes anonymity.

[salc:015] messi

noreply@blogger.com (しうえい) — Tue, 26 Aug 2008 01:57:00 +0000

How Lionel Andrés Messi dances tango ?

There may be the one who blew up imagination to see the Olympic games.

This is a sense of the improvisation that human being has known newly.

People will come to find him in tango.

[salc:014] vortex

noreply@blogger.com (しうえい) — Mon, 25 Aug 2008 23:50:00 +0000

Dancers draw a vortex inside milonga.
Vortex appears when dancers begin staring at the each other.

Although, some guys may not start generating a vortex by themselves.

That is why there are pieces of cheese on the corner of the room, like a mouse experiment.

[salc:013] traspie

noreply@blogger.com (しうえい) — Mon, 25 Aug 2008 13:46:00 +0000

The biggest pain I believe is dancing on a milonga which we can not traspie.

Difficulty in traspie seems to be arisen from the following two factors - speedy pace of the song and difficulty to pick up "doble tiempo" rhythm.

Then, how should we play Nocturna ?

Try using the percussion ! ( or emphasis the rhythm somehow.. )

[salc:012] professional

noreply@blogger.com (しうえい) — Tue, 08 Apr 2008 08:27:00 +0000

In Japan, there seems to be a classification whether an instructor or an amateur.

The instructor simply means the person who teaches, but people tends to misunderstand like that an instructor should be a professional person.

He/She must be praised as professional person when an instructor organizes some party or plays as a DJ, but neither an amateur is.

As a result, such a sense obstructs the circulation of the tango market.

[salc:011] parilla

noreply@blogger.com (しうえい) — Sat, 29 Mar 2008 05:02:00 +0000

Because many Japanese believe they should go on a diets desperately, there is the person who usually take supper with only pieces of sandwich or cheese before dancing.

However, they completely forget such a diet when wine becomes empty, Japanese rush into the izakaya to have a drink after tango.

That's why tango energy are quitely different in comparison with Argentina who rush into parilla before tango.

[salc:010] staleness

noreply@blogger.com (しうえい) — Wed, 26 Mar 2008 13:09:00 +0000

The new style music that Piazzolla wanted appears in his performance or his arrangement.

But he would believe that the tone used in tango originally can transcend time like classical music.

A staleness seems to be rather highlighted even if someone will try to surpass his music in various meanings.

[salc:009] a-priori

noreply@blogger.com (しうえい) — Sun, 23 Mar 2008 06:48:00 +0000

A tango dance includes beauty as a transcendental form, unless you concern about salida. So you can dance tango with any kind of music.

Paradoxically it may be said to enjoy tango as the folk music to salida expressly hearing old tango.

[salc:008] barrida

noreply@blogger.com (しうえい) — Sat, 22 Mar 2008 15:36:00 +0000

What is the aim of your barrida ?

Last week, I watched an old man who was going to barrida a woman with a frightful face like an ogre as if he totally tried to move the stone of the hell with a foot. I suppressed the laughter desperately there.

It might be true barrida for him and it is not defined by a textbook besides.

How will the tradition of the tango culture like this kind of message game last to?

[salc:007] tokamak

noreply@blogger.com (しうえい) — Thu, 20 Mar 2008 04:34:00 +0000

How do you be lost in wild fancies to see milonga ?

Milonga reminds me tokamak, while the dancers are plasma
inside it. (See Wikipedia.)

The dancers drift in tokamak getting along the electro-magnetic tango music in ultra-high temperature and sometimes reconnection interrupts their fusion.

[salc:006] choreography

noreply@blogger.com (しうえい) — Mon, 17 Mar 2008 03:39:00 +0000

Which do you feel it more difficult that dancing with choreography or dancing ad-lib?

I thought the former is more diffucult firmly before, but I realized it occurring due to the only difference what are requested by the audience. It is difficult if you ask us to choreograph an ad-lib-like dance, and it is difficult if you ask us to dance ad-lib on the stage of Forever Tango.

It is a nonsense question after all.

[salc:005] perfume

noreply@blogger.com (しうえい) — Wed, 12 Mar 2008 23:35:00 +0000

Ignoring that you are seen, there are few necessary conditions about the satisfaction when you finished dancing.

I guess the one is the characteristic of the dancer who you danced with, and it affects your nervous system directly in the process when you create the dance ad lib.

For example, there is the kinematic characteristics like the tendency of the step for a certain sound or the delay during the weight movement or the bend of boleada or etc... And there is more direct things like perfume, which it would be dominant in "Scent of a woman".

[salc:004] workout

noreply@blogger.com (しうえい) — Tue, 11 Mar 2008 23:42:00 +0000

At least in Japan, tango has the side as a kind of workout so that señoras can learn tango at the cultural center of the department store, and it seems that the concept called "practica" expresses the side really.

By the way, what on earth is the milonga? Is it the stage of the actual fighting not learning?

[salc:003] daylight

noreply@blogger.com (しうえい) — Sun, 09 Mar 2008 23:40:00 +0000

In Japan, it is considered to be virtue to spend in a house without going out till late at night.

On the other hand, many people tango hard without hesitation even in the daylight, and it is quite popular, besides.

[salc:002] coriolis

noreply@blogger.com (しうえい) — Fri, 07 Mar 2008 12:33:00 +0000

Though you say that the tango of the Southern America is excellent, do you know?

How is tango different in the Southern Hemisphere and the Northern Hemisphere of the earth?

It is Coriolis effect, which drives Hurricane rotating anti-clockwise in Northern Hemisphere. (In more detail, try Wikipedia.)

That reminds me you may feel faster while clockwise "giro" in Buenos Aires.

[salc:001] conscience

noreply@blogger.com (しうえい) — Thu, 06 Mar 2008 02:18:00 +0000

Tango is the culture that we can feel conscience.

It is conscience to protect a sheep exposed to a wolf, and it is conscience to bring order in the traffic jam of the car, and it is conscience that tango is not seen for the martial art.

miscellaneous notes

noreply@blogger.com (しうえい) — Tue, 04 Mar 2008 13:12:00 +0000

Though "the tango should be a universal language", and it is said, I can recognize therefore how the tango in San Francisco and tango in Tokyo are heterogeneous.

On the second day after coming back from San Francisco, my ant life begins again. There must be some kind of forthcoming influence in tango from a remarkable difference of their life.

I think that it is good there is tango peculiar to the place, but I just feel that there may be the opportunity when a Japanese insists about tango more.