Next quarter winter 2023
At this level we will work in depth on the pivots and the walk, without ever abandoning connection and posture.
We will begin to recognize different places on the axis and different distance-relationships within the embrace, circular variation in time and the beginning of turns, simple ornaments as a way of listening to the other and as a tool to find relaxation-tonicity of the legs and feet. Within the theme for the figures we will introduce the «linear drag» and we will deepen the stops.
Level 2 Schedule, Tuesday 7:00 p.m., Wednesday 8:30 p.m.
Schedule to make up classes, Level 1 Monday 11:30 a.m., Wednesdays 7:15 p.m. and Saturdays 5:30 p.m.
Schedules Next spring quarter from March 2023
We will also start paying more attention to the musicality of the dance.
A more sequential part of the work, using figures and developing them, exploring their different possibilities, different dynamics and resolutions (turns, dragging, low boleos, pencils), will help us to enrich the capacity for movement and dialogue.
Do you want to know if you are up to the challenge?
How do you know if you are ready for the intermediate level? Very easy, you can always try the class or come to the practices to get our opinion and support.
- It is not necessary to pay tuition, minimum registration period 3 months. Payment will be made on the first day of class.
- Maximum of 6 months at this level. It is not necessary to register as a couple.
- You can make up missed classes, at any time of your level
- In order to coordinate the balancing of classes and recover them, it is mandatory to communicate absences in advance by WhatsApp, (we will return to class by class balancing at the end of restraints) to the 635 80 33 75 , or by e-mail to firstname.lastname@example.org
- Milonga student contribution – Friday practice €7 (Students-members), Saturdays €3.5 (Students-members)
- You can join once the quarter has started, after consultation, e-mail email@example.com or call 635 803 375 and we will advise you.
- Check our discount policy, send us an e-mail to firstname.lastname@example.org
- School rules and conditions
- We comply with the anticovid 19 regulations, e-mail email@example.com
QUARTERLY CONTRIBUTION, €125 PER PERSON.
CHECK OUR EXCLUSIVE OFFERS FOR LEVEL 2, THROUGH THE E-MAIL CONTACT@BARNATANGO.COM OR WHATSAPP 635 80 33 75
Our preference in the tango teaching it is to start in an open embrace and gradually evolve into a closed embrace, thus having both possibilities, open embrace and closed embrace. These two options largely define the style at the time of dancing tango, we give preference at this point to the development of the personality and character of the dancers, understanding the tango technique as a global experience, within the different technical or stylistic possibilities. The most important techniques or schools in our view are traditional tango, salon tango, milonguero tango and new tango, although as we say the important thing is how the dancers can bring possibilities and preferences of the different techniques to their field. In fact, we believe that outstanding dancers are not especially remarkable because they dance one style or another, if not precisely because they have their own style in their way of dancing tango.
Sometimes the distance of the hug is given by the characteristics of the music, broadly speaking; more milonguero, close embrace, faster steps and dance very focused on rhythm. More lounge and traditional, more open, longer steps, more continuity in the movements, attention to the melody. New tango, innovation and daring, more modern music, etc. In any case, this is simply a speculation to be able to organize the understanding of a dance so vast and rich in expression, in other words to try to classify the unclassifiable.
We transcribe here some words with which we identify ourselves about the embrace in the tango of an investigation of the Human Motricity Magazine / July 2011, Year 8, Issue 12
The embrace in Argentine tango fulfills a communication function in the couple; once the movement of the man's trunk, however subtle, is perceived by the woman, she moves according to the trunk of her collaborator; In this mutual interaction of the couple, in the upper space of the cylinder, all the dynamics of the dance take place.