Susana Miller zu Gast bei Mala Junta am 25./26. November 2017

 

Susana Miller ist eine Schlüsselfigur in der heutigen Tango-Milonguero-Szene. Sie war die Erste, die den Tango studierte, wie er von vielen namenlosen Milongueros und Milongueras intuitiv über Jahrzehnte getanzt wurde. Zusammen mit Maria Plazaola führt sie in Buenos Aires die Tanzschule " La Academia". Mittlerweil Lehrerin von vielen Lehren, hat sie ein pädagogisches Konzept entwickelt, das diesen Tango für uns zugänglich macht.

 

ZEITEN UND PROGRAMM

 

SAMSTAG, 25. November

 

WS 1) 12:00 – 13:30: TANGOGRUNDLAGEN (AUCH OHNE PARTNER) FÜR EINE NATÜRLICHE BEWEGUNG UND „EINE LEBENDIGE UMARMUNG“   (Alle Niveaus)

 

Simple exercises. Technique to improve balance and discharge of weight. Abrazo and connection. The caminata and walking “en la baldosa.” How to use the floor when you dance. Let’s awaken the intelligence of our body.

 

 

WS 2) 14:00 – 15:30: VALS: CORRIDAS

 

Waltz, rhythm and lápices. We’ll pay tribute to a great milonguero: Tete. Corridas that advance and go backward, following the line of dance. These figures can also be used with tango. (alle Niveaus)

 

Am Samstagabend, dem 25. November nimmt Susana teil am Herbstball Mala Junta ab 20:00 Uhr.  

 

SONNTAG, 26. NOVEMBER

 

WS 3) 12:00 – 13:30: MILONGA lisá und MILONGA traspié

 

How to pass from one to the other. We will do percussion with simple instruments and discover an exquisite traspié. (ab Mittelstufe)

 

 

WS 4) 14:00 – 15:30: DREHUNG MIT BOLEO & SACADA 

 

Turns with boleo and double sacada with both the right and left leg. Technique of maintaining balance while turning (maintaining one’s axis). Turns for men and women. (ab Mittelstufe)

 

WS 5) 16:00 - 17:30 Pugliese and D'Arienzo:

 We'll dance the spirit of the orchestras; the steps are only skin-deep. Pugliese: the interpretation of silences and suspensions. Dance "speaks" and the steps are its words. Silences and accents are its intention. How to do little by "saying" a lot. Technique for stopping on one's axis, milonguero boleo and barrida. Differences between Pugliese and D'Arienzo in the same sequence. With D'Arienzo, the steps are shorter and there are more double times. Turns  and counter-turns Musicality. For women - the ocho cortado with traspié. Dancing is not just "following." Let's be creative within the lead. (ab Mittelstufe)

 

SUSANA GIBT AM ENDE JEDEN KURSES EINE ZUSAMMENFASSUNG FÜR VIDEO

 

PREISE
» 1 WS 30 € (ERM. 25 €) | 2 WS 50 € (44 €) | 3 WS 60 € (52 €) 4 WS 80 € (68 €) | 5 WS 100 € (85 €) 

 

 

ANMELDUNG UND INFOS: ANMELDUNG@MALAJUNTA.DE

 

 

Susana reflektiert ihre langjährige Tanz- und Unterrichtserfahrung:

 

Tradition and Learning

When you learn tango, the basic elements of the dance are incorporated slowly: balance, the reflex that enables you to send and receive “the message,” the subtle duration of an accent, the way of interpreting the musical phrase. Your muscular memory needs time to assimilate movement. And the only way to fully transform these fundamental basics into a solid base of information is through repetition and practice.

Porteños are lucky to receive this learning as part of their natural inheritance. The codes of this attractive and complex language have been passed down from one generation to the other, both renovating and conserving its spirit over time.

Tango, like almost all the artistic and popular creation of a culture, is inherited. It’s been constantly “before our eyes,” almost on a daily basis. Tradition is observation, permanence, coexistence and confrontation with the elders of one’s tribe. It is memory and also reformulation.

Street culture and the ways of expressing sentiment change; the same thing happens with teaching. But the teaching that the great maestros handed down to us 30 or 40 years ago is still valid.

The slow, low-profile way of life of the barrio, with its different set of ethics between men and women, allowed for a spontaneous and “homegrown” type of learning. You learned with your aunt, your brother, or your friend who already learned how to dance. Consumerism, today’s culture of immediate access, generates other conditions. The street corners, the radio and the bar of the 50s have been transformed into impersonal corners, the Internet and Happy Hour. The tango school has replaced the former “patio” and the neighborhood corner. Teachers have appeared on the scene—iconic maestros, gurus —and tango has been exported and expanded through the media.

Nevertheless, nothing can replace the body-to-body experience. This teaching is the oldest form of learning and continues to carry the live spirit of the generations that preceded it. Like a flame that never dies.

Translation by Karen R. Simon