🇭🇷 Cijeli tekst na hrvatskom jeziku nalazi se u nastavku, a engleski prijevod čeka vas na dnu stranice.
🇬🇧 The complete Croatian text is below; the English translation awaits you at the bottom of the page
Za najoptimalnije "čarobiranje" u tom čarobnom svijetu trebali bismo upoznati sam argentinski tango u svim njegovim oblicima – nastanak, "postojanje", razvitak i … .
Bloomova taksonomija govori o tri osnovna područja ljudske osobnosti i aktivnosti koje se međusobno preklapaju: kognitivnom (spoznajno – glava; intelektualna sposobnost ili znanje ili mišljenje), afektivnom (osjećajno – srce; osjećaji ili odnos ili stav) i psiho - motoričkom (djelatno – ruka, odnosno tijelo; fizičke vještine ili ono što osoba može činiti), također poznatim kao znanje, stavovi i vještine.
Argentinski tango nije puki fizički pokret (više u "Plesnost i tehnika" blogu), već predstavlja spoj kulture i običaja mnogih naroda koji su oblikovali glazbu, ples i poeziju na području Argentine i Urugvaja, a koji se naziva argentinski tango ili tango argentino. Argentinski tango je glazbeni žanr, ples, poezija i društveni fenomen - jezik komunikacije.
" Tango je poput jezika - nauči
te abecedu, rječnik, definicije, gramatiku, stil i uporabu - onda možete pisati ono što vam se sviđa ...."
- Alex.Tango.Fuego
"Prihvatiteljica pokreta osjeća prvu polovicu rečenice (iz moje ideje), a zatim završi drugu polovicu rečenice ..."
- Murat Erdemsel, tango učitelj i umjetnik
Često vodimo borbu sami sa sobom, drugim osobama i stvarima oko nas. Stvaramo otpor. Na taj način dolazimo u i stvaramo neugodne situacije te zatvaramo slobodni prostor, koji predstavlja svojevrstan prostor poštovanja i uvažavanja. Do toga dolazi jer nismo svjesni niti sebe a kamoli drugih. U ovom slučaju govorimo o (ne)svjesnosti našeg fizičkog i afektivnog bića, s obzirom da argentinski tango kao ples predstavlja odnos sa samim sobom, zatim drugom osobom s kojom dijelimo i stvaramo pokret, podlogom po kojoj se krećemo, glazbom, prostorom u kojem se krećemo te osobama oko nas.
Zbog činjenice da funkcioniramo iz naučenih programa i ponašanja, odnosno djelujemo iz starih povreda, situacije doživljavamo iskrivljeno, a ne onakvima kakve jesu ili kakve bi mogle biti uz stvaranje slobodnog prostora.
Isto tako, druge osobe promatramo iz povrijeđenih dijelova sebe te na njih projiciramo svoje strahove, boli, nesigurnosti, potrebe, očekivanja i sl. U ovom konkretnom slučaju to je način kako nas osoba s kojom plešemo doživljava i osobe koje nas gledaju. Ukoliko osoba s kojom plešemo nije na našoj razini, to nam predstavlja veliko opterećenje, neovisno o tome nalazi li se ta osoba iznad ili ispod očekivane plesne razine. Ono što se u takvoj situaciji kurtuazno očekuje od nas jest da se prilagodimo. Na taj način plesna komunikacija postaje ugodnija, samim time i skladnija te nastaje slobodni prostor koji do tada nije postajao. Njime se otvaraju mogućnosti za obje osobe, kako u pojedinačnom odnosu, tako i u paru ali grupi. Kako bismo ga naučili i mogli nadograđivati ne trebamo imati stalnog partnera ili partnericu. Njih stvaramo ili uočavamo s razvijanjem odnosa. Ne kaže se uzalud da je argentinski tango glazba, ples i poezija te društveni fenomen.
Nemoguće je biti u dobrom odnosu s drugim osobama, bilo kratkotrajno (tanda), bilo dugoročno, ako nismo u dobrom odnosu sami sa sobom.
Kada krenemo razvijati plesni odnos sa sobom (pokret, glazba …), rastvaramo svoje ograničavajuće obrasce mišljenja (figura, kalupa) i djelovanja (uvrježenih kretanja koje smo si sami stvorili ili ...) te postajemo svjesni svojih unutarnjih procesa (strukture i optimizacije pokreta).
Talent nije dovoljan, kao niti sama motivacija. Ono što daje rezultat te nas vodi na sljedeću razinu su inicijativa i akcija.
Pravila ponašanja u argentinskom tangu (tango codigo) treba uzeti s rezervom, jer nemamo svi jednake mogućnosti; dobar vid i sluh, jednako razvijen plesni rječnik i sl. (o ovome uskoro više).
Najmoćnija spoznaja jest ta da je plesač ili plesačica s kojim plešemo naše zrcalo te da se odraz u zrcalu mijenja tek kada se mi promijenimo – stabilniji, slobodniji pokret i abrazo uz razvijanje emotivne plesne inteligencije, o kojoj ću pisati u jednom od sljedećih blogova.
🇬🇧Our Relationship with Ourselves, Others, and Argentine Tango
A good relationship brings harmony, makes life easier, and provides the most fundamental sense of fulfillment in life—one that leads us toward a sense of meaning and realization of our potential. Through harmony and relationship, we more easily accept and shape new knowledge, such as Argentine tango, while at the same time creating a space for freedom.
For the most fulfilling kind of “magic-making” in this magical world, we should come to know Argentine tango itself in all its forms—its origins, its “existence,” its development, and …
Bloom’s Taxonomy describes three fundamental domains of human personality and activity that overlap with one another: the cognitive domain (knowledge-based—head; intellectual ability, knowledge, or thinking), the affective domain (emotional—heart; feelings, relationships, or attitudes), and the psychomotor domain (action-oriented—hand, or rather the body; physical skills, or what a person is able to do). These are also commonly referred to as knowledge, attitudes, and skills.
Argentine tango is not merely physical movement (see the blog post “Danceability and Technique”), but rather represents a fusion of the cultures and traditions of many peoples who shaped the music, dance, and poetry of Argentina and Uruguay, a form that came to be known as Argentine tango, or tango argentino. Argentine tango is a musical genre, a dance, poetry, and a social phenomenon—a language of communication.
“Tango is like a language—you learn the alphabet, the vocabulary, the definitions, the grammar, the style, and the usage; then you can write whatever you like …”
— Alex.Tango.Fuego
“The follower feels the first half of the sentence (from my lead), and then completes the second half of the sentence …”
— Murat Erdemsel, tango teacher and artist
We often struggle with ourselves, with other people, and with the things around us. We create resistance. In this way, we enter into and create uncomfortable situations, while closing off the free space that represents a kind of space for respect and appreciation.
This happens because we are not aware of ourselves, let alone of others. In this case, we are speaking about the (un)awar
eness of our physical and affective being, since Argentine tango as a dance represents a relationship with ourselves, then with the other person with whom we share and create movement, with the floor on which we move, with the music, with the space in which we move, and with the people around us.
Because we function according to learned patterns and behaviors, and act from old wounds, we experience situations in a distorted way rather than as they truly are—or as they could be when we create a free space.
Likewise, we observe other people through the wounded parts of ourselves, projecting onto them our fears, pain, insecurities, needs, expectations, and so on.
In this particular case, we are referring to the way the person we dance with experiences us, as well as the way we are perceived by those watching us. If the person we are dancing with is not at our level, this can become a significant burden for us, regardless of whether that person is above or below the expected level of dance.
What is courteously expected of us in such a situation is that we adapt. In this way, the communication through dance becomes more pleasant and, consequently, more harmonious, and a free space emerges where none existed before.
This free space opens up possibilities for both people—for the individual relationship as well as for the couple and the group.
In order to learn this and continue building upon it, we do not need to have a regular dance partner. We create or recognize them as the relationship develops.
It is not said without reason that Argentine tango is music, dance, and poetry, as well as a social phenomenon.
It is impossible to have a good relationship with other people, whether for a short time (a tanda) or over the long term, if we are not in a good relationship with ourselves.
When we begin to develop a dance relationship with ourselves (movement, music …), we begin to dissolve our limiting patterns of thought (figures, molds) and action (established movement patterns that we have created for ourselves or …), and we become aware of our inner processes (the structure and optimization of movement).
Talent is not enough, nor is motivation alone. What produces results and takes us to the next level are initiative and action.
The rules of conduct in Argentine tango (tango código) should be taken with a degree of caution, because not all of us have the same abilities—good eyesight and hearing, an equally developed dance vocabulary, and so on (more on this soon).
The most powerful realization is that the dancer we dance with is our mirror, and that the reflection in the mirror changes only when we change—through more stable, freer movement and embrace, together with the development of emotional dance intelligence, which I will write about in one of my upcoming blog posts.
🔗🇬🇧Relationship with Oneself and Argentine Tango
Thank you for reading
Thank you for taking the time to read and explore these reflections on our relationship with ourselves, with others, and with Argentine tango.
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