🇭🇷Govornik, predlagatelj i stvaratelj prve ideje pri pokretima u argentinskom tangu 🇬🇧 The Speaker, Proposer, and Creator of the First Idea in Argentine Tango Movements

🇭🇷Govornik, predlagatelj i stvaratelj prve ideje pri pokretima u argentinskom tangu

🇬🇧 The Speaker, Proposer, and Creator of the First Idea in Argentine Tango Movements

🇭🇷 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

🇭🇷Govornik, predlagatelj i stvaratelj prve ideje pri pokretima u argentinskom tangu

Uvrježeno se misli kako dobra komunikacija znači govoriti stvari koje su vrijedne slušanja (obrazci). To nije loš pristup, osim što se usredotočuje na pažnju jedne osobe i jednostranu komunikaciju. Tako se promatra i gleda na slušanje kao dvosmjerni proces. Nažalost dvosmjerni proces ovdje predvodi se kao « Ja ću govoriti o sebi i slušati pitanja/odgovore o sebi». Argentinski tango teži obostranoj, ravnopravnoj komunikaciji.

To znači kako ljudi slušaju ne da uče o drugima i budu aktivni sudjelovatelj. Već da stvaraju vlastite komentare. Kao kada student ekonomije iznese odličan poslovni model, kojeg profesor odbaci jer kaže, «Vaša ideja radi u praksi, ali i ne u teoriji.»

Dobar govornik/predlagatelj pokreta djeluje prirodno, uvjerljivo i sigurno. Lako zadržava pažnju, prenosi poruke glasno i razgovijetno, ne ponavlja se, a misli iznosi razumljivo i nedvosmisleno, logičnim redom.

Nitko se ne rađa kao govornik. Govorništvo se može uvježbati kao i ostale vještine. Više vježbe daje bolji rezultat.

Pročitajte više o biomehanici i postavi osi tijela u našem izdvojenom članku: 

Svijest o položaju tijela u argentinskom tangu

Za početak je korisno osjetiti i upoznati vlastito tijelo kao svoj glas u svakodnevnim kretnjama (što nam one govore – kako naše tijelo reagira na pokrete). Zatim osjetitib tjelo u kretnjama povezanim s pokretima u argentinskom tangu. Sljedeći korak je steći vizualnu predodžbu o vlastitim pokretima. Kad smo postali jasni samom sebi vrijeme je krenuti promatrati kako sudionik u našem pokretu reagira na našu ponuđenu ideju.

Pazite kako oblikujete pokrete i misli (bez obzira što je ovdje vaše tijelo glavni govornik). Naučite ponuditi pokret tečno i jasno. Od početka do kraja, bez prekidanja (poštapalica i zamuckivanja). Uvijek u plesnoj rečenici postoji točka, zarez i ostali interpunkcijski znakovi koji nam dopuštaju da stvorimo slobodan prostor za relaksaciju i pripremu nove rečenice. Daju mogućnost da upoznamo reakcije druge osobe i prilagodimo plesni govor te izbjegnemo dvosmjerni proces. Ne zaboravite povezivati pokrete s disanjem (disanje ne treba biti glasno, već smireno i tiho – pogotovo nemojte puhati drugoj osobi u lice, dahtati i slično). Nije teško. Samo zahtijeva dobru volju, malo truda i koncentracije. Prestanak neprestang trčanja, jurnjave..

Samo nuđenje pokerta u argentinskom tangu zahtjeva i bonton pokreta. Brainstorming - složiti određenim redom i povezati u smislenu cjelinu pazeći na jasan početak - zbog privlačenja pozornosti - i kraj zbog dojma koji na slušateljstvo ostavlja završetak.

Upoznavanje te otkrivanje reakcija pri linijskim, prekinutim i kružnim pokreta našeg sudionika (negdje je to uvrježeno da je na drugoj strani sljedbenik/sljedbenica ili možda ;) sudionik/sudjelovateljica). Nakon toga pažnja bi se trebala usmjeriti na promjenu zagrljaja – abraza. Sljedeći korak nadogradnja je plesne komunikacije i primjena istih pokreta u drugačijim pozicijama i izražajima (efortima).

Lagana ili umjerena trema, nesigurnost nije neprijatelj. Može vam pomoći da date sve od sebe i bolje reagirate u određenoj situaciji. Jaka trema vas može omesti ili čak blokirati. Pauze u pokretima i disanje može ju umanjiti ili otkloniti. Trema se smanjuje s iskustvom. Važno je ne izbjegavati situacije u kojima možete plesati u prisutnosti većeg broja ljudi bilo da su plesači argentinskog tanga (milonga, praktika) ili nekim drugim prigodama koje možete iskoristiti.

Treba što više vježbati, makar to bio ples u krugu obitelji i prijatelja. Dobra priprema također puno pomaže. Ne pripremite li se, bez obzira na vašu pokretnu elokventnost vjerojatno ćete zamuckivati, se ponavljati, skretati s teme, ubacivati nepotrebne plesne fraze i služiti se poštapalicama.

Bitno je da ne gledate na govor, odnosno na prenošenje svojih plesnih pokreta kao na nastup ega već kao na komunikaciju sa «slušateljem». Poruka koju prenosite važnija je nego savršeno održana plesna cjelina pokreta. Ne zaboravite ujedno kako su vaši plesni partneri i/ili gledatelji/publika, pod (podloga po kojoj se krećete – jer niste ptica), ljudi koji dijele plesni prostor s vama na onaj ili ovaj način te prostor u kojem plešete i glazba bitni za komunikaciju.

U neverbalnoj komunikaciji postoji puno znakova, no oni nisu jednoznačni već ovise o kontekstu. Mogu smanjiti ugodu plesa i prekinuti komunikaciju s slušateljem. Primjerice, širok osmijeh i otvoren abrazo tako da se vaš/a suučesnik/sudjelovateljica može položiti svoj dlan na vaš, mogu učiniti ples otvorenijim/opuštenijim/slobodnijim te mu dati toplinu. Povremeno pogledavanje slušatelja u oči i felxibilni/elastični abrazo je znak samopouzdanja. Prečvrsti abrazo znak je samodopadnosti i prevelike nesigurnosti «pogotovo ako se abrazo ne mijenja». Mrštenje, osmijeh stisnutih usnica, stisnute ruke ili izvučene iz ramenog sklopa u abrazu, prečesto nagli pokreti, pogled usmjeren prema dolje, stisnute šake i gestikuliranje stisnutim šakama te ispruženi kažiprst ukazuju na agresivnost ili obrambeni stav i nepovjerljivost te nervozu. Nepovjerenje i napetost se pokazuje, čestim širokim prijenosom težišta. Zatvoreno i zaključano držanje ruku, pri otvorenom i zatvorenom plesnom zagrljaju je znak pomanjkanja vlastite slobode pri pokretu te prekida protok energije. Time se mijenja  cijela pozicija tijela i uzemljenje našeg centra pokreta (donjeg abdomena koje prestaje biti aktivni govornik) te se počinjemo lomiti u leđima što može biti ujedno znak nepristojnosti jer naš/a suučesnik/sudjelovateljica mora stvoriti svoj/u dvostruku os.

Bitno je govoriti razgovijetno i dovoljno jasno da nas slušatelji dobro čuje, a da pritom ne vičemo (guramo i slično). Treba voditi računa i o intonaciji. To je važno. Ne samo da se izbjegne monotonija, nego i stoga što različita intonacija utječe na samu poruku. Slušatelji će različito doživjeti jedan te isti pokret izgovoren na različite načine. Ključni pokreti ističu se intenzitetom, efortima.. Bitne su i stanke. Ne samo zbog disanja, nego i zbog naglašavanja važnosti onoga što slijedi ili boljeg razumijevanja onoga što je rečeno.

Zbog treme se često pleše brže pa prijenos plesnih pokreta može biti teže razumljiv. Podrhtavanje je znak da treba smiriti, usporiti i pravilnije disati.

Na kraju, koliko god vam bilo teško i nelagodno, svaku priliku za plesanje doživit  kao svojevrstan trening koji će vas dovesti do konstantno opuštenih pokreta bez prevelike napetosti - što više plešete i vježbate, bit ćete sve bolji.

„Biti dobar govornik u pokretu Tango Argentino ne znači nametati oklop kontrole, već otvorit vrata i stvoriti siguran prostor u kojem se partneru predlaže prva misao bez prisile, osluškivajući...”

 - Jelena Somogyi 

🇭🇷 Hvala vam na čitanju i plovidbi kroz svjesnost tijela, slušanje, uzemljenje i prostor bivanja u sadašnjem trenutku.

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Jelena Somogyi

👉 @LibertangoJelena

🇬🇧 The Speaker, Proposer, and Creator of the First Idea in Argentine Tango Movements

It is commonly thought that good communication means saying things that are worth listening to (patterns). This is not a bad approach, except that it focuses on the attention of a single person and one-way communication. This is how listening is observed and viewed as a two-way process. Unfortunately, the two-way process here is led as "I will talk about myself and listen to questions/answers about myself." Argentine tango strives for a mutual, equal communication.

This means that people listen not to learn about others and be an active participant, but rather to construct their own commentary. It is like when an economics student presents an excellent business model, which the professor rejects by saying, "Your idea works in practice, but not in theory." 

A good speaker/proposer of movement acts naturally, convincingly, and confidently. They easily hold attention, convey messages loudly and articulately, do not repeat themselves, and present thoughts understandably and unambiguously, in a logical order.

No one is born a speaker. Public speaking—and movement proposing—can be practiced just like any other skill. More practice yields a better result.

Read more about biomechanics and body axis alignment in our featured article:

Body Position Awareness in Argentine Tango

To begin with, it is useful to feel and get to know one's own body as one's voice in everyday movements (what they tell us – how our body reacts to movements). Then, to feel the body in movements connected with the steps of Argentine tango. The next step is to acquire a visual perception of one's own movements. Once we become clear to ourselves, it is time to start observing how the participant in our movement reacts to our proposed idea.

Pay attention to how you shape your movements and thoughts (regardless of the fact that here, your body is the main speaker). Learn to propose a movement fluidly and clearly. From beginning to end, without interruptions (fillers and stuttering). In a dance sentence, there is always a period, a comma, and other punctuation marks that allow us to create a free space for relaxation and the preparation of a new sentence. They grant the opportunity to understand the other person's reactions, adjust our dance speech, and avoid the rigid two-way process. Do not forget to connect movements with breathing (breathing should not be loud, but calm and quiet – especially do not blow into the other person's face, gasp, or the like). It is not difficult. It only requires good will, a bit of effort, and concentration. The cessation of constant running, of rushing.

Proposing a movement in Argentine tango itself demands a certain movement etiquette. Brainstorming—arranging things in a specific order and connecting them into a meaningful whole, while ensuring a clear beginning to capture attention, and an end for the lasting impression that the conclusion leaves upon the listener.

Getting to know and discovering reactions during linear, broken, and circular movements of our participant (where it is conventionally assumed that the follower is on the other side, or perhaps ;) a participant/co-creator). After that, attention should be directed toward changing the embrace – the abrazo. The next step is upgrading dance communication and applying the same movements in different positions and expressions (efforts).

Mild or moderate stage fright, or insecurity, is not the enemy. It can help you give your best and react better in a given situation. Intense anxiety can disrupt or even block you. Pauses in movements and breathing can diminish or remove it. Stage fright decreases with experience. It is important not to avoid situations where you can dance in the presence of a larger number of people, whether they are Argentine tango dancers (milonga, practica) or other occasions you can utilize.

It is essential that you do not view speech—or the transmission of your dance movements—as an ego performance, but rather as communication with the "listener." The message you convey is far more important than a flawlessly executed dance sequence of movement. Do not forget, at the same time, that your dance partners and/or spectators/audience, the floor (the surface upon which you move – for you are not a bird), the people who share the dance space with you in one way or another, as well as the space in which you dance and the music, are all vital to communication.

It is essential that you do not view speech—that is, the transmission of your dance movements—as an ego performance, but rather as communication with the "listener." The message you convey is far more important than a flawlessly executed dance sequence of movement. Do not forget, at the same time, that your dance partners and/or spectators/the audience, the floor (the surface upon which you move – for you are not a bird), the people who share the dance space with you in one way or another, as well as the space in which you dance and the music, are all vital to communication.

In non-verbal communication, many signs exist, yet they are not ambiguous; rather, they depend heavily on context. They can diminish the pleasure of the dance and interrupt communication with the "listener." For example, a wide smile and an open abrazo that allows your co-creator/participant to rest their palm upon yours can make the dance feel more open/relaxed/free and infuse it with warmth. Occasionally looking the listener in the eyes and maintaining a flexible/elastic abrazo is a sign of self-confidence. An overly rigid abrazo is a sign of self-complacency and immense insecurity, "especially if the abrazo remains unchanged." Frowning, a tight-lipped smile, clenched hands or arms pulled out of the shoulder girdle within the abrazo, excessively sudden movements, a downward gaze, clenched fists, gesturing with clenched fists, and an extended index finger all indicate aggressiveness, a defensive posture, mistrust, and nervousness. Distrust and tension are demonstrated by frequent, wide transfers of the center of gravity. Closed and locked hand placement, in both open and closed dance embraces, is a sign of a lack of personal freedom in movement and breaks the flow of energy. This alters the entire body position and the grounding of our center of movement (the lower abdomen, which ceases to be an active speaker), causing us to break at the lower back, which can also be interpreted as a sign of rudeness because our co-creator/participant is forced to establish their own double axis.

It is essential to speak articulately and clearly enough so that the listener can hear us well, without shouting (pushing and the like). One must also take intonation into account. This is important. Not only to avoid monotony, but also because differing intonation alters the message itself. Listeners will perceive the exact same movement differently when it is spoken in different ways. Key movements are emphasized through intensity, efforts... Pauses are vital as well. Not only for breathing, but also to emphasize the importance of what follows or to allow for a better understanding of what has already been said. Due to stage fright, one often dances faster, which can make the transmission of dance movements harder to comprehend. Trembling is a sign that one needs to calm down, slow down, and breathe more properly.

In the end, no matter how difficult or uncomfortable it may feel, view every opportunity to dance as a form of training that will lead you to consistently relaxed movements without excessive tension—the more you dance and practice, the better you will become.

“Being a good speaker in the movement of Tango Argentino does not mean imposing an armor of control, but rather opening the doors and creating a safe space where the first thought is proposed to the partner without coercion, while actively listening...”

- Jelena Somogyi 

🇬🇧 Thank you for reading and navigating through the awareness of the body, listening, grounding, and the space of being in the present moment.

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Jelena Somogyi

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