Quality of movements - PercorsoTango di Carlo Colajanni

Tango across Europe
PercorsoTango
di Carlo Colajanni
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Why a professional tango dancer is able to  perform movements which seem to be easy like just walking, with an  aesthetic result quite different from the one of many students who look  like "experts"? Is there any key accessible to everyone to give more  quality to the dance? The workshops of this section will help in the  research work on the structures of the movement and on the harmonic  circuit of all body parts.  Examples of seminars already held and that you can take:  

Move with elegance (I): the awareness of the "center"

What is and how to search the support center of your body, the  center of action of gravity, the source of expression for every dynamic  dance, basic key to understanding the origin of the elegance of every  movement? The seminar deals with the study of sensitivity of our body  through a deep research of a number of fundamental items that are  essential for a quality approach to dance.

Move confidently: feel the "ground"  

What is it and how do we perceive the feeling of the "ground"?  How to use this awareness to moove more confidently in tango? The  seminar deals with the study of feeling the body contact with the floor  highlighting and exploring one of the most difficult things to put into  practice while dancing: the separation of the lower half and the upper  half of our body, an essential combination of elegance and stability in  tango.  
   
Move with elegance (II): Foot Control  
 
 
The workshop helps to get in touch more deeply and consciously with  this part of the body enhancing expressiveness, sensuality and harmony.

From natural walking to tango walking  
  
The most common question that probably arises among tango students  is: why does it take so long time to learn walking with a certain  elegance? The workshop follows by an approach more 'naturale of walking  in tango without the constant references postural and muscle stimulation  that often cause stiffness.

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