Winds of war

On the occasion of the renewal of the Mariachiara Michieli's Tango courses - we are going to write an article about that without further delay - it's a pleasure for us to find out, set right, emend, in a word rewrite and issue the notes that Marco Castellani entered in the margin of a workshop on Social Dancing. Then and nowadays, War was nothing but the continuation of Economics by the same means.

They call it Social Dance, but it means Dance of a (certain) Society.
How many things there are in one minuet! – the Eighteen Century's Enciclopaedists used to say about the court intrigues that were plotted during those talked steps. Later, others aknowledged the waltz's frenzied pirouettes as a consequence of the Congress of Vienna's bewilderment. And we won't mention here our harmless furlana or the numberless forms the Folklore takes according to the different latitudes.
The Social Dance not only represents the Society, but it also reasserts its order and its hierarchy.
On the contrary, when the Tango Argentino appeared in the Rio de la Plata's urban areas over one hundred years ago, it was suddenly clear that it was not the "social body" who stormed into the history, but the "body simple" made of flesh, blood and desire. Right after the first phase, which was dominated by a sort of sensual surprise in finding oneself embraced without barriers, the Tango started to develop a thousand of styles, positions, figures, steps: that's to say an entire repertoire of variations on the embrace.
Today, like one hundred years ago, a man and a woman hold themselves tight and walk along a life concentrated in three minutes. As a graduate milonguero oftes says, these two bodies express the need to embrace, the need to keep together and resist the winds of war, the slavery, the troubles, the sorrow, the impossibility to change our fate. 
If the Romantic Art postulates the identity between the Artist and his Work, and sees the Dance as an illusory life that incidentally ends in disappointment, the Tango arises from this letdown and sees Life as a form of Dance. No other dance in the world moves us so deep as the Tango. We only need to watch it once to understand that the dancers have our own faces and those figures are actually the millenary movements of the human couple.
The Tango's worldwide success is due to its power in making our hearts vibrate. We don't need a specialized body to dance the Tango: it will accept us the way we are... (to be continued)

Incipit and pedal forwards

Borrowing the Anna Karenina's first lines, we confirm that all the punctual publications are punctual in the same way whereas every unpuctual publication is unpunctual of its own. And since the unpunctuality field, as Macedonio Fernandez used to state, doesn't take place merely in the post-punctual time, the late area, but also in the early time, the still green, The Tangueros Quarterly Review will adopt the compensational punctuality and provide its readers with the advance contents of the seventh issue which who knows when the hell it will be released.

Tangueros in the North-East

Mariachiara Michieli, assisted by Silvina Aguera and Sebastian Romero, will resume her Tango courses in Mestre/Venezia. The lessons will take place every week till May 2003, with a short break in February due to the Nueva Compania Tangueros winter tour. This year, Mariachiara will give a new direction to her teching programme, which will be based on the application of steps and sequences in the milongas' regular dancefloors. A proper know-how for milongueros in the Villa Urquiza's purest style.
The NCT's presence in this important area will be soon enlarged by the upcoming courses in Belluno and Treviso. In the meantime, here are the informations for the current activity: