How could i dance with another lyrics

I SAW HER STANDING THERE - The Beatles

I SAW HER STANDING THERE - The Beatles - LETRAS.COM

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Well, she was just seventeen
You know what I mean
And the way she looked was way beyond compare
So how could I dance with another? (Ooh)
When I saw her standin' there

Well she looked at me, and I, I could see
That before too long I'd fall in love with her
She wouldn't dance with another (whooh)
When I saw her standin' there

Well, my heart went boom
When I crossed that room
And I held her hand in mine

Whoah, we danced through the night
And we held each other tight
And before too long I fell in love with her
Now I'll never dance with another (whooh)
Since I saw her standing there

Well, my heart went boom
When I crossed that room
And I held her hand in mine

Whoah, we danced through the night
And we held each other tight
And before too long I fell in love with her
Now I'll never dance with another (whooh)
Since I saw her standing there
Since I saw her standing there
Since I saw her standing there

Letras Academy

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That
Looked
Dance
Whoah
There

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Yesterday
Here Comes The Sun
Let It Be
Hey Jude
And I Love Her
In My Life
Don't Let Me Down
Something
Blackbird
Help!
Come Together
I Want To Hold Your Hand
All You Need Is Love
Yellow Submarine
Love Me Do
Strawberry Fields Forever
While My Guitar Gently Weeps
Oh! Darling
With a Little Help From My Friends
All My Loving

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Am I Right - Dirty Songs You Didn't Know Were Dirty, The Beatles

Sometimes a song you hear for the first time, is innocent and sweet sounding. Then you listen closer to the lyrics, and realize it's talking about stuff you didn't realize. Double-entendres help disguise the filthiest of songs.

Check out the index or search for other performers.

Help! [UK] album at Amazon.com

The Beatles', "Back In The USSR"

The dirty Lyrics:

Oh, show me around your snow-peaked mountains way down south
Take me to your daddy's farm
Let me hear your balalaika's ringing out
Come and keep your comrade warm

Why They're dirty:

"Snowpeaked Mountains" may be the female breasts, because "way down south" leads to "your daddy's farm", which in this context refers to the woman's genitals. Perfectly written, because it simply depends on what you associate.

Submitted by: Cyrill Ghobrial

The Beatles', "Birthday "

The dirty Lyrics:

I would like you to dance
Take a cha-cha-cha chance

Why They're dirty:

I'm assuming "dance" means home run. The take a chance part kinda implies that.

Submitted by: Ally

The Beatles', "Come Together"

The dirty Lyrics:

Come together, right now, over me.

Why They're dirty:

I'm not entirely sure what john is implieing to do with the other Beatles, But I hope it's not what the adult mind may think...'CUM TOGETHER, RIGHT NOW, OVER ME!'....yeah...

Submitted by: Andrew Lennon

The Beatles', "Day Tripper"

The dirty Lyrics:

She's a big teaser, she only played one night stands.

Why They're dirty:

The original lyrics used to be she's a "prick" teaser which is obviously dirty. (Which Paul McCartney admitted in an interview.) And the next line is him talking about his one night stand of course.

Submitted by: Anna

The Beatles', "Day Tripper"

The dirty Lyrics:

She's a big teaser, she took me half the way there now.

Why They're dirty:

Even without the original lyrics it's dirty but the icing on the cake is that the original lyrics were "She's a prick teaser" This, of course, could not be released.

Submitted by: Theairbomb

The Beatles', "Dig A Pony"

The dirty Lyrics:

You can penetrate any place you go

Why They're dirty:

Whoa, there's nothing subtle about that!

Submitted by: Otto

The Beatles', "Don't Let Me Down"

The dirty Lyrics:

And for the first time that she really done me
Ooh she done me
She done me good
I guess nobody ever really done me
Ooh she done me
She done me good

Why They're dirty:

This song was about Yoko. By the time that song was recorded, she and John had been sleeping with each other for a while. Besides, what is doing someone slang for? Duh.

Submitted by: Aristotle

The Beatles', "Drive My Car"

The dirty Lyrics:

Asked a girl what she wanted to be. She said baby, can't you see. I want to be famous, a star of the screen. But you can do something in between. Baby you can drive my car.

Why They're dirty:

The girl (an aspiring star) is saying to the narrator (presumably a guy), that when she becomes successful, he can do something "in between". "Drive my car" (or your car) was a common metaphor for sexual intercourse used in old blues songs, which Lennon and McCartney had to have been well aware of. In this song, doing something in between could also mean oral sex.

Submitted by: Steve

The Beatles', "Eleanor Rigby"

The dirty Lyrics:

Eleanor Rigby, died in the church And was buried along with her name
Nobody came

Why They're dirty:

Nobody come refers both to the fact that nobody came to her funeral and that she died without children because nobody had sex with her.

Submitted by: Emerson

The Beatles', "Girl"

The dirty Lyrics:

tit, tit, tit, tit, etc.

Why They're dirty:

I always thought they were singing 'dit, dit, dit' instead but I remember reading somewhere that Paul admitted as much!
Ed Note: Lyrics unable to be verified.

Submitted by: james

The Beatles', "Happiness Is A Warm Gun"

The dirty Lyrics:

When I feel your finger on my trigger
Happiness is a warm gun

Why They're dirty:

I think the double entendre is clearly stated - 'a penis is a warm gun'

Submitted by: Jim Renshaw

The Beatles', "Hey Jude"

The dirty Lyrics:

so let it out and let it in,
hey jude, begin
the movement you need is on your shoulder

Why They're dirty:

this is a song of paul mccartney for john lennon's son, julian. this part is giving julian some advice on future sexual encounters...

Submitted by: acer alhmar

The Beatles', "I Am The Walrus"

The dirty Lyrics:

Crabalocker fishwife, pornographic priestess

Why They're dirty:

How is that not dirty?

Submitted by: Pedro

The Beatles', "I Am The Walrus"

The dirty Lyrics:

the eggman

Why They're dirty:

The eggman is Eric Burton, the leadsinger of The Animals. It refers to his habit of covering naked girls with egg yolk.

Submitted by: maria blommestijn

The Beatles', "I Saw Her Standing There"

The dirty Lyrics:

Well, she was just seventeen, you know what I mean.
And the way she looked was way beyond compare.
So, how could I dance with another,
Oh, when I saw her standing there?
Well, she looked at me and I, I could see
That before too long I'd fall in love with her.
She wouldn't dance with another,
Oh, when I saw her standing there.
Well, my heart went zoom
When I crossed that room
And I held her hand in mine!
Oh, we dance through the night
And we held each other tight
And before too long I fell in love with her.
Now I'll never dance with another,
Oh, since I saw her standing there.

Why They're dirty:

In England, at the time this song was written, the age of cosent was 17 years old. So, the girl he saw at the show was prime and legal. He got excited as he "crossed that room." The use of the word "dance" is a euphemism for sexual intercourse.

Submitted by: Gil

The Beatles', "I'm Down"

The dirty Lyrics:

We're all alone, and there nobody else
You still moan. Keep your hands to yourself.

Why They're dirty:

The girl/woman is obviously satisfying herself with her own hands while denying her boyfriend/husband sex which has got him feeling really DOWN about his sexual abilities and starvation.

Submitted by: Ken

The Beatles', "Maxwell's Silver Hammer"

The dirty Lyrics:

Late nights all alone with a test tube
Ooh, oh, oh, oh

Why They're dirty:

Talking about a girl here. Now come on, you can't tell me that isn't implying something.

Submitted by: Justin (um3k)

The Beatles', "Norwegian Wood"

The dirty Lyrics:

Isn't it good...Norwegian wood.

Why They're dirty:

Haha. Who's Norwegian?

Submitted by: Nina_Cayley

The Beatles', "Penny Lane"

The dirty Lyrics:

fish and finger pie in summer

Why They're dirty:

The Beatles themselves admitted that a 'fish and finger pie' was Liverpudlian schoolboy slang for touching a girl's genitals

Submitted by: james

The Beatles', "Please Please Me"

The dirty Lyrics:

Last night I said to my girl
You know you never even try girl
Come on! (Come on!)
Come on!! (Come on!!)
Come on!!! (Come on!!!)
Come on!!!! (Come on!!!!)
Please please me. ...Oh yeah!!!!
The way that I please you!

Why They're dirty:

He complains to his girl that she's lowsy at giving oral pleasure so he coaches her along as she finally learns how to please her man. The escalating echoes of "Come on!" is the tell-tale sign of the true meaning of this song.

Submitted by: Ken

The Beatles', "Please Please Me"

The dirty Lyrics:

come on, come on, come on,
please please me oh yeh like i please you

Why They're dirty:

john lennon is singing about oral sex with his girlfriend

Submitted by: russel gilbert

The Beatles', "She's a Woman"

The dirty Lyrics:

My love don't give me preasants I know that she's no Peasant

Why They're dirty:

The girl friend doesn't give him children. She's not a peasant because she's on the pill.

Submitted by: jr565

The Beatles', "Why Don't We Do It In The Road"

The dirty Lyrics:

Why don't we do it in the road
No one will be watching us
Why don't we do it in the road

Why They're dirty:

As a teen my mind was working overtime. Years later I heard that Paul was simply suggesting the group do their next recording session at the Abby Road studio where they would have more privacy.

Submitted by: danno h.

The Beatles', "Why Don't We Do It In The Road"

The dirty Lyrics:

Why don't we do it in the road.
No one will be watching us,
why don't we do it in the road!

Why They're dirty:

Now if that ain't obvious. Surprised nobody caught onto that one!!!

Submitted by: Ben

The Beatles', "With A Little Help From My Friends"

The dirty Lyrics:

What do you see when you turn out the light?
I can't tell you but I know it's mine.

Why They're dirty:

Come on, it's obvious, Ringo is singing about his willie. Paul even admitted he and John were giggling when they wrote the lyrics for him.

Submitted by: Morgan

New entries in this section are currently reviewed by Brian Kelly. Previous editors (if any) are listed on the editors page.

Disclaimer: amIright.com makes no claims to the accuracy of the correct lyrics. All correct lyrics are copyrighted, amIright.com does not claim ownership of the original lyrics.

5 dance directions for different temperaments | Fitness

As the unsurpassed Marlene Dietrich once said, "a true woman does not worry, but excites." One of the most effective ways to achieve this is dance. All about the types and features of dance programs - in the stories of Dance Studio by World Class trainers.

Folk Dance

(Svetlana Nikitina)

Folk dance (translated from English as "folk dance") is a genre that combines folk dance and modern music. This direction is a symbiosis of the most diverse dances of the peoples of the world: Spanish flamenco, Irish, Indian, Russian folk and Greek, Mexican dances, etc.

The origin of folk dance has deep roots. Ancient people copied the movements of animals, imitated natural phenomena - this is how the primitive dance was born, which evolved into a real way of communication and manifestation of feelings. In addition, ritual mysteries, ceremonial, religious and ethnic rites, etc. had an important influence on folk dance. For example, there were healer dances that drove out evil spirits and had healing functions. The same function, for example, was performed by a tarantella. The dance itself got its name from the tarantula, the poison from the bite of which could only be removed with sweat - for this infected person was forced to spin in a frenzied dance.

The experience, talent and imagination of more than one generation have been invested in the creation and evolution of folk dance. Folk dance cannot be confused with any other type of dance. It is transmitted ethnically and genetically from generation to generation, regardless of faith and nationality. All these traditional signs have been developed over the centuries, reflecting the centuries-old history of the people.

The greatest choreographer who changed the course of development of world choreographic art and made folk dance the property of world culture — Igor Moiseev. His interest in folk art began at the beginning of 1930s, when he traveled on foot and on horseback throughout Russia, Belarus, Ukraine, the Caucasus, collecting images of dance folklore. In 1937, he created a troupe of 40 people, which included amateur artists, graduates of choreographic schools and experienced ballet professionals. The very next year, the ensemble danced at a government concert at the Bolshoi Theater. In the repertoire of the ensemble, folklore samples have received a new life and have been preserved for several generations of viewers around the world. For this purpose, Igor Moiseev used all the means of stage culture: all types and types of dances, symphonic music, drama, scenography, acting skills.

World Class allows you to get acquainted with the world of folk dance, so that every connoisseur of dance programs can not only immerse himself in the culture of different nationalities, but also get everything that fitness gives: cardio load, correct posture, strengthening of all muscle groups, development of the vestibular apparatus , a favorable effect on the emotional state.

For example, in Indian dances, the main emphasis is on the hands and the position of the head - with just your hands you can tell a whole life story. In Russian dances, these are incendiary dances and round dances, in Irish dances, great footwork and body setting.

Contemporary Dance

(Ekaterina Frunze)

“Contemporary-dan” is a body language that conveys the innermost thoughts and feelings of a dancer to music. "Contemporary" appeared in dance schools in the USA and Europe in the 60s of the XX century. He came to the USSR only in the 80s. The founder of the modern style of these dances is the young dancer Isadora Duncan, who rejected classical ballet and subsequently created modern dance. She was repeatedly reproached for deviating from the true dance school, however, the girl did not yield to her principles and argued that any movement would be beautiful only when it truthfully and sincerely expresses feelings and thoughts. Thus, it was Isadora who initiated the dance, the main task of which is to learn to hear your inner voice and express it with the help of your body. Despite Duncan's success, this dance direction began to develop only 30 years later, after her death. In addition to Isadora Duncan, well-known dancers Marie Rambert and Martha Graham, as well as choreographers Rudolf von Laban and Merce Cunningham, also participated in the development of "contemporary".

This style of modern choreography has absorbed a bit of the dance culture of the West (classical dance, modern, jazz), a little of the East, so that the result is a harmonious, beautiful, natural dance - an expression of the personal "I".

Contemporary dance is presented in the network of World Class clubs as a desire to follow new trends and styles. The teacher will provide competent support to both beginners and advanced dancers, and will also become a guide-mentor on the way to developing the harmony of body and soul and establishing a connection between the physical and spiritual.

That is why special attention during the lessons is given to the ability to breathe, be aware of your body, let go of thoughts and show emotions. At the Contemporary lessons, the members of our club learn to coordinate the body and mind. And, if in the classical dance school it takes years of training to develop muscle strength, then in “modern dance”, thanks to the basics of yoga and oriental practices, all participants quickly master amazing physical abilities, which allows everyone to express themselves as much as possible through dance.

Uniform for training - loose: loose-fitting trousers or leggings, tunic, T-shirt, something that will not hinder body movements.

To look inside the human soul, to know oneself, to learn to accumulate emotions, energy and thoughts in order to give them to the audience - these are the features of Contemporary Dance. An integral part of the classes is improvisation - free improvisation that brings pleasure and the feeling of flying in a beautiful, light and free Contemporary Dance!

Lady’s Style

(Denis Shumikhin)

“The founder of Lady’s Style is considered to be Willie Nina, a dark-skinned dancer in the early 1960s in New York. Vogue is a dance style based on model poses and catwalk walk. Its distinguishing features are a quick technique of moving the hands, a frilly mannered gait, falls, rotations, and emotional play. Vogue, like a dance, traces its history back to the 70s of the twentieth century. The style originated in the Harlem Prison, located in New York's northern Manhattan borough, where inmates amused themselves by imitating the poses of magazine models.

Initially, it was a normal copy of pos. Subsequently, ironic posing was supplemented by movement and music, transforming into a dance.

Quickly enough, Vogue became a popular form of entertainment for the sexually liberated people of New York.

A new round of popularity for Vogue occurred in 1990 after the release of Madonna's "Vogue" video. The style gradually began to penetrate the masses and dance culture not only in the United States, but also in Europe and formed the basis of the Lady's style direction.

I have been teaching Lady's style in the World Class club network for more than 10 years and I can say with confidence: this is the dance in which a woman most openly shows her inner world. Lady's style combines elements of such styles as Go-Go, ragga, dancehall, R'n'B and strip plastic.

Dance allows you to experiment not only with styles, but also with images: Lady's Style is an opportunity to prove yourself in a variety of roles: vamps, ladies or panthers before jumping. As a result, you will get an impressive physical load that activates all muscle groups. Smooth transitions from a standing position to a lying position, graceful movements, amplitude swings - all this is Lady's style.

The dance attracts many admiring glances from both women and men.

Lady's Style is designed for women of all ages. It is this style that allows a woman to feel that she can be different, attractive, elegant, mysterious.

I would advise you to start training in any comfortable sportswear in which you feel most attractive. In this dance, the main thing is the mood. From shoes at the initial stage, it is better to choose dance sneakers that allow you to stretch the toe, in the future you can move on to classes in heels.

The peculiarity of teaching this style in our network is that you can attend group lessons and hone your skills in personal classes, where you and I can realize any fantasy, up to staging an individual performance or recording a video clip. It is a style of unlimited possibilities and an uplifting lesson."

Argetian tango

(Vladislav Broslavsky)

“The history of this dance, as the name implies, began in Argentina. At first, it was performed by former slaves to the accompaniment of drums. At the end of the 19th century, the Argentine port city of Buenos Aires became extremely popular among expats. People from different countries of Europe came here in search of a better life and brought their own musical traditions and instruments with them. Then in Buenos Aires, as a result of the mixing of various musical cultures and trends, a previously unknown dance, the tango, is formed and developed. At first it was cheerful, light, sometimes even vulgar, so for a long time it remained a dance of the lower strata of society. In those days, tango was danced in taverns, barrack yards, brothels and just on the streets in the poorest quarters of the city. At the beginning of the 20th century, among the instruments playing music for tango, a bandoneon appeared - an instrument resembling an organ in its sound. He added notes of drama to light music. With his appearance, the tango became slower, tones of intimacy appeared in it. At that time, most of the population of Buenos Aires were men. The lyrics of the tango are a reflection of sadness and longing for a woman. For a male tailor, there were only brief moments of intimacy with a woman. This happened when he held her in his arms, dancing the tango. At such moments, a man was seized with love, and this feeling somehow reconciled him with life. In tango there is always you, your feelings and music.

Tango develops coordination, balance, elegance of movements, trains and makes many muscle groups work as a whole, develops musicality and sensuality. For women, especially in our hectic and stressful time, this dance is an opportunity to relax the brain and disconnect from everything external and direct your attention deep into yourself, devote time only to yourself and your feelings - only under this condition will it be possible to dance tango. For a man, this is an opportunity to show his strength, power and, at the same time, responsibility for his partner, since she takes every step only with the permission and guidance of her partner. Tango is the unity of two bodies, two universes, two souls and a joint flight into space, one meditation for two.”

Modern Style

(Maxim Kartsev)

“Modern dance as a direction appeared at the turn of the 19th and 20th centuries in the United States and Germany. In America, the name was associated with stage choreography that opposed the standards of classical ballet. For those who practiced modern dance, it was important to present a choreography of a new order, corresponding to the man of the new century and his spiritual needs. The principles of such art can be considered the negation of traditions and the transmission of new stories through unique elements of dance and plasticity. In their long war with clichés, modernist dancers were unable to completely abandon traditional ballet forms. They put up with some technical tricks.

Art Nouveau is considered to be the dances founded by Isadora Duncan. She was inspired by nature and promoted freedom of movement, their spontaneity. Isadora's dance was improvisation, without special costumes and shoes, to the accompaniment of live music!

"Modern" is one of the favorite trends in the World Class company, because it contains harmony, beauty, body plasticity. All that is needed for dancing is the desire to “splash out” your emotions and mood. To do this, you just need to be involved in the process and wear comfortable clothes.”

Why should an engineer start dancing tango / Sudo Null IT News

About once a week my evening looks like this: I put a nice shirt or two in my bag, a nice pair of shoes and come to a park with an open veranda, a restaurant or a club. Several dozen well-dressed men and women have already gathered there, I quickly change clothes and join them. I know someone, we warmly embrace and exchange a few words for life. There is a bar: you can take a glass of wine, a cocktail or juice. Somewhat old-fashioned, but beautiful and rhythmic music is playing. Here it changes, I listen to the first bars, look around the room, choose the most spectacular woman and try to catch her eye.

No, this is not a "over 30" dating club, not a psychological training and not an underground marketplace for escort services. For more than ten years, apart from a few breaks, I have been dancing social Argentine tango.

The key word here is "social". This is not a sport (there are sports and ballroom dancing, the standard program of which includes tango), not fitness, not a folklore club. Social dancing is a hobby that millions of people all over the world do, and now I’ll tell you why this is an ideal activity for Habr’s audience: software engineers, testers, SREs and others, who until recently were condescendingly called nerds and geeks (so far our companies did not begin to receive billion-dollar valuations, and we ourselves did not become millionaires in those very 30s).

Another important feature of social dances is that they are danced in pairs, where there are roles of leader and follower, leader and follower (this is what, by the way, the politically incorrect master and slave had to be renamed into). These couples are formed impromptu: in tango there is the concept of cabeseo / mirada, when potential partners meet eyes, nod to each other, the partner approaches the partner and invites her to the dance floor with a gesture. Other social dances probably have their own, more or less formal ways of negotiating a dance. The social dances themselves are largely improvisational, of course, they have separate figures and ligaments, but exactly how and in what order to compose them is decided by the leader in a pair during the dance, based on the music, his mood and the availability of free space on the dance floor. .

It's obvious that you can't just come and start dancing without preparation - all social dances have to be learned, some longer, some faster. They say that in Cuba they learn to dance salsa in two weeks, and tourists probably do it in 2-3 days, but the typical training time for tango, salsa, and swing varieties is from three to six months. At this point, it is considered that students can already dance tolerably with each other and other beginner dancers and enjoy it. The path from beginner to intermediate and advanced level can take several years, but in general this process has no end: you can always improve the basic technique, learn new figures, ligaments and whole varieties of dance.

Thus, a typical week of a student in a social dance group consists of two group lessons of one and a half hours and at least three hours of independent practice, without which the lessons practically do not make sense: in the lessons we only learn the material, and for mechanical memorization it is required to repeat it many times . In addition to lessons and practices, you will have to spend at least a minimal amount on clothes and shoes. Over time, you will want to attend more expensive seminars and intensives and even take private lessons (I continue to do this regularly with my more than a decade of experience), as well as buy or make custom-made dance "equipment". For the sake of what, one wonders, such an investment of money, and, more importantly, time? And why do I strongly recommend IT workers to do this?

First of all, social dancing is a great way to socialize (pun intended). At lessons and practices, as well as at milongas (the so-called tango parties), salsatecs and parties of other dances, you meet a variety of people with whom you will be united by common interests, topics for conversation, and this is great both to satisfy the basic need for communication, and for making new useful contacts, as well as, last but not least, acquaintances with the opposite sex. Women in social dances come off to the fullest in terms of dresses, shoes, hairstyles and makeup: everything that they sometimes lack in everyday life, they can fully embody on the dance floor, so their eyes diverge out of habit, and the pulse quickens to a slight tachycardia. The rituals of choosing partners and partners are pretty similar to similar gender rituals of flirting and seduction, and the fifteen-minute dance itself can express a lot of emotions without words and helps to get to know each other better than texting on Tinder or dating in coffee shops. However, moving from dancing to casual conversation is as easy as shelling pears: I remind you that the bar is open!

(don't stop reading on the previous paragraph, it's not all good things about social dancing!) problems and algorithms. In this regard, the "right hemispheric" functions - emotions, intuition, imaginative thinking, perception of art - are less developed in us, and the further we advance in our career, the stronger this imbalance. Social dancing is a great way to pump your "right hemisphere": learn to listen and hear music, perceive and express emotions and improvise. These are invaluable skills that will come in handy countless times in a variety of life situations, from moving in a dense stream of people to work meetings and business and personal relationships.

I'm not talking about the fact that the formation of new neural connections is a hyperuseful process for the brain, especially with age. If you don’t want to turn into a conservative bore by the age of 40, who is lashing out at the youth unleashed with their flashlights in the yard, then it’s a matter of our time! - you need to constantly learn something new, helping the brain and psyche to maintain plasticity and lability. Learning something that is not just outside of your work responsibilities and professional interests, but perpendicular to them is a hundredfold useful. With my ten years of experience, I constantly continue to learn something in tango, attend seminars of Argentine maestros, exchange new chips with tangeros friends, study tango music and learn a little Spanish to better understand the lyrics.

But that's not all! The third whale of dancing is the physical form. At first glance, it seems that most social dances, unlike ballroom dancing, do not require much effort, especially if we are talking about Argentine tango, and not boogie-woogie or lindy-hop. But this impression is deceptive: the music is fast, the figures and ligaments are complex and require a certain dexterity, and a lot of strength is required to maintain balance (feet and ankle), hold your axis (back muscles and corset muscles), embrace with a partner (muscles of the arms ). Each step in tango is accented and, starting from the floor, ends at the point of contact of the couple, engaging all the muscles along the way. And so an hour and a half of a lesson, two hours of practice or 3-4 hours of a milonga!

In-depth work on dance technique and basic techniques of balance, step, axis and embrace lead to an increase in body awareness (understanding how the body and its individual parts work) to the level of advanced adherents of Pilates, bodybuilding and even yoga. Some dancers and especially dance teachers organically develop in the direction of body psychotherapy and embodiment (google, the text is already big). Already from the advanced level, dancers get a good posture, a light and energetic step, as well as an image improvement and an increase in self-esteem as a bonus, and with experience this only progresses.

With this, I will end social dancing in general and move on to the benefits of Argentine tango specifically.

Firstly, in my opinion, it is in the Argentine tango of all social dances that there is the most improvisation and the least memorized chords and "tracks". At least it is in tango that this is valued above all. This is due to the traditions of the Argentine milongas, where the density of couples per square meter of the floor is sometimes such that there is nowhere for an apple to fall, and the ability of a partner to use all the available space or move in one place in a variety of ways was a sign of skill.

Secondly, tango has the most complex emotions and feelings. The norm for tango is a close hug, when the bodies of the partner and the partner are tightly pressed in the chest area. We are actually dancing, embracing! Feeling each other's micro-movements, delicately touching with your feet, hearing breathing, freezing or breaking away in unison is priceless for me. Well, just hugging other people is good for your health (yes, there are scientific studies).

Because of this, tango is usually danced by people who are emotionally mature, able to express their mood and appreciate the feelings of others. There are very few “achievers” in the tango environment, people whose thoughts are aimed at producing an external effect: after all, most of our dance takes place within a couple. At the same time, the rule "what happens on the dance floor - stays on the dance floor" applies, and after a sensual tanda on the verge of eroticism (four melodies that are danced in a row without a change), my partner and I can look at each other and disperse in different directions in satisfaction, so that in 15 minutes, experience the same (or completely different) range of emotions with other people.

For me personally, such a thing as tango tourism plays an important role. Argentine social tango is so widely spread across the planet that there are dancing parties in almost every major city in the world, except for countries where bodily contact between unfamiliar people is considered unethical or even prohibited. Going on any trip, I throw a pair of dance shoes into my bag, and I am almost sure that if I want to go dancing, I will easily find such an opportunity for myself, as it happened many times in Israel, Cyprus, Turkey, Greece, Croatia, Italy, France, Spain, Germany, Denmark, USA, and everywhere else. Before the coronavirus, tango festivals were held all over the world, including in Russia and Belarus, including both just milongas and master classes by a world-class maestro. This was a great reason to choose a place for the next vacation: to see the city and in the evening there is always something to do. St. Petersburg, Nizhny, Chelyabinsk, Minsk, Istanbul, Naples, Genoa, Barcelona - these are just some of the places where I attended great events and met cool people.

And finally: when the basic movements are danced to automatism, and the necessary muscle groups are constantly in good shape, the requirements for physical fitness become not as acute as at the beginning of the journey. As a result, tango can be danced even at a rather advanced age of 60-70, unlike other social dances, where this is rather an exception. In the milongas in Argentina, where the tango culture is most alive and integrated into society, it will not be a surprise to meet dancers aged 80 and even older. Just watch the great Carlos Gavito at almost 60 dancing with 35 year old Marcela Duran to the music of Osvaldo Pugliese. This show was one of the catalysts for me getting into tango, and the tune is still one of my favorites:

Now you probably have one question left: where to start your path to social dancing, how to understand if it's mine or not? If the article arouses interest, I will write a sequel about this and much more that I will meet on the path of a social dancer, as well as share my personal experience.

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