Mazen Kiwan : Le tango m’a appris l’attente du moment parfait

Discret et talentueux, celui qui a lancé le tango au Liban et constitué une communauté d’aficionados n’a pas eu l’itinéraire d’un enfant gâté. Portrait d’un danseur passionné, à froid.

On s’en souvient membre du jury dans l’émission à grand succès Dancing with the Stars, pour ses interventions mais également pour sa barbichette nattée qui a déclenché des tempêtes entre pro et anti. Depuis quelque temps, Mazen Kiwan a changé de look. Il s’est fait couper les cheveux et une partie de la barbe, qui lui rappelait l’Égypte des Pharaons.

Lors d’une conférence de presse la semaine dernière, le chorégraphe et danseur de tango le plus connu du Liban a annoncé la dixième édition du Festival international de tango de Beyrouth. Un événement qu’il a lancé alors qu’il habitait encore la France, et qui est devenu une institution.

C’est à Paris où il a résidé dès 1995 pour suivre des cours à l’Institut pédagogique d’art chorégraphique qu’il a découvert cette danse toute en sensualité et en grâce.

« La France m’a appris l’humilité. Quand je suis arrivé à Paris, j’étais premier danseur chez Caracalla. Et puis, j’ai découvert mon niveau… J’avais à travailler énormément sur moi-même pour progresser parmi les danseurs européens », confie-t-il.

Né à Bater, dans le caza du Chouf, Mazen Kiwan, qui aimait cet art depuis tout petit, a rejoint la troupe de Caracalla en 1990 à 17 ans. « J’avais 22 ans quand je suis arrivé à Paris. Que de fois au début de mon séjour parisien je quittais des auditions avant de danser parce que je voyais la performance des danseurs qui m’avaient précédé, poursuit-il. J’avais le choix entre rentrer au Liban et vivre dans le déni en prétendant que je suis un grand danseur, ou rester en France et travailler », ajoute-t-il, fier de son parcours. En véritable bûcheur, il opte en toute humilité pour la solution difficile et reste dans la Ville-Lumière où il progresse petit à petit et découvre le tango. « Cet intérêt nouveau s’est fait à travers la musique, surtout celle d’Astor Piazzola et d’Osvaldo Pugliese », se souvient-il. Il assiste à des spectacles, prend part à des milongas, ces soirées où l’on danse le tango, et apprend les bases de la danse dès 1997, deux ans après son arrivée à Paris, dans un studio de Saint Cloud.

Les choses s’accélèrent en 1999 quand il devient l’assistant, l’espace d’un atelier de travail, du danseur et professeur argentin Gustavo Naveira, qui a surtout travaillé sur la structure des mouvements de la célèbre danse argentine. « À la fin du workshop, les danseurs qui y participaient m’ont demandé si je pouvais leur faire répéter les chorégraphies afin qu’ils ne les oublient pas. J’ai participé avec eux au paiement de la location du studio et je me suis acquitté de la tâche gratuitement. Moi aussi, je voulais danser pour ne pas oublier ! »

Petit à petit, d’autres danseurs entrent dans la danse pour apprendre le tango. Mazen Kiwan loue ainsi à l’heure un studio et commence à gagner un peu d’argent avec cette passion devenue un métier, animé par un goût du partage. Il se rendra à plusieurs reprises en Argentine, avant de retrouver une première fois le Liban en 2002. « Je suis venu en vacances avec mes élèves de différentes nationalités européennes pour danser et leur faire découvrir le pays », raconte-t-il. C’est ainsi qu’est née l’idée du Festival international de tango au Liban, qu’il a lancé il y a tout juste dix ans, en 2009, et qui mobilise, depuis, de plus en plus de danseurs et d’inconditionnels venus du monde entier.

Durant son séjour parisien, Mazen Kiwan a également travaillé au théâtre avec l’actrice et metteuse en scène franco-britannique Irina Brook. Il sera même le chorégraphe de sa pièce Résonance pour laquelle elle avait notamment reçu un Molière et le trophée de la Société des auteurs et compositeurs dramatiques pour les nouveaux talents. En 2004, il figure dansant un tango dans une séquence du film La demoiselle d’honneur de Claude Chabrol. Le danseur et chorégraphe qui parle du choc culturel qu’il a vécu en arrivant à Paris confie sans complexe qu’avant le film, il ne connaissait même pas l’importance du réalisateur dans le cinéma français.

Mazen Kiwan viendra presque chaque année au Liban pour le festival, jusqu’en 2013, où il figure parmi les membres du jury du programme Dancing with the Stars. « Pour le programme, je faisais tous les week-ends des allers-retours Paris-Beyrouth et j’habitais à l’hôtel », dit-il.

C’est à la deuxième saison du programme qu’il décide de s’installer définitivement au pays et d’ouvrir un studio à Badaro qu’il baptise The Academy.

« De nombreux Libanais manquent de sérieux et de discipline. Ils ont aussi le souffle court. Ils pensent que tout devrait leur venir facilement, or ce n’est pas le cas avec la danse. Ils veulent accéder à tout rapidement », dit-il. « Le tango m’a appris l’attente. C’est en fait une éducation à l’attente, celle par exemple du moment parfait. C’est la danse de l’harmonie entre un homme et une femme où chacun des partenaires est entier. Ils dansent pour devenir un », estime-t-il, ajoutant que « le tango est la danse qui éternise en mouvement l’instant présent grâce à l’harmonie entre le couple de danseurs. Tout s’efface. Seule cette union formée par leurs deux corps existe ».

Le 11/4/2019

Byblos Tango Festival 2019 !

Patricia Khoder

Lien vers l’article de l’Orient Le Jour.

 Lien vers l’évènement du Byblos Tango Festival 2019.

Lien vers le site de l’organisateur Tango Lebanon pour l’inscription.  

The Benefits of Dance

 

How can dance be defined ? Many definitions are given by diverse sources. Taking them into consideration has led to understand dance as being an artistic and rhythmic movement in a given space that is usually in accord with a given music. Some people dance to express their emotions or ideas, some others find through dance a way to exercise or increase their performance, some look at dance as a way to socialize or have fun while some others are simply pulled in by the music. Actually, although those who dance are overwhelmingly motivated by one aspect of the discipline, dance has combined benefits including socializing, mental well-being, mental health and physical health. As we have discussed the social benefits in a previous article entitled ‘’Dance or the Art of Meeting Others’’, we will focus here on both the mental and the physical benefits of dancing.

On one hand, dance provides undeniable physical benefits. First, dance is an activity that has, depending on the frequency of the sessions and on the intensity of efforts, advantages at least similar to those of sports. A study of 2015 called the Energetics of Dance was led by Dr. Nick Smeeton and Dr. Gary Brickley from the Department of Sport and Exercise Science at the University of Brighton. The researchers analyzed the results that came out of a group of 15 dancers aged from 24 to 38 who tested for the purpose of the study several activities such as ballet, ballroom, contemporary, salsa, street and swing dance as well as swimming, running and cycling. The sessions equally of 30 minutes each revealed different results: an average of 293 calories were burnt in swing dance while 264 calories were burnt in running, 258 calories in cycling and 249 calories in swimming. Swing dance which is the most intense of the aforementioned dances has led to the most calories burnt in a 30 minutes session. Nevertheless, the other dances as ballroom, contemporary or ballet have revealed periods of what is categorized as ‘’high and severe intensity exercise’’, thus an effort that can be easily compared to cycling for example. Here lies the difference between dance and other physical activities. Second, dancing usually implicates the movement of extensive parts of the body unlike the majority of sports. The arms, the legs, the back, the hips, and the neck among others: every muscle and every joint may be called upon during the dancing process. Flexibility as well is a must for any dancer and especially for dances as ballet, contemporary or ballroom dancesport: the ‘’portes’’, the ‘’ronds de jambe’’, the ‘’pointes’’, the ‘’drops’’ and other movements require a lot of both flexibility and strength. Hence, by practicing these dances, you are nurturing both which will tend to keep you fit and in a good shape and health.

 

Third, dance helps preventing and curing diseases. As any sport, and furthermore as a discipline that is, by nature, more demanding due to its various and extended movements, dance (and dancing regularly !) is an efficient way to prevent and even cure heart diseases, diabetes and high pressure. An article of November 8, 2018 entitled “Diabetes and Depression in Lebanon and Association with Glycemic Control: a Cross-Sectional Study” was published on “The National Center for Biotechnology Information” website. The latter is a website managed by the US National Library of Medicine and National Institutes of Health that advances science and health by providing access to biomedical and genomic information. The article is based upon a study conducted on 436 diabetic patients in Lebanon and that examines links between Diabetes mellitus, “a chronic non-communicable disease characterized by hyperglycemia and is associated with chronic complications affecting the overall quality of life”, glycemic control and depression. In the context, the International Diabetes Foundation estimates that in 2017, around 585 400 persons are diabetic in Lebanon whom amount to about 14.6% of the population. The study hence emphasizes, that with such a big number, the consequences of Diabetes which are “long-term complications affecting the retina of the eye, the nerves, and the kidneys, and may lead to higher risk of cardiac diseases or strokes”, are of particular importance in Lebanon. The article says that the causes of Diabetes are due to “a result of many factors including obesity, sedentary life style, and genetic predisposition.5”. Hence, dance may be an adequate solution in order to treat both the causes of Diabetes as sedentary life style and its effects as depression which was observed on 29% of the patients tested (notwithstanding the fact that depression may be, as well, a factor leading to diabetes). From one to another, a study of May 20, 2014, entitled ‘’Dance Therapy in Patients with Chronic Heart Failure: a Systematic Review and a Meta-Analysis’’ was conducted on 183 patients among them 62 patients who followed a dance therapy, 60 a classic exercise therapy and 61 as an observation group.

The results showed that the dance therapy patients, unlike the other patients, have enhanced their control over exercise capacity and improved their health-related quality of life. Let us note as well that the balance, the control over the body and the coordination of the movement procured by dancing help people at risk or suffering of osteoporosis to better manage the fragility: prevented falling, harmless falling, strengthened and stretched muscles.

On the other hand, the mental well-being includes primarily mental health. The latter is importantly affected by dance-related effects as dance may be, in some cases, a way to prevent and to cure mental health diseases. Preventing is preferable to curing would say the wise man. Well, dance does both ! A scientific article called ‘’White Matter Integrity Declined Over 6-Months, but Dance Intervention Improved Integrity of the Fornix of Older Adults’’ was published in the journal Frontiers in Aging Neuroscience on March 16, 2017. Neuroscientifically Challenged is a website that defines the Fornix as ‘’a bundle of white matter fibers that arches around the thalamus. The fornix originates in the hippocampus, where it emerges from a collection of fibers called the fimbria. It then stretches up and around the thalamus toward the front of the brain’’ and the White Matter as ‘’areas of the central nervous system’’ mainly containing ‘’axons [or connections] and glial cells [or non-neuronal nervous system cells] ’’ in the brain. The neurodegeneration of the Fornix is associated to amnesia and Alzheimer disease. Thus, we can define the Fornix as being an essential component of the White Matter regarding its role linking to cognition abilities and memory. Moreover, hereof article mentioned that ’’White Matter is considered one of the primary mechanisms underlying age-related cognitive slowing and memory decline (Gunning-Dixon and Raz, 2000; Madden et al., 2012)’’. In other words, preserving White Matter integrity is to preserve cognitive performance which starts to decline at around 55 years old.

The study aforementioned which lasted for 6 months was tested on four groups of elderly people appointed at dance, walking, stretching or walking with nutrition. According to the organizers, ‘’Sessions were conducted in an appropriate dance space and were taught by experienced dance instructors. The choreographed dance combinations became progressively more challenging over the course of the 6-months program. Group social dance styles were selected (i.e., Contra and English Country dancing) to minimize lead-follow roles. Instead, these social dances required participants to move between partners during each dance. Each participant learned and alternated between two roles for each dance, increasing the cognitive challenge’’. In brief, four indicators have been used in the experience: the Fractional Anisotropy (FA) which is associated, when abnormally low, to the loss of fiber integrity (Beaulieu, 2002), such as in Alzheimer’s disease cases (Medina et al., 2006); Radial Diffusivity (RD),when abnormally high, is linked to White Matter degeneration (Song et al., 2003, 2005); Axial Diffusivity (AD) which relates to axonal integrity; and Mean Diffusivity (MD), which is, when abnormally high and when paralleled with RD and AD increases, is a sign of White Matter degeneration (Beaulieu et al., 1996; Beaulieu, 2002; Concha et al., 2006). The results were meaningful : ‘’FA in the fornix decreased in both Walking and the Stretching group, but in the Dance group increased on average by 0.68 × 10−2 (see figure below). […] RD and MD increased to a significantly lesser extent in the Dance group compared to all other’’.

The study concludes by a particularly positive note for dance: dance implicates a multimodal stimulation of the brain including ‘’aerobic exercise, sensorimotor stimulation, and cognitive, visuospatial, social, and emotional engagement [… which is of] greater benefit for WM integrity than aerobic exercise alone (i.e., Walking and Walking + Nutrition). This is in line with recent findings that combined exercise and cognitive interventions have more benefit for cognitive, physical, and mental health in older population than each intervention alone (Oswald et al., 2006; Law et al., 2014; Bamidis et al., 2015; Lauenroth et al., 2016). Combined cognitive and physical interventions may also have more long-lasting effects (Rahe et al., 2015)’’. The concrete consequences of such results on preventing and curing mental diseases are underlined by correlative studies that found that “ballroom dance has also been associated with a protective effective against dementia onset in older adults (Verghese et al., 2003) and reduced depression in community-dwelling older adults with depression (Haboush et al., 2006). Indeed, there is increasing interest in dance as a therapeutic intervention for various clinical groups (Dhami et al., 2015), such as in Parkinson’s disease (McNeely et al., 2015) and dementia (Ballesteros et al., 2015; Adam et al., 2016)”.

Finally, mental wellbeing is as well demonstrated through psychological wellbeing. In 2018, 300 000 million people suffer from depression according to the World Health Organization. First, dance helps fighting against depression and anxiety or state of distress. As referred to in the first paragraph of this paper, in the example referring to the article “Diabetes and Depression in Lebanon and Association with Glycemic Control: a Cross-Sectional Study”, about the third of diabetics in Lebanon, around 585 400 persons, are potentially affected by depression in 2017. More globally, in Lebanon, about 693 659 persons or 17.3% of the population is depressive in 2017. Depression may lead to “low mood, not getting any pleasure from doing daily activities, and having weight and sleep changes, in addition to other symptoms”. A study of September 23, 2009 entitled “Dance movement Therapy Improves Emotional Responses and Modulates Neurohormones in Adolescents with Mild Depression” was made on 40 Koreans who averaged 16 years old of age. The study tested a dance therapy on the students during twelve weeks in order to assess the eventual effects of dance on mild-depression state. An article published on greenmedinfo.com on February 5, 2018, commented the findings of the study: “Serotonin concentration increased from dancing, and dopamine levels decreased, suggesting that dance therapy may stabilize the sympathetic nervous system. Researchers concluded that dancing may “beneficially modulate” these important brain chemicals, and improve emotional health in sufferers of depression”. Another similar study of June the first, 1984 entitled “Effects of Dance on Anxiety”, examined the effects of modern dance on anxiety. The study which lasted for three months showed that dance training significantly reduced anxiety within the pilot group.

Second, dance may be a way to psychological rehabilitation and self-esteem reconstruction or enhancement. To illustrate, a study of August 28, 2018, entitled “Dance and Movement Program Improves Quality-of-Life Measures in Breast Cancer Survivors” was driven on 35 women who have benefited from a treatment in the first 5 years following the diagnosis of a breast cancer and who have survived it. The study observed women rehabilitation through dance therapy during a three months’ program and concluded as follows: “the program that addressed the physical and emotional needs of women following treatment for breast cancer substantially improved a breast cancer-specific quality-of-life measure”. In other words, the women were able through dancing to rebuild, to some extent, their self-esteem including a better perception of their body’s image and self-confidence by assuming their body as is and by acknowledging others’ acceptance. Third, simply to feel good energizes mental and even physical health. Socialization, contact with others, fun, and even effort, discipline and respect of rules provide a unique positive sensation. Per the study “Therapeutic values of dance movement and its influence on psychomotor development of deaf persons as a form of socialization and integration with the environment” (which title explains it all) published on January the first, 2002, young deaf people were brought through to participate in dance activities. As a result, their opinion and behavior were compiled at the end of the study: “The self-consciousness of participants after practice manifested itself by relaxation (50%), joy (30%), and resolution in taking decisions (15%)”. An article of Markham Heid to the Time published on July 5, 2017, and entitled “Why dancing is the best thing you can do for your body” corroborates the same idea: “Touch is the first sense that emerges during infancy, and the more experts examine the benefits of massage, holding hands and other forms of human-to-human physical contact, the more they find that touching improves well-being and reduces stress and anxiety”. This especially applies, in our opinion, in tango dancing where the ”Abrazo” or embrace plays a key role in the movement. Tangueros and Tangueras (or tango dancers) have to be, through the connection and in such a subtle way, highly aware of the partner’s body and energy. This will allow both quality and transcendence. Marcus Julian Felicetti underlines the main benefits of hugging each other in an article entitled “10 reasons why we need at least 8 hugs a day” that was published on August 10, 2012, on mindbodygreen.com. He assumes that, among others, a deep hug leads to a feeling of trust and safety, “instantly boosts oxytocin levels, which heals feelings of loneliness, isolation, and anger, lifts one’s serotonin levels, elevating mood and creating happiness, [and] strengthens the immune system”. During a milonga or tango soiree, eight hugs are the minimum guaranteed !

Fourth, music by itself has many benefits regarding mental health and especially psychological wellbeing. An article of Kendra Cherry entitled “10 Surprising Psychological Benefits of Music” published on November 18, 2018 on verywelmind.com summarizes these benefits. In brief, the article assumes, backed by scientific studies, that music can, among others, improve one’s cognitive performance as increasing the processing speed or enhancing memory; reduce or help to manage stress; help eat less as in restaurants with soft-played music, people tend, in a relaxed setting, to be more aware of their fulfilled-state; help reduce and manage the pain, especially in the event of a surgical operation; help to sleep better, especially after listening to classical music for 45 minutes; and improve the mood and motivation, when playing fast-track music during sport exercises for example.

To conclude, dance combines many elements including the movement, the music, the place, often the contact with others and culture. Each element apart has its own benefits and its own character that can survive alone. However, dance is that magical stick that brings them all together and thus let them exhale their essence in an euphoric way. Through this paper, we tried to address and emphasize on the main benefits of dance. Those where divided into three: First the physical benefits of dance including benefits comparable to sports, benefits in contrast with sports and the sui generis benefits of dancing regarding curing and preventing physical diseases; second the mental health benefits of dance through a study published in the journal Frontiers in Aging Neuroscience that indicated that old persons where able to inhibit neurodegenerative effects due to age and to prevent diseases as Alzheimer and Dementia through dancing sessions; third, the psychological benefits of dance including the fight against depression and anxiety especially among young students, self-esteem reconstruction or enhancement especially for breast cancer (or other similar diseases) survivors, and last the feel-good sensation especially through human contact, socialization and music. These benefits travel across the body and spirit through dance. They actually show that when there are values emanating from the top of an activity as dance like respect, fun, commitment, effort, reward, smoothness, strength or gallantry, they can pop-up in such a sparkling way !

Cheers !

Sources:

https://cary.aradiafitness.com/10-benefits-dance/

https://www.britannica.com/art/dance/The-aesthetics-of-dance

https://www.collective-evolution.com/2018/03/12/the-amazing-health-benefits-of-dancing/

http://time.com/4828793/dancing-dance-aerobic-exercise/

https://www.dailymail.co.uk/health/article-3371092/Desperate-lose-weight-DANCE-pounds-away-30-minute-classes-burn-calories-running-swimming.html

https://www.theargus.co.uk/news/14163029.Dancing_burns_more_calories_than_running___and_makes_you_happier/?ref=fbshr

https://research.brighton.ac.uk/en/persons/nicholas-smeeton

http://www.greenmedinfo.com/article/dance-therapy-may-improve-peak-vo2-and-hrqol-patients-chronic-heart-failure

https://www.frontiersin.org/articles/10.3389/fnagi.2017.00059/full?&utm_source=Email_to_authors_&utm_medium=Email&utm_content=T1_11.5e1_author&utm_campaign=Email_publication&field=&journalName=Frontiers_in_Aging_Neuroscience&id=239011

https://www.frontiersin.org/files/Articles/239011/fnagi-09-00059-HTML/image_m/fnagi-09-00059-g002.jpg

https://www.neuroscientificallychallenged.com/blog/know-your-brain-fornix

https://www.ncbi.nlm.nih.gov/pmc/articles/PMC6233908/

https://journals.sagepub.com/doi/abs/10.2466/pms.1984.58.3.767

http://www.greenmedinfo.com/article/dance-and-movement-program-improves-quality-life-measures-breast-cancer-surviv

http://www.greenmedinfo.com/article/dance-movement-therapy-improves-emotional-responses-and-modulates-neurohormone

http://www.greenmedinfo.com/article/dance-movement-may-have-therapeutic-value-deaf-persons

https://www.mindbodygreen.com/0-5756/10-Reasons-Why-We-Need-at-Least-8-Hugs-a-Day.html

https://www.verywellmind.com/surprising-psychological-benefits-of-music-4126866

Tango


Les lumières sont rouges,

Des lèvres frôlent le gin,

Des habits sobres

Epousent l’endroit charnel


Des notes fusent

Des accords se cherchent

Et l’harmonie terrible

Dévore les humains


Une essence sublime

Se trace dans les pas

Le tango nous pousse,

Le tango nous retient

Et il saisit les cœurs

Comme un moment divin


Les couples s’enlacent

A pudeur et passion

Comme l’au-revoir sucré

D’amants qui se quittent

Et sans fin se souviennent…


Mais toi, assise là,

Recluse et épanouie,

Discrète et ravissante,

Toi tu aimes le bleu

Et dire…

Que mon ciel était noir !

Noir et sans étoiles !


La musique suave

Devient envoûtante

Je la trahis un peu

Allant vers sa couronne

De roses et de lauriers

Elle qui prit ma confiance,

Elle qui prit mes mots

Et ma fierté encore,

Piquante et amère

Amère et piquante


Elle me renvoie bredouille

Du premier tête-à-tête

Et me volât cette danse

Qui nous eut fit s’envoler

Ah ! Personne n’osa enfreindre

Ce déni comme un ordre !


Je contemplais la reine

Et ses beaux serviteurs

Ah ! Moi son doux esclave

Qui ne put les assouvir…

Ah ! Mon corps vagabonde

La caresse un peu

Comme un dernier remord


Et mes yeux fuyants

Suivent les ombres enivrées…


Je laisse l’arène

Au fauve dégustant

Tangueros, tangueros,

Les uns après les autres


Le tango me pousse

Le tango me retient

Et même lui s’ennuie

De ma lassitude


Je sors avec le rythme

Comme une allégeance

Et tu es assise là,

Recluse et ravissante


J’ai fait de toi mon ciel

Tes prunelles, mes étoiles,

Tu as pris mes mots,

Mes mots et ma confiance

Et un peu ma fierté


Piquante et amère,

Piquante et amère…

Tu m’as volé une danse

Et tes mains et tes hanches

Et ton parfum mystère…


Aussi belle que cruelle,

Aussi belle que cruelle,

Alors nu devant toi

Je t’arrache un regard ?


Les lumières sont rouges,

Des lèvres empestent le gin…

 

Le 10/10/2014


Poème extrait de ”Racines et Vents” ,

Editions L’Harmattan


Vous aimez ce poème ?


Commandez ”Racines et Vents”’ aux librairies Antoine au Liban,


ou sur Amazon en suivant ce lien :

https://www.amazon.fr/Racines-vents-Pierre-El-Sayegh/dp/2343108129


Commandez-le en France aux librairies L’Harmattan ou par la Fnac en suivant ce lien :

https://livre.fnac.com/a10328018/Pierre-El-Sayegh-Racines-et-vents


Parcourez-le en ligne avec un abonnement Youscribe :

https://www.youscribe.com/catalogue/livres/litterature/poesie/racines-et-vents-2784138


Ou téléchargez-le en ligne via le lien suivant sur le site des Editions L’Harmattan :

https://www.editions-harmattan.fr/index.asp?navig=catalogue&obj=livre&no=52423&motExact=0&motcle=&mode=AND


Pour en savoir plus sur mes nouvelles écritures poétiques, visitez ma page Facebook Pierre Sayegh- Cause et Poésie :

https://www.facebook.com/PoemedePierre/

Dance or the Art of Meeting others

Dance is an art, art of movement. Music, fluidity, listening to the partner and to the other dancers on the dance floor, technique, belief, practice, availability, modesty, comprehensiveness, precision and others are the key elements to release the magic of dancing. Art of movement comes out of a behavior that is dictated by prerequisites, specific rules and a specific practice of theses rules.

The prerequisites can be completed (and even modified) by dance either naturally or with increased effort. When the prerequisites marry dance with some natural ability, this means that the elements forming those as education, the character, personal experience and other factors are close to the inherited personality of dance that has been forged through centuries.

31st October 1933: Fred Astaire (1899 – 1987) and Claire Luce dance in the musical comedy ‘Gay Divorce’, at the Palace Theatre, London. Music by Cole Porter. It was made into a film the following year. (Photo by Sasha/Getty Images)

We can mention for example the way a person has been taught or has the natural tendency to behave with others and especially with a person of different gender. Let’s say a dispute emerge in a couple regardless the reason. If the immediate reaction of one of them is to swear, shout or threaten the other in a confrontation paradigm, this would lead either to a dispute or to the domination of the other. To transpose the example to dance, let’s say one of the partners misinterpret a given step. If the other partner stops virulently while dancing or tries to perform the step forcefully, this would lead either to a dispute or to tension and mistrust. Otherwise, improvising another step while continuing to dance or trying to know comprehensively the reasons of such a lost movement would increase trust and fluidity between the partners. Such a positive attitude is in our opinion very important for dance to provide pleasure and fun rather than to be a duty or a burden. Dance cannot be anyhow the expression of tensions but rather one of liberation. Anyway, such prerequisites have a big influence on the dancing process, especially while inviting or accompanying back a partner from the dance floor.

Rita Hayworth and Fred Astaire, 1941
 

Dance has its specific rules that are more or less strict depending on the phase at which we emphasize. At the invitation of the partner or when accompanying the partner back from the dance floor, these rules are smooth and they therefore leave a big room for the influence of the aforementioned prerequisites. The latter mostly depend on the social and cultural background of the dancers. If the background is overwhelmingly traditional, the invitation to the dance floor will stick to the initiative of the man and the response of the woman. This is apparently the system that is applied in conventional dancing as in competition. However, when dancing in soirees, practicas or other informal dancing events, another system, more easy-going, may apply. This system, in our opinion, is more adequate for social dancing. To explain, Cabaceo, which is especially known in Argentinean tango, is the way to invite a person to dance: By looking playfully at each other and by accepting the invitation through a nod or a blink. While, apparently, Cabaceo is a formal way to invite to dance, it shows in its essence a communication that is based on a linear relationship and not on a hierarchical one as in the previous system. Indeed, both the man and the woman can invite the other to be a partner for a dance. Moreover, tango dancers tend occasionally to invite same gender partners to ironically test the steps and the technique’s requirements of the opposite gender. This non-rigid behavior, with the help of the adequate prerequisites, tends to facilitate and moderate the invitation to dance as well as to fulfill the desires of both partners at a given music or song and at a given time or mood.

Fred Astaire and Rita Hayworth
 

Thus, in our view, the invitation to the dance floor is more about meeting each other than about applying a rigid, predetermined and often inappropriate process commonly influenced by correlative prerequisites. From one to another, as the invitation is based upon meeting each other, it seems natural to accompany each other back to the sitting table. Concerning the rules related to the dances themselves, they are not as flexible as the prologue and the epilogue of such dances. More or less strict rules apply and training is necessary in order to improve and to provide quality while dancing.

Rules of dance do not come from nowhere. They come from the technique that enhances the most lead’s clarity and steps’ precision. In order to move in symbiosis with each other and in harmony with the music, some specific rules apply. Although, each category of dance, either standard dances or Latin dances in ballroom or Argentinean tango, has common rules within. For example, Latin dances are danced mostly on the toes while standard mostly on the heels. Argentinean tango stresses on the pivot of the body and on the dissociation between the chest and the hips. However, we shall not forget that each dance has its own identity.

Fred Astaire and Rita Hayworth
 

For example, in the standard category, tango is sharp and jerky while waltz is about swaying and sliding. Whereas in the Latin category, samba is much about bouncing and kneel action while rumba for example is more about linear movement and hip action. However, knowing the rules and doing our best to apply them when dancing has to do as well with the prerequisites above. Thus, dance can be perceived as a case of a larger board. It is one continuity among others of the prerequisites that have somehow pushed us towards it. If we dance with passion, the art of movement can even lead to the mutation of such prerequisites in an on-going improvement and blossoming process.

To conclude, dance is complex until we try it. Dance is demanding until we test it. Dance is easy until we taste it. Dance requires a lot of control on the movement and a lot of attention on the music. Dance requires a certain behavior with the partner and with the other dancers that is dictated by prerequisites, specific rules and a given practice of these rules. As a result, in order to dance in harmony and to enjoy it, let us hear the body of our partner just as we listen to the music whispering to our ears.

L’étreinte du tango

 

Le tango ne se raconte pas. Il se vit. Cette danse assez méconnue par le passé, a pris ses racines sur les rives du Rio de la Plata, dans les faubourgs de Buenos Aires (Argentine) et de Montevideo (Uruguay) à la fin du XIXème siècle. Et a connu, depuis, un essor considérable dans tous les coins du monde. Il y a cette appartenance à une grande famille multiculturelle, d’horizons multiples au sein de laquelle on parle simplement un même langage, celui de l’émotion.

Débarquer à Lisbonne, Madrid, Rome ou Buenos Aires, poser ses valises et se laisser guider naturellement dans la ville par les amis tangueros. Un cercle d’amitié qui s’élargit et qui enrichit.

On se retrouve dans les milongas, bals de tango, où on s’invite avec le regard, cabeceo, pour respecter les codes traditionnels et l’éthique qui les accompagne.

 

Chacun des 2 partenaires est à l’écoute de l’autre, de la musique et même des silences. La tanda composée de 3 tangos est un court moment de 10 minutes mais reste une expérience imprévisible dont le mot clef est la connexion: À soi-même, à l’autre et aux sons du bandonéon.

Du tango on connait la musique langoureuse, le parfum de mélancolie et la poésie. Mais aussi, une forme de méditation qui mène au bien-être. Suite à des études dont celle publiée par la bibliothèque nationale de médecine des USA, les scientifiques confirment que le tango argentin réduit l’anxiété, le stress et la dépression et augmente les capacités cognitives. Aujourdui cette danse est même utilisée comme thérapie pour freiner l’évolution de la maladie de Parkinson. Certes, elle détend et déconnecte comme les autres danses mais la similitude s’arrête là. Le tango est intense, intimiste et d’une sensibilité inouïe. Embrasser le tango et la vie ne sera plus ordinaire. Elle s’habillera de passion et de magie.

Danièle Henoud

On n’arrête pas une Beyrouth qui danse

Ce que nos jours doivent à leurs nuits… Une nuit entière de fête, du crépuscule à l’aube, tous les mois : les insomniaques de Beyrouth ont investi le Backdoor de Mar Mikhaël à l’initiative du Beirut Groove Collective, de neuf heures du soir, le samedi 11 juin, à dimanche 12 au matin, dans une fiévreuse et touchante décadanse. Ils se retrouveront le 6 août prochain sur les toits du Beirut Art Center, pour une nouvelle nuit blanche, ouverte à tous. Récit d’une nuit presque comme les autres.

Samedi 11 juin, 19h00, Mar Mikhaïl : dans l’allée étroite menant au Backdoor se réunissent peu à peu les insouciants qui s’apprêtent à partir dans un voyage au bout de la nuit, des valises sous les yeux. Cœurs à prendre, cœurs brisés, en quête de sensations ou de fuite, heureux et mélancoliques, de Beyrouth ou d’ailleurs, jeunes, moins jeunes, insomniaques et rêveurs. Avec un seul désir : danser, toute la nuit et jusqu’au matin, dans le bunker souterrain du Backdoor. C’est le Beirut Groove Collective qui organise les transes : elles sont fédératrices et gratuites. « Notre concept est simple : une nuit blanche gratuite par mois, parce que les fêtes à Beyrouth sont chères et inaccessibles. Nous voulons partager notre musique avec tous », confient les organisateurs du collectif, formé depuis plus de sept ans.

Les lieux qu’ils investissent témoignent de cette volonté d’appropriation de l’espace urbain saturé à Beyrouth : lieux culturels, galeries alternatives, hangars abandonnés. Il s’agit pour eux de faire vivre et d’incarner l’héritage des musiques d’influences africaines proches ou lointaines. Maniés par DJ Yukah, Brother Jackson et Natalie Shooter, les vinyles jazz, blues, soul, funk, R&B et hip-hop animent la piste noire de cette nuit blanche. C’est à 21h00 que la foule disparate se lance à cœur et corps perdus dans ce marathon insomniaque. De nouveaux enfants de la nuit viennent peu à peu rejoindre les rangs de ces rêveurs qui ne ferment jamais les yeux. Tous dansent, pour s’échapper ou résister, s’oublier ou se souvenir, jusqu’à en dormir debout. À minuit, ils ne font plus qu’un avec la ville ; leurs cœurs battent au même rythme que celui des artères désertes de la capitale. Beyrouth, capitale des rêveurs frénétiques, des danseurs chroniques, de tous les extatiques qui aiment trop la lune pour avoir peur de la nuit.

Les heures s’écoulent jusqu’à l’aube dans une transe électrique et suspendue. Serait-il possible que le matin ne vienne jamais ? Chacun d’entre eux lève les bras comme s’il était, seul au monde, chargé de rallumer les étoiles. La voix rauque de Lou Pride s’éteint sur les platines : « All alone, I am coming home in the morning. »

Puis, en quête d’air frais happé à pleins poumons, ils sortent quelques secondes pour respirer et observent, à leur grande surprise, le ciel se teinter d’éclats fauves. C’est le matin, qui traîne dans l’air ses cendres, témoins volatils de la braise de la nuit. Tous sont épuisés, étourdis, ravis. L’un d’entre eux brise sourdement le silence : « On a dansé huit heures… merde. » Les yeux hagards, le sourire aux lèvres, les cheveux ébouriffés, le mascara qui coule et les pieds qui brûlent, les somnambules se séparent enfin, avec, dans les yeux et les jambes, la fierté et la mélancolie du devoir accompli. Ils recommenceront le mois prochain. Leurs nuits sont la preuve que le jour ne suffit pas.

Mira TFAILY L’Orient Le Jour

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