Tango

Rosalía started dancing Tango in 2000, aside from her professional education in classical Ballet, contemporary dance and dance pedagogics. She lived in Buenos Aires from 2009 until 2011, where she consolidated her style and technique and started working professionally as a Tango performer and a teacher.
Due to her broad education and wide experience, she can transmit in classes and rehearsals a deep knowledge of the human body and its movement mechanics. Her dance is elegant and powerful, combining traditional lines with innovating dynamics.
Her skillfulness in both the leader's and the follower's role makes her a required dancer, teacher and choreographer.
She regularly performs in Milongas, Tango Shows, Performances, Festivals and Tango related Events. Her teaching activities brought her to Europe, Latin America and Asia.

She performed in the Buenos Aires Tangoshow of Señor Tango with the Company Vertigo Tango / Tango Aereo, in the role of "Lujanera" in the Show ROJOTANGO, based on Borges' short story "Hombre de la Esquina Rosada'' with Opera Singer Erwin Schrott and in numerous Concerts with international Orchestras in Europe and Russia.

In the Season 2016/17 she toured through Italy performing the leading role 'Catalina' in the Show Revelacion Tango, where she also held the position of rehearsal director.

In 2018, she started a collaboration with argentinian choreographer and dancer Rodrigo Pardo, first as his partner in his site-specific performance TOILET TANGO, which brought them on tour through Denmark, Germany and Austria and even to the Italian TV Show 'Tu si que vales' - the equivalent of 'So you think you can dance?'.

Shared creations such as WANDERLUST, TORMENTANGO (VideoDanze), Asymmetrical Encounters and the upstream research project ENTANGLEMENTS - Gender and Interculturality in the opposition of contemporary dance techniques and Argentine Tango followed.

In 2023 she was commissioned to choreograph and dance the leading role in Piazzola's Tango Operita MARIA DE BUENOS AIRES for the Immling Opera Festival under the direction of Verena von Kerssenbrock.

In her own productions, Tango in dance and music is a recurrent motive. In the pieces CASINAS, MANTIS, SKINHUNGER / HAMBRE DE PIEL, ASYMMETRICAL ENCOUNTERS, PINK LADY, the vocabulary of Argentine Tango and contemporary dance appear to give birth to a poetic and unprecedented language, creating images full of playfulness, sensuality, humor and intensity.

She has showcased her Tango related pieces three times at the Festival CAMBALACHE - Tango Danza y Teatro in Buenos Aires, the only Festival in the world exclusively for theatrical Tango dance pieces held in Buenos Aires. Her Solo PINK LADY, where she merges Tango aesthetics and contemporary floorwork on high heels, brought her 6 international awards and extended touring.

More on https://www.instagram.com/rosaliatango

SOME THOUGHTS...

"Make the impossible possible, the hard easy, and the easy elegant"
Moshe Feldenkrais

Tango should be a pleasure. Nevertheless the first thing we find out when we go to a Tango class is that we actually can not walk.

Even though Tango is based on the most "natural" motion a human can think of - walking, Tango is a complex and elaborated dance which requires a high level of body awareness and coordination.

In my own practice and when transmitting this dance I therefore look for simple and clear explanations and take special care of the precision of my language.
I want to pass on what I found out to be most useful and universally applicable in practice.

The base is always good posture and clean movement mechanics.

Good posture means that our skeleton is aligned in a way that the weight can drop in a perpendicular line to the floor and that we can stand firmly with a minimum of muscular tension, pushing the floor to stand upright.
Clean movement-mechanics means that we use physical mechanisms to generate movement in order to, again, reduce muscular effort to a minimum. Tango should be easy and elegant.

"Form follows function" is also true in Tango and an excellent guideline in the learning process - an endless process: every three years or so I find out that I can not walk and that I have to start over again.
It also points to the fact that we need to look for how it feels - not how it looks - in order to learn how it works: our body is dancing with another body, the communication works over the sense of touch and proprioception.
Our body-intelligence works much faster than our mind, if we just give it space it will gracefully unfold its potential.

This is where I find the pleasure and the sensuality in this dance: the pleasure of not thinking, the pleasure of feeling my body and someone else's body, moving in harmony and communicating in the most subtle of ways.

Aside from the pure movement-technique, three aspects are essential to this beautiful dance in my understanding of it:

1 - IMPROVISATION: the main essence of Tango, it makes the magic of this dance because there is no predictable pattern, we are free to play with our partner, our mood, the situation, the music. The aspect of playfulness is intimately linked to the concept of improvisation.

2 - CONTACT / CONNECTION: Physical contact is not only the channel of communication with my partner, but also a connection to reality. The situation of dancing with a partner (no matter if I am dancing the leader's or the follower's role) provides me immediate feedback, in order to move/dance, I have to connect.

3 - MUSIC: What would Tango be without its music?
Endless source of inspiration and, hopefully, unifying factor for the couple. I love to play with rhythms, patterns and textures of sounds in my movements and body tonus.

To me, these three points are equal in importance. It is not possible for me to conceive Tango without one of them.