A sensualidade feminina revelada no tango

Abstract

The dance existssincehuman’sprimal ages and it was expressed in different situations, through rituals and divinity representations. We exposed the historical content of dancing in Egypt, in Greece, in the Cultural Renaissance, subsequently with the history of ballroom dancing in Brazil, and finishing with tango appearance in Buenos Aires. In mid-1890, Argentina's immigration grows considerably, and the immigrants' cultural fusion with the native culture gave birth to tango. But it was in the alleys and narrow streets of Buenos Aires that tango has developed, being mostly practiced in the beginning by men in the city's cabarets.In 1902 tango explodes with its musical style ascension and its transposition to big theaters until it reaches Europe, towards the rest of the world. It's features as a form of dance, art and culture are related to sensuality through studies in the area, and with topics such as self- esteem, self-image, technical relation and teaching are discussed in this paper.This study aims to evaluate the sensuality development from tango practicing women, students and teachers, in Curitiba/PR region. This topic appeared due to our professional experiences in teaching and dance practice environments, and feeling the need to bring this theme into the academic area. A qualitative research was made, using semi structure interview and field diary as a data collection tool. For the study, four teachers and four tango practicing students participated, scattered through four distinct teaching modality spaces. Lastly, the collected data transcription and the content analysis was performed, aiming to relate as densest possible all the possible alterations in the sensual attitude of the participants in the sample.Given the empirical data and literature search, we verified and related different viewpoints about sensuality, going through tango's history and its cultural, social, bodily and technical influences. In our results, we noticed that there aren’t a lot of spaces for tango practice in Curitiba. Also, we identified that the sensuality subject is still treated secondarily by the interviewed professionals, where they still prioritizes the technique during the teaching-learning process. Likewise, we questioned the tango dancer stereotype, a pattern to be built in this teaching process.