Subtitle in English

Tango Workshops

For beginners in this dance

For tango dancers

In the workshops, we address various aspects of tango, emphasizing enjoyment starting from promoting relaxed and spontaneous encounters. The duo is the essence of tango, the presence of the other confirming our existence, the contact, the senses, the body as a link between us. The connection to the other occurs after building a sensible tango embrace, that enables listening and sharing.

The Milonga Periférica

Tango has the strength of being a social dance. Born in Rio de la Plata, it expands into other societies and communities, transforming and enriching itself. We call «Milonga» to the social space where we meet to dance tango. Some of these places firmly respect the traditions and others are the result of the dialogue between the tradition and the sensitivity of the community that organizes the milonga. During the course, we embrace, transforming the space into a social fabric of affectivities. We conceive Milonga Periférica as a feast, a ritual for the embrace. We promote encounters, believing in the richness of being a multiplicity of sensibilities and subjectivities. The tradition embraces us gently, letting us come and go from it. We invite you to come and dance and surrender to the mystery that means for three minutes to hug a stranger.

For the Milonga Periferica, our Dj will be Seba Niz and  the dancers will be Gabi Farías, Edu Ferrer, Seba Niz, Sofi Lans, Aníbal Domínguez, Gianni Pena y Fede Folco.

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PERIFÉRICO / proyecto tango

“Taking as a starting point Tango (in its essence) –a social dance stamped with strong features of 19th century River Plate society– this scenic proposal breaks down and resignifies this dance through many of its most characteristic elements. A creative study attentive to the synergies and co-evolutions that may arise during an investigation of the present realization of one form or tradition by contemporary bodies.”

Dirección: Federica Folco

Danza: Gianni Penna, Gabriela Farías, Eduardo Ferrer, Aníbal Domínguez, Sofía Lans, Sebastián Niz

Música original: Fernando Goicoechea

Diseño de iluminación: Gonzalo Córdova (Arg.),

“…Not only does this piece avoid stereotypes but it also resists the temptation of resorting to fusion and deployment of multidisciplinary resources, focusing austerely on a vertical investigation of tango as a form of dancing and human relationships, where the social context is only merely addressed and the slogan is to plunge into the sensory aspects of this particular universe, subtly deploying sensual forces -masculine and feminine- that dominate the danced form of tango…” “ The challenge of Periférico is to create a truly contemporary production based on a traditional subject. But the highly remarkable value of this proposal lies in the fact that such contemporaneity does not rest on the forms but on the principles of its performance. The choreography avoids departing much from the typical tango embrace -where it always returns-; it avoids searching for a dramaturgy that does not originate in the physical and perceptive laws of concrete interchange between bodies. The piece is contemporary in that it makes use of a style to create a new discourse, an original point of view. Which one? To my view, that of tango as a primary, non verbal, ludic, sexual interpersonal communication code beyond any canyengue (lively dance). …” “La Diaria”, June, 2010. Carolina Silveira

“…Folco does not attempt to graft those elements of contemporary dance in Tango, or vice versa; neither does she intend to exhibit the skill of highly trained bodies executing a modernized form of tango. Periférico” explores the shades of violence and sensuality that are part of the tango character. The “in between” bodies, almost motionless in an expanded timeline and situated in close proximity, densifies the space and the sensuality that are characteristic of tango. The disruption of gender roles acts as a powerful means of conversing with the heteronormativity implicit in this music, lyrics and dance, provoking basic gender conventions and defying us, spectators, to adapt our views to new configurations”, “…Concluding, I wonder: Where is the centre of Periférico? Creating from tango as a nucleus of tradition and language, this piece is not situated, from my viewpoint, at a point outside the gender, but, rather, it is a creative study attentive to the synergies and co-evolutions that may arise during an investigation of the present realization of one form or tradition by contemporary bodies. “ “Brecha”, June, 2010. Lucia Naser

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VACIO / We can only look at the eyes of one person at a time

Vacio use wisdom and expirience form the «Tango» dance to work the body , movement and relationships. All the performers have skills and  sensitivity for this  because they all are  tango  dancers. The Tango  is a dance of «meeting» and this is our principal focal point.

Emancipate, discover, generate, amplify what happend in this «meeting» between each other, moments where we build and exchange affects and subjectivities.

Amplify from the perception what happend to us in front of the presence of the other,  removing   spaces where  fear and judgment could appear leave us just the expirience and the senses as anchors to the present make these » meetings» grow as spaces of transformation on the perception of the other and his context.

Dirección Federica Folco

Danza: Gianni Penna, Gabriela Farías, Eduardo Ferrer, Aníbal Domínguez, Sofía Lans, Sebastián Niz

Música original: Fernando Goicoechea

Diseño de iluminación: Gonzalo Córdova (Arg.)

By Wagner Schwartz on Vacio by Compañia de Danza Periférico

In the last couple of years, I have heard news from a country that follows its people’s thought. Wherever they pass, they have shown a singular vitality; dismembered in most of the old countries, much desired by their neighbors. For many its representative became a superhero, even though he is the protagonist of the absence of extraordinary powers – he increases only the volume of the subjects that come up around him, to his human condition. This country has become the focus of the articulation of public thought documenting in this continent and in others some live examples of the insertion of novelties in the world; these days, when many of its authors’ speech lacks tonicity, my love, the novelty is the action. To act up to the point of emptying the concept of civilization, of the individual, of the subject, of man, of woman and the likes who were brought up in places very far away from here and that, having been applied to many criteria, relearned how to use them in the traditional form of their violence; and, still  having the chance to leave the place of the passive to enter the period of thought, they continued, at a large rate and by their suggestion of equality, to dilate the symbolic evolution of their indistinctness.

The divine in mankind has landed here. It is not people anymore, it has become the verb.

The Common has incorporated God’s old form – this one that, being three, ended up badly.

The Common, being a crowd, has earned the affection of many,

embarked in the attraction of the festivals and, coming back to the present,

travels in the economy class, dreaming of the business class.

This Common intends to Live Together, breathes from a distance,

guided by the exception that enriches him and by the difference

that makes him like those who want to see him.

His passport is iridescent, expands the idea of luck.

I visited the city where he was born, his friends, his family.

He has shyness written over his body and feels nostalgia for private places.

If the Common really existed, my love, he would be far away from here.

At a small rate, among seven people and in the strength of this relationship, in a gym transformed into a lie, dodging a connotation of collective life to assimilate the visit of the most intimate interests one by one, as public, the Void hurls itself into luck, into whatever comes, into what passes by your face, into what expands along the libidinal extension of each body, into what still hugs; and can laugh also because it happens. Need is a past fact of this one, of the Many; the fundamental biological substance is the one that offers no justification neither transforms itself into image, but the one that perspires – people perspire here, my love, in their processes of small dimensions, of small deaths, of inseparable traces between wild life and cosmos – without descendants – both at the same time challenging the laws of physics parallel to those hanging around.