Author: Tarantino Luis

It seems inescapable, when a culture massifie, that it loses its gasoline. The dance of the tango, without it not becoming a phenomenon of mass, knew a constant growth at the time of this last decade.
The tango, almost citizen of the world, seems to know a form of popularization, also for lucrative reasons. More and more of people want to dance it but little are quite informed.

Natalia Hills and Geraldine Rojan form part of rising generation of this essential dance. In spite of their youth, they are the example of what a tradition as major as the tango must keep in the passage of the generations.
They grew while looking at dancing the large Masters in clubs where the tradition of the tango was preserved. Both were initiated by the feet and the attitudes of the men and the women who constitute the roots of the danced tango. They account for both this root with pride and love.

' For me the tango forms part of my vie' affirms Geraldine, almost the adoptive girl of the legendary club ' Sin Rumbos'. ' For me aussi' adds Natalia, which worked amongst other things in the spectacles of Juan Carlos Copes: ' Pesada del Tango' or in ' Forever Tango' de Luis Cheer.
These girls have the nostalge milongas which saw them growing, because certain things changed. ' I do not go there any more because it is not pareil' tells us Natalia which adds: ' When we started, we went in the milongas and, sitting, we looked at people who danced seriously and it was possible to learn while looking at '. ' Today, known as Geraldine, the fact of sitting down and of looking at can only make you rire'.
It would seem that the tracks of dance became a prolongation of urban circulation and, still more, the faithful reflection of the Argentinian company, where all run up without knowing where they go.
The tango left its introspective side to become eccentric and the ' gamines' also say it: ' One lost the dance towards the interior of each couple, which makes it more intense and deep. Nobody can interfere in this danced relation. It is for that that it touches as much the gens' and Natalia continuous: ' I feel that with my partner I can dance and share this intimacy. I suppose that for an actor, it must be similar but with the tango the requirement for this intimacy in the couple is stronger. One should not seek towards outside but towards the interior and test that the couple is perceived like only one corps'.

To the foreigner, this deformed vision of the tango is obvious. ' the foreigners only start to include/understand when they go to Buenos Aires and perceive how that goes - us says Natalia. In the contrary case, they remain with what they receive, regarding that as the verity. I think that abroad, as opposed to what one hears, there is large a meconnaissance tango'.
Without prejudices, natural and spontaneous, Geraldine and Natalia always believe that the future of the tango depends on each one. They have in their feet and in their hearts, the intact memory of these exceptional dancers, it is for them that they work with a great discipline in the will to perpetuate this tradition which is not made for the poor ones nor for the opportunist ones; who was done by the people and by its artists and who had their heroes and who will continue to have them.

Geraldine and Natalia agree: ' the pressure (abrazo) should be maintained, the couple, the tango. That the tango can be seen. This is the most difficult work while one dances. To maintain the choreography but always to make so that the tango is well perceived. It is this which one needs préserver'.