Modern Tango World N° 6 (Montreal, Quebec) | Page 33

Chique, after a song by Osvaldo Pugliese, 1959
Born 1945, Bruno Ingemann has been working
with images all of his professional career as a
graphic designer, photographer, illustrator, communication planner, as well as a researcher, scholar and teacher at several universities.

The physical experience involving the contraction and elongation of the muscles used in the
embrace and the sequences of steps performed
jointly with and around the partner. The body
movements of the couple are framed by tango
music and a dance floor filled with other movThese paintings are visualizations of movements ing couples whose actions present obstacles and
associated with specific tango songs. When challenges to the dancers.
someone dances tango, it is very difficult to retrieve the experience in the drawings and paint- This project attempts to examine the movements
ings. As a dancer you experience the tango as of the dancers without being limited to the specintimacy, immersion and contact. These are feel- tator’s way of thinking, nut rather by being more
ings and experiences that are difficult to find in faithful to how the dancers feel and experience
the stereotypical images. of tango dancing.
their dance. The medium used for doing this is
multiple acrylic paintings, similar to a series of
Spectators view the complexity of the couple’s photographs.
tango movements from the outside, but their
perspective mostly only sees the dancers as per- The titles of the tango melodies were used as
forming a show. This contrasts sharply with the visual mar kers on the canvas to guide the feeling
experience of the dancers. They are not merely of the movements and energies in the melodies
executing their dance for others but attempting and in the paintings.
to respond to the music, to their bodies and to
the energies that generate the feeling and emotions in their dance. There are the movements of
the two bodies closely connected, moving along
the floor at various speeds and rhythms.

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