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Maja & Marko

Miljević
Petrović

About

Maja has been dancing since she was three years old. She has a background in contemporary dance and ballet, as well as latin and ballroom dances. She attended music school for ten years, where she played the piano and flute. She studied Spanish and German language and literature at the University of Zagreb and worked as language teacher and translator. In Karlsruhe, she worked in different departments of the Center for Art and Media Technology (ZKM). Marko was more into sports and almost went pro in basketball. Instead, he decided to study Electrotechnics and later Physics in which he obtained a degree at the University of Zagreb. He later continued his education and in 2014 received his PhD in Nanobiotechnology at the Karlsruhe Institute of Technology (KIT). Since 2010 we live in Karlsruhe, Germany.

Photos

We started dancing tango in Zagreb, Croatia in 2002 in a small group of enthusiasts curious about this “new” dance. Some five years later we began giving regular lessons at the Tango Argentino Zagreb dance school. Our first and most influential teachers were Pablo Rodríguez and Noelia Hurtado. Later we continued to study with Noelia and Carlitos Espinoza. We also studied with Federico Naveira and Inés Muzzoppapa, Bruno Tombari and Mariangeles Caamaño and Chicho Frumboli and Juana Sepúlveda, among others.

In 2014 we started to work with tango professionally, holding workshops and performing all over Europe (Amsterdam, Minsk, Florence, Karlsruhe, Genova, Budapest, L´Aquila, Freiburg, Treviso, Poreč, Mantova, Halle, Sevilla, Lisbon, Procida, Moscow, St. Petersburg, Reykjavik etc.). In 2015 we had our debut in North America at Bailongo Tango Festival in Montréal, Canada.

How we teach

While our performances are always improvised, our lessons are most certainly not. Each lesson has a defined structure which allows us to guide the students step by step through the topic. We always start with the technical execution of the movement, explain the role of leader and follower and finish with the tips on musicality. In this way the dancers of all levels should be able to take a certain part of the lesson with them and are encouraged to continue to work on their own. We make an effort to approach each student and couple individually, as there is no magic formula that fits everyone. Having and transmitting a clear idea is extremely important to us. Everything we teach we have tried out ourselves. We’ve made the mistakes that our students will make, we’ve encountered the same problems, we’ve asked the same questions and worked on them until we were happy with the answers.

What we teach

We rarely teach figures. We prefer to focus on the basic technical (walking, stepping, pivoting, keeping posture, finding balance, embracing, quality of movement, etc.) and musical (phrasing, change of dynamics, interpreting different orchestras, etc.) elements. We always come back to the basics ourselves. Our philosophy is based on 3 ideas: feeling good, looking good and connecting with our partner to the music. One of the things we like the most about tango is the close embrace. We see it as a living, changing thing that enables us to transmit the movement that interprets the music. We like to play with the possibilities and limits of close embrace and encourage our students to do the same.
Even though we think of ourselves primarily as social dancers, and social tango is also what we teach, we believe the aesthetics is an important part of the dance and should not be neglected. Once we feel comfortable with the movement in the body, we can focus on the beauty of its external shape. Furthermore, changing the quality and character of the movement can bring great diversity in our dance, even in the simplest steps. This again enables us to interpret many different orchestras without reaching for complicated figures. Everything we do must harmoniously work both with our partner and the music.
Finally, the foundation of our dance and teaching is this: we see ourselves as equals in the couple and we both contribute to the dance equally. This idea is based on the communication that goes both ways - whether we are doing a complicated sequence of steps, a pause or an embellishment. By suggesting, understanding and sharing a movement inspired by the music we are both actively and willingly participating in the dance. We want our students to do the same: to go past leading and following and start dancing.

Where & When

January
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3 - 8 January 2017

Moscow, Russia
February
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16 - 19 February 2017

Helsinki, Finland

24 - 26 February 2017

Hamburg, Germany
March
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3 - 5 March 2017 
Paris, France

10 - 12 March 2017
Hannover, Germany


31 March - 2 April 2017
Geneva, Switzerland
April
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May
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5 - 7 May 2017
Freiburg, Germany


26 - 28 May 2017
Verona, Italy
June
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2 - 4 June 2017

Mattstedt, Germany
July
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6 - 9 July 2017
Poreč, Croatia


27 - 30 July 2017
Palermo, Italy
August
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31 July - 6 August 2017
 
Hannover, Germany

25 - 27 August 2017

Budapest, Hungary
September
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6 -18 September 2017
Lisbon, Portugal

21 - 24 September 2017
Reykjavik, Iceland


28 September - 2 October 2017
Bucharest, Romania
October
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28 September - 2 October 2017
Bucharest, Romania

6 - 8 October 2017
Umeå, Sweden

13 - 15 October 2017
Athens, Greece

19-22 October 2017
Wrocław, Poland

30 October - 2 November 2017
Albi, France
November
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30 October - 2 November 2017
Albi, France

3 - 5 November 2017
Zürich, Switzerland

10 - 12 November 2017
Brescia, Italy

17 - 19 November 2017
Lisbon, Portugal
December
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Coming soon...