Efficiency

“The quality of being able to do a task successfully, without wasting time or energy” Collins Dictionary 

Sure, it’s a concept we usually associate with manufacturing processes, fuel economy of vehicles, etc.  But what about dance?  

When you dance tango, does it require a lot of energy?  Do you feel your muscles tense up?  Is your breathing affected?  Does the tanda feel a bit like a struggle with your partner?  

If your answer is Yes to any of these questions, you may want to read on …

Observing many elegant, musical dancers of all ages at milongas, the word “Efficiency” popped into my mind.  Their movement together appeared as effortless as it was beautiful.

https://youtu.be/Q5F6OngjMNI?si=4k58kF5dXAESadbM

Sure enough, a quick Google search for “efficient tango” produced the following sound advice:

“Efficient movement in Argentine tango is defined by maximum expression with minimum effort, resulting in a relaxed, elegant, and powerful dance

It involves removing unnecessary muscle tension, allowing the body to flow and communicate clearly with a partner. 

Core Principles of Efficient Tango

• The Power of Walking: As tango is 90% walking, mastering the "tango walk" is essential for efficiency, technique, and elegance.
• Axis and Balance: Maintaining a solid, personal axis between movements ensures stability, prevents losing balance, and allows for quick, controlled changes of direction.
• The "Gap" Between Steps: The pause between steps is where the greatest communication and musicality occur.
• Spiral Dynamics: Movement travels through the entire body in a spiral, connecting weight transfers rather than isolating movements.
• Center-Initiated Movement: Pivots and movements should be initiated from the center of the chest to maintain full-body alignment.

 Techniques for Improving Efficiency

• Relax Unneeded Muscles: Focus energy only on the necessary muscles, allowing the rest of the body to remain relaxed.
• Grounding: Work with gravity to feel grounded, reducing the need for effortful movements.
• Slowing Down: Practicing at a slower speed increases body consciousness, balance, and allows for better weight transfer.
• 4 Fundamental Movements: All tango is built from 3 steps (forward/side/back) and a pivot. 

Key Differences in Efficient Movement

• Mindset: "Being" in the dance is more important than simply "doing" steps.
• Energy Management: Efficient dancers use less energy by optimizing their movement rather than using brute strength.
• Connection: A flexible embrace (switching between close and open) allows for greater creativity and comfort. 

By focusing on these principles, dancers can achieve a more comfortable, expressive, and enjoyable tango experience, both for themselves and their partners. 

PP

To dance or not to dance?

Derrick del Pilar has skillfully translated the nostalgic classic Ninguna. 

Of the five different interpretations linked to the translation, can you tell which ones would have been arranged for dancers at the milonga?

The milonga jungle

 It's quiz time, folks!

Let's face it.  The tango world is full of characters: amusing, a few annoying and some delightful.  Sounds like life, right?

I know it may be painful, but just try thinking about those milonga situations that you would rather forget, with characters who have left you a little powerless or speechless at times.  Remember: Being forewarned is being forearmed.  You can even practise your response.  You CAN take control!

Here are a few real-life scenarios.  What would you do? (More than one response is possible)

1. The Space Invader
   Two people are deep in conversation.  Their body-language shows that they are focussing on each other.  Someone approaches clearly indicating he/she wants to dance with one of them.
   a.  Ignore the person until he/she goes away
   b.  Acknowledge the person, and continue the conversation
   c.  Interrupt the conversation immediately and get up to dance
   d.  Acknowledge the person, point out that you are involved in a conversation and decline the invitation
   
   
2. The Know-all
   While dancing, once dancer persists in telling his/her partner what they are doing wrong and correcting them.
   a.  Ignore him/her and continue dancing
   b.  Say that you can't dance and talk at the same time
   c.  Say "Thank you" and go right back to your seat making a mental note never to dance with that person again
   d.  Do your best to follow the generous advice
   
   
3. The Human Shield
   After a tanda, rather that clearing the dance-floordurin ghte cortina, some people stand around on the floor chatting.  They are blocking the line of sight of seated dancers who will want to look for a new partner for the next tanda.
   a.  You feel frustrated that you can't see the person you'd like to dance with
   b.  If the "Human Shields" are close to you, ask them to move away or sit down
   c.  The DJ should extend the length of the cortina until they get the message and clear the floor
   
   How would you respond to these milonga characters?
   Can you think of others?
   PP
   
   Thanks to Kris Tengo Teng for the image  https://www.facebook.com/groups/147208172635874/user/405922/

Tango covers

 Did you realise that the Golden Age tango orchestras were in fact cover bands?

Yes indeed!  The fabulous orchestras of Di Sarli, Troilo, Pugliese, D’Arienzo, and many more.

Usually they didn’t compose many of the pieces we associate with them eg. the dramatic Pugliese version of the  tango Chiqué, the Di Sarli versions of Champagne Tango. 

Often they also didn’t make the first recording of the piece either.  In other words, they were doing covers!  Look up some versions of your favourite pieces in Paul Bottomer’s YouTube channel https://www.youtube.com/channel/UCpMCDC6_cQ98mHzo-Yk1KUg/videos.  You might be quite surprised. 

An interesting example is the nostalgic classic Recién. It was composed by Osvaldo Pugliese in 1943, but first recorded in that year by the orchestra of Pedro Laurenz, then in 1944 by Ricardo Tanturi.  Pugliese didn’t get around to recording his version until 1980!

Which of these three versions of Recién do you prefer?  https://poesiadegotan.com/2009/05/13/recien-1943/
Which would you like to dance to?
PP

Mirada? Cabeceo? What’s the difference?

In essence they are two very simple signals in the milonga:

MIRADA (the look) = showing interest to dance

CABECEO (the nod) = indicating acceptance

Yet even experienced tango dancers may find this respectful form of invitation challenging.  

For example, I’ve often heard:
“I was nodding at you, so why didn’t you dance with me?”

“He/She stares at me continuously even though I show no interest.”

“He/She is always in deep conversation with friends.  Later he/she complains that we didn’t dance.”

Well, let’s take a look at the basics:

MIRADA
Having selected a person you would like to dance with, you indicate your interest by looking at their eyes.  The look usually needs to be sustained for a few seconds - no more, so they understand that you would be interested in dancing with them.  A glance is not usually enough.  But it’s not a long stare either.

(If they’re not interested at the time, they won’t hold your gaze.  And nobody else will know!)

CABECEO

If the person does hold your gaze, they may accept by nodding their head, or by smiling, or by making some other positive gesture. You can then show your agreement with a similar gesture.  While maintaining eye-contact, the man makes his way to the woman’s table, who remains seated until he arrives in front of her (thus avoiding misunderstandings in a busy milonga).  He then leads her on to the dance floor - yes, he goes first.

Yes, it’s that simple! 
If you’re interested you need to show it through your body language. 
And you need to accept that everyone has a right to choose. In other words, the acceptance must be mutual, otherwise it’s not consent.

Of course, there are lots of finer points. To give yourself the best chance of success, I recommend taking a good look at Tango Mentor’s excellent article.
https://tangomentor.com/cabeceo-beginners-guide/