Rock-solid

When I watch some male dancers, particularly some older ones, the term 'rock-solid' often comes to mind.  They seem to be absolutely grounded, totally in control of their bodies, and always with a strong axis.  As a result, their partners appear secure and in doubt where they are going - the leads are clear, signalled in time to allow an accurate, beautiful response, and the couple dance as one.

Watch José Luis Gonzalez.  What are the skills that make him appear rock-solid?

Now watch Luis Anchava

... and Gabriel Missé

Here are some common features with all three men:

• Posture exudes strength & stability
• Body moves first and advances strongly
• They quickly establish a new axis whenever they step or execute a turn
• They abide by the principle: 'I lead, she responds, I follow her'
• Calmness throughout

Do you agree? 

Perhaps there are other things that you notice.  If so, comment below.

... and that's quite apart from the magnificent women they are dancing with!

Bob

The Why, When and How of Feedback

When students talk about a recent difficulty which they've been experiencing in tango, one thing we look at is possible causes in their technique.  However, the unknown factor is what their partner at the time may have been contributing to the issue, especially if the student has come to us alone.

If we ask whether they tried to raise it with the partner (at a practica, or in class)

• typically ladies will not have done so, for fear of bruising an ego  
• on the other hand, a few men claim that the man is always at 'fault' when something isn't working in the dance!

Unfortunately, neither approach is likely to result in any improvement.  Clearly, open communication is the key to working out what might be happening and how to resolve it.

But when and how?

That's what practicas and classes are for!  The milonga is not the time.

So, how to broach the subject.  Criticizing your partner's technique presumes that you know best, and is most likely to put him/her on the defensive.  The last thing you want to do is hurt your partner's feelings. You want to find a solution together, not lose a friend.  Here are a few possible strategies:

• "I feel + sensation + describe when it's happening" (Much more useful than saying "You are doing ...")
• "Something doesn't seem to working.  Could we look at it together?"
• Ask a teacher for advice together: "We're not sure what's happening here.  Could you take a look?"

Take a look at Veronica's very insightful article about why most advice you get about your dancing is wrong.

Remember, avoiding the issue doesn't help you nor your partner improve your dance.  For a long-term win-win outcome, approach it constructively and respectfully.

Pat

Sore tango feet?

Just back from the very successful Tango in the Spring event in Canberra, Australia - a lovely opportunity to immerse oneself in Golden Age tango.

But, all those hours of milongas can take their toll.  Sore feet was not an unusual topic of conversation.  Some might say that it's a good problem to have - implying that they should be happy, because they did lots of dancing.  Does one inevitably follow the other?

Well, I'll let you into a secret.  You can have your (milonga) cake and eat it, too!

Here are some tips:

• Keep your body in shape
  If you can easily maintain a good posture in the embrace, keeping your axis aligned over the weight-bearing knee, then you are more likely to be using your foot efficiently. (You'll find it harder to pivot, if your weight is on the outside of your foot.)   Poor distribution of weight can also lead to injuries.
  You might try exercises for the feet and ankles, too.
  
  
• Select well-fitting and well-cushioned shoes
  Our feet weren't designed to walk in high heels. So, we will be asking for more trouble wearing shoes which are also too tight, too loose, un-cushioned, etc.  (Note. Good padding for the balls of the feet becomes even more important, as we get older.) 
  The shoes may be pretty. They may be a bargain. But, trust me, you'll regret it unless they are really comfortable from the start!  Just ask yourself how many pairs of rejected tango shoes you have stashed away, or given away.  If you're like me, it will be too many to admit to!
  
  
• Keep heels and balls of both feet in contact with the floor
  Why dance just on the balls of your feet (unless pivoting, of course)?  Use your heels and your metatarsals. 
  While extending into a back-step, keep the metatarsals (not only the toes) in contact with the floor.  Lifting and placing your foot, will mean that each step effectively impacts the floor. Ouch!
  These techniques also ground us and help with our balance.
  
  
• Choose partners carefully
  You don't have to dance with anyone and everyone.  If you know that someone's dance style causes you discomfort, then you don't have to accept the invitation.  Use the cabeceo to avoid this, or politely refuse.
  
  
• Take a break
  Perhaps you've just danced a lovely tanda, and feel like basking in the lingering pleasure. Maybe the person you hoped to dance with to this next tanda is already dancing. Or, the music being played doesn't inspire you to dance.
  No problem.  Sit and watch the dancers, enjoy the music, or have a chat. Your feet will appreciate the break.
  
  
• Ice
  Keep a small plastic bottle of water in the freezer at home. If you do get sore feet, cover the frozen bottle with several layers of newspaper or a cloth, and roll your bare foot over it on the floor for 5 minutes or so.  The cold reduces inflammation.  The improvement is amazing and lasts!

Of course, for ongoing problems, you should get professional advice.

I hope this helps.  You may have additional tips to share.  Would love to hear from you.
PP

How big is a baldosa?

Dancing in busy milongas requires a couple of important elements: specific dance skills and a social mind-set.  Together they allow you to enjoy your dance, as well as allowing couples around you to enjoy theirs.

Nowhere is that more the case than the busy milongas of Buenos Aires, where the above elements are oftern referred to as the ability to bailar en una baldosa (dance on a tile).  Last Monday, at one of our favourite Buenos Aires milongas, they were much needed.  It is normally a busy milonga, but the public holiday (Labour Day) brought out more dancers than usual, many of whom are not regulars.

Some were good dancers, who, according to one of my dance partners, don't get out often during the week due to work commitments.  So, you might think "the more, the merrier".  However, after the first hour or two of the milonga, the floor was very busy indeed.  Couples were dancing shoulder to shoulder.  It became clear that some of those dancers who initially had looked good, weren't coping too well with conditions that they perhaps were not accustomed to.

As you read this, you might be asking yourself: How would she know?  The answer quite simply is that they were disturbing couples nearby.  It looked like they were either unable to modify their dancing to suit the conditions, or were blissfully unaware of how their dancing was disturbing those around them.  (Another unfortunate possibility might be that they didn't care).

In stark contrast, the majority of dancers were coping well with the challenging conditions.  What these dancers were doing included reducing the size of their movements, doing tight turns, making full use of the space efficiently with the man's default position facing the tables, being able to spontaneously change direction in the dance, etc., while still maintaining their musicality.  Interested in successful navigation strategies?  Take a look at the illustrations devoted to this topic in Tango and Chaos.

So, how big is a baldosa? As small as it needs to be to suit the conditions on the dance-floor!
PP

Ladies! What does it take?

Some time ago, I posted advice to tangueras, but here I'd like to delve a little deeper.

In the early days of my tango journey, I worked hard on learning to execute the figures being taught, struggling to replicate sequences and decorations.  I was expected to do my share of the figure, regardless of how it was being led by my partner.  I thought decorations were essential, expressive tanguera accessories.  When reflecting on the results at the time, effective and elegant are two adjectives which do not immediately spring to mind.

Then I began learning about good technique - thanks largely to hours working with the maestra de los maestros, Aurora Lubiz. My body was trained to be ready, able, relaxed and responsive to the music and to my partner - whoever that might be for the next tanda.

After some years of dancing and learning, another critical piece of the puzzle eventually fell into place for me.  It was about my state of mind.  It was about being truly in the moment and surrendering to the dance - entrega.  For this, I needed to

• be confident with my partner, but not dominant
• surrender and be actively responsive
• allow the music to possess me, yet not preempt how my partner might respond to it.

Some of these points may appear contradictory.  But then dancing tango involves subtle give and take.  It's a deliciously, delicate balancing act.  Simple, but not easy.

Ladies, let's forget about the flashy moves and decorations. With sound technique and the right state of mind, you can dance successfully with any good milonguero.
PP

I like to watch ...

More often than not, I dance no more than 7 or 8 tandas in my 3 hours in milongas in Buenos Aires. I do that partly to conserve my energy for a) the music I really like, and b) the women I really want to dance with. Any single tanda is both physically and mentally taxing, so when I dance I want to put all the meat on the fire.

So how do I spend the rest of my time in the milonga apart from sipping on my mineral water? I listen to the music and I watch the dancers. Sitting at a table at the edge of the ronda, I feel part of the milonga, even when not dancing. But as I watch, I also learn. Of course, I watch the ladies’ pivots, their embraces, their responses to their partners, in order to guide my ‘cabeceo’ in future tandas. But there is more.

I watch the men – their rhythms, changing dynamics, playfulness, intensity; how they protect their partners, how they move their bodies with their partners; and I note small variations in movements that I regularly employ. I notice how their dancing changes with different orchestras, with the emotion of the singers, with the ‘light and shade’ in a piece of music. Not all men dance this way, but those that do are worth my intense scrutiny.

I often wonder about men, and women, who dance every tanda. Might they be missing an opportunity to observe and learn from others?  My advice: STOP. LISTEN. LOOK. LEARN.
Bob

How small can you go?

Murat and Michelle have done it again! 
Another amusing video with a message about social dancing. (Shame about the leg wraps.)

Are you up to the challenge?
PP

What really matters

Some developments in the world of tango make it all too easy to lose sight of the essence of the dance.   Youtube videos of professional dancers performing amazing sequences proliferate on the internet.   Students of tango can be easily seduced into wanting to emulate such riveting performances.  As a result, some teachers seem to cater for perceived customer demand and feel that they should teach tricky tango moves.

I'll be blunt.  For people really interested in tango (the social dance), this approach is a useless distraction.  In my experience, it tends to result in a superficial experience, at best; a battleground of arms and legs, at worst.

On the other hand, the satisfaction and joy which comes from a deep connection with a partner and the music is magical.  Who can forget that sense of being at one and completely in the moment.  This is something to be treasured, when it happens.  The often-used image of four legs, one heart is so apt.

Dancing as one may seem simple, but can be difficult to achieve - even without distractions!  We should be completely carried by the music, which may be unfamiliar.  Body-control is required, yet we need to be relaxed, not worrying about what's coming next.  We need to be comfortable in the embrace.  Leading and following are subtle - yet crystal clear.  This results in improvisation and creativity, but not at the expense of one's partner.

So, focus on what really matters.
Dance as ONE.  Dance to the MUSIC.  Dance in the NOW.

PP

Bailar en una baldosa

Wouldn't it be wonderful for social dancing in tango communities if more teachers taught their students the skills required for compact dancing.

Some people tend towards extravagant movements during a milonga, perhaps inspired by the latest flashy performance spotted on Youtube.  Trouble is, they seem to forget that they're not on a stage!   Whether they have the requisite skills for those flamboyant movements is another story altogether. The unfortunate result can resemble a dodgem-car.

Thanks Jantango for sharing these video clips of "dancing on a tile".


PP

The importance of detail

After our tango class, R (one of our students) was at home relaxing; watching snowboarding competitions on TV. A remark from one of the expert commentators resonated with him so much, he felt the urge to share it with us today. 

"What's really important is to do the small things really well".

I like the way you walk

Is this the highest praise that a tango dancer can receive from an old tanguero?  I believe so; what do you think?  Of course, the embrace and the dancer’s posture are all part of this judgment.

You would think that since walking is something that we do every day, that this would be the easiest part of tango, yet I am convinced that achieving a good ‘tango walk’ is the hardest.  However, if you get this right, then everything else flows easily …. because so much goes with it – balance, strong axis, good embrace, clear lead-follow from the body, close stepping to your partner, effective contra-body rotation.

So why do people have so much trouble with the walk in the embrace?  For a start, they are in an unfamiliar position physically and mentally – in front of and chest-to-chest with a partner.  This in itself creates some anxiety, including the leader’s fear of stepping on his partner’s toes.  Bodies become tense – shoulders, back, arms – defeating any chance of walking normally.  On the other hand, with a relaxed body and a forward advance of the leader’s torso before he steps, there is little chance of him getting near her toes. A leader who leans back, or dances totally vertical, has more chance of clashing with his partner’s legs or feet, because he is keeping her in his space.

Walking in an embrace requires trust - trust that the follower will move with her partner’s lead, and trust that the leader will follow her. The embrace is something that shouldn’t be broken – whether it’s during a simple walk or a complex turn.

Musicality is the next level that needs to be built into walking; confident musicality and confident walking are mutually dependent. Apart from walking on the beat (but not necessarily every beat), musical walking means an injection of energy corresponding to the phrase of the music.  It needs commas & periods, acceleration & deceleration, suspension & relaxation.  If the movements correspond to the music, then you get good, confident walking. It will simply feel right!

There’s another quality that can be added to the dance - resisting the urge to step on every beat. This doesn’t imply that the dance stops at various moments, but rather that the ‘pause’ has value.  It’s a response to the music, which can include small decorations or a gentle body movement into the next step.  Think of a conversation – the silences can be powerful, just as the pause in tango can be.

In some ways it’s no different to a respectful conversation: I say something – she listens - then gives me her response - I pay attention and wait until she finishes talking - before I have something more to say, etc. Such are the essentials of a satisfying conversation, or a deeply satisfying tango.

A controlled and elegant tango walk, combined with a strong sense of where the music is taking you, contains the essential elements of a beautiful tango.  Jorge & Samantha Dispari illustrate this in a post-class demonstration; the film quality could be better, but the impression that it made on me is indelible.

 

Bob

Ladies in waiting

No, this isn’t a reference to serving the royals, but rather a key element of the dance. Anticipation by followers is a hazard for their leaders and can destroy the timing & interpretation of the music that defines each tango; it also affects the leaders’ balance & posture as well as making them tense & watchful – not great for improvisation. I’m talking about guessing at what’s coming next & stepping into it, rather than intuitiveness with regard to timing & rhythms that comes with long experience.

So what can help women wait for the lead (a proposal) instead of moving ahead of her partner? Maybe looking at some possible causes will provide some clues. I’d suggest that it begins in the woman’s head – does she have confidence in her own skills and trust in her partner? From the beginner, who can do no more than walk well with good posture, to the dancer who has a broad range of well-developed skills, she needs to have a sense of self-belief – a belief that she can do what she does well - regardless of the partner (provided, of course, he can lead effectively). This confidence will translate to her being prepared to wait for a clear, well-timed lead – after all, rushing ahead can mean the moment is lost, whereas if she takes her time, the man has no alternative but to wait for her.

Clearly, this assumes that the man leads in a manner that will generate trust in his partner. He needs to quickly assess what his partner can do well, and dance within that range in order to make it an enjoyable tango for them both. He also needs to subscribe to the principle that he leads (proposes), the woman follows (listens and then responds in her own time), and he follows her (when the music invites). Which sounds very much like the leader needs to listen to and wait for the follower!

In fact, it’s that constant & well-timed two-way communication between the two bodies which can result in a truly satisfying tango.

So what can you (leader or follower) do if you find yourself dancing with a partner who doesn’t wait?

Bob

Extension, suspension & relaxation? Parallel & cross systems?

What does it mean to dance with extension, suspension & relaxation?
How can you capture those special moments in the music?
That's what we'll be focussing on in the Monday class in January.

What's the use of parallel and cross systems?
On Tuesdays this month, we'll be looking at how to exploit both systems.

As always, Melina and Detlef are a treat in this video. I love how they use those skills to express the romantic intensity of the Di Sarli tango, then the playful Donato vals.

Pat.

The man's left hand

Everything is connected to everything else. And the position of the man's left hand can make a big difference, as you will see in this article from Tango and Chaos.

So guys, compare your style to the pictures in this article, and see how the left hand's position can affect your dance. The Tray of Martinis tip sounds fun, too!

Pat

Secret Men's (Tango) Business

………… aka “The gaining of insight!”

The dozen men who took part came up with some pretty interesting observations and have promised to be ultra-sensitive guys with their tango partners from now on. Here’s a selection:

In trust exercises:

“I didn’t know where I was going to be taken next, so I simply had to wait”
“When I relaxed my arm, I could feel the lead better”
“I needed to communicate the transition from one direction to another gradually and in advance”

In advances:

"I could feel the energy in his body when he wanted me to take a second step"
"I had to plan the lead for the stop as early and as carefully as I planned the lead for the advance"
"Whenever the leader hesitated even slightly, I felt it immediately."

Generally:

"In leading the ochos, timing is critical"
“Anticipation is the killer of improvisation”
“The follower doesn’t need to know the figure, just how to follow”

Bob